Notre Dame de Rouen. The façade of the Gothic Church in France. Photographer: Hippo1947. Licence: SHUTTERSTOCK.

04 July, 2026

Five Things About “Votive Masses” To Bring Up, Under “Any Other Business”, At Your Next Parish Council Meeting.




This Article is taken from, and can be read in full at,

Votive Masses need to be better known and more often Celebrated. So, if your Parish Council Meeting needs a little groundswell of devotional zip, here are some Things about Votive Masses to know and share. Thing 3 is especially important.

Thing 1. They Are NOT A Mediæval Invention.

The earliest Liturgical Books that we have, such as The Leonine Sacramentary, contain Masses For Special Intentions. By the time of The Gregorian Sacramentary, these were called Missae Votivae. These were Masses that did not correspond to The Office Of The Day, which would be sung, according to The Season.

Votive Masses probably go back right to the beginning of our Liturgical History. What happened during The Middle Ages is that Votive Masses became more common. It was a sensible reform to limit them, to a certain degree, so that they were restricted, in the main, to days on which there was not a major Celebration in The Church’s Calendar.



Thing 2. They Are Allowed More Often Than People Think.

It may be that you have never, or only rarely, heard of Votive Masses. The General Instruction Of The Roman Missal (GIRM), which governs The Modern Rite of Mass, did impose some minor restrictions in addition to those which had been in force, and added the “Pastoral Need” criterion, which we will look at in Thing 3. This was an excuse to deprecate them as a Mediæval Invention (see Thing 1), or an Un-Pastoral Imposition of The Selfish Priest (see Thing 3), and never Celebrate them again.

It is entirely within the provisions of The Modern Rite to Celebrate a Votive Mass on any weekday in Ordinary Time, even if there is an Optional Memorial on that day. On the weekdays of Advent up to 16 December, the weekdays of Christmas after 2 January, and the weekdays of Easter after The Octave, Votive Masses may be Celebrated: “If […] required by some real need or Pastoral Advantage, according to the judgement of The Rector of the Church or The Priest Celebrant, himself” (GIRM 376). Also, on the same restricted weekdays, it is legitimate to Celebrate The Mass of any Saint that occurs in The Martyrology for that day (GIRM n.355).

If you Celebrate according to The Classical Form of The Roman Rite, your Ordo will give you an indication on each day when it is permitted to Celebrate a Votive Mass.



Thing 3. They Do Actually Fulfil A Pastoral Need.

In days gone by, it was possible to take seriously the idea that The Priest’s Private Devotion was at odds with the Pastoral Care of the people. It is interesting to watch how social media gives the lie to this nonsense. If ever a Priest mentions that he has Celebrated a Votive Mass of The Sacred Heart, or of Saint Joseph, or The Holy Angels, he will get feedback in no uncertain terms. Heavens !

If a Priest says that he has so much as Prayed a “Hail Mary”, the “Likes” come in thick and fast; people fervently desire their Priests to be Prayerful. The sort of people who come to Daily Mass are exactly the sort of people who love Votive Masses and we should Celebrate them more often.

The truth is that much of the reforming zeal of the 1960s was Jansenist, at heart, and had little room for Devotion to The Sacred Heart, to Our Lady, or, to The Saints. It was not in the least bit Pastoral, but served the needs only of the higher class of Gnostic or “Expert.”

The devotion of the people is a much better guide to Pastoral Need, together with a Pastoral Priest’s kindly and sympathetic direction of that devotion, complemented by his own devotion, which nourishes the people with greater effectiveness the more genuine it is.



Thing 4. You Can Celebrate Saints That Are Not Generally Well-Known.

In England and Wales, we have forty-three Canonised Martyrs of The Reformation, many of whom are reasonably well-known, but also 242 Beatified Martyrs who are less well-known, but whose Lives are fascinating. Locally, or through the enthusiasm of a Lay Group of younger people, there could be a particular Pastoral Reason to Celebrate a Mass in honour of any one of them. The point I would like to emphasise is that there is no particular reason not to.

Of course, there are Local Saints in many other Countries worldwide. In China, Korea, Vietnam, Mexico, and elsewhere, there are Feasts of "Saint X and His Companions". Any of "The Companions" could be Celebrated individually in a Votive Mass.

Aside from Martyrs, there are Local Saints that have not made The General Calendar, or even The Local Calendar for a Country or Diocese. If there is a devotion, the Priest could Celebrate their Mass. If there is not a devotion, it would be crazy to consider it an "Un-Pastoral Thing" for the Priest to build up such a devotion.

Remember: It is legitimate to Celebrate a Votive Mass in honour of any Saint who is listed in The Roman Martyrology. All of the Martyrs that I have mentioned above are so listed.



Thing 5. You Can Celebrate Saints That Are By No Means Obscure, But Got Downgraded.

The 1969 document Calendarium Romanum tells us that Saint Christopher was omitted from The Modern Calendar because “the cult of this Saint does not pertain to The Roman Tradition.” Saint Valentine was omitted because, although his Feast is ancient, “apart from his name, all that we know of him is that that he was buried on The Via Flaminia on 
14 February.” You can almost see the knowing smirk, can’t you? Calendarium Romanum is a document that would be hard to surpass in terms of sheer Pastoral Insensitivity. For Post-Conciliar Yuckiness, it is a rival to De Benedictionibus.

Those two Saints, Christopher and Valentine, were well-known and, at least to a degree, Celebrated even in the secular world. The Post-Conciliar Liturgical Experts dropped them from our General Calendar.

But you can Celebrate them in Votive Masses.



Bonus Thing: The Old Missal Had Suggestions For Every Day Of The Week.

The Old Rite Missal starts the section of Votive Masses with Masses suggested for each day of the week from Monday to Friday (Saturday, of course, being reserved for Our Blessed Lady.)

There is nothing in The GIRM that would in any way stop you from observing this Tradition when using The Modern Rite (unless you wear your Alb back to front.)



Here is the list:

Monday.
Holy Trinity.

Tuesday.
Holy Angels.

Wednesday.
Saint Joseph.
Saint Peter and Saint Paul.
Holy Apostles.

Thursday.
Holy Spirit.
Holy Eucharist.
Jesus Christ The High Priest.

Friday.
The Holy Cross.
The Passion of Christ.

One More Time . . . “L’hymne a L’amour”. Sung By: Celine Dion. Live at Paris Olympics 2024.



“L’hymne a L’amour”.
Sung By: Celine Dion.
 Live at Paris Olympics 2024.
Available on YouTube

Major Solemnities Are Sometimes Preceded By Vigil Offices. And Sometimes Are Extended Through An Octave.




