Notre Dame Cathedral only has 50% chance of being saved after fire

Nikola Benin

The rector of Notre Dame Cathedral in Paris has admitted there is still only a 50 percent chance the fire-ravaged landmark can be saved.

Msgr. Patrick Chauvet said he is already suffering “heartache” because April’s blaze meant the 12th-century cathedral was unable to hold Christmas services for the first time in more than 200 years.

But he said he is bracing for even more potential distress after the church’s support scaffolding is removed — likely in 2021 — and officials learn whether the structure’s surviving vaults are strong enough to keep the Gothic monument standing.

“Today it is not out of danger,” Chauvet said the beloved landmark, speaking on Christmas Eve before midnight Mass in a nearby church.

“Today we can say that there is maybe a 50 percent chance that it will be saved. There is also a 50 percent chance of scaffolding falling onto the three [surviving] vaults,” he said. “So as you can see, the building is still very fragile.”

The 855-year-old landmark was under renovation when fire ravaged it in April, destroying its roof and collapsing its spire. Without a roof to keep it stable, the vulnerable vaults are crucial to keeping it standing.

Removing the support scaffolding will be the ultimate test for the salvage attempts.

While actual restoration may start in 2021, it will likely take another three years after that to make sure the church is safe enough for people to re-enter, Chauvet said, with the full restoration taking longer still.

Adding to the difficulties, authorities still have to clear up tons of toxic lead dust and then assess the health risks.

French President Emmanuel Macron has said he wants the cathedral rebuilt “even more beautifully” by 2024, when Paris hosts the Olympics, a time frame many experts say is unrealistic.

Parishioners are determined to see it return to former glory.

“We are French, we are going to try to rebuild Notre Dame as it was before, because it is a symbol,” said Jean-Luc Bodam, a Parisian engineer who was left crying when he first saw April’s blaze.

HORTUS CONCLUSUS

Nikola Benin

HORTUS CONCLUSUS
Chapter One

Lochner’s Madonna of the Rose Garden
A Masterpiece of International Gothic Style

The Madonna of the Rose Garden by Stefan Lochner !
Just thinking about this extraordinary painting, posted at least five times this calendar year, makes my blood boil. It is always a sublime joy to behold and contemplate.
To me, it is the archetypal Hortus Conclusus, the enclosed garden, in which we find the Virgin Mary and the baby Jesus.

“Hortus conclusus soror mea, sponsa, hortus conclusus, fons signatus" ("A garden enclosed is my sister, my spouse; a garden enclosed, a fountain sealed up”) from the Canticum Canticorum (Song of Songs it Song of Solomon) in which King Solomon’s nuptial song to his bride was transmuted in the Christian metaphor to represent the enclosed and impenetrable womb of Mary and the parthenogenesis of Jesus.

Painted in that wondrously delicious, delicate and detailed International Gothic Style, which flowered in the Northern Renaissance as the Italian quattrocento was unfolding, it is always a joy to see it.
The intricacy within this work- the layers of meaning- theological and optical - are astonishing.

Stefan Lochner was one of the greatest artistic geniuses of the quattrocento, and like many artistic geniuses that didn’t make it into the arbitrarily decided upon canonical art textbooks over the years ,is not as nearly well known as the usual suspects.
A pity, because his works, virtually all of them, are absolutely spectacular.

We learn from the Wallraf-Richart museum website that:
“Within the painting are flowers at the Virgin’s feet, angels with musical instruments, the precious brooch and the heavenly crown, all the way to the decorations of the gold ground, and none of these things is an end in itself.
“Look at the ornamentation worked into the Virgin’s halo. It is a simplified representation of the lunar cycle, and relates to the medieval link between astronomy and theology.
“The tiny brooch symbolically takes up the main picture by showing a virgin with a unicorn. The two are linked in their gestures in much the same way as the Virgin and Child – an allusion to the mystical union between Christ and His church.
“In addition we have the ingenious geometry of the picture. It relates to the connection between mathematics, music and heavenly architecture, identifying the modest bower as paradise.

