Recently a number of people have been sending me links regarding the transformation of an elegant French chateau into a monstrosity for the display of (mostly bad) art. It’s odd that this story has only been making the rounds in the commentariat now, since the destruction of this building actually took place a few years ago. However in the uproar over this act of architectural violence, few have noticed a more recent architectural disaster in France that needs addressing.
Two weeks ago, the 13th century rose window of Soissons Cathedral was blown out during severe winter storms, leaving a gaping hole in the façade of the West Front. As Apollo Magazine notes, thanks to the solid engineering which went into its construction, the structure of the great window at Soissons had successfully withstood previous disasters, including a nearby explosion during the Napoleonic Wars and bombardment during World War I. The great iron pins that hold the stone tracery together did their job for many centuries, up until now.
Back in 1918, a bomb blew out all of the glass in the rose window, but left the structure of the window itself intact. The replacement design was a pleasant if unremarkable hybrid of Romanesque and Gothic, depicting Christ seated in judgement of the world. This is an entirely appropriate theme for the West Front of a Gothic cathedral, where the decorative program usually references the Apocalypse, including the resurrection of the dead, the Last Judgment, and the condemnation of the damned to Hell.
In addition to the structural damage, officials will have to address the problem of replacing the church’s organ, which stood behind the window and was destroyed as it caved in. The instrument dated from the 1950’s and, although not as ancient as the rest of the building, it did hold historic significance for lovers of sacred music. It was for this organ that composer Maurice Duruflé wrote his Opus 12, “Fugue sur le carillon des heures de la Cathédrale de Soissons”.
However even before the organ can be dealt with, the Cathedral is obviously going to need a new window. The glass of the now-destroyed window was itself a replacement, less than a century old and not of particular artistic importance. One could argue that the Cathedral is less morally bound than it might otherwise be, regarding its replacement.
Therein, of course, lies the potential danger.
For decades, there has been a tendency in church renovation to take advantage of the opportunity to replace failing or missing stained glass with ugly and embarrassing designs. Usually the replacement window exhibits no genuine artistic skill, or it has little or nothing to do with Christianity. We can see this in historic churches all over the world.
At the Basilica of Santa Maria del Mar in Barcelona for example, which was burned by leftists during the Spanish Civil War, there are several miraculous survivors of windows from the Middle Ages. Yet some of the replacement windows are both ugly and inscrutable, such as this one installed in commemoration of the 1992 Olympic Games. Similarly, Westminster Abbey in London recently announced that it has commissioned a new window from British artist David Hockney, meant to honor Queen Elizabeth II. I realize that I am in a very tiny minority on this point, but I find Hockney’s work juvenile and shallow, and I expect the end result to be something similar.
What will Soissons do? Will the previous window, of which many images exist, be recreated? Will a new design in keeping with the subject matter of the old window be commissioned? Or will an image of the Last Judgment be considered too out of step with “who am I to judge”?
Only time will tell, but given the state of Christianity in Europe generally, and the many decades of horrible church renovations we have seen since the 1960’s, I don’t honestly feel too hopeful about the outcome in this situation.