From the 12th century, architects conceived the statuary of the cathedral alongside the building itself. Primarily located on the exterior, especially on the portals, it is designed in a narrative mode. Each section tells a story from the Bible.
Many statues have disappeared over time, degraded by the elements or destroyed during political upheavals. During the 19th-century restorations, some were recreated in the Gothic style, particularly on the western facade. Traces of paint found on some 13th-century statues prove that both interior and exterior statuary were colored during the Middle Ages.
Few medieval statues remain inside the cathedral. However, the most emblematic is a 14th-century Virgin and Child, originally from the Saint-Aignan chapel located in the former Cloister of the Canons on Île de la Cité, and transferred to Notre-Dame in 1818. The choir enclosure represents a partially preserved sculpted program.
In the 18th century, following Louis XIII’s vow, the choir of the cathedral underwent a major reorganization. The addition of numerous sculpted elements, including the imposing white marble Pietà, marked one of the cathedral’s many evolutions.
The side chapels have been filled with altars, tombs, and decorations over the centuries. However, the most representative piece is the mausoleum of the Count of Harcourt by Jean Baptiste Pigalle.
When Viollet-le-Duc directed the restoration works in the 19th century, the Gothic style dominated the western facade. He added imaginative creations to the building, such as the new spire and its twelve statues of apostles and the chimeras on the terrace edges.
Certain statues are linked to specific devotions, such as Saint Thérèse of Lisieux, and Saint Joan of Arc.