Text is taken from, and can be read in full at,
CANTICUM SALOMONIS

By: Aelredus Rievallensis.


Proposition XIX.

Major Solemnities are sometimes preceded by a Vigil Office, and sometimes extended through an Octave

As Pope Alexander III, who began to rule on the year of Our Lord 1159, says (Extra, De feriis, chapter II): 

“Although it is written, From evening until evening you shall Celebrate your Sabbaths, nevertheless the beginning and end of Feasts must be considered according to their kind and the custom of the several regions.

“And just as the importance of the day demands that it be begun earlier and ended later,”[1] the Regulars, following the authority of Sacred Scripture, place the start and end of Feasts from Vespers to Vespers.


But, based on their importance, they precede them earlier with a Vigil Office and extend them longer with an Octave Office.

Let us therefore discuss these two.

Vigil Offices precede Feasts of Our Lord, two Feasts of his mother (namely The Assumption and, following a constitution of Gregory XI promulgated when he returned to Rome,[2] The Nativity of Mary), and the days of John the Baptist, Laurence, and, as Innocent III says in De observatione ieiunii chapter 2, “the Vigils of all the Apostles are to be Celebrated with a Fast, except the Vigils of the Apostles Philip and James and John the Evangelist, because the Feasts of the former pair are Celebrated within the Solemnity of Easter, and the latter within Christmas.”[3]

As Alexander III says in “De verborum significatione”, Chapter Quaesivit, “on the Vigil of Blessed Matthew, unless it fall on a Sunday, Fasting is observed.”[4] Vigils on which there is Fasting consequently also have a Mass.


In the Antiphoner, which I brought from Rome, the Vigil Office for The Assumption of Mary begins with Matins, as we shall see for Christmas. In the Ambrosian Office, the Major Solemnities of the place, such as Gervase and Protase, Nazarius and Celsus, Nabor and Felix, Simplicianus and Dionysius, and other local Saints, also have a Proper Mass Office on the Vigils.

Other nations are also accustomed to do this for their Patrons and similarly important Saints, such as for Saint Lambert in Liège and Saint Martin in Utrecht.

According to the pious and religious custom of the more Solemn Churches, whenever Fasting is observed on the Vigil, and the “de tempore” Service is Celebrated at The Hours with a Commemoration of the Saints, if any occur, as we do in the Fasting Seasons of Advent and Lent.


And they say this should be piously observed likewise on other Vigils of Saints, for which Mass is said, but on which there is no Fasting obligation.

The Vigil Mass is said in Ferial fashion on account of the Fast, and — according to Micrologus Chapter 55 — “this, too, is appropriately observed on all Vigils, namely, that if None is postponed until after Mass, it should be said of the future Feast.

In other words, once we have begun the Feast after Mass, let us not introduce any dissonance into the Office at None, since the Holy Fathers especially strove to avoid such dissonance in their arrangement of the Offices.”


And, if the Vigil falls on a Sunday, the Sunday Office, which is greater, is not changed on account of it, and the Mass of the Vigil should be said as the Sunday morrow Mass, or on Saturday, or at some other apposite time.

Now that we have spoken about Vigils, by which Feast Days are “begun earlier,” we must speak about Octaves, by which they are “ended later.”

In the first place, we must note that according to the more approved uses, such as that of the Carthusians and others, and as written in many Liturgical commentaries, Octaves are of two sorts: Major and Minor.


In Major Octaves, the first and eighth day, as well as the intervening Sunday, have nine Lessons, while the rest have three. The Office of the first and eighth day are identical to that of the Feast.

But the Sunday Mass is Celebrated within the Office borrowed from the Feast Day, because both Vespers use the Psalms of the Feast Day, and at Vigils the Invitatory, Hymn, nine Responsories, are from the Feast, and, likewise, Lauds and the rest are of the Feast, itself.

Further, the three Nocturns use the Sunday Psalms under three or nine Antiphons, depending on how many the Feast has; six of the Readings are taken from the history that is being read at that time, along with the Sunday Homily and the Te Deum; at both Vespers and at Lauds, there is a Commemoration of the Sunday; at Prime, the Psalms Deus in nomine, Confitemini, etc.


The Mass of the Sunday is Celebrated with a Commemoration of the Feast. On Private Days, the Invitatory will be brief and in the Ferial tone, while the Hymn is of the Feast, the Nocturn of the Feria, recited under one Antiphon from the Festal Nocturns, whichever is most appropriate, the Lessons from the current history, the Responsories from the Feast in proper order, omitting the first, according to Roman custom, and, once they are used up, beginning again from the second.

Neither Te Deum, nor Gloria in excelsis, should be said, as shown in Proposition 13; at Lauds, use five Antiphons over the Common Psalms; at Vespers, five Antiphons from Lauds over the Ferial Psalms, unless the Ferial Antiphons are used. The rest of the Office is of the Feast.

In Minor Octaves, the Solemnity is not mentioned on any day before the Octave Day, which is kept with three Lessons, like any Simple Feast of three Lessons. Hence, we read in Micrologus Chapter 44:


According to Roman authority, we must not observe the Octaves of any Saints unless we have a certain Tradition to that effect from the Holy Fathers. And, during those Octaves which we do Celebrate, there should be no daily Commemoration on the days intervening, because we have no authority for such a thing, except for The Virgin Mary and for Saint Peter, both of whom we never cease to Commemorate, even in other times.

We find the same in the commentary called Gemma Ecclesiæ:

“Saints’ Feasts of nine Lessons within Major Octaves and [Editor: ? “are” ?] to be kept with a Commemoration of the Octave. Let other Saints be only Commemorated; but if they should have a Proper Mass, let it be Sung with Ite missa est.”[5]


Christmas, Epiphany, the Ascension, Trinity, Corpus Christi, the Assumption, the Nativity of Mary, and Peter and Paul, have this sort of Major Octave.

Andrew, Laurence, and Martin, and, according to the Carthusians, John the Baptist, have Minor Octaves.

And, note that Private Days within Major Octaves are regarded as if they were within Eastertide. Hence, on those days, there are no prostrations, “Preces” with Miserere, and other things of that sort, which are omitted on Eastertide; even the Carthusians observe this.


Based on this consideration, many Germans on these days say only three Psalms with three Antiphons at Matins, as they are accustomed to do in Eastertide, but this practice was castigated above in Proposition 10.

[1] CJC, Decr. Greg. II, 9, 2 – Frdbg. II, 271.

