Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:01,333 --> 00:00:03,933
♪ ♪
2
00:00:07,000 --> 00:00:11,000
NARRATOR:
Notre-Dame de Paris.
3
00:00:11,000 --> 00:00:13,400
A treasured icon of Gothic
architecture
4
00:00:13,400 --> 00:00:15,033
and medieval construction.
5
00:00:16,066 --> 00:00:18,133
ELSIE OWUSU:
The level of determination
6
00:00:18,133 --> 00:00:20,633
and the feat of engineering
in those days,
7
00:00:20,633 --> 00:00:21,800
just extraordinary.
8
00:00:21,800 --> 00:00:25,500
NARRATOR:
But on April 15, 2019,
9
00:00:25,500 --> 00:00:28,033
disaster strikes.
10
00:00:28,033 --> 00:00:30,300
A huge fire rips through
the cathedral...
11
00:00:30,300 --> 00:00:33,433
(people exclaiming)
12
00:00:33,433 --> 00:00:36,633
NARRATOR:
...threatening to bring down
the entire structure.
13
00:00:36,633 --> 00:00:38,000
(revving)
14
00:00:38,000 --> 00:00:42,066
♪ ♪
15
00:00:42,066 --> 00:00:45,200
Now, master craftspeople
and engineers
16
00:00:45,200 --> 00:00:49,666
battle to bring Notre-Dame
back to life.
17
00:00:49,666 --> 00:00:51,966
PHILIPPE VILLENEUVE
(translated):
From what we've done so far,
18
00:00:51,966 --> 00:00:54,433
it's clear to us that this
cathedral will be extraordinary.
19
00:00:54,433 --> 00:00:58,700
NARRATOR:
Hundreds of workers are in an
ambitious race
20
00:00:58,700 --> 00:01:00,566
to restore this medieval
masterpiece
21
00:01:00,566 --> 00:01:04,666
in time for a grand reopening
planned for 2024.
22
00:01:06,933 --> 00:01:08,566
(speaking French):
23
00:01:09,900 --> 00:01:13,200
NARRATOR:
Historians and scientists
work together to analyze
24
00:01:13,200 --> 00:01:17,066
and reproduce Notre-Dame's
architectural mysteries.
25
00:01:17,066 --> 00:01:18,433
KARINE BOULANGER:
It is a very unique opportunity.
26
00:01:18,433 --> 00:01:20,300
It's a kind of a
27
00:01:20,300 --> 00:01:21,733
walking backwards in time.
28
00:01:21,733 --> 00:01:24,100
♪ ♪
29
00:01:24,100 --> 00:01:27,700
NARRATOR:
They're revealing ancient
technology hidden for centuries.
30
00:01:27,700 --> 00:01:29,933
MAXIME L'HÉRITIER:
We're dealing with
unknown structures
31
00:01:29,933 --> 00:01:33,733
that are, so far, unique
in Gothic architecture.
32
00:01:33,733 --> 00:01:35,566
NARRATOR:
And struggling to save
33
00:01:35,566 --> 00:01:37,033
the fragile structure of
the building.
34
00:01:37,033 --> 00:01:38,800
JEAN-DIDIER MERTZ:
The loss of matter
35
00:01:38,800 --> 00:01:40,700
is catastrophic for us.
36
00:01:40,700 --> 00:01:43,966
NARRATOR:
Now, three years into
this extraordinary
37
00:01:43,966 --> 00:01:46,200
five-year restoration project,
38
00:01:46,200 --> 00:01:50,000
can this team meet
its ambitious deadline?
39
00:01:50,000 --> 00:01:51,933
"Rebuilding Notre-Dame,"
40
00:01:51,933 --> 00:01:53,900
right now, on "NOVA."
41
00:01:53,900 --> 00:02:14,000
♪ ♪
42
00:02:14,433 --> 00:02:19,300
♪ ♪
43
00:02:22,733 --> 00:02:25,600
NARRATOR:
Paris.
44
00:02:25,600 --> 00:02:27,800
A city of churches, basilicas,
45
00:02:27,800 --> 00:02:31,966
and almost 2,000 historic
monuments.
46
00:02:31,966 --> 00:02:34,600
On April 15, 2019,
47
00:02:34,600 --> 00:02:37,266
the 850-year-old Cathedral
48
00:02:37,266 --> 00:02:39,900
of Notre-Dame de Paris is
undergoing
49
00:02:39,900 --> 00:02:42,733
a six-and-a-half-million-dollar
renovation
50
00:02:42,733 --> 00:02:45,733
of the spire...
51
00:02:45,733 --> 00:02:51,500
...when a fire breaks out inside
the oak framework of the roof.
52
00:02:51,500 --> 00:02:53,900
After 90 minutes,
53
00:02:53,900 --> 00:02:57,866
the 400-ton timber
and lead spire gives way
54
00:02:57,866 --> 00:03:01,266
and crashes through
the stone vaulting.
55
00:03:03,600 --> 00:03:06,666
The fire destroys the roof
and spire,
56
00:03:06,666 --> 00:03:09,933
and leaves three gaping holes in
the vaulting.
57
00:03:09,933 --> 00:03:12,600
The structure
is significantly weakened,
58
00:03:12,600 --> 00:03:14,666
and there's an urgent concern.
59
00:03:14,666 --> 00:03:17,133
If the remaining vaulting were
to fall,
60
00:03:17,133 --> 00:03:20,766
it could trigger a catastrophic
collapse.
61
00:03:20,766 --> 00:03:24,500
PASCAL PRUNET (translated):
We didn't know how the vaults,
the walls, the buttresses
62
00:03:24,500 --> 00:03:26,400
would behave in the absence
of the roof
63
00:03:26,400 --> 00:03:28,133
that had collapsed above.
64
00:03:28,133 --> 00:03:32,133
So, we had to stabilize the
structure.
65
00:03:32,133 --> 00:03:34,533
NARRATOR:
In the immediate aftermath,
66
00:03:34,533 --> 00:03:36,466
the focus is on protecting
67
00:03:36,466 --> 00:03:39,566
what has survived
from further damage.
68
00:03:39,566 --> 00:03:41,466
Engineers race
69
00:03:41,466 --> 00:03:45,000
to install supports beneath
Notre-Dame's flying buttresses
70
00:03:45,000 --> 00:03:49,000
to shore up the fragile
structure.
71
00:03:49,000 --> 00:03:52,900
Meanwhile,
water has saturated the vaults,
72
00:03:52,900 --> 00:03:55,600
adding weight
to the weakened stonework,
73
00:03:55,600 --> 00:03:57,966
increasing the chance of
a total collapse.
74
00:03:57,966 --> 00:03:59,533
And without the roof,
75
00:03:59,533 --> 00:04:02,966
the building remains open
to the elements.
76
00:04:02,966 --> 00:04:07,100
Before they can make
the structure watertight,
77
00:04:07,100 --> 00:04:08,900
workers have to remove
78
00:04:08,900 --> 00:04:11,033
40,000 burned and melted
scaffolding poles
79
00:04:11,033 --> 00:04:13,366
left over
from the spire restoration.
80
00:04:17,100 --> 00:04:20,566
To keep the stonework dry,
81
00:04:20,566 --> 00:04:24,033
the team builds a wooden
platform.
82
00:04:24,033 --> 00:04:27,800
On top, a lightweight aluminum
frame
83
00:04:27,800 --> 00:04:32,933
covered with water-resistant
sheeting
84
00:04:32,933 --> 00:04:35,900
forms a temporary roof
85
00:04:35,900 --> 00:04:38,800
that opens and closes on a
system of rollers.
86
00:04:38,800 --> 00:04:43,466
PRUNET (translated):
It's an ingenious tool that
protects against humidity
87
00:04:43,466 --> 00:04:46,733
and shelters these vaults,
so they can dry.
88
00:04:48,600 --> 00:04:51,500
NARRATOR:
The rolling roof enables workers
to lower
89
00:04:51,500 --> 00:04:53,833
construction materials through
the central hole
90
00:04:53,833 --> 00:04:56,366
in the vaulting.
91
00:04:56,366 --> 00:04:58,466
During all this work,
92
00:04:58,466 --> 00:05:01,033
the medieval masterpiece has
been closed
93
00:05:01,033 --> 00:05:02,466
to worshippers and tourists
alike.
94
00:05:02,466 --> 00:05:05,666
WOMAN:
Pretty sad to see it like this.
95
00:05:05,666 --> 00:05:07,500
You can't get close to the
building at all.
96
00:05:07,500 --> 00:05:10,500
It's almost like you would
walk by it
97
00:05:10,500 --> 00:05:12,233
and not necessarily go to it
98
00:05:12,233 --> 00:05:14,733
as a destination,
like it once was.
99
00:05:14,733 --> 00:05:18,433
NARRATOR:
And what a destination it was.
100
00:05:18,433 --> 00:05:21,666
Around 13 million people
toured Notre-Dame each year
101
00:05:21,666 --> 00:05:24,100
before the fire.
102
00:05:24,100 --> 00:05:25,466
They came to marvel at a
building
103
00:05:25,466 --> 00:05:29,466
that pushed the limits
of Gothic architecture.
104
00:05:29,466 --> 00:05:32,100
WOMAN:
I was very connected to it.
105
00:05:32,100 --> 00:05:35,466
So I was quite broken after, you
know, hearing about the fire.
106
00:05:36,700 --> 00:05:39,733
NARRATOR:
We still don't know
how the fire started.
107
00:05:39,733 --> 00:05:41,200
But three years later,
108
00:05:41,200 --> 00:05:44,266
the ambitious project to restore
the cathedral
109
00:05:44,266 --> 00:05:45,633
has ramped up.
110
00:05:45,633 --> 00:05:47,466
MAN (speaking French):
111
00:05:47,466 --> 00:05:50,300
MAN 2 (on radio):
112
00:05:50,300 --> 00:05:51,866
(speaking French)
113
00:05:51,866 --> 00:05:55,800
♪ ♪
114
00:05:55,800 --> 00:06:00,566
NARRATOR:
The team here
has more than tripled in size.
115
00:06:00,566 --> 00:06:03,300
As many as 200 workers
are now battling
116
00:06:03,300 --> 00:06:07,666
to bring Notre-Dame back
to life.
117
00:06:07,666 --> 00:06:08,766
VILLENEUVE (translated):
We all really work
118
00:06:08,766 --> 00:06:11,000
with a lot of love and
gratitude,
119
00:06:11,000 --> 00:06:14,300
and we motivate each other
to meet the deadline
120
00:06:14,300 --> 00:06:17,766
and reopen the cathedral
to the public.
121
00:06:20,600 --> 00:06:22,866
NARRATOR:
The French Senate has ruled
Notre-Dame
122
00:06:22,866 --> 00:06:26,833
will be rebuilt exactly as it
was before the fire.
123
00:06:26,833 --> 00:06:30,933
Donors have contributed
almost $900 million
124
00:06:30,933 --> 00:06:32,400
towards this effort.
