Map of the Town of St. Denis by Félibien (1706). Image via pitt.edu

Félibien绘制的圣丹尼斯镇地图(1706)。通过pit.edu的图像

7世纪，巴黎的圣丹尼斯成为法兰克人的守护神(一群占领了现在的法国的人)。在3世纪，丹尼斯和两个同伴作为传教士被教皇法比安派往巴黎，后来被罗马皇帝决定殉道。[1]传说认为，丹尼斯被斩首后，他的头被抬到了现在以他的名字命名的城镇和教堂的遗址。这个村庄在7世纪弗兰基国王达戈伯特在那里建立修道院之前就已经建立起来了，但是皇家赞助者和成群朝圣者的慷慨馈赠大大提升了它在天主教会和法国王国的地位。然而，尽管修道院具有重要意义，但它在半个世纪内不会有任何有意义的改变。

Saint Denis of Paris became established as the patron saint of the Frankish people (a group of people who occupied what is now known as France) by the 7th Century. In the 3rd Century, Denis, along with two companions, was sent to Paris by Pope Fabian as a missionary, and was subsequently martyred by the Roman Emperor Decius.[1] Legend holds that after his decapitation, Denis’ body carried his head to the site of the town and church that now bear his name. The village was well-established before the Frankish King Dagobert established an abbey there in the 7th Century, but generous gifts from both Royal patrons and droves of pilgrims greatly elevated its status in both the Catholic Church and the Kingdom of France. Despite the abbey’s significance, however, it would not be altered in any meaningful way for half a millennium.[2]

1122年，在修道院本身急需翻新的时候，苏格成了圣德尼的修道院院长。这座木制的大教堂既象征着梅洛文格人、卡罗林人和卡佩提人的统治者，也是法国卡佩提人的统治者的墓地，也是热情之神的遗物，太小了，无法容纳它在宴会和节日期间吸引的朝圣者。[3]圣丹尼斯本人最近也被国王路易六世任命为法国的官方守护神，把更多的重点放在以他的名字命名的修道院上。不幸的是，对于苏格的野心，他不能简单地摧毁旧教堂，为新教堂让路-人们普遍认为，这座教堂是耶稣基督自己奉献的。

In 1122 Suger became Abbot of Saint-Denis at a time when the abbey itself was badly in need of renovation. The wooden Basilica, having both been a symbol (and necropolis) of Merovingian, Carolingian, and Capetian French rulers and housing relics from the Passion itself, was too small to accommodate the crowds of pilgrims it drew during feasts and festivals.[3] Saint Denis himself had also recently been ordained as the official patron saint of France by King Louis VI, affording even greater emphasis on the abbey which bore his name. Unfortunately for Suger’s ambitions, he could not simply demolish the old church to make way for the new – it was widely believed to have been consecrated by Jesus Christ himself.[4]

 Engraving of Funeral Procession of King Louis IX by Félibien (May 22, 1271). Image via pitt.edu

路易九世葬礼的雕刻，费利宾(1271年5月22日)。通过pit.edu的图像

重建圣丹尼斯的第一个要素是西面。有两个关键因素推动了这一决定。首先，外观被视为旧大教堂最不神圣的部分；因此，它的重新设计和重建可以最低限度的阻力完成。尽管它是教堂最不“神圣”的部分，但游客要想进入这座建筑，必须通过西面和大门。因此，这座建筑的这张脸将是大多数朝圣者第一次看到-那么，他们对修道院的第一印象将是Suger相对现代的加法。

The first element of Saint-Denis to be rebuilt was the western façade. Two key imperatives drove this decision. Firstly, the façade was seen as the least sacred portion of the old basilica; its redesign and reconstruction could therefore be accomplished with a minimum of resistance. Despite its being the least “holy” part of the church, however, it was through the western façade and its doors that visitors would have to pass in order to enter the building. It therefore followed that this face of the building would be the first that most pilgrims would see – their first impression of the abbey, then, would be that of Suger’s comparatively contemporary addition.[5]

关于西面的工作于1135年开始，在随后的五年里在两个不同的大师共济会下进行。设计中的一系列“三重奏”引用了圣三位一体：三个门、三个垂直层和几组三重拱构成了立面的下部。这个较低的部分和上面两座高塔之间的隔断是通过划线来划分的。虽然更名是一种防御性特征，对于宗教结构来说并不是典型的，但在这里列入它们更多地是对“启示录”的新耶路撒冷的象征性提及，而不是一种实际的设防(尽管如此，Suger仍愿意在紧急情况下使用它)[6，7]。

