21st Century Chartres: The Famous Gothic Cathedral is Newly Restored

21st Century Chartres: The Famous Gothic Cathedral is Newly Restored

One of the world’s most famous cathedrals has emerged resplendent after a recent restoration, though some say it has lost something

There is nothing like it in all of France. Rising like an apparition from the wheat fields, the majesty of Chartres Cathedral is palpable to visitors approaching by car, train, or on foot – as many pilgrims still do – long before they step through its doors. But for those who know Chartres, stepping through its doors is now a monumental surprise. Gone is the deep, atmospheric gloom out of which glimmer the world’s most glorious stained-glass windows, replaced by a soaring expanse of luminous white.

The cathedral’s vaulted ceilings.

In September, as the last of the scaffolding came down on a sweeping, €20 million restoration slated for completion sometime in 2020, parishioners and visitors witnessed an unprecedented transformation. For some, the emergence of these 13th-century stones from elegiac dusk to brilliant dawn is a revelation, for others an irreversible tragedy.

The cathedral in Spring. Photo: Office de Tourisme de Chartres Métropole


A UNESCO World Heritage Site unanimously considered a pinnacle of Gothic architecture, unlike so many of France’s great churches Chartres has weathered history’s fires, wars, and revolutions relatively unscathed. But it has not escaped time; nor, some will say, human folly.

Though sections – notably the 12th-century west front, its royal doors and two contrasting towers – predate the devastating fire of 1194 that destroyed the cathedral along with much of the city, most of the church was built in an astonishingly short period, from about 1195 to 1220, which accounts for its unusually homogeneous style. What today’s visitors see, excluding an incongruous 18th-century makeover of the choir, is an exceedingly graceful assemblage of upwardly thrusting pillars and airy vaulting interspersed with the arched raised galleries that culminate in Chartres’s peerless windows.

From afar, the cathedral doesn’t seem to have changed. Photo: G Osorio

But 800 years of candle soot, incense, fires, and a misguided oil-burning furnace installed in the 1950s had sullied the interior and windows with a heavy coating of black grime. The ensuing twilight that obscured much of the cathedral’s Gothic detailing – originally intended as the recreation of heaven on earth – proved the ideal backdrop for Chartres’s exquisite windows, which shone through the dusk like glimmering gems. The overarching effect was a space both intimate and exalted, where generations of the faithful and non-believers alike found contemplation, uplift and grace. But the building’s walls, vaulting and pillars suffered.

“There was an acute conservation issue for these areas; we had to place nets to catch the falling plaster from the vaults, and the nets obscured visitors’ view,” says Irène Jourd’heuil, Curator of Historical Monuments Department of Cultural Affairs for Central France. “Something had to be done.”

The dramatic restoration is clearly visible inside. Photo: Jennifer Ladonne

Studies undertaken before the restoration showed that simply by rubbing off layers of accumulated dust, which included the residue of two other coatings, from the 15th and 19th centuries, an original 13th-century layer applied over the exposed stone was revealed in an exceptionally well-preserved state. This discovery opened a new chapter in conservators’ thinking about how to approach the project. As Jourd’heuil explains: “It was long believed that Middle-Ages stones were not painted on and left raw, and many original décors were simply scraped off. Now we know the stone was coloured.”

Angel’s eye view of the labyrinth. Photo: Alain Kilar

Excitement over the surprisingly intact state of the original colouring opened new questions and new curiosities about what else might lie beneath. The step-by-step restoration, painstakingly performed with mini-vacuums, brushes, and scalpels, found a remarkable 80 per cent of the cathedral’s original coating – of a beautiful pale ochre colour with lighter lines to indicate the masonry – to be salvageable. The remaining 20 per cent, including the pillars, was repaired and re-covered with a light wash created to match the composition of the original as closely as possible. Now, with all the walls and ceilings completed, except for the transept’s north and south wings, which remain in their original pre-restoration state – each with its spectacular rose window – the cathedral’s interior looks almost new. And therein lies the rub.

The cathedral’s south facade. Photo: JS Mutschler


The restoration team was unprepared for the furious backlash spearheaded by outraged art historians, conservators and scholars who contend that the restoration wipes away not only the dirt but the cathedral’s ineffable majesty and profound spirit of place. Some have vehemently denounced the result, at best calling it “fake”, at worst, as stated by the American architectural critic Martin Filler in the New York Review of Books blog, “the scandalous desecration of a holy place”.

Part of the world’s most important collection of medieval stained glass. Photo: C Mouton

What’s more, say the critics, ambient light reflecting off newly radiant walls and ceilings, as well as the controversial addition of electric lighting, vastly diminishes the experience of the windows, Chartres’s crowning glory, resplendent after a thorough cleaning – the one aspect of the renovation that has been unanimously lauded.

It does not stretch the imagination to view Chartres as having been wiped clean, airbrushed into a fantasy of a glorious Medieval past. And some visitors have expressed anger over the loss of the Chartres they knew. “But most are pleased with the results,” says Anne Marie Woods, a guide at the cathedral since the start of the renovations.

