Reims Cathedral from Above: A Unique Experience

Climbing the towers of Reims Cathedral means reaching parts of the monument most visitors never see. The guided tour of the upper levels reveals the building’s hidden side: a reinforced concrete roof frame unique in France, monumental sculptures visible only at 40 or 80 metres above ground, and a panorama stretching from the city to the Champagne hillsides and the plains beyond.

Access is by guided tour only, led by a guide from the Centre des monuments nationaux. The ascent follows a spiral staircase of 249 steps in the south tower, then a route across the platform, the attic space and the rooftops, before returning by the same path.

The south tower: 249 steps and two great bells

The spiral staircase in the south tower leads to the platform between the two towers, over 80 metres up. The towers were never completed: a fire in 1481 prevented the construction of the spires that would have brought them to around 120 metres.

Looking up into the belfry, you can see the two great bronze bells, named after their godparent according to bell-ringing tradition:

• Charlotte: donated in 1570 by Cardinal Charles de Lorraine, Archbishop of Reims. Nearly 10 tonnes, 2.5 metres in diameter, it sounds an F.
• Marie: cast in 1849. Nearly 7 tonnes, 2.2 metres in diameter.

The bells sit within a wooden frame designed to absorb vibrations and protect the stone.

The platform: labyrinth, Gloria Gallery and the Baptism of Clovis

The reconstructed labyrinth

Since 2019, the terrace floor between the two towers reproduces the medieval labyrinth that once lay in the nave pavement. Dating from the 13th century, it was destroyed in 1779 by the canons, annoyed by children playing on it during services.

Its octagonal pattern held four small columns inside which, according to tradition, the four architects of the cathedral were represented. This layout inspired the logo of the Monuments Historiques, still in use today.

The Gloria Gallery

From the platform, you reach the Gloria Gallery at the base of the Gallery of Kings, halfway up the west facade (about 40 metres). Its name comes from the hymn Gloria, laus et honor, sung by choirboys from this gallery during the Palm Sunday procession, before the doors were opened for Mass. The balustrade features sculpted angels holding reliquaries on their veils.

The Baptism of Clovis and the 58 kings

The Gallery of Kings displays across three sides of the facade a procession of 58 royal statues framing a central group of 5 figures: the baptism of Clovis by Bishop Remi, with the dove carrying the Holy Ampulla, Queen Clotilde and two attendants. In total, 63 limestone statues, each weighing around 8 tonnes and standing 4.60 metres tall. The kings, bearded and crowned, hold sceptres and royal attributes.

Most of the statues visible today are not the medieval originals. They were replaced during successive restorations in the 19th century, then in the 1950s with contemporary reinterpretations by sculptor Paul Belmondo.

This gallery recalls the founding link between Reims and the French monarchy: 31 kings of France received the anointing of coronation here, from Louis the Pious in 816 to Charles X in 1825.

The north tower: traces of 1914

The north tower preserves the scars of the catastrophe of 19 September 1914. That day, an incendiary shell set fire to the wooden scaffolding surrounding the tower, then under restoration. The blaze destroyed the medieval roof frame and melted most of the bells. In total, the cathedral endured over 400 bombardments during the war.

Three bells survived, the only remnants of pre-1914 bell-making art. The largest, Antoinette, weighs around 2 tonnes. It bears the name of Archbishop Antoine de Latil, who christened it in 1825.

You can also see king statues from the 1950s restorations. Their style differs from the originals: deeper drapery, reduced proportions. They were intended for the Gallery of Kings but ultimately remained in the tower.

The attic: Henri Deneux’s reinforced concrete roof frame

The loss of the medieval “forest”

Before 1914, the attic housed a wooden roof frame dating from the 15th century (the original 13th-century frame had already burned in 1481). The fire of 19 September 1914 destroyed 1,800 tonnes of oak beams and melted the 400 tonnes of lead roofing. The event became known as the “Crime of Reims.”

