Paris
visitors rightly awe at the beautiful rose window of Notre Dame
Cathedral. Many do not know that one of the two most beautiful uses
of stained glass is in the Sainte Chapelle, only a few hundred
meters away on the same island as Notre Dame.
La Sainte Chapelle, Paris 13th-Century windows
The
other greatest place to see the Middle Ages art form is in the
Cathedral of Chartres, about 50 miles from Paris. Some consider this
the most beautiful of all Gothic cathedrals.
Sainte
Chapelle is not far from the courtrooms and judicial offices I have
written about in two earlier columns. Commissioned by King Louis IX
to house his collection of Passion Relics, including Christ’s
supposed crown of thorns, it was consecrated in 1248.
La Sainte Chapelle, Paris. Another view
The
building originally known as the Palais de la Cité is
now known as La Conciergerie. The chapel occupies the towering
space above the ground floor. Set in its walls is most breathtaking
collection of 13th-century glass anywhere in the world.
About
50 miles southwest of Paris, the Chartres Cathedral was largely
completed by 1250, putting its soaring stained glass windows in the
same period as the King’s Holy Chapel in Paris. Its windows are
equally impressive and have survived for more than 750 years.
Just
before World War II, the windows were removed for safekeeping. During
the Liberation Allied intelligence reported the cathedral was being
used as a German observation post, and American bombers were planning
to bomb it. Colonel Welborn Griffith questioned the plan and
volunteered to go behind enemy lines with a single enlisted soldier.
They discovered the Germans were not using the cathedral. Bombing
plans were cancelled.
I
have seen the Chartres stained glass windows on three or four
occasions. The first and last times, decades apart, are indelibly
engraved in my memory.
The Rose Window, Chartres Cathedral
At
the end of World War II there was a tremendous surge of mature,
discharged veterans eager to accept mission calls. Their church
service had been delayed by military service.
Closed
European missions were reopened. Mission presidents were called, and
they had incredible work to do before they could begin receiving
elders and sisters. The missionary force they got was older,
experienced in the world, and seasoned.
Because
of unusual circumstances, when I arrived in Paris five months after
my 22nd birthday, I was a veteran of 2 ½ years in
the United States Army, had completed five years of college credit,
and had graduated from the University of Utah. Many of my fellow
veterans took mission calls before going for their college degrees.
In
time, many from the French Mission would have distinguished careers
in medicine, business, education, and science. They became mission
presidents, from Europe to Canada to Tahiti, and filled many other
church callings at all levels. One of us, James Paramore, became a
President of the Seventy.
In
later times, with so many thousands of elders and sisters in many
more missions, there is an indispensable need for structure, rules,
procedures, and management, lest resources and people be wasted. In
those post-WWII days there was no language training, no set
procedures or courses for proselyting or teaching. We had to wing it,
relying on the Spirit for guidance.
Fortunately,
the French Mission had great presidents, first James L. Barker, who
opened it; then Golden Woolf, who built on the foundation using a
missionary force that was slowly becoming younger and more
traditional.
Under
Barker, the French Mission began publishing a monthly magazine,
l’Etoile (the Star). It was edited at mission
headquarters in Geneva, Switzerland, but it was printed in Liège,
Belgium by a small printer whose wife was a member of the Church.
After
about ten months divided among Béziers, Lyon, and Paris, I was
transferred by Pres. Barker to Liège to take over that end of
the magazine operation. I had been in the first class to graduate
from the University of Utah’s new journalism department, and I
had been Wednesday editor of the Daily Utah Chronicle. I had
declined the opportunity to become city editor of a Nevada newspaper
in order to return to Reno and ask my bishop to call me on a mission.
Geneva
sent me the French typescripts for magazine articles. I laid out the
magazine, wrote the headlines, worked with the printer, and mailed
the printed magazines to subscribers. When the sister in Geneva who
was serving as editor was released, President Woolf transferred me to
Geneva, where I took over the entire production.
With
the President’s approval, I selected or wrote every article,
obtained translations into French (usually using Prof. Charles Cestre
of the Sorbonne in Paris, an old Barker friend), typed out the
translations, had a former mayor of Geneva proofread the copy, and
laid out the magazine and typography.