[2] Pagi, Breviarium Rom. Pont, p. 1? in Greg. XI, Nr. 32; cf. Benedict XIV De festis BMV, pars II, 138, and O. Raynaldus, Annales Ecclesiastici, ed. J. D. Mansi, t. 7, 297 (Lucca, 1752)

[3] CJC, Decr. Greg. III, 46, 2 – Frdbg. II, 650–51. See proposition 17 and ML 215, 810.

[4] CJC, Decr. Greg. V, 40, 14 – Frdbg. II, 915 and proposition 17.

[5] If he refers to the Gemma anime (which often appeared under the title Gemma ecclesiæ), then this passage is either a later addition or belongs to a tradition of unedited Gemma manuscripts.

Within The Octave Of The Holy Apostles Saint Peter And Saint Paul. 4 July. Red Vestments.


Text from The Saint Andrew Daily Missal,
unless stated otherwise.

Within The Octave Of The Holy Apostles
Saint Peter And Saint Paul.
   4 July.

Semi-Double.

Red Vestments.






Saint Peter and Saint Paul.
Illustration: CATHOLICTRADITION.ORG

Let us honour Saint Peter and Pray for The Holy Father, his successor. Let us obey the Pope, seeing in him the necessary intermediary between our Souls and God.

Mass: Mihi autem.
Creed: The Creed is said.
Preface: Of The Apostles.






Following Text from “The Liturgical Year”. 
By Dom Guéranger.

Within the Octave of The Holy Apostles.

“The Veneration of Saint Peter and Saint Paul is rooted in the very foundation of Catholicism; it can not become weakened, either in the people or in Souls, without great harm to Catholicism, itself.” 





03 July, 2026

And . . . The Winner Is . . .



When Céline Dion and Switzerland 
won the Eurovision Song Contest 1988.
Available on YouTube

“Ne Partez Pas Sans Moi”.

Vous, qui cherchez l'étoile
Vous, qui vivez un rêve
Vous, héros de l'espace
Au cœur plus grand que la terre
Vous, donnez-moi ma chance
Emmenez-moi loin d'ici...

Ne partez pas sans moi
Laissez-moi vous suivre
Vous, qui volez vers d'autres vies
Laissez-moi vivre

La plus belle aventure
Le plus beau voyage
Qui mène un jour
Sur des soleils, sur des planètes
D'amour

Vous, les nouveaux poètes
Vous, les oiseaux magiques
Vous, vous allez peut-être
Trouver de nouvelles musiques
Vous, donnez-moi ma chance
Je veux chanter, moi aussi...

Ne partez pas sans moi
Laissez-moi vous suivre
Vous qui volez vers d'autres vies
Laissez-moi vivre

Le bleu de l'infini
La joie d'être libre
Sur des rayons, sur des soleils
Sur des chansons, sur des merveilles
Et dans un ciel
D'amour

Le bleu de l'infini
La joie d'être libre
Vous qui cherchez une autre vie
Vous qui volez vers l'an deux mille
Ne partez pas sans moi.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Lyrics:
https://www.azlyrics.com/lyrics/
celinedion/nepartezpassansmoi.html

“Hymne Á L’Amour”. Sung By: Céline Dion. Live Aux Jeux Olympiques De Paris 2024.



“Hymne Á L’Amour”.
Sung By: Céline Dion.
Live aux Jeux Olympiques de Paris 2024.
Live from the Olympic Games, Paris 2024.
Available On YouTube

L’hymne à l’amour.

[Édith Piaf / Marguerite Monnot].

Le ciel bleu sur nous peut s'effondrer
Et la Terre peut bien s'écrouler
Peut m'importe si tu m'aimes
Je me fous du monde entier

Tant que l'amour inondera mes matins
Tant que mon corps frémira sous tes mains
Peut m'importent les problèmes
Mon amour puisque tu m'aimes

J'irais jusqu'au bout du monde
Je me ferais teindre en blonde
Si tu me le demandais

J'irais décrocher la Lune
J'irais voler la fortune
Si tu me le demandais

Je renierais ma patrie
Je renierais mes amis
Si tu me le demandais

On peut bien rire de moi
Je ferais n'importe quoi
Je ferais n'importe quoi
Si tu me le demandais

Et si un jour la vie t'arrache à moi
Si tu meures que tu sois loin de moi
Peu m'importe si tu m'aimes
Car moi je mourrai aussi

Et nous aurons pour nous l'éternité
Dans le bleu de toute l'immensité
Dans le ciel plus de problèmes
Mon amour crois-tu qu'on s'aime
Dieu reunit ceux qui s'aiment!

xxxxxxxxxxxxxxxxxxxxxxxx

Lyrics:
https://www.celinedionweb.com
/en/lyrics/lhymne-a-lamour/

“I Know Him So Well”. Sung By: Elaine Paige, Barbara Dickson.



“I Know Him So Well”.
Sung By: Elaine Paige, Barbara Dickson.
Available On YouTube

“I Know Him So Well”.

Nothing is so good it lasts eternally
Perfect situations must go wrong
But this has never yet prevented me
Wanting far too much for far too long.
Looking back I could have played it differently
Won a few more moments who can tell
But it took time to understand the man
Now at least I know I know him well

Wasn't it good?
Wasn't he fine?
Isn't it madness
He can't be mine?

Oh so good
Oh so fine

He can't be mine?

But in the end he needs
A little bit more than me --
More security

He needs his fantasy
And freedom

I know him so well.

No one in your life is with you constantly
No one is completely on your side
And though I move my world to be with him
Still the gap between us is too wide.

Looking back I could
Have played things
Some other way

Looking back I could
Have played it
Differently

Learned about the man
Before I fell

I was just a little
Careless maybe

But I was
Ever so much
Younger then
Now at least

Now at least
I know him well

I know I know him well

Wasn't it good?
Wasn't he fine?
Isn't it madness

Oh so good
Oh so fine

He won't be mine?
Didn't I know
How it would go?
If I knew from the start
Why am I falling apart?

Wasn't it good?
Wasn't he fine?

Isn't it madness
He won't be mine?

He won't be mine?

But in the end he needs a
Little bit more than me --
More security

He needs his
Fantasy and freedom

I know him so well

It took time to understand him

I know him so well.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Lyrics:
https://www.allmusicals.com/
lyrics/chess/iknowhimsowell.htm

“Total Eclipse Of The Heart (Turn Around)”. Sung By: Bonnie Tyler.



