Monstrances and reliquaries designed by Eugène Viollet-le-Duc, exceptional pieces of goldwork, but also sculptures and illuminations: from October 18, the treasure of Notre-Dame will showcase its magnificence at the Louvre Museum, where it was found shelter after the 2019 fire.
This historical tour of 140 objects (1) should, given the interest aroused by the restoration of Notre-Dame over the past four years and the reputation of the museum, lead a large public to rediscover this collection of sacred art. But also to recall the existence of the treasures of other French cathedrals, too often unknown…
Once hidden from view, the treasures of cathedrals remain discreet places. Among the 86 cathedrals which are owned by the State, 46 nevertheless offer a treasure to visitors, often during guided tours due to the smallness of the spaces. While some contain exceptional objects, such as the Triptych by the master of Moulins or the engraved ivory boxes of Sens, all contain remarkable collections, classified as historical monuments: goldwork (chalices, crosses, monstrances, reliquaries, etc.), sumptuously embroidered liturgical vestments, statues, paintings.
Far from view, the work of enthusiasts
For two decades, these treasures have benefited from the attention of passionate historians and curators. “This subject, which suffered from a slow decline in the 1980s, has become very topical again since the 1990s”underlines Judith Kagan, general curator of heritage, co-author of a reference work on the subjectTreasures of cathedrals (2). “This movement is linked to the research of historians, archaeologists and art historians who have worked on the microcosm evolving around cathedrals and therefore on the objects of the treasures which document this history. »
On the side of the regional directorates of cultural affairs (Drac), the awakening was also linked to the shock of the thefts from the treasures of Toulouse and Perpignan in 2007. “This has led to an acceleration of consolidations and inventories, now exhaustive and digitized, and the updating of security systems, poursuit Judith Kagan. The renewal of the presentations then logically followed. »
New developments have thus contributed to dusting off the image of these places: in Amiens (2009), Le Puy (2011), Montauban (2012), Troyes (2014), Auch (2015), Bordeaux (2015), Angoulême (2016). )… Currently, construction sites are underway in Besançon, Autun or Reims, on the verge of completion in Moulins, Luçon or Chartres…
Making objects speak
In Albi, the project completed at the end of 2022 has kept its promises. “La Drac really pulled out all the stops to make it beautiful and educational,” rejoices Father Paul de Cassagnac, parish priest of Sainte-Cécile cathedral and president of the association which manages the visit, which also includes the great choir for €6. “For the first summer, we certainly hoped for a few more people, but the obstacle seems to us to be more financial and linked to the economic context. Everyone who came was very happy. »
Same satisfaction in Angoulême, where the cathedral treasure was reorganized in 2016 by the artist Jean-Michel Othoniel, who deployed more than 2,000 balls of blown gold and blue glass… “It’s a truly surprising, anachronistic development, which excites visitors,” testifies David Guilbot, director of the city’s tourist office which organizes the visits.
With the decline of religious culture, making treasures accessible is certainly a challenge, but not an impossible task. “These objects begin to speak again when we explain their liturgical and religious function but also their manufacturing techniques, the national and international circulations to which they bear witness…, indique Judith Kagan. Above all, they have the strength to be witnesses to a local history and presented on site. »
Proof in any case that treasures are not angry with modernity, an “e. “Digital treasure” on Amiens Cathedral was just put online last June. The tool brings together a wealth of knowledge, but also allows you to see objects in 3D, revealing all their facets and their smallest details… “This allows visitors to prepare their visit or perfect itindicates Carine Guimbard, treasury administrator. It is also a perfect tool to interest young people. » This experience will soon be reproduced in Montpellier, and Chartres would already be in the running.
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Treasures, from shadow to light
IVe siècle. Following the Edict of Milan (313) attributed to Constantine, the first treasures of cathedrals began to be formed. Over the centuries, they benefited from the generosity of the faithful who flocked to venerate the relics of saints. Although some pieces of the treasures are exhibited during major festivals, most of their contents remain hidden.
Mid-19th century. First scientific congresses focusing on cathedral treasures (in Amiens in 1858 and in Troyes in 1864).
Late 19th century. First openings to the public, supported by learned abbots.
Between 1894 and 1913. Classifications of cathedral treasures as historical monuments.
In the 1950sthe opening of treasures to the public is increasing.
1965. The “Treasures of the Churches of France” exhibition in Paris profoundly renews our view of these collections.
In the 1980s-1990s. Many treasures are closed to the public for reasons of safety and dilapidation.
From the 2000srenewal of research and multiplication of new developments.
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