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Les clochetons de la cathédrale de Rouen

Les Rouennais entretiennent une relation toute particulière avec leur cathédrale. Certes, la capitale normande regorge de monuments et de lieux remarquables au point que vivre ici, c’’est un peu vivre dans un musée d’’architecture ancienne à ciel ouvert. Mais la cathédrale, chef-d’oe’œuvre médiéval complété de sa flèche et de ses clochetons au 19e siècle, est le point de repère à la fois historique et affectif des habitants, un édifice qui a su résister à tout. C’’est dire si les travaux qui viennent de commencer sont observés avec intérêt. Le nettoyage de la façade et la redécouverte des portails ornés furent déjà des événements. Le chantier de la restauration des clochetons, dont l’’un fut abattu par la grande tempête de 1999, est aussi spectaculaire que techniquement passionnant.

Des équipes très enthousiastes

La restauration des clochetons se déroulera en trois tranches. La première a commencé en septembre 2010 et se terminera en août 2011. Elle prévoit la dépose des trois clochetons encore en place, la construction en atelier de la structure en inox du clocheton détruit en 1999, puis sa repose sur le tabouret de la flèche où il sera habillé de sa couverture et de ses décors en cuivre restaurés. La deuxième phase (septembre 2011-août 2012) prévoit la création des structures en inox des trois autres clochetons et les restaurations des éléments en cuivre avant la repose des clochetons prévue en dernière phase (septembre 2012-août 2013). Une importante étude préalable a été commandée par la DRAC auprès de l’’architecte en chef des Monuments historiques, Pierre-André Lablaude. Celui‑ci suit avec une attention toute particulière et la ferveur qu’’on lui connaît chaque étape de l’’opération. La couverture et tous les décors sont réalisés par Adhéneo. Créé en mai 2008, le groupe rassemble deux maisons à l’’histoire et au patrimoine séculaires : Gautier-Yvon – Les Toitures d’’Anjou et les Toitures Petit. Composé d’’entités reconnues pour leur savoir-faire depuis 187 ans, Adhéneo compte une bonne centaine de couvreurs expérimentés et rompus aux difficultés de l’’architecture du passé. Le dirigeant, Jérôme Leboulicaut, s’’enthousiasme : « Je dis à mes équipes que c’est le chantier du siècle pour un couvreur ! Nous n’’en verrons sans doute pas deux semblables dans notre vie. » Au départ, six personnes ont été occupées à plein temps pendant un mois entier pour répondre à l’’appel d’offres, trois mois ont été nécessaires pour mettre en place le vaste atelier spécialement conçu sur les quais de la Seine pour cette restauration, et une dizaine de spécialistes vont y oeœuvrer pendant trois ans. Un conducteur de travaux particulièrement aguerri, Bernard Bos, est se consacre entièrement à ce site. Il s’’est installé à Rouen exclusivement pour l’’occasion et y demeurera jusqu’’à la fin du chantier. Celui‑ci souligne : « Un tel chantier doit absolument viser le zéro défaut. L’’enjeu est considérable ». La tour lanterne de la cathédrale atteint 72 mètres de hauteur, les clochetons mesurent 26 mètres, et la flèche culmine à 152 mètres.

