Cathédrale Notre-Dame de Reims Audio Guide

Coronation of the Virgin

Look up at the triangular gable positioned directly above the central portal of the west facade. Here, a high-relief stone carving depicts Christ crowning his mother, the Virgin Mary, who bows her head in acceptance. Reims Cathedral was formally dedicated to Mary, making this prominent central scene highly significant to the building's identity. By placing this celestial coronation at the primary entrance, the builders established a visual parallel to the earthly coronations of French kings occurring directly inside the doors. The scene reinforced the legitimacy of the crown by linking royal ceremonies to the heavenly reign of the queen of heaven. Fine drapery and expressive poses distinguish these figures, which catch the changing daylight throughout the afternoon.

The Grand Nave

Inside the cathedral, a dramatic sense of verticality defines the one hundred fifteen-meter-long nave. Gothic builders utilized soaring clustered columns and pointed ribbed vaults to guide the eye upward, creating an expansive, airy interior. This layout was deliberately engineered with vast open spaces and exceptionally wide side aisles to manage the immense crowds of nobles, foreign dignitaries, guards, and clergy who packed the cathedral during royal coronation ceremonies. The absence of a large choir screen further improved sightlines, ensuring that those gathered in the nave could witness the sacred rituals taking place at the far eastern end of the building. Light filtering through high clerestory windows illuminates the stone pillars, highlighting the scale of this medieval hall.

Tomb of Hugues Libergier

Carved into this gravestone slab is the figure of Hugues Libergier, a thirteenth-century master mason who designed the nearby church of Saint-Nicaise. Unlike the vast majority of medieval builders who worked in anonymity, Libergier achieved a level of social status that earned him this prominent monument. He is depicted holding a highly detailed model of his church, accompanied by the primary tools of his trade: a measuring rod, a square, and a compass. An elegant gothic architectural frame surrounds his figure, mirroring the pointed arches and trefoils characteristic of the cathedral's own design. The inscription running along the border records his death in the year 1263, ensuring his contribution to gothic engineering was preserved for future generations.

The Floor Labyrinth

In the year 1779, the cathedral canons ordered the destruction of the original floor labyrinth because they were repeatedly annoyed by children playing on the patterns during church services. Today, the historic design is occasionally celebrated and remembered through light projections on the stone floor. The original layout formed a large square with cut corners, featuring octagonal sections that honored the master builders of the cathedral. Beyond its decorative purpose, the labyrinth served a practical spiritual function for medieval believers, who would slowly walk the winding path on their knees. This physical act functioned as a symbolic pilgrimage to Jerusalem for those who lacked the financial means or physical ability to undertake the actual, dangerous journey to the Holy Land.

The Baptism of Clovis

Positioned on the exterior wall is a stone relief depicting a bearded man submerged within a baptismal font, surrounded by attending religious figures. This carving represents the baptism of Clovis I, King of the Franks, by Saint Remigius on Christmas Day around the year 496 AD. This single historical event fundamentally shaped the destiny of Reims Cathedral. Because Clovis received his baptism here, the city of Reims became recognized as the spiritual birthplace of the French monarchy. This legacy legally bound future French kings to receive their crowns in this specific cathedral, ensuring that every coronation ceremony was anchored to the historic site where the nation's first king embraced the Christian faith.

The Astronomical Clock

Suspended on the wall of the north transept is a rare fifteenth-century astronomical clock enclosed within a tall, wooden gothic casing. Carved figures of saints and angels surround the circular dial, which features complex mechanical indicators. This intricate device was designed to do far more than simply tell the hours of the day. It tracked the phases of the moon, recorded religious holiday calendars, and mapped planetary alignments. For medieval churchgoers, the clock served as a visual representation of the divine order believed to govern the universe, merging scientific observation with theological belief. The wooden cabinet features pointed spires and delicate openwork panels that harmonize with the surrounding stone architecture of the transept.

The Choir and Sanctuary

At the eastern end of the cathedral lies the choir and sanctuary, the historic stage where French kings were crowned. During the elaborate coronation ritual, the monarch knelt before the high altar to be anointed with holy oil from the sacred ampulla, which tradition held was brought by a dove for the baptism of Clovis. Following the anointing, the king received the crown of Charlemagne. To support these elaborate ceremonies, the space features grand wooden stalls for the clergy and a historic organ. The acoustics of the high, vaulted ceiling were carefully optimized by medieval builders to ensure that liturgical chants and organ notes echoed clearly throughout the entire length of the building, enhancing the solemnity of the state events.

The Coronation Chalice

stone, gold

Crafted from gold and decorated with fine filigree work, the chalice of Saint Remigius was used during coronation ceremonies to administer sacramental wine to the newly crowned king. The surface of the vessel is adorned with inset pearls, delicate filigree, and colorful gemstones. This priceless liturgical object is typically housed in the adjacent Palace of Tau. It represents a rare survivor of the French Revolution, an era when most royal treasures and religious relics were seized and melted down for their precious metals. The intricate patterns along the base and cup reflect the high level of medieval metalworking craftsmanship preserved from the early centuries of the French monarchy.

Knoebel Stained Glass

In the axial chapel, three modern stained-glass windows stand out with their abstract compositions of red, yellow, and blue shards. Designed by German artist Imi Knoebel, these windows were installed in 2011 to mark the eight-hundredth anniversary of the cathedral's foundation. The commission carries significant symbolic weight, as a German artist was selected to create art for a French cathedral that was heavily damaged by German artillery during the First World War. By replacing the damaged historic glass with these bold, modern colors, the chapel was transformed into a space dedicated to international reconciliation. The abstract shapes allow natural light to filter through in varying tones, casting colored patterns across the stone altar below.

The Great Rose Window

Facing the west entrance is the great thirteenth-century rose window, a masterpiece of medieval stone and glass design. The intricate stone tracery radiating from the center holds panels of deep blue and ruby-red glass that depict the Dormition and Coronation of the Virgin Mary. Positioned to face the west, the window was engineered to capture the late afternoon sun as it sets. This orientation floods the long nave with a shifting spectrum of colored light, a visual effect that medieval theologians often compared to the spiritual light of heaven. The circular frame is surrounded by smaller lancet windows, creating a massive wall of light that dominates the western end of the church.