125
00:06:32,400 --> 00:06:36,233
But the task ahead is enormous.
126
00:06:36,233 --> 00:06:39,800
The team must remove tons of
toxic lead dust
127
00:06:39,800 --> 00:06:42,000
that remains of the old lead
roof
128
00:06:42,000 --> 00:06:43,833
left over from the fire,
129
00:06:43,833 --> 00:06:49,466
then clean and restore fragile
stained-glass windows.
130
00:06:49,466 --> 00:06:52,233
To reconstruct the roof
identically,
131
00:06:52,233 --> 00:06:55,666
they must fill the three gaping
holes in the stone vaulting,
132
00:06:55,666 --> 00:07:00,433
rebuild the timber framework
from almost 1,000 oak beams,
133
00:07:00,433 --> 00:07:05,366
cover it with thousands
of square feet of lead tiles,
134
00:07:05,366 --> 00:07:09,766
and raise the iconic
210-foot spire.
135
00:07:11,300 --> 00:07:13,900
It's the largest restoration
project
136
00:07:13,900 --> 00:07:16,333
in the cathedral's history.
137
00:07:16,333 --> 00:07:19,533
VILLENEUVE (translated):
I only have one goal-- repair
and rebuild the cathedral,
138
00:07:19,533 --> 00:07:21,700
put the rooster
on top of the spire,
139
00:07:21,700 --> 00:07:22,933
and say, "Mission accomplished."
140
00:07:22,933 --> 00:07:25,133
NARRATOR:
That's the plan.
141
00:07:25,133 --> 00:07:29,900
But before they can even start
work on this ambitious scheme,
142
00:07:29,900 --> 00:07:33,733
they must shore up
the remaining damaged roof.
143
00:07:36,100 --> 00:07:39,033
For hundreds of years,
the arched stone vaults,
144
00:07:39,033 --> 00:07:41,500
made from thousands
of cubic feet
145
00:07:41,500 --> 00:07:43,733
of interlocking
limestone blocks,
146
00:07:43,733 --> 00:07:46,166
supported the roof above.
147
00:07:49,033 --> 00:07:52,533
But now the vaulting is
extremely fragile.
148
00:07:52,533 --> 00:07:55,600
Repairing the arches
could trigger a collapse.
149
00:07:55,600 --> 00:07:57,800
To stabilize the structure,
150
00:07:57,800 --> 00:08:02,533
the team must install
52 timber support arches
151
00:08:02,533 --> 00:08:06,100
beneath the vaulting so they
can rebuild safely.
152
00:08:06,100 --> 00:08:09,100
♪ ♪
153
00:08:09,100 --> 00:08:13,000
But installing them more than
a hundred feet above the ground
154
00:08:13,000 --> 00:08:15,933
is no small feat.
155
00:08:15,933 --> 00:08:18,366
♪ ♪
156
00:08:18,366 --> 00:08:23,333
To do it, scaffolders have built
a giant steel structure inside
157
00:08:23,333 --> 00:08:25,400
to allow workers to access
158
00:08:25,400 --> 00:08:28,266
virtually every corner
of the immense cathedral.
159
00:08:28,266 --> 00:08:29,833
RÉGIS JAEGER:
It's a big job
160
00:08:29,833 --> 00:08:32,333
for our workers because
161
00:08:32,333 --> 00:08:36,966
it's a lot of material
and the access is difficult.
162
00:08:38,766 --> 00:08:42,600
We have 1,000 tons of scaffold.
163
00:08:42,600 --> 00:08:45,833
It's a lot of tubes,
big and heavy.
164
00:08:45,833 --> 00:08:48,666
It's a big, big challenge.
165
00:08:48,666 --> 00:08:51,300
OWUSU:
An extraordinary amount
of expertise
166
00:08:51,300 --> 00:08:55,600
has gone into creating
a skeleton
167
00:08:55,600 --> 00:08:57,900
to sit inside the building
168
00:08:57,900 --> 00:09:01,800
so that the outer building
can be rescued.
169
00:09:01,800 --> 00:09:05,266
NARRATOR:
It takes around 20 weeks
to build up the scaffolding
170
00:09:05,266 --> 00:09:08,700
inside the cathedral
in order to begin
171
00:09:08,700 --> 00:09:10,633
the installation
of wooden supports,
172
00:09:10,633 --> 00:09:13,300
shaped to match the geometry
of the vaults.
173
00:09:13,300 --> 00:09:15,900
YVES MACEL (translated):
This is where you need
174
00:09:15,900 --> 00:09:18,733
to be careful not to hit the
scaffolding
175
00:09:18,733 --> 00:09:20,033
or hit the vault.
176
00:09:20,033 --> 00:09:22,866
The challenge is to get
everything inside
177
00:09:22,866 --> 00:09:24,533
without damaging anything,
178
00:09:24,533 --> 00:09:26,733
without putting people in
danger.
179
00:09:26,733 --> 00:09:29,500
You have to be very, very
careful.
180
00:09:29,500 --> 00:09:34,433
NARRATOR:
Each temporary support arch
is fitted with metal brackets
181
00:09:34,433 --> 00:09:36,433
to secure it in place.
182
00:09:36,433 --> 00:09:40,666
Hydraulic jacks raise it to meet
the underside of the vaulting.
183
00:09:40,666 --> 00:09:45,466
MACEL (translated):
Each support is unique and has
its own specific location.
184
00:09:45,466 --> 00:09:48,433
(drill whirring)
185
00:09:48,433 --> 00:09:52,500
NARRATOR:
The arches connect to the rest
of the supporting framework.
186
00:09:52,500 --> 00:09:54,166
(translated):
If the stones were to move,
187
00:09:54,166 --> 00:09:56,066
they would come to rest on our
supports.
188
00:09:56,066 --> 00:09:59,200
Our supports will stay there
until the vaults are repaired.
189
00:09:59,200 --> 00:10:00,933
♪ ♪
190
00:10:00,933 --> 00:10:04,633
OWUSU:
It's almost as if you have
to design a building
191
00:10:04,633 --> 00:10:07,500
to keep the building safe.
192
00:10:07,500 --> 00:10:11,900
What you would normally define
as a temporary works
193
00:10:11,900 --> 00:10:16,466
has taken a level of ingenuity
and a level of skill
194
00:10:16,466 --> 00:10:19,300
which is quite exceptional.
195
00:10:19,300 --> 00:10:26,066
NARRATOR:
It takes six months to install
all 52 vaulting support arches.
196
00:10:26,066 --> 00:10:28,633
(translated):
The structure is no longer
at risk of collapsing
197
00:10:28,633 --> 00:10:30,800
after it was weakened by the
fire.
198
00:10:30,800 --> 00:10:34,800
NARRATOR:
Deputy director of operations
Jonathan Truillet
199
00:10:34,800 --> 00:10:36,933
helps coordinate the work
to bring Notre-Dame
200
00:10:36,933 --> 00:10:38,766
back from the brink.
201
00:10:38,766 --> 00:10:40,400
♪ ♪
202
00:10:40,400 --> 00:10:43,200
TRUILLET (translated):
It's a technical and
logistical challenge.
203
00:10:43,200 --> 00:10:45,866
And if we don't respect
our deadlines,
204
00:10:45,866 --> 00:10:47,900
we'll accumulate delays
and never catch up.
205
00:10:47,900 --> 00:10:53,033
NARRATOR:
The deadline of 2024
for completion
206
00:10:53,033 --> 00:10:56,266
isn't just a hopeful wish.
207
00:10:56,266 --> 00:10:59,933
This is when all eyes
will be on Paris
208
00:10:59,933 --> 00:11:01,433
for the Summer Olympics.
209
00:11:01,433 --> 00:11:05,333
A grand reopening of Notre-Dame
210
00:11:05,333 --> 00:11:08,266
will crown a year
of celebrations.
211
00:11:08,266 --> 00:11:09,800
TRUILLET (translated):
Everyone must mobilize
212
00:11:09,800 --> 00:11:11,600
to reach this objective.
213
00:11:11,600 --> 00:11:14,500
Even if it is ambitious,
it is achievable,
214
00:11:14,500 --> 00:11:17,433
if we have the drive to
accomplish it.
215
00:11:17,433 --> 00:11:19,933
♪ ♪
216
00:11:19,933 --> 00:11:24,633
NARRATOR:
Fewer than three years remain
to meet the deadline.
217
00:11:24,633 --> 00:11:26,933
With the vaulting to rebuild,
218
00:11:26,933 --> 00:11:29,200
the roof and spire missing,
219
00:11:29,200 --> 00:11:32,100
and the site still contaminated
by lead dust from the fire,
220
00:11:32,100 --> 00:11:35,200
the task is daunting.
221
00:11:35,200 --> 00:11:38,433
TRUILLET (translated):
We must work on multiple tasks
at the same time,
222
00:11:38,433 --> 00:11:40,866
have several worksites
within the worksite.
223
00:11:40,866 --> 00:11:44,066
We must intervene both inside,
to clean the site,
224
00:11:44,066 --> 00:11:46,866
and at the same time,
above our heads
225
00:11:46,866 --> 00:11:49,866
to rebuild the vaulting
and the roof.
226
00:11:50,800 --> 00:11:53,200
NARRATOR:
Above the stone vaulting,
227
00:11:53,200 --> 00:11:59,366
Notre-Dame's roof was completely
destroyed by the fire.
228
00:11:59,366 --> 00:12:01,400
Now one of the most complex
challenges
229
00:12:01,400 --> 00:12:03,933
is to entirely rebuild
230
00:12:03,933 --> 00:12:07,733
the thousand-ton timber
and lead roof.
231
00:12:07,733 --> 00:12:13,600
Chief architect Rémi Fromont
will oversee the reconstruction
232
00:12:13,600 --> 00:12:18,033
of the medieval roof structure,
known as the forest.
233
00:12:18,033 --> 00:12:19,466
FROMONT (translated):
We're going to participate
234
00:12:19,466 --> 00:12:22,333
in the reconstruction of this
absolutely emblematic,
235
00:12:22,333 --> 00:12:25,066
absolutely unique,
absolutely magnificent,
236
00:12:25,066 --> 00:12:27,966
and absolutely iconic work,
so it's very exciting.
237
00:12:27,966 --> 00:12:31,566
It was one of the first great
Gothic frameworks,
238
00:12:31,566 --> 00:12:32,833
extremely well-designed
239
00:12:32,833 --> 00:12:37,400
and ahead of its time,
from a technical point of view.
240
00:12:39,133 --> 00:12:42,400
NARRATOR:
During a research project
in 2014,
241
00:12:42,400 --> 00:12:44,966
Rémi and his colleague measured
the dimensions
242
00:12:44,966 --> 00:12:46,866
of every beam in the forest
243
00:12:46,866 --> 00:12:49,600
to create the first
comprehensive survey
244
00:12:49,600 --> 00:12:51,966
of Notre-Dame's roof.