Deneux and Rockefeller: an extraordinary reconstruction

Two men made the reconstruction possible:

• John D. Rockefeller Jr (1874-1960), American philanthropist. His donations covered approximately 37% of the total cost. His only requirement: the restoration of the ridge crest decorated with fleurs-de-lis, destroyed during the French Revolution. A commemorative plaque at the entrance to the attic pays tribute to his generosity.
• Henri Deneux (1871-1965), chief architect of the Monuments historiques, in charge of the cathedral from 1915. A specialist in ancient roof frames, he drew inspiration from a 16th-century technique and the reinforced cement developed by Reims engineer Cottancin in 1889.

A reinforced concrete “Meccano”

The post-war timber shortage forced Deneux to innovate. He designed a roof frame made of small prefabricated reinforced cement elements, assembled using mortise-and-tenon joints with wooden keys. The pieces, lightweight and easy to transport, fit together like a construction kit. Assembly numbers engraved on some pieces are still visible today.

Deneux first tested his system at the church of Saint-Jacques and the Basilica of Saint-Remi in Reims from 1920 onwards. The cathedral nave’s roof frame was rebuilt between 1924 and 1926. The building was returned to worship in 1927, but the official inauguration took place only on 10 July 1938.

The advantages of this frame: it is fireproof, lightweight, can be dismantled if needed and was inexpensive. It provides a vast interior space in a pointed arch shape, rising 19 metres above the vaults.

The ribbed vaults seen from above

Walking through the attic on the walkway, you pass directly above the nave vaults. In places, openings allow you to see the 13th-century ribbed vaults from above: two pointed arches in limestone crossing at the annular keystone, 38 metres above the nave floor. This architectural invention made it possible to transfer weight onto pillars rather than walls, and thus to open the large windows characteristic of Gothic architecture.

At the transept crossing, the frame supports the carillon: a set of 14 bells topped by a gilded lead ball, a copy of the 18th-century original destroyed in 1914.

The rooftops and the outdoor walkway

The lead roofing and the ridge crest

A small door leads out into the gutters at the base of the roof, at the level of the south transept arm. The lead roofing was reconstructed identically by Deneux: he salvaged 250 tonnes of lead melted in 1914 and added 190 tonnes.

The ridge crest at the top of the roof alternates trefoils and fleurs-de-lis. These ornaments recall the royal function of the coronation cathedral. Their size is striking up close: at least 0.80 metres for the trefoils and 1.40 metres for the fleurs-de-lis. Funded by Rockefeller, this crest restores the one melted down during the Revolution.

The south gable: the Assumption and the Sagittarius

The gable of the south transept arm features a high relief depicting the Assumption of the Virgin: Mary, veiled and with hands joined, rises towards heaven surrounded by angels, her body radiating flames. Remade in 1502, this relief has deliberately exaggerated proportions because the scene was designed to be read from ground level.

At the top of the gable stands a statue of a sagittarius: a man with the body of a horse shooting an arrow. A bronze stag once stood here, installed in the 12th century by the canons as a symbol of episcopal power. The two sculptures illustrated the tensions between the archbishop and the chapter.

The north gable: the Annunciation

The north gable depicts the Annunciation: the Archangel Gabriel announces to Mary the birth of Jesus, shown emerging from a cloud and holding a globe. Fleurs-de-lis, both a Marian and royal symbol, are everywhere. This decoration mirrors the Assumption on the south side.

The hidden bestiary

Along the rooftops, you discover sculptures normally invisible from the ground. Gargoyles drain rainwater in the form of fantastic creatures. On the battlements, eagles alternate with hybrid animals (winged lions). Mascarons and small medieval heads adorn the arch springings. On the cornices, post-war restoration craftsmen gave free rein to their imagination: you can find a sow nursing her piglets, a woman sitting on a frying pan and other enigmatic figures.