“Total Eclipse Of The Heart (Turn Around)”.
Sung By: Bonnie Tyler.
Available On YouTube

“Ne Partez Pas Sans Moi” (“Don’t Leave Without Me”). Sung By: Céline Dion. Switzerland’s Winner In Eurovision 1988.



“Ne Partez Pas Sans Moi”
(Don’t Leave Without Me).
Sung By: Céline Dion.
Switzerland’s Winner In Eurovision 1988.
Available On YouTube

“Ne Partez Pas Sans Moi”.

Vous, qui cherchez l'étoile
Vous, qui vivez un rêve
Vous, héros de l'espace
Au cœur plus grand que la terre
Vous, donnez-moi ma chance
Emmenez-moi loin d'ici...

Ne partez pas sans moi
Laissez-moi vous suivre
Vous, qui volez vers d'autres vies
Laissez-moi vivre

La plus belle aventure
Le plus beau voyage
Qui mène un jour
Sur des soleils, sur des planètes
D'amour

Vous, les nouveaux poètes
Vous, les oiseaux magiques
Vous, vous allez peut-être
Trouver de nouvelles musiques
Vous, donnez-moi ma chance
Je veux chanter, moi aussi...

Ne partez pas sans moi
Laissez-moi vous suivre
Vous qui volez vers d'autres vies
Laissez-moi vivre

Le bleu de l'infini
La joie d'être libre
Sur des rayons, sur des soleils
Sur des chansons, sur des merveilles
Et dans un ciel
D'amour

Le bleu de l'infini
La joie d'être libre
Vous qui cherchez une autre vie
Vous qui volez vers l'an deux mille
Ne partez pas sans moi.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Lyrics:
https://www.azlyrics.com/lyrics/
celinedion/nepartezpassansmoi.html

Sens Cathedral, France.



English: Sens Cathedral, France.
Deutsch: Kathedrale Saint-Ètienne, Sens.
Français: Cathédrale Saint-Ètienne, Sens.
Photo: 3 January 2018.
Source: Own work.
(Wikimedia Commons)



English: The Choir Screen,
Sens Cathedral, France.
Français: Grilles du chœur 
de la cathédrale de Sens,
Yonne, Bourgogne, France.
Photo: 17 September 2012.
Source: Own work.
Author: Pline
(Wikimedia Commons)


The 1734 Grand Organ of 
the Cathedral of Saint Etienne, Sens, France.
You can only watch on YouTube.
Available on YouTube

Text from Wikipedia - the free encyclopædia,
unless stated otherwise.

Sens Cathedral (French: Cathédrale Saint-Étienne de Sens) is a Catholic Cathedral in Sens, in Burgundy, Eastern France. The Cathedral, Dedicated to Saint Stephen, is the Seat of the Archbishop of Sens.

Sens Cathedral was the first Cathedral to be built in the Gothic Architectural Style (the Basilica of Saint Denis, the other pioneer Gothic building, built at about the same time, was an Abbey, not a Cathedral).[1]

The Choir was begun between 1135 and 1140, shortly before Notre Dame de Paris. The Sanctuary was Consecrated in 1164, but work continued until 1176.[2] It is a National Monument of France. 

The structure was completed in the Late-15th-Century and the Early-16th-Century with Flamboyant Style Transepts and a new Tower. 

The Architecture of its Choir influenced that of Canterbury Cathedral, which was rebuilt in the Gothic Style by the Master Mason William of Sens.


Sens Cathedral,
France.
Available on YouTube


Sens was an important and prosperous Town during the Late-Roman Empire, located at the meeting point of two Rivers and at the intersection of two major Roman roads. During the Carolingian Empire, it became a major centre of the Early-French Christian Church.

In 876 A.D., Pope John VIII gave the Archbishop of Sens the Title “Primate of the Gauls and Germans”. He was placed at the Head of six, and later seven, Dioceses, including Paris, Chartres, Orleans, and Troyes.[3][4][5] 

The Religious jurisdiction was transferred to the Archbishop of Lyon in the 11th-Century, but the Archbishop of Sens still keeps the Honorific Title “Primate of the Gauls and Germans”.[5]

The first Cathedral of Sens, described in Mediæval Records, was built sometime between the 6th-Century A.D. and the 9th-Century A.D., probably on the same site. According to Mediæval records, it was composed of three separate buildings, a Baptistry and two Churches. The date of their construction is not recorded, but Mediæval chronicles report they were destroyed by fire between 958 A.D. and 967 A.D., and replaced by a single structure.[5]


Contest Of The Cathedrals.
The Gothic Period.
Available on YouTube


By the 12th-Century, Sens was flourishing economically and growing in population. In 1122, Henri Sanglier, a Member of the Court of King Louis VI of France, was named Archbishop of Sens, and began the project of building a larger and grander Cathedral. 

In 1128, the new Bishop received a series of Letters from Saint Bernard of Clairvaux, Founder of The Cistercian Order, urging him as an Archbishop to live a less luxurious and more austere life, advice which the new Archbishop followed, as he amassed the funds and resources needed for his Cathedral.[6]

Construction of the new Cathedral began between 1130 and 1135.[7] The Vaulting over the Nave and Choir was revolutionary, composed of square Six-Part Rib Vaults, which distributed the weight downward to alternating Columns and Piers between the Bays. 


These Vaults had been used experimentally in one portion of Durham Cathedral, in England, and at Saint Denis Basilica, near Paris, but Sens was the first Cathedral to use them throughout the structure.[6]

Above the Arcades of Pillars and Columns on the Ground Floor, was the Triforium, which overlooked the Lower Roof, and, above that, the Clerestory, or, Upper Walls. 

Thanks to the new Flying Buttresses installed outside, between the Bays, to the walls, the Clerestory was later given large Stained-Glass Windows.[8]


Sens Cathedral,
France.
Available on YouTube


The Ground Floor of the new Cathedral had the Traditional form of a Basilica, with a long Nave and a large Choir, and no Transepts. 

A Walk-Way, or Ambulatory, surrounded the outside of the Nave and Choir. There were two Chapels flanking the Choir. Excavations in the 20th-Century showed there had originally been a rectangular Chapel in the Apse, at the East End, hidden by later modifications.[9]

The dimensions of the new Cathedral were extraordinary for the time: 113.5 meters long, 27.5 meters wide, and with a height of 24.4 meters.[10] 

The Church is larger in overall scale than its contemporaries, the Cathedrals at Saint Denis, Noyon or Senlis.[11]

The first phase of construction was completed by about 1160. It had an immediate influence on the construction of other Churches, particularly the Choir of the Abbey Church of Saint-Germain-des-Pres, in Paris, completed in 1163, and Vezelay Abbey, completed about 1180.[10]


Pope Alexander III and Thomas Becket.