245
00:12:51,966 --> 00:12:54,000
FROMONT (translated):
Our surveys were very useful.
246
00:12:54,000 --> 00:12:57,433
It's largely thanks to them that
we're able
247
00:12:57,433 --> 00:13:01,333
to restore the roof of the
cathedral identically.
248
00:13:02,933 --> 00:13:06,566
NARRATOR:
Rémi's team will need
850 oak trees
249
00:13:06,566 --> 00:13:10,100
to reproduce the Gothic roof
trusses.
250
00:13:12,266 --> 00:13:18,166
The cathedral's spire will be
built from another 1,200 trees.
251
00:13:18,166 --> 00:13:22,966
FROMONT (translated):
The spire is a huge task
to understand and restore.
252
00:13:22,966 --> 00:13:24,833
It's quite dizzying to think
253
00:13:24,833 --> 00:13:27,966
that we're building a
210-foot-high wooden structure
254
00:13:27,966 --> 00:13:31,400
perched 115 feet above the
ground
255
00:13:31,400 --> 00:13:35,066
on 13th-century masonry
destroyed by fire.
256
00:13:35,066 --> 00:13:37,433
We're not taking the easy way
out, really not.
257
00:13:37,433 --> 00:13:40,133
♪ ♪
258
00:13:40,133 --> 00:13:45,366
NARRATOR:
The spire was a 400-ton
engineering masterpiece.
259
00:13:45,366 --> 00:13:48,400
Hidden beneath the 16 copper
statues
260
00:13:48,400 --> 00:13:53,066
and over 100 tons of lead tiles
261
00:13:53,066 --> 00:14:00,166
was a complex skeleton of oak
beams, some as long as 65 feet.
262
00:14:00,166 --> 00:14:02,300
The secret of its strength?
263
00:14:02,300 --> 00:14:05,866
A dense lattice of oak tied
into the rest of the roof
264
00:14:05,866 --> 00:14:08,133
supports the entire structure.
265
00:14:08,133 --> 00:14:10,200
OWUSU:
The spire came to be
266
00:14:10,200 --> 00:14:14,400
the embodiment of the building
and of the Paris skyline.
267
00:14:14,400 --> 00:14:17,300
Which took huge imagination
and levels
268
00:14:17,300 --> 00:14:20,166
of engineering
and creativity and architecture
269
00:14:20,166 --> 00:14:21,833
which is quite, quite
exceptional.
270
00:14:21,833 --> 00:14:26,233
NARRATOR:
Reconstructing this wooden
wonder to match the lost spire
271
00:14:26,233 --> 00:14:28,400
is no simple task.
272
00:14:28,400 --> 00:14:30,600
FROMONT (translated):
We'll rebuild identically,
273
00:14:30,600 --> 00:14:33,300
not because it's nice to build
in a 13th-century style,
274
00:14:33,300 --> 00:14:36,800
but because we need the new roof
to behave just like the old one.
275
00:14:36,800 --> 00:14:38,900
Do it differently
276
00:14:38,900 --> 00:14:41,000
and the structure will behave
differently.
277
00:14:41,000 --> 00:14:44,566
The timber that was used
originally was green,
278
00:14:44,566 --> 00:14:45,866
that's to say it was not dry.
279
00:14:45,866 --> 00:14:48,166
So we'll use green timber.
280
00:14:49,500 --> 00:14:52,666
NARRATOR:
In the 13th century,
hewing beams
281
00:14:52,666 --> 00:14:54,500
from hard, seasoned oak
282
00:14:54,500 --> 00:14:57,300
with simple hand tools
was arduous work.
283
00:14:59,300 --> 00:15:01,233
So carpenters cut their timber
284
00:15:01,233 --> 00:15:03,633
while it was still soft
and green.
285
00:15:03,633 --> 00:15:06,966
But building this way could be
risky.
286
00:15:08,833 --> 00:15:12,666
The medieval English town
of Chesterfield may bear witness
287
00:15:12,666 --> 00:15:16,066
to the perils of building with
green timber.
288
00:15:16,066 --> 00:15:18,333
It's thought the 660-year-old
289
00:15:18,333 --> 00:15:22,300
crooked spire of the parish
church could be due to beams
290
00:15:22,300 --> 00:15:25,600
that have warped
as they've dried.
291
00:15:25,600 --> 00:15:27,700
For Notre-Dame's spire,
292
00:15:27,700 --> 00:15:31,533
this precarious lean must be
avoided at all costs.
293
00:15:31,533 --> 00:15:33,800
FROMONT (translated):
We need top-quality timber,
294
00:15:33,800 --> 00:15:36,166
perfectly straight, to avoid
this kind of problem.
295
00:15:36,166 --> 00:15:38,366
Working with green wood requires
296
00:15:38,366 --> 00:15:41,700
an extremely rigorous choice
of tree.
297
00:15:41,700 --> 00:15:45,600
NARRATOR:
In public and private forests
across France,
298
00:15:45,600 --> 00:15:49,700
the hunt for 2,000 perfect oaks
for Notre-Dame's roof
299
00:15:49,700 --> 00:15:52,966
and spire begins.
300
00:15:52,966 --> 00:15:54,133
One third of the country,
301
00:15:54,133 --> 00:15:58,466
65,000 square miles,
is covered by forests.
302
00:15:58,466 --> 00:16:01,333
(translated):
We're going to choose
the trees.
303
00:16:01,333 --> 00:16:03,166
NARRATOR:
This crew of forestiers
304
00:16:03,166 --> 00:16:05,966
has their work cut out for them.
305
00:16:05,966 --> 00:16:10,366
They must source 60 flawless
oaks for the spire
306
00:16:10,366 --> 00:16:12,600
from an 8,000-acre forest.
307
00:16:12,600 --> 00:16:14,266
(translated):
We must inspect the tree
from all angles,
308
00:16:14,266 --> 00:16:16,633
otherwise you'll never know if
there is a defect.
309
00:16:17,833 --> 00:16:20,700
NARRATOR:
The oaks felled for Notre-Dame
310
00:16:20,700 --> 00:16:23,433
form part of France's annual
forest management quota.
311
00:16:23,433 --> 00:16:25,300
LOÏC EON (translated):
That way.
312
00:16:25,300 --> 00:16:27,600
But now we need to get
a bit closer,
313
00:16:27,600 --> 00:16:29,733
because something
is not quite right.
314
00:16:29,733 --> 00:16:32,666
There's damage 20 feet up,
so we can't choose this one.
315
00:16:32,666 --> 00:16:36,166
It won't meet the specifications
given for Notre-Dame's spire.
316
00:16:36,166 --> 00:16:40,433
So, we need to look for another
tree.
317
00:16:40,433 --> 00:16:42,366
MAN (speaking French):
318
00:16:42,366 --> 00:16:46,066
NARRATOR:
This oak was damaged as it grew.
319
00:16:46,066 --> 00:16:49,533
These twisted fibers make it too
weak for Notre-Dame's spire.
320
00:16:50,600 --> 00:16:53,300
But on the other side of the
clearing,
321
00:16:53,300 --> 00:16:54,733
another candidate emerges.
322
00:16:54,733 --> 00:16:56,666
EON (translated):
No damage,
323
00:16:56,666 --> 00:16:59,300
but we need to check the
diameter.
324
00:17:01,400 --> 00:17:03,466
We have a tree two feet in
diameter.
325
00:17:03,466 --> 00:17:07,400
AHMET CIRPAN (translated):
In terms of felling it,
there's no problem.
326
00:17:07,400 --> 00:17:11,133
(revving)
327
00:17:11,133 --> 00:17:13,466
NARRATOR:
Logger Ahmet Cirpan begins
by making
328
00:17:13,466 --> 00:17:15,466
a cut that will direct the tree
329
00:17:15,466 --> 00:17:18,400
to fall into the clearing.
330
00:17:20,500 --> 00:17:26,466
(translated):
It will go between those two
trees, here, in this direction.
331
00:17:26,466 --> 00:17:29,666
I don't cut with my chainsaw
at random.
332
00:17:30,966 --> 00:17:35,466
Okay, now we can start
the final cut.
333
00:17:38,033 --> 00:17:40,766
(saw buzzing)
334
00:17:43,466 --> 00:17:46,700
♪ ♪
335
00:17:52,300 --> 00:17:55,966
Yes, that's why we can't have
anyone getting in the way.
336
00:17:58,133 --> 00:18:00,533
NARRATOR:
Notre-Dame's medieval carpenters
used markings
337
00:18:00,533 --> 00:18:04,366
to help them reassemble the
beams correctly up on the roof.
338
00:18:04,366 --> 00:18:08,133
♪ ♪
339
00:18:08,133 --> 00:18:10,233
Today, this team attaches a
barcode
340
00:18:10,233 --> 00:18:12,500
to each oak destined for the
cathedral,
341
00:18:12,500 --> 00:18:16,933
so they can track it from the
forest to its final position
342
00:18:16,933 --> 00:18:20,266
in the new spire.
343
00:18:20,266 --> 00:18:21,366
It takes several months
344
00:18:21,366 --> 00:18:24,766
to complete the painstaking
search to source
345
00:18:24,766 --> 00:18:28,466
and fell their target of
60 trees.
346
00:18:28,466 --> 00:18:32,000
FROMONT (translated):
We're going to restore and
rebuild the missing parts,
347
00:18:32,000 --> 00:18:36,000
and that's something unique in
a career.
348
00:18:36,000 --> 00:18:38,533
We'll do it with all our heart,
passion,
349
00:18:38,533 --> 00:18:39,900
and above all, know-how.
350
00:18:47,500 --> 00:18:50,966
NARRATOR:
Oak will form the backbone
of the spire,
351
00:18:50,966 --> 00:18:56,500
but it will be wrapped in
a heavy metal-- lead.
352
00:18:56,500 --> 00:19:00,000
Although the spire was almost
completely incinerated,
353
00:19:00,000 --> 00:19:02,366
its pinnacle survived the
inferno.
354
00:19:02,366 --> 00:19:07,666
Lodged in the vaulting stone,
355
00:19:07,666 --> 00:19:09,433
the team gently nudges it
free...
356
00:19:09,433 --> 00:19:11,900
WORKERS
(speaking French):
357
00:19:11,900 --> 00:19:14,033
NARRATOR:
...and carefully winches it
down.
358
00:19:14,033 --> 00:19:17,133
L'HÉRITIER:
We can still see the structure
359
00:19:17,133 --> 00:19:20,500
of the spire was made,
360
00:19:20,500 --> 00:19:25,333
with this fine lead sheets
of a few millimeters thick
361
00:19:25,333 --> 00:19:27,200
that were used
362
00:19:27,200 --> 00:19:31,333
on the entire structure
of the spire.
363
00:19:31,333 --> 00:19:34,300
NARRATOR:
They find six decorative
lead roses
364
00:19:34,300 --> 00:19:37,233
attached to the spire section.
365
00:19:37,233 --> 00:19:40,600
We will be able to study
how this decoration was made.
