Abstract

Twentieth-century art historians have primarily regarded the interior of medieval churches aesthetically, in part as a result of the impression these churches left after the turmoil of the French Revolution and their subsequent rebuilding and reconstruction in the spirit of bourgeois enlightenment. The choir screens had disappeared, and reformed cathedral chapters and monastic communities installed themselves as best they could in the remaining space, but the real centerpieces of medieval piety could no longer shape the interior of these churches. On Paris's Place de Grève in 1793 the bones of St. Geneviève were publicly burned and her golden shrine melted down; in similar ways the remaining churches of France—and, in the wake of the Napoleonic occupation, other countries—lost their saints' relics . What remained of the medieval saints' bodies the church, in the aftermath of the Enlightenment, no longer dared to display