Notre Dame Rose Windows: Complete Guide to Paris’s Medieval Stained Glass Masterpieces

Notre-Dame Cathedral Zoom on the west rose window.

When the devastating fire of April 15, 2019, sent flames through Notre Dame’s medieval roof, the world held its breath. Would the famous rose windows—those luminous circles of colored glass that have defined the cathedral for nearly 800 years—survive the inferno? The answer, remarkably, was yes. All three windows emerged intact, protected by the stone vaulting that medieval builders designed to withstand exactly such catastrophes. Their survival was called “a bit of a miracle” by cathedral spokesman André Finot, and their presence today offers visitors one of the most authentic connections to medieval Paris.

What makes these windows so extraordinary? Each rose window tells a different story through hundreds of individual glass panels, using colors and techniques that modern glassmakers still struggle to replicate. The north rose, with its predominant blues, depicts the Old Testament era leading to Christ. The south rose, ablaze with reds and golds, celebrates the New Testament and Christ’s triumph. The west rose, though smaller and rebuilt in the 19th century, portrays the Last Judgment—a fitting subject for the window above the cathedral’s main entrance.

Notre-Dame Cathedral West Rose from inside with the shade of the outside sculptures of the facade. Credit; Davitof, CC BY-SA 3.0.

1. Introduction to Rose Windows: The Crown Jewels of Gothic Architecture

The term “rose window” was not used until the 17th century, but the architectural form itself dates to the 12th century when Gothic builders first discovered they could pierce massive stone walls with these enormous circular openings. The name derives from the flower-like pattern created by stone tracery radiating from a central point—delicate yet structurally strong ribs of stone that support tons of glass while distributing weight equally across the circular aperture.

At Notre Dame de Paris, three rose windows dominate the cathedral’s interior: the west rose above the main entrance (completed c. 1225), the north rose in the left transept (c. 1250-1260), and the south rose in the right transept (c. 1260). Together, they represent the pinnacle of medieval stained glass artistry, combining theological storytelling with engineering innovation that was revolutionary for its time.

Why Rose Windows Defined Gothic Architecture

The development of rose windows was only possible because of two Gothic innovations: the pointed arch and the flying buttress. These structural elements transferred the weight of the roof and walls outward, allowing builders to replace solid stone with glass. The result was nothing short of revolutionary—cathedrals became vessels of light rather than fortresses of stone.

Abbot Suger, who rebuilt the Basilica of Saint-Denis in the 1140s, articulated the spiritual philosophy behind this transformation. He believed that material light could lead souls to divine light, and that colored glass served as a bridge between the earthly and heavenly realms. This theology of light would inspire the builders of Notre Dame and every Gothic cathedral that followed.^[1]

2. The West Rose Window: The Last Judgment

The west rose window is the oldest and smallest of Notre Dame’s three roses, measuring approximately 9.6 meters (31 feet) in diameter. Completed around 1225, it was the largest rose window in the world at the time of its creation—a record it held for only a few decades before being surpassed by the even grander transept roses.

Original Condition and 19th Century Recreation

Unlike its larger siblings, the west rose retains none of its original medieval glass. Centuries of damage necessitated a complete recreation during Eugène Viollet-le-Duc’s comprehensive restoration of the cathedral in the 19th century. Of the window’s original panels, only eleven fragments survived into the modern era, and these were studied carefully by art historians before the reconstruction.^[2]

Iconography and Symbolism

The west rose window depicts several interconnected themes. At its center sits the Virgin Mary holding the Christ Child—a fitting subject for a cathedral dedicated to “Our Lady” (Notre Dame). Surrounding this central image are concentric rings showing the Zodiac, the Labours of the Months, and a psychomachia—an allegorical battle between virtues and vices that was a popular theme in medieval art.

The placement of the Last Judgment theme over the west entrance follows a long tradition in Christian architecture. Worshippers entering the cathedral would see this reminder of divine judgment above them, while the promise of redemption awaited within the sanctuary.