Work on the western façade commenced in 1135, proceeding under two different Master Masons in the following five years. A series of “trios” in the design referenced the Holy Trinity: three doors, three vertical strata, and several groups of triple arches form the lower portion of the façade. The division between this lower portion and the two towers that rose above was demarcated by crenellations. While crenellations were a defensive feature atypical for a religious structure, their inclusion here was more a symbolic reference to the New Jerusalem of the Book of Revelations than it was a practical fortification (Suger’s willingness to use it as such in case of an emergency notwithstanding).[6,7]

 Félix Benoist (Public Domain). ImageEngraving (1861)

Félix Benoist(公共领域)。图像雕刻(1861年)

按照法国教堂的习俗，下面的中央门户两侧有一对塔楼。虽然这两项计划都是在Suger的abc，但只有南部塔是在他的一生中完成。它更高的北方建筑是由他的一位继任者完成的，但在历史上并没有得到很好的发展：由于1219年和1837年的雷击，它被重建了两次。后者由建筑师弗朗索瓦·德布雷特(Fran Ois Debret)领导，处理得如此无能，以至于塔楼在1846年被完全拆除。这种解构让圣丹尼斯像今天一样，只有一座南方的塔楼-就像在苏格时代一样。

As was custom for French churches, a pair of towers flanked the central portal below. Although both were planned under Suger’s abbacy, only the southern tower was completed in his lifetime. Its taller northern counterpart, completed by one of his successors, did not fare well through history: it was rebuilt twice, due to lightning strikes in both 1219 and 1837. The latter of these efforts, led by architect François Debret, was handled so incompetently that the tower had to be completely dismantled in 1846. This deconstruction left Saint-Denis as it is today, with a single, southern tower – as it was during the time of Suger himself.[8]

1140年6月，当新的西方外墙落成时，人们的注意力转向教堂大楼的远端。这座教堂的外墙，尽管经过了更新，但本质上是罗马式的，并没有引入任何特别的风格创新；正是在唱诗班和切韦特(东端)，修道院教堂才开始编纂一种新的建筑风格。这一创新是因为苏格对光的迷恋，又一次提到了新耶路撒冷，它被生动地描述为是由闪闪发光的宝石和像玻璃一样清晰的黄金建造的。这是苏格努力在修道院里表现出来的这一容光焕发的建筑形象，他决心通过大量使用彩色玻璃来完成这一壮举。

When the new western façade was dedicated in June of 1140, attention turned to the far end of the church building. The façade, despite its updates, was essentially Romanesque and introduced no particular stylistic innovations; it was in the choir and chevet (eastern end) that the abbey church would begin to codify a new architectural style. This innovation resulted from Suger’s fascination with light as another reference to the New Jerusalem, which is vividly described as appearing to be built of glittering gems and gold that is clear as glass. It was this glowing architectural image which Suger strove to express in his abbey, a feat that he determined to accomplish through lavish use of stained glass.[9]

 Rose Window. Image © Wikimedia user Diliff (licensed under CC BY-SA 3.0)

玫瑰窗。图片(维基媒体用户Diliff)(由-SA3.0认证，由CC授权)

需要允许朝圣者的方便流通，以及Suger希望消除带有巨大彩色玻璃窗的重石砌体的愿望，这就需要一种结构支撑方法，这与罗马式教堂的厚重建筑背道而驰。解决办法是用细长的柱子取代教堂东端通常分隔小教堂的深墙-建筑特征，巧合的是，类似于8世纪纳威时期的类似柱。形成尖尖的拱门的肋骨拱顶支撑着天花板，这使得拱顶的双行走室出现了前所未有的开放，这也使人们几乎可以不间断地看到充满墙壁大部分空间的彩色玻璃。

The need to allow for easy circulation of pilgrims, and Suger’s desire to dematerialize the heavy stone masonry with enormous stained glass windows, required a method of structural support that ran counter to the thick, heavy construction of Romanesque churches. The solution was to replace the deep walls that typically separated the small chapels at the church’s eastern end with slender columns – architectural features which, coincidentally, emulated similar columns in the 8th Century nave. Rib vaults forming pointed arches supported the ceiling, allowing for an unprecedented openness in the double ambulatory of the chevet that also permitted a virtually uninterrupted view of the stained glass that filled the majority of the wall space.[10]

