Models for six new contemporary stained-glass windows designed by Claire Tabouret for Notre Dame Cathedral are currently on public display in Paris. The exhibition, titled "In One Breath," is being held at the Grand Palais and will run until March 15, 2026, with installation planned for the end of the year. The new windows, depicting the descent of the Holy Spirit at Pentecost, have sparked national debate regarding the preservation of historic elements versus reflecting contemporary faith. The theme was selected by the Archdiocese of Paris and Archbishop Laurent Ulrich to support a new educational program for cathedral visitors.
about 2 months ago
Models of six contemporary stained-glass windows designed by artist Claire Tabouret for Notre Dame Cathedral are on display at Paris's Grand Palais in the "In One Breath" exhibition, open since December 10, 2025, until March 15, 2026.1
The nearly 23-foot-high figurative prints depict the Pentecost story from Acts of the Apostles, including the Holy Spirit's descent on disciples and Mary.1
The Pentecost theme, selected by Archbishop Laurent Ulrich and the Archdiocese of Paris, supports a new educational program tracing Christian faith from Genesis to the Church's origins.1
Tabouret aimed to stay close to the biblical narrative for broad accessibility, emphasizing unity amid diversity and echoing global solidarity post-2019 fire.1
The windows will replace six 19th-century "grisailles" by Eugène Viollet-le-Duc in the south aisle, originally designed to admit light into the dark cathedral.1
With restored lighting, these transparent geometric panes are deemed less essential; the new 1,300 square feet of glass will cover under 5% of Notre Dame's total stained glass.1
Crafted by the Simon-Marq workshop in Reims—known for Marc Chagall's windows—the pieces are set for installation by year's end, with inauguration on December 8, 2026.1
Philippe Jost of Rebâtir Notre Dame praised Tabouret's "powerful and moving" representation of Pentecost.1
The project, announced in 2023 and selected by President Emmanuel Macron from 83 proposals in December 2024, faces backlash for replacing historic elements.1
Over 323,000 signed a petition by La Tribune de l’Art; critics like Pierre Téqui argue contemporary art should complement, not supplant, the past, amid concerns over Macron's state oversight.1
Assess Catholic tradition of contemporary art in historic churches
The Catholic Church has a rich and evolving tradition of sacred art that balances reverence for historical patrimony with openness to contemporary expressions, particularly within historic churches. This approach, rooted in conciliar and papal teachings, emphasizes noble beauty, fidelity to liturgical tradition, and the edification of the faithful, while safeguarding priceless artistic treasures accumulated over centuries. Contemporary art is welcomed not as a rupture but as a harmonious contribution to the Church's "treasury of art," provided it adorns sacred spaces with due reverence and avoids anything repugnant to faith, morals, or piety.
From its earliest days, the Church has never bound itself to a single artistic style, admitting works "from every period according to the natural talents and circumstances of peoples, and the needs of the various rites." This flexibility is evident in masterpieces like those of Raphael, whose Vatican frescoes revived the "pastoral charm" of early Christian art while innovating in composition and luminosity. Similarly, the Limbourg brothers' fourteenth-century illuminations in Books of Hours introduced naturalistic nudes and genre scenes far ahead of their Italian contemporaries, blending elegance with theological depth. Even eighteenth-century wood-carvings in Southern German and Austrian churches, though critiqued for lacking medieval warmth amid Enlightenment rationalism, demonstrated technical prowess in decorating altars and choir-stalls.
This tradition underscores that historic churches—houses of God enriched by centuries of artistry—are not museums frozen in time but living spaces for worship. Vatican Council II explicitly affirms that "the art of our own days, coming from every race and region, shall also be given free scope in the Church," contributing to the "wonderful chorus of praise" alongside past masters. Pope Pius XII echoed this in Mediator Dei, urging that modern art "should be given free scope in the due and reverent service of the church and the sacred rites," as long as it maintains balance, considers community needs, and rejects extremes of realism or symbolism.
In practice, integrating contemporary art into historic churches demands vigilant stewardship. Bishops and ordinaries must prioritize "noble beauty rather than mere sumptuous display," carefully removing works that offend "true religious sense" through depravity, mediocrity, or pretense. Diocesan commissions on sacred art, ideally fused with those for liturgy and music, play a crucial role in judging proposals, ensuring expert input before approving changes.
For Eastern Catholic Churches, which have sometimes endured foreign stylistic influences, fidelity to tradition is paramount: new art must reflect "harmonious unity of words, gestures, space, and objects" inherent to their liturgies, allowing "development that is fully coherent" rather than anachronism. A dedicated Office for Sacred Art assists hierarchs in protecting patrimony during restorations or new constructions, emphasizing systematic formation for clergy and faithful. Priests, too, receive training to value artistic heritage, fostering sensitivity to conservation and appreciation.
These norms prevent the dispersal of valuable furnishings—true "ornaments of the house of God"—while permitting contemporary contributions that enhance liturgy. For instance, modern works must serve active participation and piety, much as Raphael's scenes captured Christ's preaching with idyllic serenity.
Central to this tradition is collaboration. Bishops should "have a special concern for artists," imbuing them with the "spirit of sacred art and of the sacred liturgy" through academies or gifted priests. The Pontifical Council for Culture calls for renewed dialogue between Church institutions and the art world, from parishes to universities, countering cultural fragmentation with Gospel-inspired beauty. In eras of "banal and brutal images," the Church acts as "advocate and protectress," inviting artists to renew Christian art in architecture, iconography, and music.
Artists are reminded they engage in "a kind of sacred imitation of God the Creator," producing works for worship, edification, and formation. This partnership ensures contemporary art in historic churches—like subtle modern icons amid Gothic vaults—elevates the soul without clashing, echoing the Limbourgs' innovative yet reverent naturalism.
Not all modern art qualifies. Pius XII condemned pieces that "distort and pervert true art," shocking "Christian taste, modesty and devotion." Sacrosanctum Concilium mandates their exclusion from sacred places. In historic churches, where Enlightenment-era carvings already risked cold rationalism, contemporary intrusions must avoid similar pitfalls. Controversies arise when "particular taste or talent" overrides communal needs, but commissions mitigate this. Recent sources like Vatican II supersede earlier views, prioritizing inclusive yet discerning openness.
Catholic tradition robustly supports contemporary art in historic churches as a vital extension of the Church's artistic legacy, conditioned by reverence, noble beauty, liturgical fidelity, and expert oversight. By preserving the past while welcoming the new, sacred spaces remain dynamic witnesses to faith, joining ancient and modern voices in praise of God.