Viewing the West Rose

The west rose presents a viewing challenge because Notre Dame’s famous grand organ partially obscures it from the nave. With approximately 8,000 pipes, this is the largest organ in France, and its presence means visitors must position themselves carefully to appreciate the window’s full splendor. The best views are from the center of the nave, looking back toward the entrance.

3. The North Rose Window: Old Testament Majesty

Step into the north transept of Notre Dame, and you encounter what many experts consider the most authentic medieval stained glass in the entire cathedral. The north rose window, measuring 12.9 meters (42 feet) in diameter, was constructed between 1250 and 1260 under the direction of architect Jean de Chelles. Unlike the west rose, this window has preserved much of its original 13th-century glass—a rare and precious survival.^[3]

The Best-Preserved Medieval Glass

Art historians at the Centre André Chastel, who have studied the cathedral’s stained glass extensively, confirm that the north rose is “the best preserved window” among Notre Dame’s medieval glazing. While some panels were replaced during 18th-century restorations—including three windows depicting the Pharaoh’s Dream of Joseph added by Adolphe Napoléon Didron—the vast majority of what you see today is authentic 13th-century glass.^[4]

Iconography: The Virgin and the Old Testament

At the center of the north rose sits the Virgin Mary enthroned with the infant Christ—the same subject as the west rose, reinforcing Notre Dame’s dedication to “Our Lady.” Radiating outward from this central medallion are 80 panels depicting figures from the Old Testament: prophets who foretold Christ’s coming, kings and judges of Israel, and scenes from Hebrew scripture.

The inner ring of 16 medallions shows the major prophets, while the outer ring of 32 panels depicts the kings and judges who ruled Israel before Christ. This comprehensive Old Testament program establishes the north rose as a meditation on prophecy fulfilled—the promise of the Messiah made visible in glass.

The Blue Color Palette

Visitors immediately notice the north rose’s predominant blue coloring—deep cobalt blues, rich purples, and cool greens that create an atmosphere of serene contemplation. This was no accident. Medieval glaziers carefully chose colors based on both symbolic meaning and practical considerations of light.

Because the north rose faces away from direct sunlight, its cool blue tones compensate for the softer, indirect light it receives. The result is a window that maintains visual impact throughout the day without relying on direct sun, unlike its southern counterpart.

4. The South Rose Window: Christ in Glory

The south rose window is arguably the most spectacular of Notre Dame’s three roses—and certainly the most dramatic. Also measuring 12.9 meters in diameter, with a total glazed height of nearly 19 meters including the surrounding claire-voie (lancet windows), this window was a personal gift from King Louis IX of France, better known as Saint Louis, in 1260.^[5]

A Royal Gift from Saint Louis

King Louis IX was one of medieval Europe’s most devoted monarchs, later canonized as a saint for his piety and his leadership of two crusades. His patronage of the south rose placed Notre Dame in distinguished company—he had previously commissioned the Sainte-Chapelle, that jewel box of a chapel famous for its own extraordinary stained glass. The architects who designed the south rose, Jean de Chelles and Pierre de Montreuil, also worked on Sainte-Chapelle, ensuring stylistic continuity between these two masterpieces of Gothic glazing.

Iconography: The New Testament in Light

While the north rose depicts the Old Testament, the south rose celebrates the New Testament and Christ’s triumph. At the window’s center sits Christ in Majesty, surrounded by 84 panels arranged in four concentric circles—a mathematical arrangement based on the symbolic numbers 4, 12, and 24.

The inner two circles show the twelve Apostles mingled with saints and martyrs venerated in France, including Saint Denis (the first bishop of Paris, depicted carrying his own head), Saint Margaret, and Saint Eustace. The outer circles depict scenes from the Gospels and connecting Old Testament prophecies: the Flight into Egypt, the Healing of a Paralytic, the Judgment of Solomon, and the Annunciation.

