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Notre Dame Cathedral – Icon of Art or Anti-Semitism?… The Hidden Challenge of the Restoration of Notre-Dame… A FUCKING BUTTERFLY HOUSE! (Like Imperial Butterfly House Vienna)

“Who is my personal favourite Pope of all time? Who was the one who use to fuck animals?… him”

Pope Benedict IX
Saint Peter Damian had similar things to say of Benedict IX, describing him as “feasting on immorality” and “a demon from hell in the disguise of a priest,” who sponsored orgies and routinely partook in bestiality,

(and no-one thought to commission a painting of that? :/)
7 Quite Unholy Pope Scandals – LiveScience

Anyway, Notre Dame Cathedral… the symbolism… we want it as obvious, blatant and in your face as possible! 🙂

AND A TROPICAL BUTTEFLY HOUSE! 😀 BOOOOOOM! Like Vienna Imperial Butterfly House… but on the roof of Notre Dame Cathedral!
Come on France… YOU KNOW IT MAKES SENSE!

Notre Dame Cathedral – Icon of Art or Anti-Semitism?

By Rev. Anthony AbmaApril 28, 2019 , 7:00 am

On Monday, April 15, flames engulfed and extensively damaged one of the worlds – and certainly Paris’s most prestigious landmarks, the Notre Dame de Paris Cathedral. This medieval Cathedral, built and consecrated to the virgin Mary in the 12th Century was described by various news sources as;

Notre Dame was more than simply an iconic cathedral and jewel of Gothic architecture; it was a treasure trove housing priceless and irreplaceable marvels of immense religious, artistic, musical, historical and architectural value.”

Much has changed in the 800+ years since it was constructed. Is it an icon of art and some religious depictions – or a hangover from an age that was virulently anti-Semitic, that needs not only a new roof but some serious reevaluation in its renovations?

Society and governments of 12th and 13th Century Europe were heavily influenced by the Catholic Church and Popes. The Lateran Council of 1215 convened by Pope Innocent III, decreed that Jews were banned from all professions in Europe – except for being pawn brokers or selling old, used clothes. As an ominous precursor to the yellow stars of the Third Reich of 1940’s Germany, Jews were forced to wear clothes that clearly distinguished them from Christians.

Some twenty five years later in 1239, Pope Gregory IX brought numerous charges against the Talmud which was published to influence church leaders including the Kings of England, Portugal and Spain. His missive inspired a massive uprising against Jews. On Shabbat, March 3, 1240, Synagogues across France were invaded. Jews stood by helplessly as Church officials confiscated and burned all copies of their holy Talmud. Against this backdrop of rampant anti-Semitism and persecution of Jews in medieval Europe the Notre Dame Cathedral was built.

With a population that was largely illiterate, the church often enshrined their prevailing ideology with graphic larger-than-life statues. Little would be left to the imagination in the Notre Dame as to how triumphant the Church was over the Jews and Judaism.

Welcoming everyone that entered are two predominate statues. Ecclesia on the left was depicted as finely dressed, a chalice in one hand, the other a staff crowned with a cross.  To the right was the downcast and disheveled Sinagoga. Head bowed in defeat, her fallen crown replaced by the open mouth of a venomous serpent which also blinded her eyes; a broken staff in one hand, the tablets of commandments slipping from the other. She was the graphic image of a Judaism that had been humiliated, defeated and replaced by the victorious Catholic Church.

Thankfully society has entered an era of an ever increasing maturity by being willing to acknowledge, confront and take responsibility for sins of the past. Lenin and Stalin have been relegated to the dust bin of history; gone are the statues of Saddam Hussein; even a statue of Canada’s 1st Prime Minister was removed from the steps of Government buildings in Victoria, BC for his actions and policies against the indigenous First Nations. Many other monuments and memorials worldwide have also been removed, like that of disgraced British pedophile, Jimmy Savile and Bill Cosby from Disney World.