I
wrote Salt Lake asking for a few photographs I needed for the
magazine and received help from the head of the church’s
Mission Literature head, Gordon B. Hinckley. (As my mission ended he
wrote that if I got to Salt Lake please come see him about the
possibility of my going to work for him. I did pass through Salt
Lake, but he was out of town. Anyhow, I had already been accepted for
graduate work at Boston University.)
The
Book of Mormon had been translated into French by Louis Bertrand and
published in 1851. Bertrand had been editor of a political newspaper.
He had also worked in New Orleans. Back in France he would have been
the first person baptized by John Taylor and Curtis Bolton after they
opened the mission, but a woman who was older than Louis was baptized
in the same ceremony because of her seniority.
The
Bertrand translation was a good translation, and it served France and
the French parts of Belgium and Switzerland for a century. The last
time it had been printed was sometime before WWII, and the mission’s
supply of the books was becoming dangerously low. It needed to be
reprinted. The project was far beyond the capability of the printer
in Liège. Besides, I was becoming increasingly displeased with
that printshop.
President
Woolf asked me to find a printer. So I went off alone, fending for
myself — something that would never do nowadays — from
Geneva to Paris to find a reliable book printer.
Newspapers
frequently do job printing. I went to see an editor of the
International Herald Tribune, the English newspaper published
in Paris but read all over Europe.
He
gave some names.
I
eventually recommended a printer in the tight, old streets of the
Left Bank Latin Quarter. I was sufficiently impressed by this
operation that I transferred the printing of l’Etoile
from Belgium to Paris.
Before
making that choice, however, I checked out another name on the list.
I took a train ride to see a printer in Chartres.
On
a bright, sunshiny day for the first time I saw the stained glass
windows of the Cathedral! One does not forget such a sublime
experience.
Some of the 13th-Century stained glass windows in the Chartres Cathedral
Decades
later Jay and Marcelle Welch were called to head the genealogical
program in France — teaching people how to do research, looking
for records, setting up libraries. Jay and I bonded in the first
weeks of my mission when he led a quartet of singing missionaries on
a concert tour.
Later
we served in Lyon at the same time. Marcelle worked in Paris for the
U.S. Graves Registration Service; so she and I, too, were old
friends.
I
came to Paris during their mission. They had learned there was a
non-member in Chartres that had compiled extensive genealogical
records, which they wanted to photograph. Jay and Marcelle invited me
to spend the day with them and search for this woman.
Being
with Jay was always an adventure, in the best way.
The
day was heavily overcast and drizzly.
The
three of us entered the cathedral expecting to be disappointed
because of the weather. We were overwhelmed. The light through the
stained glass was indeed different, but it made the windows beautiful
in a different way!
We
were so impressed that we decided Chartres was best seen on a dreary
day.
That
was the last time I saw those glorious windows.
Lawrence Jeppson is an art consultant, organizer and curator of art exhibitions, writer, editor
and publisher, lecturer, art historian, and appraiser. He is America's leading authority on
modern, handwoven French tapestries. He is expert on the works of William Henry Clapp, Nat
Leeb, Tsing-fang Chen, and several French artists.
He is founding president of the non-profit Mathieu Matégot Foundation for Contemporary
Tapestry, whose purview encompasses all 20th-century tapestry, an interest that traces back to
1948. For many years he represented the Association des Peintres-Cartonniers de Tapisserie and
Arelis in America.
Through the Smithsonian Institution Traveling Exhibition Service, the American Federation of
Arts, the Museum of Modern Art, and his own Art Circuit Services he has been a contributor to
or organizer of more than 200 art exhibitions in the United States, Canada, Japan, and Taiwan.
He owns AcroEditions, which publishes and/or distributes multiple-original art. He was co-founder and artistic director of Collectors' Investment Fund.
He is the director of the Spring Arts Foundation; Utah Cultural Arts Foundation, and the Fine
Arts Legacy Foundation
Lawrence is an early-in-the-month home teacher, whose beat is by elevator. In addition, he has spent the past six years hosting and promoting reunions of the missionaries who served in the French Mission (France, Belgium, and Switzerland) during the decade after WWII.