Sens Cathedral immediately became a destination for important visitors. Pope Alexander III came to Sens with his Court in September 1163, in the midst of a dispute with the Emperor, Frederick Barbarossa, and remained for three years. 

At the end of 1164, Thomas Becket, the Archbishop of Canterbury, came to Sens as an Exile, forced to leave England because of his opposition to the seizure of Church property by King Henry II of England.

Becket remained in France until December 1170. He returned to England, where he was murdered by four Knights in Canterbury Cathedral. A collection of personal effects belonging to Becket, including his Church Vestments, are on display in the Treasury of Sens Cathedral. 


A major Stained-Glass Window on the North side of the Choir of the Cathedral, made in 1200 - 1210, illustrates the life of Becket.[12]

The Founder of the Cathedral, Henri Sanglier, died in 1142, and the work was carried on by his successors, Archbishops Hugues de Toucy (1142 – 1168) and Guillaume de Champagne (1169 – 1176), before he became Archbishop of Reims (1176 – 1202). 

The last part of the original Cathedral to be completed was the West façade, with its three Portals and original two Towers.


Under a new Archbishop, Gauthier Cornut (1221 - 1241), the Cathedral was the site of an important Royal Wedding, between King Louis IX and Marguerite of Provence, on 27 May 1234, which solidified the alliance between France and Provence

The Cathedral also briefly hosted the reputed Crown of Thorns from The Crucifixion, purchased by Louis IX from the Emperor of Constantinople, as it was handed over to the King with great ceremony, and then transported by boat to Paris for eventual placement in The Sainte-Chapelle.

Archbishop Cornut made a series of important modifications. To bring in more light, he raised the Upper Walls of the Choir and installed larger Stained-Glass Windows, a process that also took place at Notre Dame de Paris at about the same time. 


This project was continued by Cornut’s successors, and was not finished until 1309. He also began the construction of the Archbishop’s Palace, adjoining the Cathedral, the remodelling of the Saint Severin Chapel, and the installation of an ornate Jube, or Rood Screen, between the Choir and the Nave.[13]

The works were interrupted by a disaster, the collapse on 5 April 1268 of the South Tower, which caused several casualties and damaged the adjoining Archbishop’s Palace. 

The rebuilding of the Tower was long delayed for lack of funds, but was finally completed by a legacy in the Will of Archbishop Étienne Bécard de Penoul (1292 – 1309).[13]


English: Sens Cathedral, France.
Français: Cathédrale Saint-Étienne,
Sens, Côte d'Or, Bourgogne, France.
Photo: 17 June 2016.
Source: Own work.
(Wikimedia Commons)


The same Archbishop also remade the Chapel of Saint Savinien. The original rectangular Chapel was replaced by a more ornate polygonal structure with an Eight-Ribbed Vault and five Windows. This Chapel introduced the High Gothic, or “Classic” Style into the Cathedral. 

The 14th-Century also saw the addition of a series of new small Chapels, for private ceremonies, along the Aisles on either side of the Choir and the Nave.[13]

The other major 13th-Century modification was the reconstruction of the Early-Gothic Chapel of The Virgin, built in 1150, into the Rayonnant Style, with larger and more decorative windows. 

An even more ambitious project, a Transept, similar to that of Notre Dame de Paris, was started, but, evidently because of a shortage of funds, was not built until between 1490 and 1518. 


It was finally made in the exuberant Late-Gothic Flamboyant Style by the Master Mason Martin Chambiges, whose other works included Senlis Cathedral, Beauvais Cathedral (1499), and the West Front of Troyes Cathedral (1502 – 1531).[14][15]

The money for the Transept was raised by an ambitious fund-raising campaign, featuring displays of the Cathedral Relics and special Sermons. 

The King also made a modest contribution from the taxes on his properties in the Region.[13] The Portal of the new South Transept, the Portal of Moses, was built first, between 1491 and 1496, A new Rose Window was installed, along with a Tree of Jesse Window, between 1502 and 1503.


The Choir Screen, Sens Cathedral.
Photo: 7 June 2010.
Source: 
Author: rene boulay
(Wikimedia Commons)


Construction of the North Transept was begun in about 1502 under a different Master Builder, Hugues Cuvelier, since Martin Chambiges was by then occupied in building the Transept of Beauvais Cathedral. 

The Great South Rose Window, known as the Window of the Angel Musicians, was not put into place until 1515 – 1517. 

A few more additions were made in the 16th-Century. A Belfry was added to the new Tower (called the Lead Tower), but the new Bells, the largest two of which weighed fourteen tons and twelve tons, were not cast in the foundry and put in place until 1560.[16]

The work on the Cathedral was delayed in the Late-16th-Century by The Wars of Religion, opposing Protestants and Catholics. Sens was in the centre of the War, not recognising the Protestant King Henry IV, and the City was besieged without success by a Protestant army.


In 1621, the new Archbishop of Paris, Henri de Gondi, persuaded the new King Louis XIII, and Pope Gregory XV, to make the Archdiocese of Paris, rather than that of Sens, the principal Diocese of France. 

Thereafter, the new Archbishop of Sens, Octave de Belgrade, only had authority over the Bishops of neighbouring Auxerre, Nevers and Troyes. Nonetheless, Sens remained an important Religious centre, attracting Monastic Communities of the Jesuits, Carmelites, Benedictines, and Ursulines.[16]

Few important additions to the Cathedral were made in the following decades. In 1638, the explosions of cannons, firing to celebrate the birth of the future King Louis XIV broke the Stained-Glass Windows installed over the West Portal. They were replaced by plain glass.

In 1644, a storm broke the Stained-Glass Window depicting the Patron Saints on the North Transept. It was replaced with a new window, designed by the Painter, Antoine Soulignac in 1646.


South Transept Rose Window and Portal.
Flamboyant Gothic Style (15th-Century).
Photo: 1 June 2010.
Source: Own work.
Author: rabbitslim
(Wikimedia Commons)


The pace of change picked up in the 18th-Century. In 1760, King Louis XV ordered that the Golden Table, which served as the Centre-Piece of the Altar, be melted down to help refill the Royal Treasury after a costly War. 

In the 1760s, two new Altars, one devoted to Saint Louis and one devoted to Saint Martin, were put in place, along with an ornate Wrought Iron Grill and Gateway, with the Coat-of-Arms of Cardinal de Luynes.

