Exhibition of new bells in the nave of Notre-Dame in February 2013Notre-Dame's north tower (left) holds eight bells while the slightly smaller south tower (right) holds the two largest bells.
There are 13 church bells in the cathedral of Notre-Dame de Paris; 10 main bells are mounted in the two main bell towers and 3 smaller bells in the sanctuary. Notre-Dame used to have other bells in the spire, but these were destroyed in a fire in 2019.
For most of the cathedral's history, the bells have been primarily used as a striking clock, to call to prayer for the Angelus, and to announce and participate in Divine Offices and special services. They have also sometimes been used as a tocsin or to commemorate historic events. As such they have become a familiar part of life in Paris, where they are known as "the cathedral's voice."
The largest, oldest, and most well-known of Notre-Dame's bells is the bourdonEmmanuel, which was cast in 1686. Emmanuel is considered by campanologists as one of Europe's finest bells and was designated a national historic landmark in 1944 when it rang during the liberation of Paris.
Early bells
The earliest named bells of Notre-Dame, mentioned in 13th and 14th century records, include Marie (the bourdon), Gilbert, Guillaume, Pasquier, Chambellan, Louis, Nicholas, and Luc, all initially housed in the north tower. Historian Dany Sandron speculated that Gilbert may have been given by bishop Gilbert, the bishop of Paris from 1116 to 1123. If so, the earliest bells may have predated the cathedral itself. Bishop Eudes de Sully made the first record of bell ringing at Notre-Dame in 1198 during the construction of the cathedral. The earliest verified bell is Guillaume, donated by bishop Guillaume d'Auvergne in 1230, five years before the completion of the north tower.[1][2] A total of eight bells were mounted there by 1311.[3]
The spire, completed in about 1250, originally held a seven-bell carillon, which included la Pugnaise, a bell used to signal the bell ringer in the main towers, and the chapter bell la Clopette, used to announce gatherings of the cathedral chapter.[4] During the Middle Ages, the carillon accompanied Notre-Dame's main bells, as did the bells of several surrounding buildings, such as the cloister[fr] and Saint-Denis-du-Pas[fr] to the east, the episcopal palace to the south, and the Hôtel-Dieu and Saint-Christophe[fr] to the west.[5]
In 1400, Jean de Montaigu, an advisor to the king, donated a new larger bourdon which he named Jacqueline after his wife Jacqueline de la Grange. It was not initially hung in the church, possibly because of its great weight and the poor condition of the north belfry at the time. Between 1403 and 1407, a new belfry was built in the south tower, which had remained empty since its construction in 1250. Jacqueline was hung in the new belfry, and in 1414, some of the north tower bells were temporarily hung there as well while repairs were made to the north belfry.[6] Between 1378 and 1480, the two bourdons Marie and Jacqueline were recast a combined 10 times. By 1430, Marie was the larger bell and was permanently moved to the south tower, mounted beside Jacqueline.[citation needed]
In 1453, Thibault de Vitry, counselor of the Parlement of Paris, donated Thibault and in 1472, Canon Jean Hue donated Gabriel, named after the archangel.[7] The later replaced Gilbert as the largest bell in the north tower. Gilbert was melted down and the metal added to Marie when it was again recast later that year. Jean also first appeared in the 15th century.[citation needed]
In 1551, the carillon was either recast or replaced.[8] From this point, the names of four of the carillon bells were recorded as Catherine, Magdelaine, Barbe (named after Saint Barbara),[5] and Anne. With the addition of an unnamed fifth bell, La Pugnaise, and La Clopette, the spire held seven bells in 1612, but by 1763 this was reduced to six.[9]
When Jacqueline broke in 1680, the chapter decided to recast the bell with about twice its original mass. It was also decided to rename the bell Emmanuel (first spelled "Emanuel")[10] in honour of a chaplain by that name who financed the project. It was also felt that the new name held more religious significance. Cordelier friar Jean Thibault recast the bell that year, but this bell was deemed unsuccessful and was never mounted in the church.[11]
In 1681, four master-founders collaborated to recast the bell—Nicolas Chapelle, Jean Gillot, François Moreau, and Florentin le Guay. The work was carried out on the Terrain, an open space of land on the eastern end of the Île de la Cité, near where Square Jean-XXIII[fr] and the Deportation Memorial are located today. The bell was cast on 31 October and removed from its mould and rung for the first time on 20 November. It was brought into the cathedral through the north portal where the trumeau had to be removed so the bell could fit through.[12] The bell's baptism was held on 29 April 1682,[13] officiated by archbishop François de Harlay de Champvallon. The chapter invited the king and queen, Louis XIV and Maria Theresa, to serve as the bell's godparents. It was mounted in the south tower next to Marie on 14 July.[citation needed]
Shortly later, the chapter later asked the founders to remake the bell, believing it to be improperly tuned. When the founders refused, the chapter sued them in 1684. An initial trial, held at the Grand Châtelet, found them not liable, but this was later overturned by the Parlement of Paris. This third version of the bell was named Emmanuel-Louise-Thérèse to include the names of its godparents. This was in particular meant to memorialize Maria Theresa who had died in 1683. The queen's name was also added to the inscription. Emmanuel was completed in 1686 (evidently behind schedule, as the inscription reads "made in 1685"). This is the bell which has survived to the present day, and is renowned for both its history and musical quality.[14][15] Emmanuel was the largest bell in France until 1891 when La Savoyarde was cast for the Sacré-Cœur.[citation needed]
The second version of Emanuel, cast in 1681
VIP seating arrangements at the 1682 baptism for Emanuel. The bell is situated at the crossing with the jubé at the top of the image. Armchairs for the king and queen are to the left towards the north transept.