The Oldest Glass in the Cathedral

Remarkably, the south rose contains some of the oldest stained glass in the entire cathedral. Nine panels depicting scenes from the Life of Saint Matthew date from the late 12th century—even older than the window itself. These panels were salvaged from earlier glazing and incorporated into the 1260 installation, making them nearly 900 years old.^[6]

A Tumultuous History

The south rose has endured more restoration than its northern counterpart. In 1543, settling in the cathedral’s masonry forced builders to provide additional structural support. Between 1725 and 1727, Cardinal de Noailles financed a major reconstruction, during which master glazier Guillaume Brice incorporated surviving medieval panels into new stonework—and added his patron’s coat of arms to the window’s center.

Damage during the French Revolution of 1830, when rioters burned the nearby archbishop’s residence, destroyed many panels. Finally, in 1861, Eugène Viollet-le-Duc completely rebuilt the window, rotating it by 15 degrees to achieve a stable vertical and horizontal axis. Master glazier Alfred Gérente recreated missing medallions in the medieval spirit, drawing inspiration from the stained glass of Chartres Cathedral.^[7]

The Warm Color Palette

The south rose’s predominant reds, oranges, and golds stand in deliberate contrast to the cool blues of the north. This warm palette catches the direct afternoon sunlight that streams through the south-facing window, creating what visitors often describe as an explosion of divine fire. The window is sometimes called the “midday rose” because it reaches its visual peak when the sun is high—though late afternoon light can be equally spectacular.

5. Medieval Stained Glass Techniques: The Art of Light

The stained glass of Notre Dame’s rose windows was created using techniques that have barely changed in 800 years. Understanding these methods deepens appreciation for what medieval craftsmen achieved with tools far simpler than those available today.

Detail showing the lead “cames” that hold individual glass pieces together—a technique unchanged since the Middle Ages. Credit: Hans Bernhard (Schnobby), CC BY-SA 3.0.

The stained glass of Notre Dame’s rose windows was created using techniques that have barely changed in 800 years. Understanding these methods deepens appreciation for what medieval craftsmen achieved with tools far simpler than those available today.

Pot-Metal Glass: Color Throughout

The primary technique for creating colored glass in the medieval period was known as “pot-metal” glass. Metallic oxide powders were added to molten glass while it was still in the clay pot (crucible), producing glass that was colored all the way through rather than just on the surface. Cobalt created deep blues, copper produced reds and greens, manganese yielded purples and pinks, and iron oxide gave various yellows and greens.^[8]

The final color depended on both the amount of oxide added and the temperature at which the mixture was fired. Impurities in the metals, air bubbles trapped during cooling, and variations in thickness all contributed to the jewel-like quality of medieval glass—irregularities that modern machine-made glass cannot replicate.

Flashed Glass: Layers of Color

Creating rich red glass presented a particular challenge. When enough copper oxide was added to produce a true ruby red, the resulting glass was so dark it transmitted almost no light. Medieval glaziers solved this problem by “flashing”—dipping a bubble of clear glass into molten red glass before blowing it into a sheet. The result was a thin layer of red on a clear base, producing transparent ruby tones.

This technique also allowed for creative effects. Craftsmen could abrade away parts of the colored layer to reveal the clear glass beneath, creating patterns and details impossible with pot-metal glass alone.

Silver Stain: The 14th Century Revolution

In the early 14th century, glaziers discovered a transformative technique: silver stain. By applying silver nitrate or silver sulfide to the back of glass and then firing it, they could produce yellow tones ranging from pale lemon to deep orange. This innovation allowed different colors on a single piece of glass—for example, a figure’s blonde hair could be painted on the same piece as their blue robe, rather than requiring a separate leaded panel.^[9]

Grisaille and Paint

Details on medieval stained glass—faces, drapery, architectural elements—were painted onto the glass surface using a mixture of ground glass, metal oxides, and organic binders. This “vitreous paint” was applied with brushes, then fixed permanently by firing in a kiln. The dark paint lines visible in Notre Dame’s windows are this painted detail, giving definition to the colored glass forms.

Leading: Holding It All Together

Individual pieces of glass were assembled using lead strips called “cames”—H-shaped channels of lead into which the glass edges fit. The malleable lead could follow complex curves, making elaborate designs possible. Once assembled, the joints were soldered and the entire panel was waterproofed with cement forced under the lead flanges. Iron armatures then supported the completed panels within the stone window opening.