“Like a complex clock movement, all these elements intermesh to produce a theological statement of great density. Behind the ‘pretty’ whole, the artist has concealed a gigantic programme: the phases of the divine plan of salvation are wonderfully compressed. In this way the picture transcends human concepts of time – and human techniques of art reproduction.”

The Madonna of the Rose Bower
Stefan Lochner
c.1442
Wallraf-Richartz Museum
Cologne

НАТАНАИЛ ЗОГРАФСКИ (1820-1906)

Никола Бенин

Натанаил Зографски, родум Кучевиште, Скопско - духовник, пловдивски митрополит на Бугарската егзархија, писател, општествен деец и револуционер, организатор на Кресненско-Разлошкото востание и Охридскиот заговор.

Заедно со Георги Самуркашев, родум од Велес, го преведуват антисемитскиот трактат „Служение еврейско и все злотворение нихно“:

„во простый и краткый ѧзыкъ болгарскїй къ разумѣниїю простому народу“

Подоцна со Захариј Књежески ја преведуват „Зерцало или огледало християнское“ каде што пишуваат:

„Ніе говоримъ нѣколько человѣцы посвятихме живота си за общенародно то оразованіе, и по ясно отъ прочій те виждаме скудость та за необходими те книги на Бѫлгарскія народъ: за това начнахме неосыпно да са стараимъ да превождаме и составляваме различни и най-необходими Книги не только полезни за юношество то, но необходими за всякаго мозрастнаго Бѫлгарина. Ако и сами дасме премного заняти за свое то си усовершенствованіе въ науки те. Желаимъ да покажимъ примѣръ безъ користный за обогащеніе то и приведеніето на Бѫлгарска та писменность въ перво то и состояніе.

Сердечно желая Бѫлгарско то просвѣщеніе, ніе изискахме времи при прочій те свои трудове, та преведохме тія три книги отъ славяно-Россійская на болгарскій языкъ…“

Во 1847 год. Натанаил се запишува во Киевската духовна академија, и ја завршува во 1851 год. како кандидат на богословието со работата „О том, что Болгарский Архиепископ в древния времена не зависил ни от Римскаго, ни от Константинопольского Патриарха“

Дисертацијата ја завршува на тема затварањето на Охридската архиепископија:

„Ах, кое славяно-българско сърце? Коя славяно-българска душа може без скръб да вспомене 1767 година 16 ден януария, когито мы Славяно-българе останахме яко овци без Пастиря-отца?... О, колко би била щастлива България, ако би се удостоила и сега да ѝ се возвратат законните църковни права от нашаго и общаго отца, предобраго султана, за да си има и она едного върховнаго своего уравителя на Църковната си иерархия внетре в отечеството си.“

Во 1863 год. ја издава книгата „Приятелское писмо от българина к гръку“, каде што ги опишува причините за бугаро-грчката црковна расправија.

Во 1864 ја преведува книгата „Кратко изяснение на Божественна Литургия“.

Следната 1865 год. Натанаил ја издава во Букурешт книгата „Буквар славено-българскій“, која што била предназначена за училиштето во родното му село Кучевишта.

Истата 1865 год. ја издава и „Произшествіе въ Скопска епархия“, каде што раскажува за противoгрчкото движење на бугарите во епархијата од 1860 до 1865 год.

„Но това е было мало за българско сьрце и душа. Ревность-та на сички-тѣ бѣлокапцы кои-то ся нарицатъ скопски черногорцы, искала е да види друго поголѣмо дѣло народно. Они сознавали себеси за чисты Българе, гдѣ-то и до днесь непроникло грьчко слово, това искали са да видятъ и въ всички Епархіалны села и градища Български. Това они желали, това и постигли. Въ нѣколко дни возбудили они ревность за това нѣщо въ всички селяны и гражданы Българы.“

Во 1868 год. Натанаил ја преведува и „Кратко християнское Наставление“ каде што подпишува:

„Сѫщій Славѧно-Българинъ вашь свѧщенноиннокъ Натанаилъ Стоѧновъ“