Most of the north tower bells were recast in the 18th century. Claude is first mentioned in 1711, although it likely originated earlier. In 1766, three dedicated clock bells were installed in one of the north transept's turrets.[16]François was added to the north tower in 1769.[citation needed]
1792 French double sou minted from bell metal. "These eight bells [...] circulate today by indefinite fractions in the hands of the public." —Antoine-Pierre-Marie Gilbert
During the French Revolution, about 80% of church bells throughout the country were melted down,[18] or almost 100,000 bells. Despite the widespread iconoclasm of the era which affected many of Notre-Dame's statues, the melting of bells was more a pragmatic decision based on the need for cheap raw materials at the time. The National Constituent Assembly had confiscated all church property in 1789 and began to melt down Parisian church bells in 1790. Between May 1791 and August 1792, Marie, Gabriel, Guillaume, Pasquier, Thibault, Jean, Claude, Nicholas, and Françoise were removed, broken apart, and melted down. The metal would be used for coins and cannons. The only bells to survive were the three clock bells and Emmanuel. The latter was rung for the Festival of Reason in 1793[19] before being taken down and put into storage in 1794.[citation needed]
It was also during the Revolution that the original spire was taken down along with its carillon, although this was not related to the events of the Revolution.[citation needed]
The upper inscriptions were written in Latin; the lower inscriptions were written in French with some Middle French spellings.
1681 inscription:
QVÆ PRIVS IACQVELINA IOANNIS DE MONTE ACVTO COMITIS DONVM POND. XV. M. NVNC EMANVEL VOCOR, A CAPITVLO PARISIEN. DVPLO AVCTA. REGNANTE LVDOVICO MAGNO. SEDENTE FRANCISCO HARLÆO PRIMO EX ARCHIEPISCOPIS PARISIENSIBVS DVCE AC PARI FRANCIÆ. A. DNI. M. DC. LXXXI.
NICOLAS CHAPELLE, IEAN GILLOT, FRANÇOIS MOREAV, ET FLORENTIN LE GVAY, TOVS MAISTRES FONDEVRS M'ONT FAIT L'AN M. DC. LXXXI.[10]
Translation:
[I am] what was first Jacqueline, Jean de Montaigu the count's gift of 15,000 pounds,[24] now Emanuel I am named by the Parisian chapter, enlarged by double, during the reign of Louis the Great and the tenure of François de Harlay, first of the archbishops of Paris [to hold the title] duke and peer of France, AD 1681.
Nicolas Chapelle, Jean Gillot, François Moreau, and Florentin le Guay, all master-founders, have made me in the year 1681.
1686 inscription (extant):
QUÆ PRIUS IACQUELINA IOANNIS COMITIS DE MONTE ACUTO DONUM POND XV M NUNC DUPLO AUCTA EMMANUEL LUDOVICA THERESIA VOCOR A LUDOVICO MAGNO AC MARIA THERESIA EIUS CONIUGE NOMINATA ET A FRANCISCO DE HARLAY PRIMO EX ARCHIEPISCOPIS PARISIENSIBUS DUCE AC PARI FRANCIÆ BENEDICTA DIE XXIX APRILIS M DC LXXXII
FLORENTIN LE GVAY NATIF ET MAISTRE DE PARIS M'A FAICTE—N CHAPELLE J GILLOT F MOREAU M'ONT FAICT EN 1685[25][12]
Translation:
[I am] what was first Jacqueline, Jean the count of Montaigu's gift of 15,000 pounds, now enlarged by double, Emmanuel-Louise-Thérèse I am named by Louis the Great and Maria Theresa his wife; and by François de Harlay, first of the archbishops of Paris [to hold the title] duke and peer of France, blessed on 29 April 1682.[26]
Florentin le Guay, native and master [founder] of Paris, has made me.—N. Chapelle, J. Gillot, F. Moreau have made me in 1685.