It’s time for France and the Catholic Church to step up to the plate – and follow suit. Notre Dame not only needs a new roof, but a makeover repenting for its anti-Semitism by removing and replacing the atrocious depiction of God’s covenanted people. Another grotesque medieval carving can also be seen on the Church of Wittenberg in Germany, the Judensau (Jew’s sow) created in 1305.

A movement of Christians worldwide are distinguishing themselves from the version of Christianity that embodies such detestable imagery as that of Sinagoga or Judensau. God has proven abundantly that He has not forgotten or broken His covenants with Israel.

In this season celebrating Redemption, it is time for Christians to let go of the religious competition of the past. A restored and Sovereign Israel is what the Bible promises. This is what Christians are to embrace and support as partners in redemption. It is in this faith and confidence that Return O’ Israel reaches out with love and respect to God’s chosen people.

Return O’ Israel also calls for French President Emmanuel Macron and the Custodians of the Notre Dame Cathedral to undertake even further renovations. Respect the Jewish people, their God-given promises and remove the exploitive statue of Sinagoga.

Notre Dame: The soul of Paris, the heart of France

John Goodall

John GoodallApril 28, 2019

Notre Dame cathedral
Credit: Getty

The devastating fire at Notre Dame in Paris has illustrated the huge affection in which this cathedral is held in Paris and across the world. It is an exceptional building that deserves its high reputation – John Goodall explains why.

That most glorious church… shines out, like the sun among stars. And although some… may say that another is more beautiful… I ask [where] would they find two towers of such magnificence and perfection, so high, so large, so strong… so many vaults… and windows ruddy with precious colours and beautiful with the most subtle figures. In fact I believe that… its inspection can scarcely sate the soul.’

Thus did the scholar John de Jandun describe the cathedral of Notre Dame in his encomium on Paris written in 1323. The church he knew is separated from us by seven centuries of change, but, nevertheless, despite the efforts of improvers, iconoclasts and restorers over that time, de Jandun would undoubtedly have recognised the great building that burnt before an amazed and powerless world last week.

Notre Dame stands on a small island created by a division of the River Seine in the very heart of Paris, the Île de la Cité. Throughout the Middle Ages, it shared the island with the seat of royal administration at the Palais de Justice. The present church is at least the fifth to have stood on roughly this site since the 4th century. It is conventional to ascribe initiative for the new church to Maurice de Sully, Bishop of Paris, and to describe the ‘cornerstone’ of the new building as having been laid by Pope Alexander III in 1163. Pointing to the tensions that existed between the Bishop and Pope, however, some authorities have questioned the veracity of this account and suggest that work might have commenced a few years earlier.

notre dame

What is not at issue, however, is the explanation for why a new church was begun here in about 1160. In the late 12th century, with its burgeoning trade and flourishing university, drawing students from across Christendom, Paris was unequivocally emerging as the most important city in Northern Europe.

Underpinning its growth was the increasing authority of the Capetian kings of France, who were in the process of extending their authority far beyond the surrounds of the capital. Their prestige and wealth helped transform Paris into an international city and the lodestone of European culture – it was Louis IX who brought the Crown of Thorns to the city. As early as 1147, Louis VII described Notre Dame as an adjunct to his crown and this sense of connection between the Capetian kings and the cathedral of Paris must explain the scale of the new edifice. Simply put, it was longer, wider and taller than any contemporary church.

No less remarkable was the speed with which work was driven forward: the whole building stood essentially complete by 1245. It would help to explain this extraordinary achievement if the Capetian kings had supported the building works financially.

The process of construction is poorly and incidentally documented. To judge from the changing technical details of the design, it seems that work broadly moved from east to west. Also, that the choir, which was the first part of the building to be completed, was constructed from its great curving outer wall inwards. In 1177, this space, which encloses the high altar, was complete except for its vaults and it was consecrated in 1182.