The famous stained glass windows in the Chartres Cathedral. Photo: E Vandenbroucque


Perhaps the most eloquent symbol of the controversy is the famous Black Madonna, a focal point for pilgrims – along with Chartres’s important relic, the Veil of Mary, given to the church by Charles the Bald, the son of Charlemagne, in 876. Blackened from years of soot, along with what turned out to be a more recent coat of black paint, the Madonna and the Christ child on her lap emerged in 2013 from the restoration lab pale and apple-cheeked. “We studied the statue’s polychromy and found it dates from the 16th century. It was concluded that the paint was recent, dating from the 19th century. She was not conceived as a Black Virgin.”

Statue at the Chartres Cathedral. Photo: C Mouton

The Black Madonna, explains Jourd’heuil, was probably conflated with the Virgin of the Crypt, a statue of the Virgin venerated in the cathedral’s crypt since the Middle Ages and burned during the Revolution. The Virgin of the Crypt itself may or may not have been a copy of a Celtic statue already venerated in Druidic times in a grotto spring over which the cathedral was built. Inscribed Virgini pariturae, “the virgin who will give birth,” its significance for early Christians resided in its seemingly miraculous presaging of the Annunciation.

Though this story is now cited as a myth, Chartres was certainly the centre of a ‘cult of Mary’ and was, according to the religious scholar Titus Burckhardt, “the principal sanctuary of the Mother of God in France”. Jill KH Geoffrion testifies to the Virgin’s pre-eminence in the “many overt and subtle Marian symbols both inside and on the outside of the cathedral” exquisitely detailed in her newly published Visions of Mary: Art, Devotion and Beauty at Chartres Cathedral.

La Vierge du Pilier

Whether it is a conscious effort to erase any trace of the mythical Black Virgin, an indelicate correction of an ancient yet misguided custom, or whether the Black Madonna is simply a casualty of the restoration’s earnest attempts to remain true to the spirit of the medieval church, depends on whom you ask.

But there is no question that important discoveries were made to advance the existing understanding of the church in the Middle Ages, including some surprising illustrations of rose windows painted high up in the north and south narthex, the brightness of the pillars of the arched triforium just below the stained-glass windows, and two curious black shields, inscribed with the words ‘République Française’, left over from the church’s eight years of post-Revolution desacralisation, uncovered like a palimpsest on opposing pillars facing the front altar.

The interior of the Chartres Cathedral

For now, while the cathedral awaits its final phase, the north and south wings of the transept retain the ancient black, allowing visitors to judge for themselves the effect of the transformations. But the cathedral’s longest living ‘inhabitant’, Malcolm Miller, a Chartres scholar, lecturer and author who has given daily tours of the church for the last 60 years, is unequivocal:

“I think it’s marvellous.”

From France Today magazine

Statuary at the North Portal. Photo: Office de Tourisme de Chartres – Chartres Convention & Visitors Bureau_cut

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American journalist Jennifer Ladonne, a Paris resident since 2004, writes regular features on French heritage, culture, travel, food & wine for France Today magazine, and is the restaurants and hotels reviewer for Fodor's Paris, France and Provence travel guides. Her articles have appeared in CNN Travel, AFAR, The Huffington Post, MSN and Business Insider.

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  •  paul helmer
    2024-01-26 08:34:36
    paul helmer
    several years ago two other k-state architectural graduates and l visited chartres cathedral. we had seen notre dame in paris, rheim and several other gothic cathedrals in france. the experience was mystical and memorable to say the least. architecture is art. it comes about due to need for a place to live, perform an event or religiously, a place to worship god. upon entry to Chartres l recall having to stand in one place to allow my pupils to adjust to the dark interior. if i had continued walking l may have fallen into a cathedral chair. the next thought was, l do not want to get close to the walls, l may get mold on my clothing. today, as a professional color consultant and past architect of the kansas city landmarks commission l know that what we see today may not reflect the original intent of builders of buildings. dirt, grime and soot can build up especially from years of candle burning use of incense, and heating systems. lt stands to reason that maintenance requires cleaning and upkeep. only then do we have a true representation of the real beauty of a piece of architecture.


  • Sheri Nakken
    2022-03-07 14:37:23
    Sheri Nakken
    I have been there many many times and the last time I was there in 2019, I felt the energy not there anymore. And horrors at what they have done. I have been bringing groups there for decades. I will not be back.


  • Evangeline Brabant
    2021-03-06 22:21:36
    Evangeline Brabant
    What about that cloth of Mary's baby Jesus blanket? Want to know more. What about the American who saved Chartres from destruction? I have loved this cathedral since I first saw it while in college; it was a spiritual connection. As many others also feel, this is my cathedral.


  • Jane Illsley
    2020-06-22 13:12:47
    Jane Illsley
    Cleanliness is next to Godliness. Thank you for the wonderful restoration and the peace it offers. Electric lights will help keep soot off. You can always keep the lights off.