19th century bells
Contemporary lithograph from an English language publication of the bell benediction ceremony held in the parvis on 4 June 1856. The godparents kneel to the left while to the right Archbishop Sibour baptizes the bells with holy water.Emmanuel, Angelique-Francoise, Antoinette-Charlotte, Hyacinthe-Jeanne, and Denise David ringing on 25 December 2011
After Napoleon Bonaparte returned the use of the cathedral to the Catholic church with the Concordat of 1801, Emmanuel was remounted in the south tower. In 1812, the three clock bells were moved from the north transept to the north tower.
In 1856, Napoleon III donated four new bells to celebrate his son Louis-Napoléon's baptism. The Guillaume and Besson foundry in Angers cast the bells, partially using metal from Russian bells (or cannons[15]) captured during the Crimean War. Archbishop Sibour officiated the benediction ceremony, held in the Place du Parvis Notre-Dame on 4 June. The bells' godparents included Sibour's cousin and auxiliaryLéon-François Sibour[fr], three members of the fabric counsel, and four women related to past archbishops of Paris. The names Angelique-Francoise, Antoinette-Charlotte, Hyacinthe-Jeanne, and Denise David were derived from the names of the godfathers and archbishop relatives of the godmothers. The bells were hung in the north tower, replacing the 18th century clock bells, and were rung for the first time on 14 June, the day of the prince's baptism.[27]
During the Crimean War, the French captured a Russian fog bell in Sevastopol and returned it to Paris as a war trophy. The French called it the Bell of Sevastopol and hung in the south tower next to Emmanuel in 1857. France returned the bell to the Russian Empire in 1913 when the two countries enjoyed closer diplomatic relations. The Russians mounted the bell by the sea in the ancient ruins of Chersonesos where it has since been known as the Bell of Chersonesos.
In 1864, three new clock bells were mounted in the upper level of the new spire. The smallest of these served as the chapter bell. In 1867, three more bells were installed directly over the crossing just behind the vaulted cieling in the forest. These were only audible inside the cathedral.
The mediocre quality of the four 1856 bells in the north tower was noted as early as 1866[28] and after more than a century and a half of constant use, they only became worse. According to campanologist Régis Singer[fr], the bells were not made of high-quality metal, were not properly tuned with each other or to the bourdon, and showed premature signs of wear.[15][29] In 2011, campanologist Hervé Gouriou described them as "one of the most dreadful sets of bells in France."[18] In 2012 they were removed and replaced with speakers in preparation for replacements the following year. The bells were originally to be melted down, but due to public interest they were preserved and put on display behind the cathedral.
illustrissime et révérendissimeseigneur LEON FRANCOIS SIBOUR, evêque de tripolis, auxiliaire de monseigneur l'archevêque de paris, et PAULINE MARIE NICOLETTE de TALLEYRAND, duchesse de PERIGORD.[34] m'ont donné les noms de ANGELIQUE-FRANCOISE. illustrissime et révérendissime père en dieu, monseigneur MARIE DOMINIQUE AUGUSTE SIBOUR, archevêque de paris, m'a bénite, et je pèse 1915 kilogrammes
Antoinette-Charlotte:
CHARLES, comte de MONTALEMBERT membre du conseil de fabrique de cette eglise metropolitaine et CHARLOTTE BERNARDINE AUGUSTE, marquist de JUIGNE née PERCIN de MONGAILLARD de la VALETTE.[35] m'ont donné les noms de ANTOINETTE-CHARLOTTE. j'ai ete bénite par illustrissime et révérendissime père en dieu monseigneur M.D. AUGUSTE SIBOUR archevêque de paris, et je pèse 1335 kilogrammes
Hyacinthe-Jeanne
JEAN SAMUEL FERDINAND, comte de TASCHER[fr], membre du conseil de fabrique de cette eglise metropolitaine et HENRIETTE, vicomtesse de QUELEN née de GASTALD[36] m'ont nommé HYACINTHE-JEANNE. j'ai ete bénite par illustrissime et révérendissime père en dieu M.D. AUGUSTE SIBOUR, archevêque de paris, et je pèse 925 kilog
Denise David:
AMEDEE DAVID, marquis de PASTORET, membre du conseil de fabrique de cette eglise métropolitaine, et MARIE CAROLINE AFFRE, née JAVON,[37] m'ont donné les noms de DENISE DAVID. illustrissime et révérendissime père en dieu monseigneur M.D. AUGUSTE SIBOUR, archevêque de paris, ma bénite, et je pèse 767 kilog
In 2011, the rector-archpriest of Notre-Dame Patrick Jacquin[fr] initiated a project to restore the cathedral's bells as they were before the Revolution.[18] About two million Euros were raised for the project in private donations. Régis Singer, a campanologist of France's Ministry of Culture, researched the pre-Revolutionary bells to discover their strike tones and mounting locations in order to restore the sound as accurately as possible. The arrival of the new bells was timed to coincide with the celebration of the cathedral's 850th anniversary in 2013.[29]
The bells were created in 2012 over the course of several months by two bell foundries using medieval techniques. The petit bourdon for the south tower was cast at the Royal Eijsbouts bell foundry in the Netherlands, while the eight bells for the north tower were cast at the Cornille-Havard foundry in Villedieu-les-Poêles, Normandy. They were delivered to Notre-Dame on 31 January 2013 after a police escort down the Champs-Élysées.