366
00:19:40,600 --> 00:19:43,266
Touching the spire
367
00:19:43,266 --> 00:19:48,133
that was just taken down
from the vaults today,
368
00:19:48,133 --> 00:19:50,266
it's a magical moment.
369
00:19:50,266 --> 00:19:55,300
NARRATOR:
And there are more surprises
to come.
370
00:19:55,300 --> 00:19:57,333
Lead was decorative and kept
the cathedral watertight.
371
00:19:57,333 --> 00:20:00,966
But there's another metal
used here
372
00:20:00,966 --> 00:20:02,766
that allowed Notre-Dame's masons
373
00:20:02,766 --> 00:20:04,633
to push the limits
of Gothic stonework.
374
00:20:04,633 --> 00:20:06,933
♪ ♪
375
00:20:06,933 --> 00:20:10,233
Innovations such as flying
buttresses
376
00:20:10,233 --> 00:20:12,866
to hold up the thin outer walls
377
00:20:12,866 --> 00:20:14,700
allowed medieval masons to build
378
00:20:14,700 --> 00:20:20,400
incredibly high, without needing
massively thick walls.
379
00:20:23,466 --> 00:20:26,300
As the team examines the
structure closely,
380
00:20:26,300 --> 00:20:29,433
they discover metal
throughout the cathedral
381
00:20:29,433 --> 00:20:32,966
that could unlock more of its
architectural mysteries,
382
00:20:32,966 --> 00:20:37,633
from the nails
that join timber beams
383
00:20:37,633 --> 00:20:39,133
to iron bars that brace
384
00:20:39,133 --> 00:20:43,233
and hold secure the stunning
medieval stained glass.
385
00:20:45,533 --> 00:20:48,866
L'HÉRITIER:
I was amazed that there's so
many iron in, in this building
386
00:20:48,866 --> 00:20:54,066
that was never truly studied
before.
387
00:20:54,066 --> 00:20:56,866
The staples that we see here,
388
00:20:56,866 --> 00:20:59,866
they're embedded in the,
389
00:20:59,866 --> 00:21:02,800
maybe the oldest part of
Notre-Dame's masonry.
390
00:21:02,800 --> 00:21:07,566
NARRATOR:
These 18-inch-long iron
"staples"
391
00:21:07,566 --> 00:21:09,700
secure the great arches beneath
392
00:21:09,700 --> 00:21:11,633
and prevent the stone blocks
from collapsing
393
00:21:11,633 --> 00:21:15,133
under the enormous weight.
394
00:21:15,133 --> 00:21:20,000
65 feet above, along the very
top of Notre-Dame's walls,
395
00:21:20,000 --> 00:21:22,000
the destruction of the roof
396
00:21:22,000 --> 00:21:24,933
has revealed previously
concealed ironwork
397
00:21:24,933 --> 00:21:27,333
that may have made
the structure's height
398
00:21:27,333 --> 00:21:29,800
and slender form possible.
399
00:21:29,800 --> 00:21:31,833
It's really exciting, because
400
00:21:31,833 --> 00:21:34,700
we're dealing with
unknown structures
401
00:21:34,700 --> 00:21:36,466
on the top of the walls
402
00:21:36,466 --> 00:21:40,166
that are so far unique
in Gothic architecture.
403
00:21:40,166 --> 00:21:44,366
NARRATOR:
Medieval builders may have
worried
404
00:21:44,366 --> 00:21:47,566
that the top of Notre-Dame's
tall, slender walls
405
00:21:47,566 --> 00:21:50,300
could be an Achilles' heel.
406
00:21:50,300 --> 00:21:54,233
The weight of the roof
could push the stones apart.
407
00:21:54,233 --> 00:21:56,700
The destruction of the roof has
revealed
408
00:21:56,700 --> 00:21:58,900
the builders joined these stones
together
409
00:21:58,900 --> 00:22:01,833
with more than 500 staples,
410
00:22:01,833 --> 00:22:07,466
creating a ring of iron holding
the walls together.
411
00:22:07,466 --> 00:22:11,133
This engineering masterstroke
has remained hidden
412
00:22:11,133 --> 00:22:13,800
under the roof of Notre-Dame
for hundreds of years.
413
00:22:15,466 --> 00:22:16,700
L'HÉRITIER:
The staples,
414
00:22:16,700 --> 00:22:20,666
with the flying buttresses,
are two ways
415
00:22:20,666 --> 00:22:23,966
of preventing
the stones to, to collapse.
416
00:22:23,966 --> 00:22:27,866
It's an ancient form, a form
which is known since antiquity.
417
00:22:27,866 --> 00:22:29,600
♪ ♪
418
00:22:29,600 --> 00:22:32,033
NARRATOR:
Ancient engineers used
iron staples
419
00:22:32,033 --> 00:22:35,333
to lock the stones of giant
megastructures into place.
420
00:22:36,900 --> 00:22:39,533
These holes in the walls
of Rome's Colosseum
421
00:22:39,533 --> 00:22:41,966
were once filled with
iron staples
422
00:22:41,966 --> 00:22:43,733
that pinned the structure
together.
423
00:22:43,733 --> 00:22:45,900
But in medieval Paris,
424
00:22:45,900 --> 00:22:50,266
masons used this technology
to revolutionize architecture.
425
00:22:50,266 --> 00:22:52,166
L'HÉRITIER:
It looks like,
426
00:22:52,166 --> 00:22:56,633
in Notre-Dame, we're trying
to use ancient forms
427
00:22:56,633 --> 00:22:59,066
of reinforcement,
such as the staple,
428
00:22:59,066 --> 00:23:02,433
in order to build a new form
of architecture;
429
00:23:02,433 --> 00:23:06,700
really high,
really thin Gothic structures,
430
00:23:06,700 --> 00:23:09,533
of which Notre-Dame is kind of
the first true example.
431
00:23:09,533 --> 00:23:11,733
♪ ♪
432
00:23:11,733 --> 00:23:14,366
NARRATOR:
At his lab,
Maxime unlocks the secrets
433
00:23:14,366 --> 00:23:16,500
of each individual iron staple.
434
00:23:18,066 --> 00:23:20,000
L'HÉRITIER:
Like, we're acting
435
00:23:20,000 --> 00:23:21,700
as some kind of detectives,
436
00:23:21,700 --> 00:23:24,133
trying to find out
the digital prints,
437
00:23:24,133 --> 00:23:25,366
the digital signature,
438
00:23:25,366 --> 00:23:28,133
of each of these staples
439
00:23:28,133 --> 00:23:30,133
and to try to rebuild
440
00:23:30,133 --> 00:23:34,000
their path from the workshop
to the building site.
441
00:23:35,666 --> 00:23:38,200
NARRATOR:
Radiocarbon dating
of organic material
442
00:23:38,200 --> 00:23:39,500
left over from
the smelting process
443
00:23:39,500 --> 00:23:42,600
confirms the staples were
installed
444
00:23:42,600 --> 00:23:44,800
in the early 13th century,
445
00:23:44,800 --> 00:23:48,200
when this part of the cathedral
was built.
446
00:23:50,333 --> 00:23:54,566
These are the oldest pieces of
iron used in a Gothic church
447
00:23:54,566 --> 00:23:56,733
that we know of so far.
448
00:23:56,733 --> 00:23:59,200
That's a huge discovery.
449
00:23:59,200 --> 00:24:01,733
This is revolution
in Gothic architecture.
450
00:24:01,733 --> 00:24:04,833
No other Gothic monument had
used iron
451
00:24:04,833 --> 00:24:07,433
in such a way before Notre-Dame.
452
00:24:09,633 --> 00:24:13,533
NARRATOR:
Maxime examines the
microstructure of the iron.
453
00:24:13,533 --> 00:24:16,066
Each staple was produced
454
00:24:16,066 --> 00:24:17,800
by welding together multiple
pieces,
455
00:24:17,800 --> 00:24:20,766
suggesting that this iron
was recycled.
456
00:24:20,766 --> 00:24:24,933
L'HÉRITIER:
The weld is the result
of the mixing of scrap iron
457
00:24:24,933 --> 00:24:27,466
to make a brand-new iron staple.
458
00:24:27,466 --> 00:24:31,766
We're maybe dealing with
the richest building site
459
00:24:31,766 --> 00:24:32,900
at that time,
460
00:24:32,900 --> 00:24:36,033
and knowing that it might
have used
461
00:24:36,033 --> 00:24:39,366
almost 90% recycled iron
462
00:24:39,366 --> 00:24:42,400
opens new perspective.
463
00:24:42,400 --> 00:24:45,133
NARRATOR:
The research shows recycling
iron
464
00:24:45,133 --> 00:24:49,000
may have been common on the
building site of Notre-Dame,
465
00:24:49,000 --> 00:24:52,466
shedding new light
on medieval building practices.
466
00:24:54,033 --> 00:24:56,666
The lab's electron microscope
reveals further clues
467
00:24:56,666 --> 00:25:00,266
to the lengths that
Notre-Dame's builders went to
468
00:25:00,266 --> 00:25:03,833
in sourcing the material.
469
00:25:03,833 --> 00:25:05,666
L'HÉRITIER:
What we discovered is that
470
00:25:05,666 --> 00:25:09,333
every single staple has a
different chemical signature.
471
00:25:09,333 --> 00:25:13,300
All these staples,
they come from different iron
472
00:25:13,300 --> 00:25:15,333
that was made in different
places.
473
00:25:15,333 --> 00:25:21,233
It means that there's a truly
active iron market in Paris,
474
00:25:21,233 --> 00:25:25,200
gathering iron from many, many
different origins.
475
00:25:26,733 --> 00:25:30,700
NARRATOR:
These hidden iron staples may
have also played a critical role
476
00:25:30,700 --> 00:25:33,700
in saving the building in the
wake of the fire.
477
00:25:33,700 --> 00:25:38,966
The staples were placed by the
medieval master mason
478
00:25:38,966 --> 00:25:42,200
to reinforce
the upper main walls.
479
00:25:42,200 --> 00:25:44,733
They might have helped the walls
480
00:25:44,733 --> 00:25:46,933
to prevent collapsing during
the fire.
481
00:25:46,933 --> 00:25:50,666
OWUSU:
As a conservationist,
482
00:25:50,666 --> 00:25:53,833
it's teaching us how expert
483
00:25:53,833 --> 00:25:57,566
these builders were in those
days.
484
00:25:57,566 --> 00:25:58,733
It's a testament
485
00:25:58,733 --> 00:26:02,933
to their technical competence
and their vision
486
00:26:02,933 --> 00:26:06,200
that they put
in these structural elements
487
00:26:06,200 --> 00:26:09,166
which have preserved
the building for us.
488
00:26:13,100 --> 00:26:15,600
NARRATOR:
But Notre-Dame's marvels
489
00:26:15,600 --> 00:26:17,900
go beyond the walls and roof.