6. The Theology of Light in Gothic Architecture

Medieval worshippers did not view Notre Dame’s stained glass merely as decoration. These windows were theological statements—visual sermons that communicated divine truth to a largely illiterate population. Understanding the spiritual significance of Gothic light transforms how we experience these spaces today.

Abbot Suger and the Philosophy of Light

The spiritual interpretation of architectural light was articulated most clearly by Abbot Suger of Saint-Denis, who rebuilt his abbey church in the 1140s. Drawing on the writings of Pseudo-Dionysius the Areopagite, Suger believed that material beauty could lead the human mind toward divine beauty, and that physical light symbolized the divine light of God.

“The dull mind rises to truth through that which is material,” Suger wrote, “and in seeing this light, is resurrected from its former submersion.” His new church, flooded with colored light from unprecedented expanses of glass, became the prototype for every Gothic cathedral that followed—including Notre Dame.^[10]

The Rose as Symbol

The circular form of the rose window carried its own symbolic weight. The circle, having no beginning and no end, represented eternity and divine perfection. The radiating pattern suggested the sun—both the physical sun that illuminated the glass and the “Sun of Righteousness” described in scripture. In modern Catholic thought, the rose is also associated with the Virgin Mary, one of whose titles is the “Mystical Rose.”

North and South: Old and New

The placement of Notre Dame’s transept roses reflects a theological program. The north rose, with its Old Testament imagery, faces the direction associated with darkness and cold—the era before Christ’s light came into the world. The south rose, depicting the New Testament, faces the warm, light-filled direction—the era of grace following Christ’s resurrection. Together, they tell the complete story of salvation history.

7. How the Rose Windows Survived the 2019 Fire

On the evening of April 15, 2019, fire broke out in Notre Dame’s roof, spreading rapidly through the medieval timber framework known as “The Forest.” As flames engulfed the 19th-century spire and it collapsed into the nave, watchers around the world feared the worst for the cathedral’s treasures—especially the irreplaceable rose windows.

“A Bit of a Miracle”

When dawn broke on April 16, the news was far better than anyone had dared hope. Monsignor Patrick Chauvet, who was at the cathedral when the fire started, confirmed that all three rose windows had survived. “The three rose-stained glass windows from 1250 were not blemished,” he told reporters. Cathedral spokesman André Finot echoed this assessment: “It’s a bit of a miracle. We are very relieved.”^[11]

Why the Windows Survived

Several factors contributed to the rose windows’ survival. First, the stone vaulted ceiling that medieval builders constructed beneath the timber roof acted as a fire barrier, preventing flames from reaching the glass directly. This vault fulfilled exactly the protective function for which it was designed centuries ago.

Second, the rose windows are located in the transepts, away from the fire’s main path along the nave and crossing. While flames eventually reached the south transept and firefighters made the critical decision to abandon efforts to save “The Forest” in order to prevent the south tower’s collapse, the windows themselves were spared.

Third, stained glass has a high melting point—between 2,600 and 2,800 degrees Fahrenheit—making it more heat-resistant than the lead joints holding it together. While lead in some 19th-century windows elsewhere in the cathedral did melt, the medieval rose windows remained structurally intact.^[12]

Damage Assessment

While the rose windows survived, they did not escape entirely unscathed. The fire and its aftermath covered them in smoke, dust, and—critically—lead particulates from the melted roof. This contamination would require careful cleaning as part of the restoration process. Additionally, French Culture Minister Franck Riester noted that the windows “do not appear for now to have sustained catastrophic damage,” leaving open the possibility of minor heat effects requiring attention.

8. Restoration and Conservation 2019-2024

In the years following the fire, an unprecedented conservation effort has restored Notre Dame’s stained glass—including work on the rose windows that represents the first thorough cleaning they have received in 150 years.