New Stalls were installed in the Choir in the 1780s. The Stone Floor of the Cathedral was replaced in 1767 – 1769, which destroyed the Labyrinth, which had occupied the entire space of the floor at the entry of the Nave.

In 1785, a project was prepared for a new West Portal of the Church, in the form of a Classical Portico with columns, designed by François Soufflot, nephew of the future architect of The Pantheon in Paris, but it was rejected as too radical. A fund for a “Reconstruction in the Gothic Style” was granted by King Louis XVI in 1786, but the French Revolution intervened.[13]


Sens Cathedral, France.
The Tympanum of the Life of Saint Stephen. The heads of 
most figures were knocked off during the French Revolution.
Photo: 13 April 2019.
Source: Own work.
Author: Chabe01
(Wikimedia Commons)


The outbreak of the French Revolution, in Sens, preceded that in Paris by a day: On 13 July 1789, peasants broke down the Gates of the Palace of the Archbishop to seize the grain that had been confiscated and stored in the courtyard.

The Archbishop, Lomenie de Brienne, took an oath to the new Constitution. The belongings of the Cathedral were nationalised on 23 November 1790. In September 1792, the voting for the Deputies to the new Convention took place within the Cathedral. Archbishop de Brienne became a Constitutional Bishop, and, later in the month, the abolition of the Monarchy and declaration of the Republic was announced in the Cathedral.[17]

In November 1793, the Revolutionary Army, called “the Marseillaises”, marched from Paris to put down a Counter-Revolutionary outbreak in Lyon. They stopped in Sens for a few hours on 7 November 1793, and took the time to smash the sculpture on the Central Portal of the Cathedral, sparing only the statue of Saint-Etienne, because a quick-thinking Clergyman had put a Revolutionary Cap on its head.[17]

Eight of the Bells were taken down from the Tower to be melted down for their Bronze, though the two largest, the Bourdons, remained in place. 

In February 1794, the Festival of Reason was celebrated in the Cathedral, and, on 8 June 1794, the Cathedral was formally re-named “the Temple of the Supreme Being”.[18]


Sens Cathedral, France.
The South facade, Portal of Moses, and
Flamboyant Rose Window (15th–16th-Century).
Photo: 22 September 2020.
Source: Own work.
Author: Engilhramm
(Wikimedia Commons)


With the end of “The Terror”, for a time The Catholic Church shared the structure with a semi-religious cult called “Theophilanthropy”. 

In October 1801, the Cathedral came back entirely under the control of The Catholic Church, though Emperor Napoleon I refused to restore the special status of Sens having dominance over other Cathedrals. Sens Cathedral became an ordinary Parish Church.[18]

Sens Cathedral suffered more damage during the Napoleonic Wars. In February 1814, the Town was bombarded by Russian Artillery, which damaged some of the Stained-Glass, and, in the same month, Prussian Soldiers used the Cathedral as a Barracks. Traces of their cooking fires can still be seen on the Stone Floors.[18]


After the fall of Napoleon, with the restoration of the Royal Government, in 1817 Sens again had an Archbishop, governing Churches in Troyes, Nevers and Moulins, as well as Sens.

A major project of repair of years of neglect and damage took place from 1834 to 1848, under the direction of the Diocese Architect, Charles Robelin; he served as the consultant on Gothic Cathedrals to Victor Hugo, whose novel “Notre Dame de Paris” had appeared in 1831.

Hugo came to Sens to see the Cathedral in 1839 and wrote: “All the contrasts are mixed in this admirable Church, and are resolved into harmonies . . . it is the complicated art of history, it is the Religion of the Spirit, powerfully combined with the philosophy of facts.” During the course of the restoration, many of the sculptures were replaced with new works.[19]


In 1847, a new figure in restoration, Eugène Viollet-le-Duc visited the site, and declared that the restoration work of Robelin was “deplorable.” He dismissed Robelin, and a new Architect, Adolphe Lance, took charge, with a programme of demolishing some of the 14th-Century and later additions and restoring the structure as much as possible to the Plan of the 13th-Century.

Old Chapels that had been demolished were recreated. Modern Panelling and other additions were stripped away, and the weak points of the structure were reinforced with Iron. 

The Painter, Jean-Baptiste Corot, visited the Cathedral in 1874 and painted it at this stage of the restoration.

Viollet-le-Duc added a gilded Bronze Arm-Chair, modelled on 12th-Century designs, which was placed in the centre of the Cathedral, to be the formal Seat of the Archbishop. 


The Architect, Adolphe Lance, died in 1874 and his work was completed in 1898 by Charles Laisne.[20]

At the beginning of the 20th-Century, the French Church and State were formally separated; Priests were no longer paid by the State, and the Cathedral became the property of the French Government. 

In 1907, the Archbishop had to abandon his Palace, which had become State Property, and find a different residence. His old residence is now the Museum of Sens.


English: The 16th-Century North Transept Rose Window.
Français: Rosace du transept Nord de la cathédrale de Sens.
Photo: 28 May 2019.
Source: Own work.
Author: Thomon
(Wikimedia Commons)


In the First World War, the Cathedral was far from the Front Line, but, in the Second World War, the German Army swept through Sens, which was captured on 15 June 1940. 

The Stained-Glass Windows had been taken out and replaced by boards. Five German Shells struck the Cathedral, causing minor damage. French Prisoners-of-War were initially kept inside the Cathedral; they included André Malraux, the future French author and Minister of Culture. 

In 2014, the Cathedral celebrated the 850th Anniversary of its Consecration.[21]

The South Tower, known as “The Stone Tower”, was finished, along with the West Façade, in 1230. However, in 1268, over a period of three days, it collapsed. It was rebuilt, and, in 1537, was capped with a Campanile in the Renaissance Style, which brought its height to 78.25m (256 ft). 


The North Tower was originally topped by an octagonal Bell Tower, made of Wood, covered with Lead. This structure, called “The Lead Tower”, was taken down during the reconstruction of the Cathedral in 1848.[22]

The Cathedral has seven Bells, four in the South Bell Tower, including the two massive Bourdons, and three in the Campanile, above it. 

The oldest of the original Bells, called “Marie”, was made in 613 A.D. for the Bishop, Saint Loup. During the French Revolution, “Marie” and the seven other original Bells were taken to Paris to be melted down to be made into cannons.[23]


The Bourdons are among the largest in France. They were forged in 1560. The largest, called The Savinienne, weighs 15,600 kilograms, while the smaller, The Potentienne, weighs 10,000 kilograms. 