The names Marie, Gabriel, Anne Geneviève, Denis, Marcel, Benoît-Joseph, Maurice, and Jean-Marie were chosen to honor various saints and church figures. Étienne memorialized Saint-Étienne de Paris, the 6th century basilica which preceded Notre-Dame.[38]Archbishop Vingt-Trois officiated the benediction of the bells on 2 February in two masses. Certain prominent citizens, most of whom shared names with the bells, served as godparents. These included Maria Teresa, Grand Duchess of Luxembourg, Gabriel de Broglie, Denis Tillinac, Marcel Pérès, and Jean-Marie Duthilleul. While not present for the ceremony, Pope Benedict XVI was the honorary godfather to Benoît-Joseph. The bell's compound name includes the pope's papal and birth names. The ceremony was the largest such event recorded in the history of the diocese. The bells remained on display in the nave of Notre-Dame for the rest of the month, during which about one million visitors were able to touch the bells and view them up close. They were rung for the first time on 23 March, drawing a crowd which filled the parvis and nearby bridges.[29] The bells are expected to last between 200 and 300 years.[14]
The bells were of special concern during the 15 April 2019 fire. As the flames spread along the roof of the nave from the spire towards the towers, a southerly wind was threatening to spread the fire into the north tower. Firefighters feared that if the wooden belfry caught fire, the falling bells might break through the lower floors like wrecking balls and destabilize the tower. It was expected that if the tower fell, the entire cathedral could come down with it. While the fire did spread to the north tower, a team of firefighters ascended up to the tower and extinguished the fire before it caused the bells to fall. In the end, the main bells were saved, but the six smaller bells over the crossing were destroyed. A short circuit of the spire bells' electric ringing mechanism has been cited as one of several possible causes of the fire.[39]
After the fire, regular activities were suspended at the cathedral for an extensive restoration project. The eight north tower bells were removed for cleaning and for the belfry to be partially rebuilt. Gabriel and Marcel required repair work as a result of exposure to the heat. Emmanuel continued to be rung during the restoration, but only on special occasions. These included the funeral of Jacques Chirac on 29 September 2019, the first anniversary of the fire on 15 April 2020 (also to honor those a affected by the COVID-19 pandemic according to rector-archpriest Patrick Chauvet[fr][40]), the death of Pope Benedict XVI on 31 December 2022, and for Easter and Christmas.[41]
The bells were returned to the north tower in September 2024. On 7 November 2024, three new bells were baptized on the Parvis. The largest of these was the Olympic Bell which had been placed trackside at the Stade de France during the 2024 Summer Olympics and Paralympics and was rung in celebration by victorious athletes. The other two bells were named Chiara and Carlos. All three bells were made by Cornille-Havard foundry and were installed inside the sanctuary.[42]
The next day on 8 November, the north tower bells were rung again for the first time since the fire. This was seen as a symbolic ending to the five-year-long restoration project, which will be officially completed with a ceremony on 7 December.[42]
† l'an 2013 le 2 fevrier, sous le pontificat de sa saintete le pape benoit xvi, pai ete benit et nomme MARIE par son eminence le cardinal andre vingt-trois, archeveque de paris, assiste de monseigneur patrick jacquin, recteur-archipretre de la basilique metropolitain notre-dame de paris, a l'occasion du grand jubile du 850e anniversaire de la cathedrale (1163–2013). je porte le nom du premier bourdon de notre-dame fondu en 1378, refondu la derniere fois en 1472 par thomas de claville et detruit en 1792. eijsboutsastensis me fecit anno mmxii
Inscriptions and decorations of the north tower bells were created by French artist Virginie Bassetti. Each bell is inscribed with its name, a line of the Angelus prayer, a symbolic number of fillets, and an artistic theme.
Bell
Angelus line
Fillets
Artistic theme
Gabriel
L'Ange du Seigneur apporta l'annonce à Marie (The Angel of the LORD declared unto Mary)
Emmanuel being rung by a team of eight bell ringers
The bells can be rung by swinging, usually called pealing or volleys (French: à la volée), or without swinging, usually called chiming (tinter) or strikes (coup). Volleys create a sound with perceived changes in volume and pitch, while chiming allows for more control and is used for the clock or for playing short melodies. Both methods are currently done by electric motors installed in the early 20th century. Prior to this, full-time bell ringers were employed.
