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60 Archives de la Médiathèque de l’Architecture et du Patrimoine, document 0081/075/01/12/8/1
(information for years 1909-1995).
61 The octagon was filled in during the 1980s due to too much stress on the vault. At this point
the current motif with the dove against a sunburst was put into place.
62
Anatole Frolow, Les reliquaires de la Vraie Croix (Paris: Institut français d'études byzantines,
1965), 141.
63 Ibid.
64 The crosses on the disks, of which each of the Apostles holds, are thought to be symbolic of
the crosses that the officiating priest traced on the walls of a new building during the dedication
ceremony. For the symbolism and the ceremony, see Robert Branner, The Painted Medallions in
the Sainte-Chapelle in Paris (Philadelphia: American Philosophical Society, 1968), 9. Only
three of the statues are original; the remaining nine are heavily restored from fragments or
nineteenth-century copies. For the statues, see Francis Salet, "Les Statues d'apôtres de la Sainte-
Chapelle conservées au musée de Cluny," Bulletin monumental 109 (1951): 135-56; Francis
Salet, "Nouvelle note sur les statues d'apôtres de la Sainte-Chapelle," Bulletin monumental 112
(1954): 357-63.
65 For the inclusion of this motif on royal coins, see Arthur Engel and Raymond Serrure, Traité
de numismatique du moyen âge, 3 vols. (Bologna: Arnaldo Forni, 1964), 3: 946-89 passim.
66 Rebecca Zorach, Blood, Milk, Ink, Gold: Abundance and Excess in the French Renaissance
(Chicago: The University of Chicago Press, 2005), 206, 14-25.
67 Ibid., 206.
68 Ibid.
69 French buildings are known to have images that are also found on coins. For this topic, see
Jean Pierre Babelon, "Architecture et emblématique dans les médailles de Henri IV," Revue de
l'art, no. 58-59 (1983): 21-40. For the prestige conferred upon Paris as the city housing a large
number of the Passion Relics, a status which in the thirteenth century made it renowned as the
new Holy Land, see Daniel H. Weiss, Art and Crusade in the Age of Saint Louis (Cambridge:
Cambridge University Press, 1998), 15.
70 Gady, Lemercier, 235. Lemercier will also use this motif at the château of Richelieu and in
the avant-cour of the Palais-Cardinal in Paris.
71 For discussions of the meaning of the serliana in antique and Renaissance architecture, see
Nicola Courtright, "The Vatican Tower of the Winds and the Architectural Legacy of the
Counter Reformation," in IL 60: Essays Honoring Irving Lavin on his Sixtieth Birthday, ed.
79