The inscription in Latin on Savinienne translates: “I was forged in Sens, in the year one thousand five hundred sixty. By my sound, and the name of the first Saint-Bishop, the storms and winds do not disturb this climate. I convoke the services, and lament the deaths. Now Pious IV reigns in Rome, the Emperor Ferdinand governs the Germans, King Francis II the Gauls, and Jean, Cardinal Bertrand, the Archdiocese of Sens.” Then, in French, “Gaspard Mongin-Viard made me.”



English: The Portal of Moses
and the Flamboyant Rose Window
(15th-Century to 16th-Century.)
Français: Cathédrale Saint-Etienne de Sens, 12e-16e siècles.
Transept de Martin Chambiges XV-XVIe siècles,
à droite chapelle de la Vierge XIII-XIVe siècles.
Photo: 22 September 2020.
Source: Own work.
Author: Engilhramm
(Wikimedia Commons)

The West Façade has three Portals, or, doorways, which contain some of the oldest sculpture in the Cathedral. 

Some of the sculpture was smashed during the French Revolution, and some original pieces, notably the Column-Statues and two bas-reliefs, have been moved to the Museum within the Archbishop’s Palace, and replaced with copies.

The North Portal, dedicated to John the Baptist, is the oldest, made between 1190-1200, prior to the Portals of Notre Dame de Paris and Chartres Cathedral

It is the best preserved, and is an exceptionally good example of the Early-Gothic Style. Its arched Tympanum over the doorway is crowded with sculpted figures and events of the Saint’s life.


The central scene, just over the door, depicts Christ, in the water, being Baptised by the Saint. Another scene depicts Salome, the nemesis of the Saint, carrying his head on a plate. 

Traces of paint were found on the sculpture, including Red pigment on the neck of John the Baptist and Gold on the cup of Salomé, indicating that, as with other Gothic Cathedrals, the entire Tympanum was brightly coloured. [24]

The Central Portal is aligned with the Altar, and is dedicated to Saint Stephen, the Patron Saint of the Cathedral, with events of his life. His statue occupies the Column between the two doors, and was the only one of the Statue-Columns that survived the Revolutionary battering. (The statue is a copy – the original is now inside the Museum). 

Besides statuary representing the Parable of the Ten Virgins and the story of Saint Stephen, it presents sculptures of animals, including ostriches, elephants and dolphins, as well as mythical beasts including basilisks and griffons.


It also illustrates the typical activities of each of the twelve months, including harvesting crops and making wine. 

Many of these works were badly damaged during the Revolutionary vandalism. The sculpture on “soubassements”, or, lower portions of the Portal, contain sculptural figures illustrating the arts and sciences of the Middle Ages, including Grammar, Dialectics, Rhetoric, Music, Mathematics, Astronomy, and Philosophy.[24]


English: The Tympanum over the Great West Door,
Saint Stephen’s Cathedral, Sens. It depicts the life of Saint Stephen. The heads of most figures were 
destroyed during the French Revolution.
Français: Cathédrale Saint-Étienne de Sens.
Photo:: 13 April 2019.
Source: Own work.
Author: Chabe01
(Wikimedia Commons)


The South Portal on the West Façade is dedicated to The Virgin Mary, and the Tympanum illustrates her life. It is the most recent, probably from the end of the 13th-Century. It replaced the original Portal, which was destroyed in 1268 by the fall of the South Tower.[25]

The Transept of the Cathedral was constructed at the end of the 15th-Century and the beginning of the 16th-Century, in The Flamboyant Style. It was the work of Architect Martin Chambiges, who also designed the Transepts of Senlis Cathedral, Beauvais Cathedral (1499), and the Great West Front of Troyes Cathedral (1502–1531). 

The Portal of the South Transept was reserved for the Archbishop, whose residence faced it across the Courtyard. The North Portal was reserved for the Clergy of the Chapter.

The Flamboyant Style is most vividly expressed in the curving Pointed Archway over the Portal of Moses, topped by a statue of Moses with the Tablets of the Ten Commandments. 

Above, is a group of narrow Lancet Windows, below the South Rose Window, which is filled with the Flamboyant twists and counter-twists of Stone Tracery. 


This Façade is flanked by two Pinnacle-like Towers, which contain stairways and are topped with elaborate Spires. 

The stairways are marked with the Fleur-de-Lis emblem of King Louis X of France and the Ermine, symbol of his wife, Anne de Bretagne

There are many niches for sculpture above the doorway, but the statues were destroyed in the French Revolution. [26]

The North Transept Portal, called the Portal of Abraham, also designed by Martin Chambiges, has an even more elaborate Flamboyant Rose Window and Façade; it was built between 1503 and 1507. The statuary here was also destroyed in the French Revolution.[27]


Sens Cathedral has an important collection of Stained-Glass Windows covering the periods from the Early-Gothic to the Renaissance. 

The oldest Stained-Glass, from the Early-13th-Century, is found in the upper windows of the Choir and in the Apse. The best-known is the Thomas Becket Window, celebrating his Life and Martyrdom.[22]

The other windows present the Parables of the Good Samaritan, and the Prodigal Son. These windows date from 1200-1205, and are located in the North Collateral of the Choir. They are composed of Circular and Triangular Medallions of Stained-Glass, illustrating episodes in the lives of their subjects.

The Rose Windows in the Transept are from the 16th-Century and are good examples of the Late-Flamboyant Gothic Style. The realism and use of three dimensions in the windows shows the growing influence of the Renaissance.[22]


English: Flamboyant-Style North Transept Rose Window
(1503–1507).
Français: Façade transept nord.
Photo: 7 September 2011.
Source: Own work.
(Wikimedia Commons)


The Virgin and Child sculpture is known particularly for The Virgin’s serene expression and the fine detail of the drapery. It was given to the Church by Canon Manuel de Jaulnes in 1334. 

Like most statues of The Virgin, it was spared destruction during the French Revolution, though the decoration of the Crown was broken off, and later restored.[28]

The Chapel of The Salazars was created by Archbishop Tristan de Salazar (1474-1519) to honour his parents. It contains a Baldaquin facing an Altar of Black Marble, on four Pillars, with a Retable above it. 


The Altar was made in 1514 by Guillaume Chavelveau. The sculpture on the Retable illustrates the Religious history of Sens and of The Salazars.

It includes sculpted images of John the Baptist, Saint Stephen, a Virgin and Child, and eight statues of Prophets and Sibyls. 