In medieval times, an appointed churchwarden would oversee two bell ringers, a clergyman for the spire bells (the petit sonneur) and a layman for the main bells (the grand sonneur). To swing the bells, many assistants were recruited, as many as 40 at a time on feast days. Emmanuel alone required eight men just to start the peal, and 16 to maintain it for any length of time. The bells were usually swung with the use of pedals attached to the headstocks. (These pedals are still partially visible today on Emmanuel's headstock; they were removed on one side for the installation of a windlass.) However, at certain times the chapter would forbid bell ringers from entering the belfries at night for fear of them causing a fire by using open-flame lights. In these cases, the bells would be rung from the lower levels of the towers with ropes.[15][47]
Antoine Gilbert served as grand sonneur during the Revolution and reluctantly aided in the removal of the bells. He nonetheless remained in the position through the restoration in 1802. His son Antoine-Pierre-Marie Gilbert succeeded him in 1820. The younger Gilbert wrote a detailed description of the cathedral[48] and defended it from rioters during the July Revolution. He was succeeded in 1850 by Louis Herbet who helped save Notre-Dame from arsonists during the Paris Commune. Herbet also maintained a bookbinding workshop in the north tower. He was succeeded as grand sonneur by his son Auguste in 1892 and his grandson Émile in 1906, who was the last to hold the title.[49]
Since the automation of ringing in the 1930s, the bells have been overseen by cathedral staff including general director Laurent Prades since 2000 and chief sacristan Stéphane Urbain since 2005. Urbain was the first to program the bells to play short melodies such as "Nun komm, der Heiden Heiland" and "Regina caeli."[50]
Notre-Dame used to ring the civil hours 24 hours a day, but starting in the 19th century this was reduced to only between 8am to 9pm to avoid disturbing nearby residents.
From medieval times, the hours were marked on the main bells, likely only by the number of hours struck at the top of the hour. This function was taken over in the 18th century by the clock bells on the north transept. The 19th-century clock bells in the spire marked the number of hours with a series of descending triplets and an ascending triplet for the final hour. The roof bells struck the first two bells for each quarter hour, then marked the number of hours on the third bell. The roof bells were largely decommissioned as a striking clock in the 1980s as they were perceived to be disruptive during services. They nevertheless were still used to announce the arrival of Christmas during the annual Midnight Mass.
Since 2005, the main bells have been programmed to play short melodies for the clock. The repertoire greatly increased in 2013 thanks to the greater number of bells. Quarter hours are marked with a musical motif adapted from two 14th-century tunes from the Llibre Vermell de Montserrat – "Laudemus Virginem" and "Splendens Ceptigera" – one, two, and three bars for the first, second, and third quarter hours. These are the same throughout the year. The full hours are marked with about 50 different melodies played throughout the year. At 9pm every day the same melody is played, the compline hymn Te lucis ante terminum. After the melody, Gabriel marks the number of hours.[51]
Angelus
The tradition of ringing for the recitation of the Angelus prayer three times a day began in 1472 when Louis XI ordered the practice. The Angelus rings a few seconds after the clock at 8 am (9 am on weekends and holidays), 12 noon, and 7 pm. It is announced by a short series of chimes followed by about a four-minute volley. The particular pattern of ringing depends on the time of day and time of year, changing during Lent and Eastertide.[51]
Services
The bells announce services with different patterns of volleys, called sonneries. In the 18th century, Abbot Claude-Louis Marmotant de Savigny compiled a list of sonneries based on traditions developed by that time. The list followed a general hierarchy of solemnity, from the grand solennel (ringing order: 1, 2, 10, 9, 8, 7, 6, 5, 4, 3) used for the most solemn occasions, to Les Benjamines (ringing order: 10, 9, 8) used for baptisms. A simplified version of this list was used from 1856 to 2012, and the full practice was revived from 2013 to 2019.
The bells are always rung in connection with a Te Deum service. During the Ancien Régime, these were held after the coronation of a new king, the birth of a new heir apparent, military victories, or other causes of thanksgiving. This tradition has continued, the most recent Te Deum being held at Notre-Dame on 9 May 1945 after Victory in Europe Day. The next such service is to be held on 15 April 2024 during the cathedral's reopening.
The roof bells are rung during elevation, the moment during Mass when the clergyman holds up the Sacred Body and Blood of our Lord Jesus Christ Eucharist.
Historic events
The bells ring to celebrate the election of a new pope, usually with the grand solennel, and to mourn the death of a pope, usually by tolling the late pope's age on the bourdon.
The bells are usually not rung in times of war or invasion, except to be used as an alarm, or tocsin. Such was the case during World War I when the fighting came to within 30 kilometers of Paris. The bells rang again in celebration of the armistice of 11 November 1918. This tradition has since continued, with the ringing of the grand solennel every 11 November at 11:00 am.[citation needed] In recent years the petit solennel (ringing order: 2, 10, 9, 8, 7, 6, 5, 4, 3) has alternately rung in order to preserve Emmanuel.