重要的是要注意的是，在雪佛莱（Chevet）中采用的结构创新--尖拱、飞行支柱和拱顶--最初不是为Saint-Denis自己发明的。这些技术提供了更大的结构完整性和适应性，对于在苏格之前在各种建筑物中巧妙地使用一个或另一个的罗马式建筑师来说，这些技术是可以得到的。后来，圣德尼的意义并不是它的主建造者开创了这些形式的建筑；这只是他们第一次和意图产生明显不同的效果，而不是在修道院的罗马时代的时代。在把这些预先存在的线程合并成统一的架构逻辑时，Suger和他的建筑师建立了最早的例子，最终将被称为（法国）哥特式建筑。[11]

It is important to note that the structural innovations employed in the chevet—the pointed arch, the flying buttress, and the vault rib—were not originally invented for Saint-Denis itself. These techniques, which offered greater structural integrity and adaptability, had been available to Romanesque architects who subtly employed one or the other in various buildings long before Suger. The significance of Saint-Denis, then, was not that its master builders pioneered these forms of construction; it was simply the first time that they were used together with the intention of creating a markedly different effect than that which prevailed in the abbey’s Romanesque contemporaries. In combining these pre-existing threads into a unified architectural logic, Suger and his architects built the earliest example of what would eventually become known as the (French) Gothic style of building.[11]

 Floorplan by Félibien (1700) – note: not current. Image via pitt.edu

Félibien(1700)的平面图-注：非当前。通过pit.edu的图像

教堂的西端和东端完成后，只剩下加洛林内院需要重建。不幸的是，当路易七世国王前往参加第二次十字军东征，任命他为法国摄政王时，他被迫将注意力转向国家事务。随着Suger对其他地方的关注，圣丹尼斯的建筑速度减缓到了爬行的地步，只有新的修道院的地基在1151年方丈去世时才完成。80年来，修道院教堂仍然是一个笨拙的，兼容并蓄的建筑风格的混合体。1231年，这个项目重新开始，包括重建唱诗班的上层作品，以确保一个相对统一的美学。在1281年完成的纳威和之前的Chevet一样具有创新性：它的巨大窗户和细长的砖石结构是Rayonnant哥特式风格的典型代表，再次确立了圣丹尼斯作为整个欧洲神圣空间的榜样。

The completion of the western and eastern ends of the abbey church left only the Carolingian nave to be rebuilt. Unfortunately for his grand project, Suger was forced to turn his attention to matters of state when King Louis VII, who had departed to join the Second Crusade, appointed him to serve as the Regent of France. With Suger’s focus elsewhere, construction on Saint-Denis slowed to a crawl, and only the foundations of the new nave were completed when the abbot died in 1151. For eighty years, the abbey church remained an awkward, eclectic hybrid of architectural styles. Work resumed on the nave in 1231, a project that included reconstruction of the upper works of the choir in order to ensure a relatively unified aesthetic. The nave, as completed in 1281, was as innovative as the chevet that preceded it: its massive windows and slender masonry typified the Rayonnant Gothic style, again establishing Saint-Denis as the example to follow for sacred spaces across Europe.[12.13]

在13世纪以后，教堂的教堂很少发生改变。它的附属结构重建在1701至1781年之间，但教会本身就被允许在1281年以来一直保持不变。作为一个天主教修道院，圣德尼不幸是法国革命对教会的叛乱的受害者：它的铅屋顶被剥夺了，它的皇家墓葬被亵渎，它的创新避难所被用作粮食储存。前修道院的救恩是在波拿巴的纳波尔的手中，他任命弗朗索瓦·德布雷特将教堂恢复为其昔日的荣耀，作为他的家庭陵寝。德布雷，他比历史学家更像一个装饰设计师，没有恢复教堂那么多，就像创造一个中世纪一般的中世纪的空气一样。他在结构恢复方面的失败导致了对北塔的上述拆除，导致他辞职，取而代之的是Euginne-EmmanuelViollet-LE-DUC，他尽一切努力用现在存在的更精确的重建来取代德布雷的工作。[14]

Very little of the abbey church changed after the 13th Century. Its accessory structures were rebuilt between 1701 and 1781, but the church itself was allowed to remain much as it had been since 1281. As a Catholic abbey, Saint-Denis was unfortunately a victim of the French Revolution’s rebellion against the church: its lead roofing was stripped away, its royal tombs desecrated, and its innovative sanctuary put to ignominious use as grain storage. The former abbey’s salvation came at the hands of Napoléon Bonaparte, who appointed François Debret to restore the church to its former glory for service as his family mausoleum. Debret, who worked more as a decorator than an historian, did not restore the church so much as create a general air of medievalism. His failures at structural restoration, which led to the aforementioned dismantling of the north tower, led to his resignation and replacement with Eugène-Emmanuel Viollet-le-Duc, who did everything he could to replace Debret’s work with the more accurate reconstruction that exists today.[14]