490
00:26:17,900 --> 00:26:20,066
The great cathedral's medieval
builders
491
00:26:20,066 --> 00:26:24,733
also pushed the limits of what
could be made with glass.
492
00:26:25,866 --> 00:26:30,066
The three rose windows date
from the 13th century,
493
00:26:30,066 --> 00:26:36,233
and together, they're made up
of over 1,100 panels.
494
00:26:36,233 --> 00:26:39,066
Protected by the stone vaulting,
495
00:26:39,066 --> 00:26:41,733
they survived the fire
unscathed.
496
00:26:41,733 --> 00:26:44,900
♪ ♪
497
00:26:44,900 --> 00:26:47,100
These kaleidoscopic wonders
are filled
498
00:26:47,100 --> 00:26:51,133
with depictions
of biblical scenes and saints.
499
00:26:58,933 --> 00:27:01,800
The scaffolding gives access
to these rose windows
500
00:27:01,800 --> 00:27:04,700
so experts can decode
their secrets.
501
00:27:04,700 --> 00:27:07,633
BOULANGER:
It is a very unique opportunity,
502
00:27:07,633 --> 00:27:12,666
because we won't see them again
in the same way, never.
503
00:27:13,400 --> 00:27:16,433
(in French):
504
00:27:16,433 --> 00:27:19,500
CLAUDINE LOISEL:
505
00:27:19,500 --> 00:27:22,166
NARRATOR:
Glass scientist Claudine Loisel
506
00:27:22,166 --> 00:27:26,033
and historians Karine Boulanger
and Elisabeth Pillet
507
00:27:26,033 --> 00:27:29,433
are working on the largest
window in Notre-Dame.
508
00:27:29,433 --> 00:27:31,833
The gigantic south rose window
509
00:27:31,833 --> 00:27:35,866
measures almost 42 feet
in diameter.
510
00:27:35,866 --> 00:27:39,233
They're busy mapping every shard
of glass.
511
00:27:40,266 --> 00:27:42,300
PILLET (translated):
It's a really big job.
512
00:27:42,300 --> 00:27:45,033
In fact,
I think at the beginning,
513
00:27:45,033 --> 00:27:47,066
when we looked at this
rose window, we had no idea
514
00:27:47,066 --> 00:27:49,233
of all the questions
it would raise.
515
00:27:49,233 --> 00:27:52,866
NARRATOR:
They hope to build
a complete picture
516
00:27:52,866 --> 00:27:56,433
of how the window has evolved
over centuries of restoration.
517
00:27:56,433 --> 00:28:00,300
The team must first identify
what is original
518
00:28:00,300 --> 00:28:03,300
13th-century glass
and what is glass
519
00:28:03,300 --> 00:28:06,166
from subsequent restorations.
520
00:28:06,166 --> 00:28:09,100
BOULANGER (in French):
521
00:28:09,100 --> 00:28:11,366
(in English):
You see, there is a difference
522
00:28:11,366 --> 00:28:14,033
between this yellow
and this one.
523
00:28:14,033 --> 00:28:15,333
This one is more
translucent.
524
00:28:15,333 --> 00:28:17,800
It's 19th-century glass.
525
00:28:17,800 --> 00:28:20,233
This one is
13th-century glass.
526
00:28:20,233 --> 00:28:22,933
The difference in colors
results from
527
00:28:22,933 --> 00:28:26,833
the composition of the glass,
which was different
528
00:28:26,833 --> 00:28:30,000
between the medieval time
and 19th century.
529
00:28:30,000 --> 00:28:34,000
NARRATOR:
But there's a problem baked
530
00:28:34,000 --> 00:28:36,333
into the original
medieval glass:
531
00:28:36,333 --> 00:28:37,833
it's slowly decaying.
532
00:28:37,833 --> 00:28:39,000
LOISEL:
On the older glass,
533
00:28:39,000 --> 00:28:41,666
you observe much more
corrosion process
534
00:28:41,666 --> 00:28:44,933
in the glass composition.
535
00:28:44,933 --> 00:28:48,400
This glass composition was more
sensitive to the environment.
536
00:28:48,400 --> 00:28:51,466
NARRATOR:
In the 13th century,
537
00:28:51,466 --> 00:28:54,666
glassmakers used potash.
538
00:28:54,666 --> 00:28:58,933
Made from burnt wood and ferns
rich in potassium,
539
00:28:58,933 --> 00:29:02,166
potash reduced the melting point
of the ingredients
540
00:29:02,166 --> 00:29:03,866
used to make glass.
541
00:29:03,866 --> 00:29:08,500
By the 19th century,
sodium carbonate combined with
542
00:29:08,500 --> 00:29:12,900
calcium oxide was used instead,
and produced more stable glass
543
00:29:12,900 --> 00:29:15,800
that did not corrode.
544
00:29:20,066 --> 00:29:23,100
This factory on the banks
of the Loire River in France
545
00:29:23,100 --> 00:29:26,033
is one of the last places
in the world that can produce
546
00:29:26,033 --> 00:29:29,466
stained glass using medieval
mouth-blowing techniques.
547
00:29:29,466 --> 00:29:33,533
SIMON BALLAGH:
We produce glass for
major historical buildings
548
00:29:33,533 --> 00:29:36,933
as Versailles
or the White House.
549
00:29:38,633 --> 00:29:41,400
NARRATOR:
The team starts
by mixing sand,
550
00:29:41,400 --> 00:29:44,533
metal oxide for color,
551
00:29:44,533 --> 00:29:48,000
sodium carbonate, and calcium.
552
00:29:49,300 --> 00:29:53,166
They heat the mixture to over
2,000 degrees Fahrenheit
553
00:29:53,166 --> 00:29:55,700
and build up layers
of the molten glass
554
00:29:55,700 --> 00:29:58,766
on the end of a blowpipe.
555
00:29:58,766 --> 00:30:03,100
The glassblower forms
a sphere from the red-hot mass,
556
00:30:03,100 --> 00:30:05,166
rolling it to maintain
this shape,
557
00:30:05,166 --> 00:30:09,633
which is critical to form
an even thickness of glass.
558
00:30:09,633 --> 00:30:12,300
It's manual know-how.
559
00:30:12,300 --> 00:30:15,233
There is absolutely no machines,
560
00:30:15,233 --> 00:30:17,933
and the glassblowers
uses their sense, their feeling,
561
00:30:17,933 --> 00:30:20,600
to blow one glass sheet.
562
00:30:22,066 --> 00:30:24,200
HERVÉ GRIMAL (translated):
Glass is a living material.
563
00:30:24,200 --> 00:30:25,433
It takes a long time
564
00:30:25,433 --> 00:30:27,733
to get to know it,
to feel the material
565
00:30:27,733 --> 00:30:29,433
at your fingertips.
566
00:30:29,433 --> 00:30:34,033
NARRATOR:
The glassblowers enlist
the help of gravity.
567
00:30:34,033 --> 00:30:38,200
They swing the 15-pound ball of
glass in a 13-foot-deep pit
568
00:30:38,200 --> 00:30:42,533
to elongate the ball
into a tube.
569
00:30:42,533 --> 00:30:43,733
GRIMAL (translated):
It's a profession
570
00:30:43,733 --> 00:30:46,433
where there's weight
and there's heat.
571
00:30:46,433 --> 00:30:49,466
So you have to be strong,
tough at times.
572
00:30:49,466 --> 00:30:51,600
It's a very demanding job.
573
00:30:51,600 --> 00:30:54,333
♪ ♪
574
00:30:54,333 --> 00:30:58,966
NARRATOR:
Hervé has blown glass here
for more than 33 years.
575
00:30:58,966 --> 00:31:01,500
GRIMAL (translated):
For us, it's about always having
the right length,
576
00:31:01,500 --> 00:31:02,933
the right diameter,
577
00:31:02,933 --> 00:31:06,900
and the right thickness of the
glass, too.
578
00:31:08,366 --> 00:31:11,966
NARRATOR:
Once the cylinder has cooled,
they make a single cut...
579
00:31:15,400 --> 00:31:19,000
...and send it to a special
furnace, where it's unrolled.
580
00:31:19,000 --> 00:31:24,300
Extreme heat of nearly
1,400 degrees Fahrenheit
581
00:31:24,300 --> 00:31:28,133
and a wood block
smooth out the glass
582
00:31:28,133 --> 00:31:31,300
and minimize imperfections.
583
00:31:31,300 --> 00:31:35,933
GRIMAL (translated):
The goal is to try to get
a very even thickness,
584
00:31:35,933 --> 00:31:39,033
to achieve the perfect sheet.
585
00:31:41,700 --> 00:31:47,333
NARRATOR:
They carefully inspect each pane
and remove any rough edges.
586
00:31:47,333 --> 00:31:50,066
BALLAGH:
Every glass sheet is different,
and it has the spirit
587
00:31:50,066 --> 00:31:52,566
of the glassblower.
588
00:31:52,566 --> 00:31:54,766
Losing this patrimoine and
know-how would be a disaster.
589
00:31:54,766 --> 00:31:57,733
♪ ♪
590
00:31:57,733 --> 00:31:59,366
NARRATOR:
The factory marries
these techniques
591
00:31:59,366 --> 00:32:01,000
with the latest technology
592
00:32:01,000 --> 00:32:03,500
to accurately reproduce
stained glass.
593
00:32:03,500 --> 00:32:07,433
BALLAGH:
We can fit perfectly
594
00:32:07,433 --> 00:32:10,500
with the old colors by using
595
00:32:10,500 --> 00:32:16,800
tools like spectrophotometry,
like X-rays.
596
00:32:16,800 --> 00:32:19,500
And this allows us to know
exactly what are the elements
597
00:32:19,500 --> 00:32:24,666
that are in the glass
and reproduce it for the future.
598
00:32:24,666 --> 00:32:27,433
GRIMAL (translated):
We'll be making glass
599
00:32:27,433 --> 00:32:30,433
for the restoration
of Notre-Dame in Paris,
600
00:32:30,433 --> 00:32:34,200
which will be
a high point in my career.
601
00:32:34,200 --> 00:32:37,066
Well, it will make
for a nice resumé!
602
00:32:37,066 --> 00:32:39,933
NARRATOR:
The team's knowledge
of historic techniques,
603
00:32:39,933 --> 00:32:45,533
combined with modern technology,
enables them to reproduce
604
00:32:45,533 --> 00:32:49,733
any of Notre-Dame's
stained glass from any century.
605
00:32:52,900 --> 00:32:54,133
BOULANGER:
A stained-glass window
606
00:32:54,133 --> 00:32:57,066
is always a mixture
of original glass
607
00:32:57,066 --> 00:33:01,633
and restoration from
every century, almost.
608
00:33:01,633 --> 00:33:04,433
Until the 20th century,
609
00:33:04,433 --> 00:33:06,733
when a glass was
too badly damaged,
610
00:33:06,733 --> 00:33:08,366
we had to replace it.