The initial design of the church was perhaps determined by a mason called Richard, who is mentioned by name in a document of 1164. Whatever the case, the church was laid out on a five-aisled plan – that is to say, it comprised a central vessel with two encircling aisles. This layout consciously hearkens back to the basilica of Old St Peter’s in Rome built by the Emperor Constantine. In style, however, Notre Dame was informed by more recent buildings in the surrounds of Paris in a style termed Gothic.

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In its origins, the Gothic style was a refinement of northern French Romanesque that delighted in architecture with complex underlying geometry, insubstantial structure, consistent detailing and a high ratio of window to wall. It also developed in association with the Capetians and the first important essay in the style was the reconstruction of the choir of Saint-Denis on the outskirts of modern Paris from the 1140s. This church served both as the mausoleum of the French kings and the home of their legendary battle standard, the Oriflamme.

Notre Dame looked directly back to the example of this building, borrowing from it, for example, such striking details as drum-shaped column supports for the main arcade. It also introduced a new quality that would inform French church architecture for the next two centuries: gigantism.

To the apex of its high vault, Notre Dame rises an incredible 108ft. That is an internal measurement well above the 100ft mark that denotes a medieval skyscraper. Perhaps it was the sheer scale of this structure that further encouraged the mason to explore in the design a structural aesthetic that is another hallmark of French Gothic architecture, in which the detailing of the interior with delicate shafts of stone suggests a system of support for the vaults that is completely inadequate to the scale of the building.

In that apparent inadequacy – made possible by flying buttresses (Notre Dame constitutes an early example of their use) and externalising the depth of the wall – lies part of the thrill of Gothic.

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In some respects, however, the new building was relatively conservative. The load of the high vaults was supported on an elevation that originally comprised four internal storeys, a treatment that looks back to late-Romanesque experiments in the construction of unusually high vaults. The semi-circular termination of the choir and the design of the high vaults also look back to that style, each of them spanning two bays of the elevation. It was another concession to local aesthetic preferences that the building had no central tower.

The cathedral nave probably began to rise before the choir was complete. The new work broadly respected the original design, but was accompanied by changes in the treatment of the structure and the interior detailing.

Work to it progressed in three overarching phases. The first of these encompassed the foundation levels of part of the western façade, where the two towers would rise. This was finally completed, from 1208, in the third phase, when the site of the south-west tower was cleared. To judge from the style of the sculpture that fills the three great western portals, the largest commissions of their kind to date, work to these began in about 1200.

In 1218, the endowment of a royal chaplaincy in the south nave aisle suggests that work to the church interior was almost complete. The same idea is implied by the fact that, not long before, a thief lay concealed for several days in the roof of the building.

By 1220, the nave and its great rose window at its western end was probably finished. Notre Dame, however, was no longer an isolated prodigy and, in some respects, its design was evidently regarded as problematic. All across northern France, new great Gothic churches were now rising and some, such as Bourges Cathedral, refined the design of this Parisian building.

It was presumably in the light of such projects that, in about 1220, the decision was taken to remodel the church interior and create long windows extending through the top two storeys of the elevation. In effect, the four storeys of the church were reduced to three. During the 19th century, some bays were returned (slightly inaccurately) to their original four-storey form.

With the interior complete, work then progressed to the two towers, which were probably finished by 1245. Next, in the 1250s, John de Chelles, who was possibly the fifth master mason to be involved in the building since the 1160s, remodelled the transept façades of the church.

These are dramatic display pieces and formative works in a new idiom of French Gothic termed the Rayonnant. These take to extremes the reduction of structural elements in favour of huge expanses of glass. At Notre Dame, each remodelled transept is dominated by a vast rose window of stained glass set within a square frame.

As completed, and despite architectural competition, Notre Dame was a formidable expression of the prestige, power and wealth of medieval Paris. It also reflected the Euro-pean authority of the Capetian kings. Long tradition alone prevented it from assuming the combined roles of coronation church and royal mausoleum (as occurred at Westmin-ster Abbey for example). Necessity, however, allowed it to usurp such roles: in December 1431, the 10-year-old Henry VI of England was crowned King of France here by Cardinal Beaufort (much to the annoyance of the Bishop of Paris, who felt the role was his).