 Eugène Viollet-le-Duc (Public Domain). ImageElevation (1860)

Eugène Viollet-le-Duc(公共领域)。图像提升(1860年)

今天，圣德尼的白硅石被公认为哥特式艺术和建筑的第一个例子。回到天主教会，被正式授予了地位。“大教堂”1966年。它也是世界上最大的中世纪和文艺复兴时期的雕塑博物馆，从12世纪到16世纪的70余件丧葬雕塑。[15]它的北部塔可能已经走了，但它富有想象力的哥特式内部建筑继续受到游客的仰慕，他们在进入圣德尼的过程中，进入了建筑历史的转折点。

Today, the Basilica of Saint-Denis is recognized as the very first example of Gothic art and architecture. Returned to the Catholic Church, it was officially granted the status of ‘cathedral’ in 1966. It is also the world’s largest museum of medieval and Renaissance statuary, home to over 70 pieces of funerary sculpture from the Twelfth to the Sixteenth Centuries.[15] Its northern tower may be gone, but its imaginative Gothic interiors continue to be admired by visitors who, in entering Saint-Denis, step into a turning point in architectural history itself.

参考文献[1]Brown，Elizabeth A.R.和Claude Sauviceot。圣丹尼斯：拉巴西里克。圣-勒́ger-vauban：黄道猴，2001年。P42.[2]约旦，威廉C.两个修道院的故事：威斯敏斯特和圣丹尼斯在十三世纪。普林斯顿：普林斯顿大学出版社，2009年。[3]Calkins，RobertG.中世纪建筑在西欧：从公元300到1500年。纽约：牛津大学出版社，1998年。p 172-173。[4]艾尔斯，安德鲁。巴黎建筑：建筑指南。斯图加特：2004年版。p 288-289。[5]Brown和Sauviceot，p79。[6]Leniaud，Jean-Michel和Philippe Plagnieux。圣丹尼斯。巴黎：“爱国之地”，2012年。P40-43。[7]Brown和Sauviceot，P82-83。[8]Brown and Sauviceot，P82。[9]Kostof，Spiro。建筑史：设置和仪式。纽约：牛津大学出版社，1985年。P 330-331。[10]Calkins，第173至177页。[11]Kostof，p 332-333。[12]Calkins，第177页。[13]Ayers，p 289。[14]Ayers，p 289。[15]“Basilique Cathédrale de St-Denis”。国家古迹中心。2016年10月4日。[进入]。

References [1] Brown, Elizabeth A. R., and Claude Sauvageot. Saint-Denis: La Basilique. Saint-Léger-Vauban: Zodiaque, 2001. p42. [2] Jordan, William C. A Tale of Two Monasteries: Westminster and Saint-Denis in the Thirteenth Century. Princeton: Princeton University Press, 2009. [3] Calkins, Robert G. Medieval Architecture in Western Europe: From A.D. 300 to 1500. New York: Oxford University Press, 1998. p172-173. [4] Ayers, Andrew. The Architecture of Paris: An Architectural Guide. Stuttgart: Edition Axel Menges, 2004. p288-289. [5] Brown and Sauvageot, p79. [6] Leniaud, Jean-Michel, and Philippe Plagnieux. La Basilique Saint-Denis. Paris: Éditions Du Patrimoine, 2012. p40-43. [7] Brown and Sauvageot, p82-83. [8] Brown and Sauvageot, p82. [9] Kostof, Spiro. A History of Architecture: Settings and Rituals. New York: Oxford University Press, 1985. p330-331. [10] Calkins, p173-177. [11] Kostof, p332-333. [12] Calkins, p177. [13] Ayers, p289. [14] Ayers, p289. [15] "Basilique Cathédrale De Saint-Denis." Centre Des Monuments Nationaux. Accessed October 04, 2016. [access].

地点1法国圣德尼街93200法国宗教建筑客户Abbot Suger项目年1135年

Location 1 Rue de la Légion d'Honneur, 93200 Saint-Denis, France Category Religious Buildings Client Abbot Suger Project Year 1135