611
00:33:08,366 --> 00:33:12,466
NARRATOR:
While mapping
the south rose window,
612
00:33:12,466 --> 00:33:15,133
they uncover an unusual trend.
613
00:33:15,133 --> 00:33:18,900
They expect to see glass
from multiple restorations
614
00:33:18,900 --> 00:33:21,066
spanning eight centuries.
615
00:33:22,900 --> 00:33:26,933
But they're finding original
13th-century glass,
616
00:33:26,933 --> 00:33:31,300
glass installed during
the 19th century,
617
00:33:31,300 --> 00:33:34,800
with some panels
containing both.
618
00:33:34,800 --> 00:33:37,433
BOULANGER:
We are finding lots of things.
619
00:33:37,433 --> 00:33:38,800
They altered quite strongly
620
00:33:38,800 --> 00:33:41,466
the design of the panels.
621
00:33:41,466 --> 00:33:44,266
NARRATOR:
While the glass team
622
00:33:44,266 --> 00:33:46,900
has this unprecedented access,
they must work fast
623
00:33:46,900 --> 00:33:50,200
to solve the mystery of why
the south rose window
624
00:33:50,200 --> 00:33:54,966
only has 13th-
and 19th-century glass.
625
00:33:54,966 --> 00:33:58,133
♪ ♪
626
00:33:58,133 --> 00:34:02,666
The clock is ticking for
the architects and restorers.
627
00:34:02,666 --> 00:34:06,933
To meet the challenge of
reopening Notre-Dame in 2024,
628
00:34:06,933 --> 00:34:10,133
the workforce here
has increased dramatically.
629
00:34:10,133 --> 00:34:13,666
Up to 200 people pass through
the site each day.
630
00:34:13,666 --> 00:34:16,933
♪ ♪
631
00:34:16,933 --> 00:34:18,066
But the lead dust
632
00:34:18,066 --> 00:34:21,300
that coats every surface
makes operating here
633
00:34:21,300 --> 00:34:22,800
potentially dangerous.
634
00:34:22,800 --> 00:34:26,700
Protective clothing
is essential.
635
00:34:26,700 --> 00:34:29,866
Blaise Gomis is part of a team
dedicated
636
00:34:29,866 --> 00:34:32,700
to safeguarding workers
from the deadly effects
637
00:34:32,700 --> 00:34:34,166
of lead poisoning.
638
00:34:34,166 --> 00:34:39,133
Without them, this huge
operation would grind to a halt.
639
00:34:39,133 --> 00:34:41,433
GOMIS (translated):
Between the polluted zone
and the clean zone,
640
00:34:41,433 --> 00:34:43,233
there's us.
641
00:34:43,233 --> 00:34:45,000
You have to go through us.
642
00:34:45,000 --> 00:34:47,200
We take names so we have a count
of the people on site.
643
00:34:47,200 --> 00:34:49,333
Then, after they finish
their job,
644
00:34:49,333 --> 00:34:52,500
when they leave,
they must go past me again.
645
00:34:53,866 --> 00:34:55,400
(in French):
646
00:34:56,933 --> 00:34:58,666
WOMAN:
647
00:34:58,666 --> 00:34:59,833
GOMIS:
648
00:34:59,833 --> 00:35:01,033
WOMAN:
649
00:35:02,933 --> 00:35:05,033
GOMIS (translated):
Lead, as you know, is harmful.
650
00:35:05,033 --> 00:35:06,666
So they must be equipped.
651
00:35:06,666 --> 00:35:08,033
We give them overalls,
652
00:35:08,033 --> 00:35:11,400
underwear, boots, and helmets.
653
00:35:11,400 --> 00:35:12,766
(suit zipping)
654
00:35:14,600 --> 00:35:16,266
♪ ♪
655
00:35:16,266 --> 00:35:18,566
And when they leave,
they take showers to make sure
656
00:35:18,566 --> 00:35:21,033
they eliminate as much lead
as possible.
657
00:35:25,166 --> 00:35:28,700
NARRATOR:
To make the site safe,
the team's next challenge
658
00:35:28,700 --> 00:35:30,733
is to remove all the
toxic lead dust.
659
00:35:30,733 --> 00:35:35,300
They tackle the
cleaning zone by zone,
660
00:35:35,300 --> 00:35:38,833
eventually decontaminating
the entire cathedral.
661
00:35:38,833 --> 00:35:42,966
But this operation kicks dust
into the air.
662
00:35:42,966 --> 00:35:45,033
(vacuum whirring)
663
00:35:45,033 --> 00:35:46,533
Workers in an area being cleaned
664
00:35:46,533 --> 00:35:49,433
must wear heavy-duty
breathing equipment.
665
00:35:52,133 --> 00:35:55,300
Clara Dupuydauby
666
00:35:55,300 --> 00:35:58,700
is one of 40
decontamination experts
667
00:35:58,700 --> 00:36:01,766
that use special vacuums
to meticulously clean every inch
668
00:36:01,766 --> 00:36:05,100
of Notre-Dame's vaulting, walls,
669
00:36:05,100 --> 00:36:09,200
pillars, and floors.
670
00:36:09,200 --> 00:36:10,366
With this equipment,
671
00:36:10,366 --> 00:36:12,933
we only work two hours
and a half
672
00:36:12,933 --> 00:36:15,800
at a time, and we need to stop
to take a break.
673
00:36:15,800 --> 00:36:17,233
We go have lunch.
674
00:36:17,233 --> 00:36:19,533
And two hours and a half,
and we go home.
675
00:36:19,533 --> 00:36:24,400
NARRATOR:
Vacuuming the lead dust
will take eight months.
676
00:36:24,400 --> 00:36:27,633
Then restorers can move on
to deep-clean the stone
677
00:36:27,633 --> 00:36:31,366
for the first time
in its history.
678
00:36:31,366 --> 00:36:32,600
Inside Notre-Dame,
679
00:36:32,600 --> 00:36:35,200
it's already possible
to get a sense of how
680
00:36:35,200 --> 00:36:37,133
dramatically changed
the cathedral will be
681
00:36:37,133 --> 00:36:41,566
after the cleaning.
682
00:36:41,566 --> 00:36:43,500
Beneath the lead
and centuries of smoke
683
00:36:43,500 --> 00:36:48,033
from millions of candles
lies gleaming limestone.
684
00:36:48,033 --> 00:36:52,233
This is how the cathedral looked
850 years ago
685
00:36:52,233 --> 00:36:53,366
and will again soon.
686
00:36:53,366 --> 00:36:56,333
VILLENEUVE (translated):
Here are the stages.
687
00:36:56,333 --> 00:36:57,766
PRUNET (translated):
First step, second step...
688
00:36:57,766 --> 00:36:59,766
Dirty, intermediate,
and final.
689
00:36:59,766 --> 00:37:01,500
That's great.
690
00:37:01,500 --> 00:37:04,200
(drill whirring)
691
00:37:04,200 --> 00:37:06,100
NARRATOR:
The restorers working at
Notre-Dame
692
00:37:06,100 --> 00:37:10,100
are among France's foremost
experts in their fields.
693
00:37:10,100 --> 00:37:12,233
♪ ♪
694
00:37:12,233 --> 00:37:14,200
Guiding this impressive
concentration
695
00:37:14,200 --> 00:37:15,933
of medieval knowledge
696
00:37:15,933 --> 00:37:18,266
are chief architects
Pascal Prunet
697
00:37:18,266 --> 00:37:21,266
and Philippe Villeneuve.
698
00:37:21,266 --> 00:37:24,400
VILLENEUVE (speaking French):
699
00:37:24,400 --> 00:37:27,800
(translated):
Let's go and meet
the cleaning team.
700
00:37:27,800 --> 00:37:28,933
(translated):
The stone's changing color.
701
00:37:28,933 --> 00:37:30,200
We're very satisfied with that.
702
00:37:30,200 --> 00:37:33,766
But we know this is only
the first stage of the cleaning.
703
00:37:33,766 --> 00:37:36,433
(translated):
But after, we'll be able
to work without masks,
704
00:37:36,433 --> 00:37:37,533
so that's the goal.
705
00:37:40,833 --> 00:37:43,166
VILLENEUVE (translated):
When we look at this vaulting,
it's clear to us
706
00:37:43,166 --> 00:37:45,000
that this cathedral
707
00:37:45,000 --> 00:37:46,200
will be extraordinary.
708
00:37:46,200 --> 00:37:48,400
So it's all enormously
energizing.
709
00:37:49,700 --> 00:37:52,200
NARRATOR:
But this team still has
a big job ahead
710
00:37:52,200 --> 00:37:55,766
if they want to reopen
the cathedral in 2024.
711
00:37:57,433 --> 00:38:00,033
VILLENEUVE (translated):
It's a completely crazy
deadline.
712
00:38:00,033 --> 00:38:03,300
But despite everything,
we continue to work
713
00:38:03,300 --> 00:38:05,333
so it can be met.
714
00:38:05,333 --> 00:38:07,333
♪ ♪
715
00:38:07,333 --> 00:38:08,566
NARRATOR:
To meet the deadline,
716
00:38:08,566 --> 00:38:12,766
the team cannot afford
any unexpected delays.
717
00:38:12,766 --> 00:38:15,566
But an insidious threat
to Notre-Dame's stonework
718
00:38:15,566 --> 00:38:17,733
is developing.
719
00:38:18,766 --> 00:38:21,300
With the loss of the roof
and no protection
720
00:38:21,300 --> 00:38:25,866
from the elements for almost two
years after the fire,
721
00:38:25,866 --> 00:38:29,166
the exposed stone vaulting
was repeatedly soaked by rain.
722
00:38:29,166 --> 00:38:32,633
♪ ♪
723
00:38:32,633 --> 00:38:36,400
Now protected by the
temporary roof, it's drying out.
724
00:38:38,333 --> 00:38:39,700
But as the stones dry,
725
00:38:39,700 --> 00:38:44,166
salts are crystallizing on the
underside of the vaulting,
726
00:38:44,166 --> 00:38:46,866
breaking off the outer layers
of limestone.
727
00:38:46,866 --> 00:38:51,566
All the damage in this part
and on the, on the vault
728
00:38:51,566 --> 00:38:53,666
is a result of the salt.
729
00:38:53,666 --> 00:38:57,833
You can see the loss of matter
is two or three centimeters.
730
00:38:57,833 --> 00:39:01,933
This is catastrophic for us.
731
00:39:01,933 --> 00:39:04,266
NARRATOR:
In the 18th and 19th centuries,
732
00:39:04,266 --> 00:39:09,633
restorers cast layers of plaster
on top of the vaulting
733
00:39:09,633 --> 00:39:12,766
in case of a fire.
734
00:39:12,766 --> 00:39:14,733
This protected the stonework
from the heat
735
00:39:14,733 --> 00:39:19,566
of the 2019 inferno, but not
from the water used to fight it.