The late Middle Ages witnessed few substantive changes to the structure of this colossal building beyond the creation of additional chapels between the buttresses of the outer aisles. There was some iconoclasm in the 16th century, but more important changes were effected by attempts to classicise the internal furnishings. Then came the French Revolution, during which the sculpture of the west front was badly damaged and the building briefly rededicated to the Cult of Reason and then to its rival, the Cult of the Supreme Being.

notre dame

Christ’s Passion relics at Notre Dame cathedral: The Crown of Thorns.

In 1804, Napoleon chose to be crowned Emperor in Notre Dame and the church was famously the setting for Victor Hugo’s novel The Hunchback of Notre-Dame (1831), which includes an imagined account of the building in flames. Its full restoration, however, was not begun until 1844.

Under the direction of the celebrated architect Eugène Viollet-le-Duc (Country Life, June 24, 2009), the building and much of its sculpture was thoroughly repaired. This restoration work shaped the modern appearance of the building and created some of its most familiar features, including many of its gargoyles and grotesques, as well as the delicate central spire that collapsed in the recent blaze.

It will be fascinating to see what happens next to this building. There is clearly the will and the means to restore it, but, at the time of writing, it is not really clear what condition the structure is in. Much depends on this. Assuming it is sound, the cathedral could probably be repaired much in its familiar form. If it is shown to be seriously unsound, however, there will, inevitably, be calls for radical modern interventions.

Whatever the case, the reaction to the fire demonstrates that Notre Dame exercises enormous power over Paris, France and the world; the disaster has proved beyond doubt that it remains a sun among stars.

The Hidden Challenge of the Restoration of Notre-Dame

by Thierry Meyssan

The Élysée used the fire of Notre-Dame de Paris to carry out a project that was sleeping in the boxes. It has set new rules, outside tender procedures and respect for heritage not to restore the cathedral, but to transform the Île de la Cité into Europe’s leading tourist’destination on the eve of the Olympic Games of 2024. To avoid judicial constraints, he arbitrarily imposed the hypothesis of a construction incident.

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The fire of Notre-Dame Cathedral

When the fire of Notre-Dame began on the evening of April 15, 2019, all the French media and many foreigners turned to the burning cathedral. Many foreign TVs have started their newspaper with this news, but not France 2.

The public channel had planned to devote it to President Macron’s announced speech concluding the “Great National Debate”. The writing, completely sounded by the provocation provoked by this unforeseen drama, consecrated his diary, not without having first regretted that the president postponed his speech sine die; a speech in his eyes much more important.

The coldness of most journalists and the stupidity of the politicians’ hot comments suddenly showed the gaping gulf between their mental world and that of the French. For the ruling class, the beauty of Notre-Dame can not make us forget that it is a monument of Christian superstition. On the contrary, for the public, it is the place where the French meet as a people to recollect or give thanks to God.

In terms of communication, there will probably be a before and after this fire: a majority of French was stunned by this disaster, and revolted by the arrogant indifference of his ruling class.

The Island of the City and the tourism industry

Immediately, the President of the Republic, Emmanuel Macron decided not to rebuild Notre Dame, but to realize a difficult project that had been waiting in drawers for two and a half years.

In December 2015, a mission was sponsored by the President of the Republic, François Hollande, and the Mayor of Paris, Anne Hidalgo. It lasted a whole year while Emmanuel Macron was Minister of Economy, Industry and Digital.

Many personalities participated, including Audrey Azoulay, then Minister of Culture and now Director of Unesco [1], or the Prefect Patrick Strzoda, then Chief of Staff to the Minister of Interior and today Emmanuel Macron.

It was headed by the President of the National Monuments Center, Philippe Bélaval, and the architect Dominique Perrault.