The bells also remained silent during the German occupation during World War II. On 25 August 1944, as French and American troops were entering Paris, Notre-Dame's bells rang again, soon joined by bells across the city. At the time, many Parisians did not know how close Allied forces were, as the Germans had imposed a strict curfew and controlled the radio stations. The sound of Notre-Dame's bells was the first indication to many residents that the liberation of the city was imminent.[52] In his memoirs, General Dietrich von Choltitz, the German military governor of Paris, recalled how he called his superior, General Hans Speidel, and simply held the telephone out the window.[53] The French Ministry of Culture soon afterward classified Emmanuel as a historic monument. This precludes the bell from being destroyed or recast. The liberation has subsequently been celebrated every year on 25 August with the ringing of the grand solennel at 7:00 pm.[51]
In the 21st century, the bells have rung in times of mourning after terrorist attacks. On 12 September 2001, Emmanuel was rung for almost an hour in solidarity with the United States after the September 11 attacks. Such ringing was, and still is, extremely rare, as the antique bell is only rung on rare occasions in order to preserve it.[citation needed] The bells were also rung for the January 2015 Charlie Hebdo shooting and the November 2015 Paris attacks.
Cultural depictions
In the 1534 novel Gargantua by François Rabelais, the giant Gargantua steals the bells of Notre-Dame to hang around the neck of his giant mare. A theologian named Janotus de Bragmardo delivers an inept speech to convince the giant to return them.[54]
The bells are most known in popular culture from Victor Hugo's 1831 novel The Hunchback of Notre-Dame and its many adaptations.[18] The story, set in 1482, features Quasimodo, a fictional bell ringer of Notre-Dame, and descriptions of the cathedral's medieval bells. The bells mentioned in the novel are identical to those in a 1612 text by Jacques du Breul[fr] used as a reference by Hugo.[55][56] These are Marie, Jacqueline, Gabriel (which du Breul spells "Gabrielle," also seen in Hugo), Guillaume, Thibauld, Pasquier, two "sparrows" (French: moineaux—a generic term for smaller bells, possibly Jean with Claude or Nicholas), and the seven-bell carillon including a "wooden bell" (cloche de bois), possibly La Clopette.[57][58] Information about Hugo as well as illustrations and excerpts from the novel are displayed in the south tower which was open to the public before the fire.
The 1996 film adaptation by Disney opens and closes with a song called "The Bells of Notre Dame". Four fictional bells are named Little Sophia, Jeanne-Marie, Anne-Marie, and Louise-Marie (Quasimodo refers to the latter three as "triplets"); "Big Marie" is the nonfictional bourdon Marie which first appeared in the 13th century. In the 2002 sequel, there is another fictional bell named La Fidèle which is made of gold and decorated with jewels (however, such a bell would not work in real life).
The bells have also been the subject of poetry, such as François Villon's 1461 Le Testament[59] and Catherine Phil MacCarthy's "The Bells of Notre-Dame."[60]
1 2 3 Ringing order, used to identify which bells ring in a particular sonnerie or ringing pattern, generally numbered from lowest to highest strike tone.
↑ Sources using pre-Revolutionary primary sources give mass in pounds (French: livres). These are converted here as livre actuelle, also called livre de Paris or livre de poids de marc (about 0.4895 kg). Compare pound measurements in Gilbert (1821, pp.149–150) with kg measurements in Singer (2012, p.204).
1 2 3 Sources give various figures for the mass of Emmanuel—Singer (2012, p.203) 26,000 lb, Billon (1866, p.112) 30,000 lb, Gilbert (1821, p.146) 32,000 lb, Gueffier (1763, p.37) 36,000 lb, websites of Notre-Dame and Ministère de la Culture 13 metric tonnes (13,000 kg), and Dubu (1854, pp.25) 18,000 kg. These discrepancies likely arose from various definitions of the pound (French: livre), as well as added confusion from the bell being cast several times with different masses. Gueffier is the earliest source and his 36,000 lb are commonly cited in others, including Société (1913, p.197). Dubu may have arrived at 18,000 kg by converting Gueffier's 36,000 lb as livre usuelle or metric pounds (0.5 kg). Gilbert's 32,000 lb may come from the 32,000 lb Gueffier gives for the 1681 casting. Singer likely used Gueffier as well, but cites the 32,000 and 36,000 lb as 22,000 and 26,000 lb, respectively, either mistranscribing them or believing them to be too high. Singer consistently uses livre actuelle, also called livre de Paris or livre de poids de marc (about 0.4895 kg) for conversions to kg. This was the pound used most commonly in Paris in the 17th century. Converting Singer's 26,000 lb with this unit yields 12,727 kg which is relatively close to the approximated 13,000 kg given by official sources. Converting Gueffier's 36,000 lb as livre esterlin (about 0.3671 kg) also comes relatively close—13,216 kg. Billon's 30,000 lb may come from the bell's own inscription ("15,000 pounds...now doubled") which is likely an approximation.
↑ According to Société (1913, p.193), Jacqueline's original mass was 11,542 lb. The 15,000 lb given on the bell's inscription may use livre esterlin (about 0.3671 kg) as opposed to livre actuelle (about 0.4895 kg). If Société uses livre actuelle, the bell's original mass was about 5,650 kg or 15,390 livre esterlin.