Decontamination: Removing the Lead

The most urgent concern was lead contamination. When the cathedral’s lead roof melted in the fire, toxic particles settled on every surface, including the glass. Scientists from the Centre André Chastel and the Laboratoire de Recherche des Monuments Historiques (LRMH) developed decontamination protocols to safely remove this hazardous material without damaging the fragile medieval glass beneath.^[13]

A Scientific Opportunity

As research engineer Karine Boulanger observed, “If the fire was a terrible catastrophe, the restoration project gave the opportunity, seized by the whole scientific world, to better understand the cathedral. A building whose stained glass windows had, contrary to what one might think, been relatively little studied until now.”

Researchers created new documentation of every panel, established modern numbering systems in accordance with the international Corpus Vitrearum standards, and produced updated restoration charts showing which panels are original, which are stopgaps from earlier restorations, and which are 19th-century recreations.^[14]

Workshop Restoration

Eight restoration workshops across France, plus one in Germany, were selected to clean and conserve the cathedral’s stained glass. “This is the first time they have been cleaned since they were laid in the 19th century, 150 years ago,” explained Flavie Vincent-Petit, president of the Manufacture Vincent-Petit and one of the lead restorers.

The restoration philosophy prioritized minimal intervention: cleaning the glass as little as necessary while consolidating damaged areas according to each panel’s specific condition. The goal was preservation rather than transformation—maintaining the authentic character that makes these windows invaluable.

The Rose Windows: Special Handling

The three rose windows required special consideration due to their size, complexity, and significance. Unlike smaller windows that were removed for workshop restoration, the roses remained in place for most of the restoration period, with decontamination and cleaning performed on site. General Jean-Louis Georgelin, who led the restoration effort, extended “warmest thanks” to the “seventy master glassworkers and locksmiths” working to “let a bright light shine through the cathedral once again.”^[15]

9. Best Times to View the Rose Windows

The beauty of Notre Dame’s rose windows changes throughout the day as sunlight shifts. Planning your visit around optimal lighting conditions will significantly enhance your experience.

Morning: 7:45 AM – 9:30 AM

The cathedral opens at 7:45 AM on weekdays (8:15 AM on weekends), and these early hours offer the best conditions for viewing. Crowds are minimal, the atmosphere retains the contemplative quality the builders intended, and soft morning light filters through the eastern choir windows. The north rose appears particularly serene in these hours, its cool blues and purples glowing with reflected light even without direct sun.

Midday: 11:00 AM – 2:00 PM

The south rose reaches its visual peak when the sun is high, streaming directly through its warm reds and golds. This is why it’s called the “midday rose”—the effect of sunlight through all 84 panels simultaneously can be breathtaking. However, this is also peak tourist time, with larger crowds potentially affecting your experience.

Late Afternoon: 4:00 PM – 6:30 PM

As afternoon progresses, the western facade and its rose window catch the descending sun. The warm light illuminates the intricate Gothic stonework and creates dramatic interior effects. Crowds begin to thin after 4:00 PM, making this an excellent time for a more contemplative visit.

Thursday Evenings: Until 10:00 PM

Notre Dame extends its hours on Thursday evenings, offering a unique after-dark experience. While the rose windows are not illuminated by sunlight, the dramatically lit interior creates an entirely different atmosphere—one closer to what medieval worshippers experienced by candlelight.

Seasonal Considerations

The angle of sunlight changes significantly with the seasons. Summer brings long days with light from unexpected angles, while winter’s low sun can create particularly dramatic effects through south-facing windows. Spring and autumn offer moderate conditions with manageable crowds—March through May and September through November are often ideal months for a visit.

10. Photography Tips for the Rose Windows

Photographing Notre Dame’s rose windows can be challenging but deeply rewarding. Here are practical tips to help you capture their beauty.

Camera Settings

Stained glass creates extreme contrast between the bright window and the dark interior. Spot or partial metering directly on the window will help your camera expose correctly for the glass rather than the surrounding shadows. High ISO settings (800-3200) compensate for the relative dimness while maintaining hand-held stability.

Positioning

The rose windows are best photographed from positions that provide a direct, unobstructed view. For the north and south roses, stand in the center of the opposite transept arm. For the west rose, position yourself in the central nave—though the organ will partially obstruct your view. Moving closer to the windows allows for detail shots but may create perspective distortion.