Inventaire et restitution

Il a d’abord fallu récupérer les différentes pièces provenant du clocheton détruit, qui avaient été stockées, puis en faire l’’inventaire. Cette opération d’’inventaire et d’étiquetage de toutes les différentes pièces constitutives de chaque ouvrage est aussi réalisée sur l’’ensemble des clochetons. Bernard Bos explique : « La charpente intérieure sur laquelle étaient fixés les éléments en cuivre avait été conçue en fer. Or, il y a une incompatibilité entre ces deux métaux, et la réaction électrolytique qui s’’est produite avait complètement dégradé la structure porteuse, on peut même dire que plus rien ne tenait vraiment. Beaucoup de points de compression étaient apparus, les pieds d’’assemblages avaient éclaté, les rivets avaient sauté, et certaines enrayures avaient même totalement disparu ». Dans le projet de restauration, il est prévu de fabriquer une charpente neuve en inox passivé, afin d’’éviter le retour de tels désordres. « Pour restituer le clocheton nord-est, reprend Bernard Bos, nous allons prélever environ 25 % de pièces dans les trois autres, pour ne pas avoir un ouvrage entièrement neuf. D’’autre part, sur l’’ensemble, 20 à 30 % de pièces sont à refaire. Nous préparons donc des moules permettant de réaliser des copies de qualité des éléments décoratifs. » Ces moules où vont renaître chimères, feuilles d’’acanthe et crochets ornés sont soit tout en résine – positif et négatif – soit en zinc et résine. Outils, matériels et matériaux Le rivetage fait l’’objet de soins particuliers : tous les clochetons sont soudés à l’’étain et rivetés, avec différents modèles de rivets (de 4, de 2,5, etc.). Les 200 000 rivets nécessaires à la restauration ont été préparés spécialement, après examen de l’’existant. « Ils seront posés en utilisant la même méthode que les bâtisseurs du 19e siècle, mais bien sûr à l’’aide d’’outils de notre époque », souligne Jérôme Leboulicaut, qui enchaîne : « Dans le hangar 108, nous avons installé notre atelier en prenant en considération tous les besoins spécifiques de ce chantier. C’’est ainsi que nous disposons d’’une scie à ruban pour détourer les pièces embouties et faire en sorte qu’’il soit possible de les assembler correctement ; d’’une presse de 100 tonnes pour emboutir le cuivre avec les moules précédemment préparés ; d’une plieuse hydraulique numérique pour faire des motifs à plis complexes ; d’’une cisaille électrique et d’’une riveteuse pneumatique ». Le cuivre mis en œoeuvre n’’est pas en bobine, mais en feuilles plates. Celles‑ci mesurent deux mètres et serviront à toutes les pièces, sauf pour les arcs-boutants, qui exigent des longueurs plus importantes. « Il faut remarquer, dit Bernard Bos, que les arcs-boutants sont parmi les pièces les plus complexes, car chacun est constitué de quatre grands éléments de 3 m × 1,50 m, emboutis en une seule fois, assemblés avec un coulisseau et des pattes de fixation. » Les épaisseurs sont multiples (12/10, 10/10, 8/10), respectant ainsi les épaisseurs du cuivre d’’origine. Selon les possibilités, un panachage entre les parties neuves restituées et les parties originales restaurées sera effectué. Aujourd’’hui, tout est prêt. Et tout commence. S. V.

Une histoire tourmentée

Premier sanctuaire au Haut Moyen Âge, incendié en l’’an 841 par les Vikings, l’’édifice est rebâti du 11e au 13e siècle. En 1145, la construction de la cathédrale gothique actuelle commence, sous l’’impulsion de l’’archevêque Hugues d’’Amiens. La tour Saint-Romain, la façade, une partie de la nef sont élevées quand, en 1200, un incendie détruit le choeœur roman. Il est alors agrandi et la tour lanterne est construite. Une flèche à charpente en bois recouverte de plomb vient la couvrir au 16e siècle. Le 15 décembre 1822, un autre incendie détruit la flèche. Elle est alors reconstruite entièrement en fonte dans un style néo-gothique par l’’architecte Alavoine en 1825. En 1884, les clochetons, réalisés par le fameux ferronnier d’’art Ferdinand Marrou, sont installés aux quatre angles de la tour lanterne. Hélas, le 26 décembre 1999, le clocheton nord-est est arraché de sa base par le vent et s’effondre sur le toit du chœur après une chute de plus de 30 mètres : les arcs-boutants se sont détachés de la flèche principale. Les clochetons encore en place ont fait l’’objet de travaux de consolidation et de sécurisation pour prévenir tout autre désastre, jusqu’’au chantier de restauration d’’aujourd’’hui.

Les acteurs du chantier

  • Maîtrise d’’ouvrage : État
  • Maître d’oe’œuvre : Pierre-André Lablaude, architecte en chef des Monuments historiques
  • Installation de chantier, maçonnerie, pierre de taille : Lanfry
  • Échafaudage des clochetons : Comi Service
  • Charpente métallique : Viry SA
  • Couverture et décors en cuivre : Adhéneo-Toitures
  • Petit Montant total de l’’opération, financée à 100 % par l’’État : 7 600 000 euros
  • Tranche 1 : 2010-2011 : 2 500 000 euros
  • Tranche 2 : 2011-2012 : 3 750 000 euros
  • Tranche 3 : 2012-2013 : 1 350  00 euros

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