Black Madonna - Chartres Cathedral

This image shows the Virgin and Child of Chartres Cathedral, commonly known as the Black Madonna of Chartres (Notre-Dame du Pilier). It is one of the most venerated Marian sculptures in France and a central focus of devotion within the cathedral. It  was commissioned in 1508 as a black wooden copy of the 13th century silver Madonna that once stood on the main altar at Chartres Cathedral. This statue was later given to the Cathedral in about 1540.1

The statue depicts the Virgin Mary enthroned, holding the Christ Child on her left knee. Both figures wear crowns, signifying their royal and divine status. They are clothed in rich, embroidered vestments of gold fabric, often changed for liturgical feasts. The garments, heavily adorned with floral and vegetal motifs, reflect Mary’s role as Queen of Heaven and the “living throne” of the divine. The Child raises His hand in blessing, symbolizing His divine authority and role as Savior.

Currently it sits on top of a pillar in the North aisle of the cathedral and is commonly known as "Our Lady of the Pillar". Chartres was a centre for the Marian cult and, in addition to the Blue Virgin stained glass window in the south ambulatory, also had another 11th century wooden Madonna statue in the crypt. That statue was burned during the French revolution, and for some time this Madonna was put there, until a copy of the original was made in 1857.2

Artistically, the sculpture blends Gothic serenity with a Byzantine sense of majesty. Its frontality and solemn gestures recall older icon traditions, while the elaborate garments and setting integrate it into the luminous Gothic space of Chartres.

The statue Notre-Dame du Pilier was restored and reinstalled on 6 September 2013. Over centuries, the statue (and much of the cathedral interior) had become darkened by candle soot, smoke, and older coatings/paint. The cleaning removed this “unsightly coating” and soot, revealing a much lighter surface beneath. The restoration team found that the dark (“blackened”) look was not its original appearance. The rosy tones and lighter colours indicate the statue was not intended to be black, and it appears that some of the darkening came from 19th-century paint or coating, plus accumulation of soot, rather than original dark wood or pigment.3

Some critics have objected strongly, arguing that the cleaning erased familiar historic appearance, that for many people, the “Black Madonna” identity was part of its cultural and devotional significance. Supporters of the restoration defend it as returning the work to how it was originally intended and removing damage from time.4

• 1. 'Mary In Our Life: Atlas of the Names and Titles of Mary, The Mother of Jesus, and Their Place in Marian Devotion' by Nicholas J. Santoro p297
• 2. Our Lady of the Pillar, The Black Virgin
• 3. France Today
• 4. The Guardian