736
00:39:19,566 --> 00:39:22,633
This, along with months
of rainwater,
737
00:39:22,633 --> 00:39:25,766
washed salt from the plaster
into the lower layers
738
00:39:25,766 --> 00:39:28,033
of the porous limestone.
739
00:39:28,033 --> 00:39:31,400
As the moisture evaporates,
the salt crystalizes,
740
00:39:31,400 --> 00:39:35,400
and forces the limestone apart,
741
00:39:35,400 --> 00:39:40,033
destroying the inner surface
of the vaulting.
742
00:39:40,033 --> 00:39:43,166
We don't have the original
surface of the, of the stone.
743
00:39:43,166 --> 00:39:47,166
It is a real problem from
an historical point of view.
744
00:39:48,333 --> 00:39:51,333
NARRATOR:
Geologist Véronique
Vergès-Belmin
745
00:39:51,333 --> 00:39:56,066
will use a technique to draw
the salt out from the stone.
746
00:39:56,066 --> 00:40:02,300
We need to use a material
that can absorb the salt
747
00:40:02,300 --> 00:40:05,533
and extract them through
capillary forces.
748
00:40:05,533 --> 00:40:09,666
NARRATOR:
To extract the salt,
Véronique's crew will coat
749
00:40:09,666 --> 00:40:13,800
the vaulting with a paste of
clay, sand, and purified water
750
00:40:13,800 --> 00:40:17,600
known as a poultice.
751
00:40:17,600 --> 00:40:20,200
The water from the poultice
is drawn into the stone,
752
00:40:20,200 --> 00:40:24,333
where it dissolves the harmful
salt crystals.
753
00:40:24,333 --> 00:40:26,766
As the clay of the
poultice dries,
754
00:40:26,766 --> 00:40:30,933
it draws the salt water
out of the stone,
755
00:40:30,933 --> 00:40:35,733
saving the vaulting
from further damage.
756
00:40:35,733 --> 00:40:41,033
The poultices will be removed
when they will all have dried.
757
00:40:41,033 --> 00:40:44,100
(tool whirring)
758
00:40:44,100 --> 00:40:46,733
NARRATOR:
The restorers chisel away
the outer layer of mortar
759
00:40:46,733 --> 00:40:50,566
between the stones to allow
the poultice better penetration.
760
00:40:50,566 --> 00:40:53,066
(machinery running)
761
00:40:53,066 --> 00:40:54,833
Next, they load
the sticky mixture
762
00:40:54,833 --> 00:41:00,033
into a compressed air gun
and spray it into every crevice.
763
00:41:00,033 --> 00:41:01,766
Finally, they carefully
764
00:41:01,766 --> 00:41:03,533
smooth the poultice
across the areas
765
00:41:03,533 --> 00:41:07,000
affected by the salt damage.
766
00:41:07,000 --> 00:41:10,866
VERGÈS-BELMIN:
You can see that it follows
very, very closely
767
00:41:10,866 --> 00:41:12,300
the surface of the stone.
768
00:41:12,300 --> 00:41:14,166
And what we recommend is that
769
00:41:14,166 --> 00:41:16,800
poultice should not be thicker
770
00:41:16,800 --> 00:41:19,566
than half a centimeter
to one centimeter.
771
00:41:19,566 --> 00:41:24,533
Otherwise, there are risk
that it falls down.
772
00:41:24,533 --> 00:41:26,366
We need to have
a very slow process
773
00:41:26,366 --> 00:41:28,800
until the vaults are dry.
774
00:41:28,800 --> 00:41:32,700
But this will take time,
much time.
775
00:41:32,700 --> 00:41:38,100
We have to get the cathedral
ready in 2024.
776
00:41:38,100 --> 00:41:39,800
This building has to live again.
777
00:41:39,800 --> 00:41:44,166
NARRATOR:
The poultice may stay in place
until the new roof is built
778
00:41:44,166 --> 00:41:48,733
and the vaulting is permanently
protected from rain and snow.
779
00:41:51,133 --> 00:41:54,266
Notre-Dame was built over the
course of a hundred years,
780
00:41:54,266 --> 00:41:56,233
section by section,
781
00:41:56,233 --> 00:41:58,166
during the 12th and 13th
centuries.
782
00:41:58,166 --> 00:42:02,266
As each new segment of the
cathedral was constructed,
783
00:42:02,266 --> 00:42:06,133
another section of timber roof,
known as the forest,
784
00:42:06,133 --> 00:42:07,333
was built to cover it.
785
00:42:08,900 --> 00:42:11,700
Hand axes were used to craft
each individual beam
786
00:42:11,700 --> 00:42:14,500
in the medieval roof structure.
787
00:42:17,800 --> 00:42:20,000
The fire,
which started in the forest,
788
00:42:20,000 --> 00:42:25,700
took just hours to reduce this
medieval masterpiece to ashes.
789
00:42:27,300 --> 00:42:29,933
The team will soon begin
an unprecedented challenge
790
00:42:29,933 --> 00:42:34,366
to rebuild the forest
in under two years.
791
00:42:34,366 --> 00:42:36,233
FROMONT (translated):
We're going to reuse techniques
792
00:42:36,233 --> 00:42:38,600
that are extremely similar
to what was used,
793
00:42:38,600 --> 00:42:40,733
because it's technically
necessary,
794
00:42:40,733 --> 00:42:43,966
and if we don't do that, the
wood will behave differently.
795
00:42:43,966 --> 00:42:48,166
NARRATOR:
The spire lost in the fire
was erected in the 19th century.
796
00:42:48,166 --> 00:42:51,900
These beams were cut with saws.
797
00:42:51,900 --> 00:42:55,900
So today, Rémi's carpenters
will use modern saws
798
00:42:55,900 --> 00:42:59,266
to cut the new spire beams.
799
00:42:59,266 --> 00:43:02,100
FROMONT (translated):
We have extremely rigorous rules
that are the highest
800
00:43:02,100 --> 00:43:04,100
that can be had in carpentry,
801
00:43:04,100 --> 00:43:05,733
because Notre-Dame
is absolutely exceptional
802
00:43:05,733 --> 00:43:08,833
in terms of wood quality.
803
00:43:10,333 --> 00:43:13,466
NARRATOR:
This sawmill in Normandy
processes over
804
00:43:13,466 --> 00:43:16,666
a million cubic feet of timber
each year.
805
00:43:16,666 --> 00:43:21,300
It's one of 45 sawmills
across France that has answered
806
00:43:21,300 --> 00:43:24,466
the call to cut beams
for Notre-Dame's spire.
807
00:43:24,466 --> 00:43:26,800
(translated):
For us, it's a chance
to prove our dynamism
808
00:43:26,800 --> 00:43:30,100
and show that French forests can
help rebuild this structure--
809
00:43:30,100 --> 00:43:31,766
one of the jewels of France.
810
00:43:31,766 --> 00:43:35,000
I do this as a form of
philanthropy-- it's for free.
811
00:43:37,833 --> 00:43:39,533
NARRATOR:
The team wastes no time
812
00:43:39,533 --> 00:43:42,366
in getting to work on the beams.
813
00:43:42,366 --> 00:43:44,933
First stop: the debarker.
814
00:43:44,933 --> 00:43:48,233
♪ ♪
815
00:43:48,233 --> 00:43:50,466
This machine strips off
the outer layers,
816
00:43:50,466 --> 00:43:55,133
removing the loose bark.
817
00:43:55,133 --> 00:43:58,300
Now the one-ton tree trunk
enters the sawmill
818
00:43:58,300 --> 00:44:01,533
and rolls onto the saw carriage.
819
00:44:02,566 --> 00:44:03,966
FEILLET (translated):
On this joystick,
820
00:44:03,966 --> 00:44:06,566
we have buttons that allow you
to do operations
821
00:44:06,566 --> 00:44:10,533
like log loading or what is
called slabber chipping.
822
00:44:10,533 --> 00:44:14,100
The slabber is the first machine
before the blade,
823
00:44:14,100 --> 00:44:16,700
which shreds away
the outer part of the log.
824
00:44:18,800 --> 00:44:21,033
NARRATOR:
The bandsaw blade
825
00:44:21,033 --> 00:44:23,400
is a high-speed loop of steel
that runs at
826
00:44:23,400 --> 00:44:26,833
140 feet per second.
827
00:44:29,133 --> 00:44:32,266
François removes inch-thick
slices to trim the beam down
828
00:44:32,266 --> 00:44:33,366
to the dimensions requested
829
00:44:33,366 --> 00:44:36,100
by the Notre-Dame architects.
830
00:44:36,100 --> 00:44:39,733
♪ ♪
831
00:44:39,733 --> 00:44:42,300
FEILLET (translated):
What I enjoy most
is discovering the wood.
832
00:44:42,300 --> 00:44:43,966
Each tree is unique.
833
00:44:43,966 --> 00:44:45,433
Ultimately,
it's a game of strategy
834
00:44:45,433 --> 00:44:46,933
you play with each tree.
835
00:44:46,933 --> 00:44:49,533
It's never the same thing--
it's something new every time.
836
00:44:49,533 --> 00:44:53,666
♪ ♪
837
00:44:53,666 --> 00:44:57,033
NARRATOR:
The beams from François's
sawmill are stacked,
838
00:44:57,033 --> 00:44:59,433
ready to join more than
a thousand others
839
00:44:59,433 --> 00:45:03,733
coming from across France
for Notre-Dame's new spire.
840
00:45:03,733 --> 00:45:06,233
(translated):
A sawmill like ours,
we will not do anything
841
00:45:06,233 --> 00:45:08,233
like this again in our lives.
842
00:45:08,233 --> 00:45:12,233
We'll go down in history for
having modestly contributed,
843
00:45:12,233 --> 00:45:13,566
like everyone working on
Notre-Dame,
844
00:45:13,566 --> 00:45:16,266
to restore this cathedral--
our cathedral.
845
00:45:16,266 --> 00:45:19,833
♪ ♪
846
00:45:19,833 --> 00:45:22,800
NARRATOR:
Inside Notre-Dame,
the first chance
847
00:45:22,800 --> 00:45:25,800
to get up close to the gigantic
south rose window
848
00:45:25,800 --> 00:45:27,800
in 160 years...
849
00:45:27,800 --> 00:45:29,900
(speaking French):
850
00:45:29,900 --> 00:45:33,466
NARRATOR:
...has revealed a mystery.
851
00:45:33,466 --> 00:45:38,200
We only have 13th-century glass
and 19th-century glass.
852
00:45:38,200 --> 00:45:39,466
In the 19th century,
853
00:45:39,466 --> 00:45:43,933
they removed everything
that wasn't 13th century,
854
00:45:43,933 --> 00:45:46,033
and then they had to do
new panels
855
00:45:46,033 --> 00:45:47,433
if a panel was missing.
856
00:45:47,433 --> 00:45:51,233
♪ ♪
857
00:45:51,233 --> 00:45:54,500
NARRATOR:
The chief suspect for these
radical changes to the window
858
00:45:54,500 --> 00:45:59,366
is architect
Eugène Viollet-le-Duc.