The Angel Bell Tower: highest point of the cathedral

Above the apse, the bell tower reaches approximately 87 metres. At its summit, the Angel weathervane statue overlooks the city. Standing 1.90 metres tall and made of gilded metal, it served as a landmark for pilgrims and travellers in the Middle Ages.

Seven male figures, known as atlantes, appear to carry the spire on their shoulders. They are satirical representations of 15th-century Reims burghers, sculpted after the 1481 fire that destroyed the previous spire.

The original Angel statue was taken down in 1860 and is now in the Palais du Tau, the museum next to the cathedral. Not to be confused with the Smiling Angel, the most famous sculpture on the facade, located at the north portal.

The panorama from the upper levels

From the platform and the rooftops, the view extends in every direction:

• To the west: Avenue Libergier stretches from the forecourt towards the Vesle river. You can spot the Jean-Falala media library (Jean-Paul Viguier, 2003), the Opera House (Alphonse Gosset, 1873), the church of Saint-Jacques (13th century) and the Fine Arts Museum in the former Abbey of Saint-Denis.
• To the south: the Palais du Tau, former residence of the archbishops, and the Art Deco Carnegie Library (Max Sainsaulieu, 1921-1927). Further away, the Basilica of Saint-Remi and the Butte Saint-Nicaise. The Montagne de Reims and its UNESCO-listed hillside vineyards close the horizon.
• To the north: the former canons’ quarter, whose street layout preserves its memory. The Place Royale (1757-1765) with its statue of Louis XV. The Musee-Hotel Le Vergeur, with its 3 Renaissance gables on Place du Forum. The City Hall on Place Simone Veil.
• To the east: the bell tower of Saint-Andre church reaches 88 metres, rivalling the cathedral’s 87-metre Angel weathervane.

Extend your visit at the Palais du Tau

The Palais du Tau, just steps from the cathedral, holds several works from the upper levels:

• The original Angel weathervane statue from the bell tower
• An atlante from the apse cornice
• A king statue from the Gallery of Kings
• Gargoyles with tongues of solidified lead from the 1914 fire: the molten lead followed the path normally used by rainwater to drain
• Wooden working models by Henri Deneux, used during the design of the roof frame

The museum also displays the treasures of the royal coronation (regalia) and houses a collection of monumental tapestries. It is listed as a UNESCO World Heritage Site together with the cathedral and the Basilica of Saint-Remi.

Practical information for the tower tour

Access and booking

• Type of visit: guided tour only, led by an agent of the Centre des monuments nationaux.
• Duration: approximately 1 hour.
• Group size: maximum 18 people per time slot.
• Booking: essential, two to three months in advance during peak season. The tour is very popular.
• Stairs: 249 spiral steps, no lift.
• Accessibility: not accessible to people with reduced mobility. Not recommended for those prone to vertigo.

Season and opening hours

The tower tour is only possible in favourable weather conditions. It may be cancelled in case of heatwave, heavy rain, snow or ice.

• 9 September to 15 November and 15 February to 5 May: Tuesday to Friday at 10am, 11am, 2pm, 3pm; Saturday at 10am, 11am, 2pm, 3pm and 4pm; Sunday at 2pm, 3pm and 4pm.
• 6 May to 8 September: Tuesday to Saturday at 10am, 11am, 2pm, 3pm, 4pm and 5pm; Sunday at 2pm, 3pm, 4pm and 5pm.
• Closed: Mondays, 1 May, mornings of Ascension Day and Whit Monday, and from 16 November to 14 February.

Prices

• Full price: 9 euros.
• Groups (20 or more): 7.50 euros.
• Free: under 18. Free for EU nationals and residents aged 18-25.

Contact

Tours de la Cathedrale de Reims, Place du Cardinal Lucon, 51100 Reims.
Phone: +33 3 26 47 81 79
Website: www.cathedrale-reims.fr

The cathedral itself is open and free to visit year-round (outside religious services). Only the upper levels require a paid, pre-booked tour.