Equipment Considerations

Tripods are not permitted inside Notre Dame, so a steady hand and image stabilization are essential. A wide-angle lens captures the full window in context, while a telephoto lens reveals stunning details in individual panels. Avoid using flash, which is both prohibited and ineffective on subjects at this distance.

Don’t Forget the Reflected Light

Some of the most magical photographs capture not the windows themselves but the colored light they cast on stone floors and columns. These patterns shift throughout the day and can be more evocative than the windows in isolation.

11. Comparing Notre Dame with Sainte-Chapelle

Visitors to Notre Dame should also experience Sainte-Chapelle, the royal chapel located on the same island just a few hundred meters away. Built by the same King Louis IX who donated Notre Dame’s south rose, and partly designed by the same architect Pierre de Montreuil, it offers a complementary but dramatically different stained glass experience.

Scale and Proportion

While Notre Dame impresses with its vast interior and three punctuating rose windows, Sainte-Chapelle achieves intimacy and intensity. Its upper chapel is essentially a cage of glass—15 windows each standing over 15 meters tall, depicting more than 1,100 scenes from the Bible. Where Notre Dame balances stone and glass, Sainte-Chapelle dissolves the wall almost entirely.

Historical Connection

Both sites reached their glazing peak in the same era under the same patron. Louis IX commissioned Sainte-Chapelle specifically to house the Crown of Thorns and other relics he had acquired—the same relics now preserved at Notre Dame. The artistic and spiritual program of one illuminates the other.

Visiting Both

The two sites can easily be visited in a single half-day. Consider seeing Sainte-Chapelle first for its intimate, overwhelming immersion in colored light, then walking to Notre Dame for the grander architectural experience. Both offer different answers to the same medieval question: how can light become theology?

12. Conclusion: Windows Through Time

The rose windows of Notre Dame have witnessed eight centuries of Paris history. They have seen coronations and revolutions, wars and celebrations, countless pilgrims and tourists. They have survived fire—both the conflagration of 2019 and earlier disasters that destroyed other cathedral treasures. They remain, as they were intended, portals between the material and the divine.

For visitors today, these windows offer something increasingly rare in our digital age: an unmediated encounter with the medieval mind. The glaziers who created them believed they were capturing divine light in glass. Whether or not we share their theology, we can share their wonder—the same wonder that has stopped visitors in their tracks for nearly 800 years.

As Notre Dame welcomes visitors following its remarkable restoration, the rose windows stand ready to perform their ancient function once more: transforming ordinary light into something extraordinary, inviting us to look up and see the world through different eyes.

13. Frequently Asked Questions About Notre Dame’s Rose Windows

1. How old are Notre Dame’s rose windows?

A: The three rose windows date from the 13th century, though their current condition varies. The west rose was originally completed around 1225 but was entirely recreated in the 19th century. The north rose (c. 1250-1260) preserves most of its original medieval glass. The south rose (c. 1260) contains a mixture of medieval and 19th-century glass due to various restorations.

2. Did the rose windows survive the 2019 fire?

A: Yes, all three rose windows survived the devastating fire of April 15, 2019. Cathedral spokesman André Finot described their survival as “a bit of a miracle.” While they were covered in smoke and lead dust, the glass itself remained structurally intact and has since been carefully cleaned as part of the restoration.

3. How big are Notre Dame’s rose windows?

A: The west rose measures approximately 9.6 meters (31 feet) in diameter. The north and south roses are both about 12.9 meters (42 feet) in diameter. Including the surrounding lancet windows (claire-voie), the south rose reaches a total height of nearly 19 meters.

4. Which rose window is the best preserved?

A: The north rose window is considered the best preserved of the three, retaining most of its original 13th-century glass. Art historians from the Centre André Chastel confirm it as “the best preserved window” among Notre Dame’s medieval glazing.