859
00:45:59,366 --> 00:46:03,166
In the 1840s, he was tasked
with breathing new life
860
00:46:03,166 --> 00:46:05,266
into Notre-Dame.
861
00:46:05,266 --> 00:46:09,900
At the time, it was not the
beloved building we know today.
862
00:46:09,900 --> 00:46:12,166
The cathedral was ransacked
during the French Revolution,
863
00:46:12,166 --> 00:46:17,200
statues of biblical kings on the
façade were decapitated,
864
00:46:17,200 --> 00:46:19,633
and it was used as a warehouse,
865
00:46:19,633 --> 00:46:23,233
sitting derelict and unloved
for decades.
866
00:46:23,233 --> 00:46:26,833
Over the course of 20 years,
867
00:46:26,833 --> 00:46:30,266
le-Duc reinstated the statues
of the façade,
868
00:46:30,266 --> 00:46:32,866
rebuilt the sacristy,
869
00:46:32,866 --> 00:46:35,700
designed hundreds of
new gargoyles,
870
00:46:35,700 --> 00:46:42,133
and raised the 210-foot spire.
871
00:46:42,133 --> 00:46:43,833
OWUSU:
Viollet-le-Duc, God bless him,
872
00:46:43,833 --> 00:46:48,633
would have been what we consider
to be a starchitect, you know?
873
00:46:48,633 --> 00:46:50,366
He was a man who knew his mind,
874
00:46:50,366 --> 00:46:53,166
he was a man who was highly
respected, really determined,
875
00:46:53,166 --> 00:46:56,300
and saw himself
as a powerful leader.
876
00:46:56,300 --> 00:47:01,600
NARRATOR:
And he used his power to make
some puzzling changes.
877
00:47:01,600 --> 00:47:05,666
During his restoration,
le-Duc removed all glass
878
00:47:05,666 --> 00:47:07,733
in the south rose window
that was not original
879
00:47:07,733 --> 00:47:12,666
and replaced it with
modern glass.
880
00:47:12,666 --> 00:47:13,800
Elisabeth is also finding
881
00:47:13,800 --> 00:47:17,200
that he made
significant alterations to some
882
00:47:17,200 --> 00:47:19,333
of the original glass panels.
883
00:47:19,333 --> 00:47:21,533
(translated):
Look at this little martyr--
884
00:47:21,533 --> 00:47:24,500
it looks like she was cut.
885
00:47:26,433 --> 00:47:28,566
She's missing the colored lines
around the edge.
886
00:47:28,566 --> 00:47:31,966
The halo is slightly cut here,
and her feet are cut, too.
887
00:47:31,966 --> 00:47:35,933
Maybe she has been moved
within this window.
888
00:47:35,933 --> 00:47:41,066
(speaking French)
889
00:47:41,066 --> 00:47:44,200
NARRATOR:
Why did le-Duc alter the window?
890
00:47:44,200 --> 00:47:45,966
Was he trying to impose
his own design?
891
00:47:48,100 --> 00:47:50,266
♪ ♪
892
00:47:50,266 --> 00:47:51,700
The glass experts hunt for clues
893
00:47:51,700 --> 00:47:56,666
here, at the Paris Médiathèque
of Architecture and Heritage.
894
00:47:56,666 --> 00:47:57,966
They hope le-Duc's plans
895
00:47:57,966 --> 00:48:02,500
for the south rose window
shed light on his thinking.
896
00:48:02,500 --> 00:48:06,633
BOULANGER (speaking French):
897
00:48:08,100 --> 00:48:10,833
NARRATOR:
As they dig into the archives,
they make a breakthrough.
898
00:48:12,300 --> 00:48:16,333
BOULANGER:
We just discovered that there
was a change of structure.
899
00:48:16,333 --> 00:48:18,800
Before Viollet-le-Duc,
there was an iron reinforcement
900
00:48:18,800 --> 00:48:23,500
in the center of the rose,
but obviously it wasn't enough.
901
00:48:23,500 --> 00:48:27,366
So Viollet-le-Duc put it
further away from the center.
902
00:48:27,366 --> 00:48:30,466
And when you removed
the ironwork here,
903
00:48:30,466 --> 00:48:33,033
he had to change the form
of the panels.
904
00:48:34,666 --> 00:48:37,133
NARRATOR:
Le-Duc's restoration
was sweeping.
905
00:48:37,133 --> 00:48:39,666
♪ ♪
906
00:48:39,666 --> 00:48:42,133
He removed a smaller structural
ring of iron
907
00:48:42,133 --> 00:48:43,766
and replaced it with
a bigger ring
908
00:48:43,766 --> 00:48:48,533
to strengthen the core
of the window.
909
00:48:48,533 --> 00:48:52,066
He removed all traces of
previous restorations
910
00:48:52,066 --> 00:48:56,533
to replace them with panels
of new glass.
911
00:48:56,533 --> 00:49:01,400
And he rotated the whole window
15 degrees
912
00:49:01,400 --> 00:49:06,000
to make it structurally
stronger.
913
00:49:06,000 --> 00:49:09,500
The problem must have been
that the medieval rose
914
00:49:09,500 --> 00:49:13,333
wasn't stable
in its axis.
915
00:49:13,333 --> 00:49:15,000
That must have been the problem.
916
00:49:15,000 --> 00:49:17,500
That's very interesting.
917
00:49:17,500 --> 00:49:19,666
♪ ♪
918
00:49:19,666 --> 00:49:22,466
NARRATOR:
Le-Duc's major changes
to the south rose
919
00:49:22,466 --> 00:49:27,100
were motivated by more than mere
aesthetics.
920
00:49:27,100 --> 00:49:29,066
Strengthening the window
has helped preserve
921
00:49:29,066 --> 00:49:32,433
this masterpiece.
922
00:49:32,433 --> 00:49:36,300
We don't come across this kind
of new information every day.
923
00:49:36,300 --> 00:49:40,366
♪ ♪
924
00:49:40,366 --> 00:49:42,000
NARRATOR:
Thanks to the scaffolding,
925
00:49:42,000 --> 00:49:44,000
these historians and scientists
926
00:49:44,000 --> 00:49:45,866
are painting an
intimate portrait of how
927
00:49:45,866 --> 00:49:47,300
the south rose window,
928
00:49:47,300 --> 00:49:50,100
one of the wonders
of this cathedral,
929
00:49:50,100 --> 00:49:52,566
evolved to survive.
930
00:49:56,933 --> 00:50:00,400
♪ ♪
931
00:50:00,400 --> 00:50:01,433
Three years into the ambitious
932
00:50:01,433 --> 00:50:04,133
five-year restoration project,
933
00:50:04,133 --> 00:50:06,066
the team at Notre-Dame
has already
934
00:50:06,066 --> 00:50:08,900
stabilized the structure,
935
00:50:08,900 --> 00:50:10,533
the process to free
the cathedral
936
00:50:10,533 --> 00:50:12,166
from the toxic lead is underway,
937
00:50:12,166 --> 00:50:17,266
and two "test chapels"
have been fully restored.
938
00:50:17,266 --> 00:50:19,633
MARIE PARANT (translated):
We are very surprised by the
quality of the materials.
939
00:50:19,633 --> 00:50:21,533
They used beautiful pigments,
940
00:50:21,533 --> 00:50:24,633
gold of very good quality--
a very beautiful technique.
941
00:50:24,633 --> 00:50:28,933
NARRATOR:
Here, mural painting and
stonework restoration techniques
942
00:50:28,933 --> 00:50:29,966
have been tested.
943
00:50:29,966 --> 00:50:32,466
They will be replicated
throughout
944
00:50:32,466 --> 00:50:33,533
the rest of the building.
945
00:50:33,533 --> 00:50:35,833
PARANT (translated):
In the long term,
946
00:50:35,833 --> 00:50:38,466
it's to optimize the restoration
of all the other chapels.
947
00:50:38,466 --> 00:50:39,566
We're very happy.
948
00:50:39,566 --> 00:50:42,566
We feel that we've played
our part.
949
00:50:42,566 --> 00:50:43,733
It's really the first step
950
00:50:43,733 --> 00:50:46,166
towards the complete restoration
of Notre-Dame.
951
00:50:46,166 --> 00:50:52,166
♪ ♪
952
00:50:52,166 --> 00:50:55,833
NARRATOR:
But there's still
a long way to go.
953
00:50:55,833 --> 00:50:58,333
Rebuilding the vaulting,
the roof,
954
00:50:58,333 --> 00:51:03,366
and the spire identically
will be a monumental task.
955
00:51:03,366 --> 00:51:08,266
(translated):
It's extremely ambitious work,
considering the schedule.
956
00:51:08,266 --> 00:51:09,966
(translated):
We have a huge responsibility
957
00:51:09,966 --> 00:51:11,866
to the generations of today
and the future.
958
00:51:11,866 --> 00:51:14,566
♪ ♪
959
00:51:14,566 --> 00:51:17,700
NARRATOR:
Meanwhile, historians
and scientists
960
00:51:17,700 --> 00:51:19,566
are rewriting our understanding
961
00:51:19,566 --> 00:51:23,266
of the very fabric
of this medieval wonder.
962
00:51:23,266 --> 00:51:25,266
♪ ♪
963
00:51:25,266 --> 00:51:26,633
It opens new perspective.
964
00:51:26,633 --> 00:51:31,100
That's a huge opportunity.
965
00:51:31,100 --> 00:51:34,200
OWUSU:
Tragic as the fire was,
966
00:51:34,200 --> 00:51:37,933
I think it took something
like that to make us understand
967
00:51:37,933 --> 00:51:44,566
just what an absolutely amazing
work of collaborative genius
968
00:51:44,566 --> 00:51:47,800
that building was.
969
00:51:47,800 --> 00:51:50,066
WOMAN:
Notre-Dame is Notre-Dame.
970
00:51:50,066 --> 00:51:52,500
(chuckling):
We definitely need it back.
971
00:51:52,500 --> 00:51:54,566
♪ ♪
972
00:51:54,566 --> 00:51:57,633
NARRATOR:
The last chapter
of this extraordinary endeavor
973
00:51:57,633 --> 00:52:03,533
has begun: to return Notre-Dame
to France and the world.
974
00:52:03,533 --> 00:52:08,100
♪ ♪
975
00:52:31,966 --> 00:52:39,500
♪ ♪
976
00:52:46,733 --> 00:52:51,600
ANNOUNCER:
To order this program on DVD,
visit ShopPBS.
977
00:52:51,600 --> 00:52:54,333
Or call 1-800-PLAY-PBS.
978
00:52:54,333 --> 00:52:57,200
Episodes of "NOVA"
are available with Passport.
979
00:52:57,200 --> 00:53:01,000
"NOVA" is also available
on Amazon Prime Video.
980
00:53:01,000 --> 00:53:06,200
♪ ♪
981
00:53:15,000 --> 00:53:22,166
♪ ♪
77514
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.