  • tim waite
    2020-06-21 09:45:51
    tim waite
    Visited last year , much worse than photos convey and shoddy to boot . The faux block painting on the wall surfaces throughout the building ( ochre on white ) has all been done freehand . Amateurish and shaky stuff . But basically yes a building from the thirteenth century now resembles San Francisco's Cathedral of Grace . Lovely but not historic in any sense .


  • Ann Robinson
    2020-06-02 22:58:03
    Ann Robinson
    I can't agree more with those who appreciate the restoration. I say: nix the electric lights, as that kind of lighting would not have been intended originally, and then, yes, relax and appreciate the beauty of how the cathedral was intended to be experienced. Bravo, restoration team.


  • Rich
    2020-03-10 20:08:05
    I hope That the desecrated choir ( 18 century ) can be restored to its original state one day. This was the major desecration of Chartres Cathedral. The restoration of the choir will make the cathedral whole again.


  • patrick kielty
    2018-11-16 12:36:42
    patrick kielty
    I lived 35 minutes from Chartres for nearly ten years and visited often. I think the restoration is perfectly glorious! They haven't painted it in psychedelic colors, for goodness sake, they've restored the original colors. They haven't added something that was never there to begin with. Before the restoration it had become a dark shadow of its original self. We now see it again through the eyes of the 13th century. What a marvelous idea! And I'm also very glad to see that Malcom Miller agrees. For the life of me, I don't understand why anyone could object to the restoration. Different horses for different courses, as the saying goes.


  • Pamela Crummay
    2018-09-07 22:29:21
    Pamela Crummay
    Sadly, life was ever thus.....everyone cannot be pleased! It's years since I visited Chartres and, magnificent though it was, I remember a rather dull, dusty interior. I recall thinking how wonderful it would be with more colour.....so I shall obviously love it when I next visit. Relax....enjoy the beauty....


  • Stefan Evans
    2018-08-11 21:07:40
    Stefan Evans
    Cleaning is OK, REPAINTING IS NOT. just because its only 20%, would you add the head back to an ancient greek statue because 80% is original, HELL NO. this is a scam restoration. most of all, the restoration is not complete, we fight to stop the destruction of culture: https://www.change.org/p/stop-painting-chartres-cathedral This is the second of my petitions against the restoration. the first (link inside new petition) was covered in over 10 different articles. again, CLEANING IS OK, REBUILDING is NOT. this isn't Disneyworld, this is history


  • Kevin Callahan
    2018-06-25 20:48:18
    Kevin Callahan
    First saw Chartres in 1969, have seen the restoration in progress twice, look forward to returning soon. While the Cathedral in its former state had an atmospheric, neglected grandeur, the restoration is stunning and magnificent in its radiance. It also appears to be soundly based upon empirical evidence of the intentions of the the 13th-early 14th century builders. I am puzzled by those who do not want to see this greatest of all Gothic masterpieces as it was intended and as we now can again. Chartres is and has always been awesome, but it is extraordinary to see it shine as it now does.


  • Genevieve B. Kupang
    2018-03-24 02:28:10
    Genevieve B. Kupang
    Kudos to the restoration team! It is indeed, marvelous. I would like to have a walking meditation on the labyrinth and immerse myself in the beauty of the Cathedral de Chartres. See you in June and July this year.


  • Colin Bisset
    2018-03-23 02:03:03
    Colin Bisset
    I loved its old, dark interior which had a breathtaking moodiness to it. The restoration makes it feel like a neo-Gothic copy. Still a stonking place, though.


  • Jon Firth
    2018-03-22 22:40:36
    Jon Firth
    Having visited in the 1990s, I now want to return to see the Cathedral in all it's restored glory. Mr Miller, in my opinion is right, it looks marvelous.


  • royston hart
    2018-03-22 20:59:08
    royston hart
    I have been a Builder For Over 50 Years and I should say the builders have done a good restored job howe whould sume of you like climeing up scafolding meeters high cleaning etc i take my HAT off to them


  • Anne C. Marsh
    2018-03-22 00:00:37
    Anne C. Marsh
    I was wondering what Malcolm's reaction would be! I took several tours with him in 1982 on Midsummer's Day, and he was apoplectic about the "heathens" walking the labyrinth, so I kind of figured he'd hate the restoration. Glad to know it has the Miller Stamp of Approval!


  • Ken Boyd
    2018-03-21 17:38:33
    Ken Boyd
    Thank you Jennifer for this ARTicle I agree with Malcolm . How could anyone think the builders intended the Church to be blackened and covered in filth . They built and decorated it the way it looks now .... why the debate ? Ken Boyd


  • Nigelle de Visme
    2018-03-21 17:20:04
    Nigelle de Visme
    I would weep! Gone the Black Madonna and her mysteries - whitewashed like so much that is not properly understood. Brave you for writing it Jennifer!


    • Sue
      2021-07-25 23:58:10
      It wasn't whitewashed. It wasn't black to begin with!