↑ Gueffier (1763, p.38) and Dubu (1854, p.26) transcribe the baptism date as 29 April 1686, possibly believing the year of 1682 to be in error. According to Gilbert (1821, p.146), the original date was kept in memory of Marie Theresia who had been present at the ceremony. According to Singer (2012, p. 203), the bell's second baptism also took place 29 April 1686.
↑ Henriette Gastaldi, wife of Antoine Victoire Alphonse, viscount of Quélen and brother of archbishop Hyacinthe-Louis de Quélen
↑ Marie-Caroline Affre de Saint-Rome, niece of archbishop Denis Auguste Affre (Borel d'Hauterive 1861, p. 178).
1 2 Messe et bénédiction des huit nouvelles cloches 2013. Translation of exchange—Archbishop Vignt-Trois (addressing two children): Rose and Jeroen, what name would you give to this bell? // Children: Étienne! // Vignt-Trois (addressing the bell's godfather): Canon Étienne de Mesmay, why this name? // de Mesmay: To memorialize the old cathedral church of Paris which preceded the current cathedral of Notre-Dame and was placed under the protection of Saint Stephen (Étienne), the first martyr. // Vignt-Trois: May Étienne sing from now on for the glory of God and in service to the church.
Notre-Dame de Paris, often referred to simply as Notre-Dame, is a medieval Catholic cathedral on the Île de la Cité, in the 4th arrondissement of Paris, France. The cathedral, dedicated in honour of the Virgin Mary, is considered one of the finest examples of French Gothic architecture. Several attributes set it apart from the earlier Romanesque style, including its pioneering use of the rib vault and flying buttress, its enormous and colourful rose windows, and the naturalism and abundance of its sculptural decoration. Notre-Dame is also exceptional for its three pipe organs and its immense church bells.
The Île de la Cité, 22.5 hectares in size, is one of the two natural islands in the Seine River in central Paris. In the 4th century, it was the site of the fortress of the area governor for the Roman Empire. In 508, Clovis I, the first King of the Franks, established his palace on the island. In the 12th century, it extended its importance as a religious centre, the home of Notre-Dame cathedral, and the castle chapel of Sainte-Chapelle, as well as the city hospital, the Hôtel-Dieu. It is also the site of the city's oldest surviving bridge, the Pont Neuf.
Auxerre Cathedral is a Roman Catholic church, dedicated to Saint Stephen, located in Auxerre, Burgundy, France. It was constructed between the 13th and 16th centuries, on the site of a Romanesque cathedral from the 11th century, whose crypt is found underneath the cathedral. It is known for 11th century Carolingian frescoes found in the crypt, and for its large stained glass windows. Since 1823 it has been the seat of a diocese united with that of Sens Cathedral.
Strasbourg Cathedral or the Cathedral of Our Lady of Strasbourg, also known as Strasbourg Minster, is a Catholic cathedral in Strasbourg, Alsace, France. Although considerable parts of it are still in Romanesque architecture, it is widely considered to be among the finest examples of Rayonnant Gothic architecture. Architect Erwin von Steinbach is credited for major contributions from 1277 to his death in 1318, and beyond through his son Johannes von Steinbach, and his grandson Gerlach von Steinbach, who succeeded him as chief architects. The Steinbachs’ plans for the completion of the cathedral were not followed through by the chief architects who took over after them, and instead of the originally envisioned two spires, a single, octagonal tower with an elongated, octagonal crowning was built on the northern side of the west facade by master Ulrich Ensingen and his successor, Johannes Hültz. The construction of the cathedral, which had started in the year 1015 and had been relaunched in 1190, was finished in 1439.
Notre-Dame de Paris is a sung-through French musical which debuted on 16 September 1998 in Paris. It is based upon the novel Notre-Dame de Paris by the French novelist Victor Hugo. The music was composed by Riccardo Cocciante and the lyrics are by Luc Plamondon.
Rouen Cathedral is a Catholic church in Rouen, Normandy, France. It is the see of the Archbishop of Rouen, Primate of Normandy. It is famous for its three towers, each in a different style. The cathedral, built and rebuilt over a period of more than eight hundred years, has features from Early Gothic to late Flamboyant and Renaissance architecture. It also has a place in art history as the subject of a series of impressionist paintings by Claude Monet, and in architecture history as from 1876 to 1880, it was the tallest building in the world.
The Cathedral of Our Lady, or Tournai Cathedral, is a Roman Catholic cathedral, see of the Diocese of Tournai in Tournai, Belgium. It has been classified both as a Wallonia major heritage site since 1936 and as a World Heritage Site since 2000.
Toulouse Cathedral is a Roman Catholic church located in the city of Toulouse, France. The cathedral is a national monument, and is the seat of the Archbishop of Toulouse. It has been listed since 1862 as a monument historique by the French Ministry of Culture.