The intricate decoration and lace-like Spires are in the Flamboyant Gothic Style. The work was Consecrated in 1516 by the donor.[28]


The Martyrdom of Saint Severin was made in the 18th-Century by the sculptor Joseph Hermand, the Royal Sculptor for the King of Poland and Duke of Lorraine, Stanislas Leczinski. The dramatic scene of the Martyrdom is set against a Screen of Pale Yellow stucco, resembling drapery.[28]


English: 
The 16th-Century North Rose Window,
Sens Cathedral, France.
Français: 
Rosace du transept Nord de la cathédrale de Sens.
Photo: 28 May 2019.
Source: Own work.
Author: Thomon
(Wikimedia Commons)

The tomb of Louis, Dauphin of France (son of King Louis XV), and his Consort, Marie-Josèphe of Saxony, who died of tuberculosis in 1765, is located in the Cathedral. 

Though he was never King of France, he was the father of three French Kings: Louis XVI, Louis XVIII, and Charles X. The sculpture is by Guillaume Coustou the Younger.[29]

Other prominent works of sculpture and bas-relief represent scenes from the life of Cardinal Antoine Duprat, Chancellor of France and Archbishop of Sens from 1525 to 1535. 


The Mausoleum, from which they came, was destroyed in the French Revolution.

In 1740, Archbishop Jean-Joseph Languet de Gergy decided that the Cathedral needed a grander Altar and a Baldaquin, a high Canopy over the Altar, to participate in the Artistic Counter-Reformation campaign against the more austere Protestants.

The function of the Baldaquin was to attract the eyes to the Altar. The new work was designed by the Chevalier, Jean Nicolas Servandoni, Architect of the King, and two Sculptors, the Slodtz Brothers.


The main elements of the Baldaquin are the four Marble columns, each five metres high, which came from Rance. They originally were made to surround the statue of King Louis XIV in the Place des Victoires, but were removed in 1718.

The old Altar was demolished, beginning in 1742, and the remains of the earlier Bishops and Clergy, which were buried beneath the floor, were relocated. The Columns were placed upon Pedestals to make them even higher, and crowned with Gilded Bronze Corinthian Capitals, which support the Gilded Canopy.

The centre-piece of the Canopy is a gilded Sunburst design with a Tetragramme, the four Letters of The Name of God in Hebrew, YHWH. 

The gilded Crown at the top was inspired by that made by Bernini for the Altar of Saint Peter’s Basilica in Rome.[30]


The Retable of The Salazars (1514).
Sens Cathedral, France.
Photo: 8 July 2016.
Source: Own work.
Author: PMRMaeyaert
(Wikimedia Commons)

The Marble of the original Altar, Consecrated in 1332, was incorporated into the new Altar. The Altar originally had a celebrated Golden Table, which was removed and melted down to raise money during the Reign of King Louis XV. 

At the summit of the Baldaquin, is a Bronze statue of an Angel, two metres (six feet) high, holding a Crucifix in one hand and a Chain in the other, attached to a Silver Pavilion holding a Chalice, a symbol of the Ceremony of The Eucharist.[30]

The Nave, intended for the public, and the Choir, intended for the Clergy, were originally separated by a Stone Screen. with a single doorway. 


The Choir was surrounded by an Iron Grill. The Screen and Old Grill deteriorated, and, in 1726, the Chapter decided to replace it with a new, more ornate, Screen, with the Coat-of-Arms of the Chapter and a Crucifix. 

The work did not begin until 1760, with a new design and an abundance of gilding. The gateway to the Choir was particularly ornamented with twisting sculpture resembling Grapevines, the symbol of The Eucharist.

On top of the Gate is the Coat-of-Arms of Cardinal de Luynes, composed of Chains of Gold and Lions. The earlier, simpler, Grill, made in 1726, was moved to the Chapel of Saint Savinien, where it remains today.[31]


The Pipe Organ at Sens Cathedral was used in Mediæval times and only played during interludes; the chanting by the Clergy was unaccompanied. [32] 

The earliest mention of an Organ in the Cathedral was in 1440. Records show a new Organ, with twelve Pedals, installed in 1560, and enlarged in 1609. 

A new, larger, instrument, more in keeping with changes in Church Music, was ordered in 1722, and installed for Easter 1734, near the entrance of the Nave.


The 1734 Grand Organ.
Cathedral of Saint Etienne, Sens, France.
You can only watch on YouTube.
Available on YouTube

The new instrument could play thirty-six notes on its three Keyboards, and an additional twenty-nine notes with Foot Pedals, enlarged to thirty-four notes in 1774.[32]

Following the French Revolution, when the Cathedral was Secularised, the Organ was used only rarely, for Festivals celebrating “The Supreme Being”. 

In 1802, the Cathedral was returned to The Catholic Church. 

The Organ was fragile and sensitive to humidity, and in need of restoration. The composer Charles Gounod came to the Cathedral in 1886 and asked to see the Organ, which was then hardly playable.


He launched a campaign for its restoration, which was finally done in 1890. 

It underwent another restoration in 1978. Today, it has 878 Pipes from the 18th-Century, and an additional twenty-four Pipes from the 19th-Century, for a total of 2,906 Pipes. 

A second, less powerful, Organ was installed in the Choir in 1841 to accompany the singers.[33]



English: The Choir, with the Bishop’s Chair, Sens Cathedral.
Deutsch: Chor/Altarraum der Kathedrale von Sens, Frankreich.
Photo: 3 January 2018.
Source: Own work.
(Wikimedia Commons)

The Archbishop’s Residence, adjoining the Cathedral, now displays the Cathedral Treasury, and also houses the History Museum of the City of Sens, with an important collection of Gallo-Roman antiquities. 

The Palace was built in the 13th-Century, with further additions made in the 16th-Century and the 17th-Century. It was restored by Viollet-le-Duc in the 19th-Century.[34]

The Treasury includes a large collection of objects used in Celebrating Mass in the Cathedral, including Crosses, Reliquaries, Chalices, Rings, and a very ornate Reliquary, made for Charlemagne, for a purported fragment of The True Cross


It also includes Clerical Vestments, including a Mitre, Robes, and Shoes, worn by Saint Thomas Becket during his time in Sens.[35]

The lower level of the Sens Museum features a reconstruction of a Roman Thermal Bath, with a large Mosaic Floor. 

The Baths were discovered beneath the gardens of a nearby residence, and were excavated and re-assembled in the Museum in 1910. The central element is a depiction of the legend of the Chariot of the Sun, after the Fall of Phæton.

The Museum has a diverse collection, including a painting by Pieter Brueghel the Younger, a Sculpture by Rodin, and Art Deco furniture from the workshop of Raymond Subes, who provided furnishings for the Ocean Liner “Normandie”.
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