5. What do the rose windows depict?

A: Each window has distinct subject matter. The west rose shows the Virgin and Child surrounded by the Zodiac, Labours of the Months, and virtues versus vices. The north rose depicts the Virgin surrounded by Old Testament figures—prophets, kings, and judges. The south rose shows Christ in Majesty surrounded by apostles, saints, and martyrs.

6. Why are the colors different between the north and south rose windows?

A: The north rose features predominantly cool blues and purples, while the south rose uses warmer reds and golds. This was intentional: the north-facing window receives indirect light, so its cool tones maintain visual impact; the south-facing window catches direct sunlight, which the warm colors transform into dramatic effects.

7. Who created the rose windows?

A: The transept rose windows were designed under architect Jean de Chelles, with Pierre de Montreuil completing the south rose. Both architects also worked on Sainte-Chapelle. The 19th-century restorations were directed by Eugène Viollet-le-Duc, with glazier Alfred Gérente creating replacement panels.

8. What is the best time of day to view the rose windows?

A: For the south rose, midday to early afternoon provides the most dramatic lighting as direct sun illuminates its warm colors. The north rose looks beautiful throughout the day due to its consistent indirect light. Early morning (before 9:30 AM) offers fewer crowds for all three windows. Thursday evenings (until 10 PM) provide a unique after-dark atmosphere.

9. Can I photograph the rose windows inside Notre Dame?

A: Yes, photography is permitted inside Notre Dame, though tripods and flash are not allowed. For best results, use high ISO settings and spot metering focused on the glass. Consider capturing the colored light patterns on floors and columns as well as the windows themselves.

10. How do the rose windows compare to Sainte-Chapelle?

A: Both offer extraordinary medieval stained glass from the same era. Notre Dame’s three rose windows punctuate a vast stone interior, while Sainte-Chapelle dissolves its walls into almost continuous glass. Commissioned by the same king (Louis IX) and partly designed by the same architect (Pierre de Montreuil), they complement each other beautifully.

11. Why are they called “rose” windows?

A: The term “rose window” dates from the 17th century and refers to the flower-like pattern created by stone tracery radiating from a central point. The circular shape with radiating “petals” resembles an open rose. In Catholic tradition, the rose is also associated with the Virgin Mary, to whom Notre Dame is dedicated.

12. How were medieval stained glass windows made?

A: Medieval glaziers created colored “pot-metal” glass by adding metallic oxides to molten glass: cobalt for blue, copper for red and green, manganese for purple. Pieces were cut to shape, painted with details, and assembled using lead “cames.” The techniques have barely changed in 800 years.

13. Is there original glass in the west rose window?

A: Unfortunately, no. The west rose was completely recreated in the 19th century during Viollet-le-Duc’s restoration. Only 11 original panels survived to inform the reconstruction. The north rose offers the best opportunity to see authentic 13th-century glass.

14. Who donated the south rose window?

A: King Louis IX of France (Saint Louis) donated the south rose window in 1260. He is the same monarch who built Sainte-Chapelle to house his collection of sacred relics, including the Crown of Thorns now preserved at Notre Dame.

15. What restoration work was done after the 2019 fire?

A: The rose windows required careful decontamination to remove toxic lead dust from the melted roof. Eight French workshops and one German workshop were selected to clean and conserve the glass—the first thorough cleaning in 150 years. Researchers also created comprehensive new documentation of every panel.

16. Why did the rose windows survive when the roof collapsed?

A: The stone vaulted ceiling beneath the timber roof acted as a fire barrier, exactly as medieval builders intended. The rose windows are also located in the transepts, away from the main fire path along the nave. Additionally, stained glass has a very high melting point (2,600-2,800°F).

17. Can I see the rose windows without entering the cathedral?

A: The west rose is visible from the exterior facade, though stone tracery obscures much of the detail. The north and south transept facades also show the exterior of their rose windows. However, the true beauty of stained glass requires viewing from inside with light passing through.

18. Are there other rose windows in Paris?

A: Yes, Sainte-Chapelle has a spectacular rose window in its west facade depicting the Apocalypse. Several other Parisian churches also feature notable rose windows, including Saint-Eustache and the Basilica of Saint-Denis.

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