French Gothic architecture is an architectural style which emerged in France in 1140, and was dominant until the mid-16th century. The most notable examples are the great Gothic cathedrals of France, including Notre-Dame Cathedral, Reims Cathedral, Chartres Cathedral, and Amiens Cathedral. Its main characteristics are verticality, or height, and the use of the rib vault and flying buttresses and other architectural innovations to distribute the weight of the stone structures to supports on the outside, allowing unprecedented height and volume. The new techniques also permitted the addition of larger windows, including enormous stained glass windows, which fill the cathedrals with light.
The Diocese of Le Mans is a Latin Church diocese of the Catholic Church in France. The diocese is now a suffragan of the Archdiocese of Rennes, Dol, and Saint-Malo, but had previously been suffragan to Bourges, Paris, Sens, and Tours.
Notre-Dame Basilica is a minor basilica of the Catholic Church in the historic Old Montreal district of Montreal in Quebec, Canada. It is located at 110 Notre-Dame Street West, at the corner of Saint Sulpice Street. It is situated next to the Saint-Sulpice Seminary and faces the Place d'Armes square.
Dominique Venner was a French historian, journalist, and essayist. Venner was a member of the Organisation armée secrète and later became a European nationalist, founding the neo-fascist and white nationalist Europe-Action, before withdrawing from politics to focus on a career as a historian. He specialized in military and political history. At the time of his death, he was the editor of the La Nouvelle Revue d'Histoire, a bimonthly history magazine.
Pierre Levesville was a 17th-century French architect.
Southern French Gothic, or Meridional Gothic, is a specific and militant style of Gothic architecture developed in the South of France, especially in the Toulouse region. It arose in the early 13th century following the victory of the Catholic church over the Cathars, as the church sought to re-establish its authority in the region. As a result, church buildings typically present features drawn from military architecture. Taking into account the Cathars' criticism of the Catholic Church, Southern French Gothic is simpler and less ornate than northern French Gothic, and further differs in that the construction material is typically brick rather than stone. Over time, the style came to influence secular buildings as well as churches and spread beyond the area where Catharism had flourished.
On 15 April 2019, at 18:18 CEST, a structural fire broke out in the roof space of Notre-Dame de Paris, a medieval Catholic cathedral in Paris, France. By the time the fire was extinguished, the cathedral's wooden spire (flèche) had collapsed, most of the wooden roof had been destroyed, and the cathedral's upper walls were severely damaged. Extensive damage to the interior was prevented by the vaulted stone ceiling, which largely contained the burning roof as it collapsed. Many works of art and religious relics were moved to safety, but others suffered smoke damage, and some of the exterior art was damaged or destroyed. The cathedral's altar, two pipe organs, and three 13th-century rose windows suffered little or no damage. Three emergency workers were injured. The fire contaminated the site and nearby areas of Paris with toxic dust and lead. Notre-Dame did not hold a Christmas Mass in 2019, for the first time since 1803. Investigators in 2020 believed the fire to have been "started by either a cigarette or a short circuit in the electrical system".
The Spire of Notre-Dame de Paris is located above the cross-section of the cathedral's transept. Notre-Dame de Paris has had three timber spires made of oak, known as flèches. The first was built between 1220 and 1230. It eventually became so damaged that it was removed in the late 18th century. The second was put into place by the French architect Eugène Viollet-le-Duc in 1859, and destroyed in a major fire on 15 April 2019. Work to construct a third one started in 2022, and was completed when the new copper rooster wind vane was placed on top of the new spire on 16 December 2023, and the third spire was unveiled on 13 February 2024.
The construction of Gothic cathedrals was an ambitious, expensive, and technically demanding aspect of life in the Late Middle Ages.
The Church of the Saintes Maries de la Mer is a Romanesque fortified church built in the 9th century in Saintes-Maries-de-la-Mer in Camargue, Bouches-du-Rhône, Provence. Dedicated to Mary, mother of Jesus and to The Three Marys, it is the subject of annual Roma pilgrimage. Since 1840, it has been classified as a French Historical Monument.
Notre-Dame de Germigny-l'Exempt is a Roman Catholic church in the town of Germigny-l'Exempt in Berry, France. It was built in the 12th century in the Romanesque architectural tradition.
The Basilica of St. Nicolas in Nantes is a Catholic basilica constructed in the neo-Gothic architectural style, situated in the heart of Nantes. It is one of two basilicas in the city, the other being the Basilica of Saint Donatien and Saint Rogatien.
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![1792 French double sou minted from bell metal. "These eight bells [...] circulate today by indefinite fractions in the hands of the public."
--Antoine-Pierre-Marie Gilbert Louis XVI AE Double sol 701156.jpg](http://upload.wikimedia.org/wikipedia/commons/thumb/9/91/Louis_XVI_%C3%86_Double_sol_701156.jpg/220px-Louis_XVI_%C3%86_Double_sol_701156.jpg)
