Notre Dame de Paris: The Creation of Contemporary Stained Glass Windows Challenged

On July 11, 2024, the National Commission for Heritage and Architecture (CNPA), which was consulted on the question of the creation of contemporary stained glass windows desired by the Head of State and by Archbishop Laurent Ulrich, Archbishop of Paris, rendered its judgment. The 26 CNPA experts rejected the project.

Quoted by La Croix, Albéric de Montgolfier, President of the Commission, said that, "By unanimous vote, the National Commission reminds that artistic creation in historical monuments should not lead to sacrificing heritage elements of public interest from a historical or artistic point of view.”

The assessment was carried out in several stages: the drafting of reports by the general inspection of historic monuments, by the Regional Directorate of Cultural Affairs (DRAC) and by the art historian Alexandre Gady, followed by the CNPA’s close discussion of them.

The rejection of new stained glass windows is motivated by the fact that they “would replace the stained glass windows intended by Eugène Viollet-le-Duc, which were not damaged by the fire,” Le Figaro notes. La Croix adds that, “Classified as historical monuments, these windows are said to be ‘in good condition, cleaned and renovated’ and had ‘escaped the fire,’ as testified by art historian Alexandre Gady. [...]

“Additionally, the experts [...] refer to the ‘constant doctrine in the creation of stained glass windows,’ but especially to the 1965 International Charter for the Conservation and Restoration of Monuments and Sites, known as the Venice Charter,” La Croix again quotes. 

“In this charter, ‘it is stated that the removal of a protected artwork under historical monuments can only be justified by its poor condition, which would endanger it,’ details Gady. ‘It is therefore absolutely contrary to all conservation rules to attack it,’ asserts the art historian,” La Croix continues.

Nevertheless, the CNPA’s opinion is only advisory, and does not close the subject. But it must be remembered that, as soon as the project was known, there was a general outcry. The Academy of Fine Arts had given an unfavorable opinion; the heritage circles and even a part of the Ministry of Culture were entirely opposed. Not to mention, there was also opposition from the “141,000 citizens who signed a petition launched by La Tribune de l’Art in January 2024,” La Croix recalls.

Finally, even some artists do not see themselves making these stained glass windows against the unanimous vote of the CNPA. Pascal Convert, who, according to Le Figaro was among the five artists selected from the 83 applications, stated that he withdrew out of “respect” for the unanimous vote of the Commission, and because it seemed to him impossible to work serenely in these conditions.

Despite everything, according to Le Figaro, “on Thursday evening, Minister of Culture Rachida Dati’s entourage assured that ‘the project was not buried’ and that the intention of the Elysée, the Diocese of Paris, and the Archbishopric remained ‘to equip the cathedral with large contemporary windows.’”