Noting that the island of the City is, since its remodeling by Baron Haussmann in the nineteenth century, an administrative complex closed to the public, housing the Sainte-Chapelle and the Notre-Dame cathedral in Paris, the mission proposed to transform it into a “Island-monument”. The opportunity is provided by the removal of the Palace of Justice, the reorganization of the Prefecture of Police and the hospital of the Hotel Dieu. It will indeed be possible to reorganize everything.

The mission has thus listed 35 coordinated projects, including the creation of underground traffic routes and the canopy of many interior courtyards, to make the island a must-drive for 14 million annual tourists and, possibly, French people.

The report of the mission [2] evokes the incredible commercial value of this project, but does not say a word about the heritage value, particularly spiritual, of Sainte-Chapelle and Notre-Dame that it addresses exclusively as tourist sites, sources potential income.

Unfortunately this ambitious project could not, according to its authors, be realized quickly not so much because of the absence of financing as heavy administrative habits and enormous legal constraints. Although there are only a few people on the island, the slightest expropriation can last for decades. More surprisingly, the director of the National Monuments Center seemed to regret the prohibition to destroy part of the heritage to enhance another part. Etc.

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The mission project Bélaval / Perrault

The choices of the Élysée

In the hours that followed, it was obvious that very large funds would be offered by donors ranging from ordinary citizens to large fortunes. The objective of the Élysée was therefore to set up an authority capable of leading both the reconstruction of Notre-Dame and the transformation of the Ile de la Cité.

The next day, April 16, during a televised speech, President Macron declared: “So, yes, we will rebuild Notre-Dame Cathedral even more beautiful, and I want it to be completed within 5 years” [3]. Let’s forget the “I want” characteristic not of a Republican elected, but of a business leader. Five years is extremely short, especially considering the century and a half of the construction of the cathedral. However, it is the time necessary for the work to be completed in time for tourists from the 2024 Olympic Games. This was the date planned by the Bélaval-Perrault mission.

Two days later, on the 17th of April, the Council of Ministers was entirely devoted to the consequences of the fire. Three important decisions were recorded:

• Appoint the former Chief of Staff of the Armed Forces, General Jean-Louis Georgelin, to lead from the Elysee a special representation mission “to ensure the progress of the procedures and work that will be undertaken ».

• Have the parliament adopt a bill [4] governing the collection of funds, regularizing the appointment of General Georgelin who has reached the age limit and above all exempting his mission from all tendering procedures, heritage protection laws, and any constraints that may arise.`

• Launch an international architectural competition to rebuild Notre-Dame.

Another decision was made: to stifle any debate on the causes of the fire in order to avoid a judicial inquiry disturbing this beautiful arrangement.

The State lies

Immediately, the new prosecutor of the Republic of Paris, Rémy Heitz, appointed by personal intervention Emmanuel Macron, ensures that the criminal track is not privileged and that the fire is related to a construction site accident.

This insurance provokes an outcry from the site’s experts, firefighters, craftsmen and architects, for whom no worksite element was able to cause such a fire, at this place and at this speed.

The insistence of the Prosecutor and that of the Prefect of Police, Didier Lallement, to take a stand at a time when no investigator had been able to visit the scene of the fire attests to the development of an official version which does not constrain to long investigations blocking the site. It also feeds the interrogations on the arbitrarily dismissed track, that of an anti-Christian or anti-religious act, especially in the context of the vandalism against the churches (878 profanations in 2017), the voluntary fire of the Saint church -Sulpice on March 17, or even the fire of Al-Marwani mosque on the Al-Aqsa esplanade in Jerusalem.

In addition, knowing that the majority of large fires occur in the context of real estate projects, the hypothesis of a voluntary act to allow the transformation of the Ile de la Cité must be examined. These questions are all legitimate, but in the absence of investigation no definitive answer is.

Certainly, the goal of President Macron is commendable, but his method is very strange. While it is not possible to launch such a project without changing the rules of law, but if the appointment of a senior general officer is a guarantee of effectiveness, it is not a matter of respect for the law.Thierry Meyssan

Translation
Jean-Louis Scarsi


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