The Cathedrals of Northern France Part 5

NOTRE DAME DE CHARTRES

Aside from their wonderful, though non-similar, cathedrals, Chartres and Le Mans, its neighbour, have much in common. Both have been possessed of a brilliant array of counts and prelates, both grew from a Celtic village to their present grand proportions through a series of vicissitudes, wars, and conquests, until to-day each is preeminent within its own sphere, and has become not only a centre of ecclesiastical affairs, but of civil life as well.

The Counts of Chartres and of Blois, in the middle ages, were a powerful race of men, and should ever be a.s.sociated with profound respect in English minds by the fact that here was the birthplace of Adela, the mother of King Stephen of Blois, and of Henry, Bishop of Winchester.

As for local conditions to-day, Chartres, while having grown to the state which it now occupies through events which have made it a city of mark, remains a somnolescent, spa.r.s.ely built town, with little suggestion of the progress of modernity. More frequently mentioned in the note-books of the traveller than Le Mans, it offers perhaps no greater charms. To be sure, its cathedral, by reason of its open situation and the charming quality and effect produced by its spires and its one hundred and thirty windows of coloured gla.s.s, at once places it at the very head amongst the great "show pieces" of France; but it is in connection with Le Mans, scarcely eighty miles away and so little known, that it ought really to be studied and considered; which as a matter of fact it seldom is. The city is hardly in keeping with what we are wont to a.s.sociate with the environment of a great cathedral, though this of itself in no way detracts from its charms. The weekly cattle-market takes place almost before its very doors, and the battery of hotels which flank the open square present the air of catering more to the need of the husbandman than to the tourist;--not a wholly objectionable feature, either.

Beyond such evidences as an occasional sign-board announcing the fact that the hostelry possesses a _garage_, _fosse_, or what not for the necessitous requirements of the automobilist, the inns remain much as they always were, mere _bourgeoise_ caravansaries.

The Cathedral of Notre Dame de Chartres jumps full into view immediately on leaving the railway station, though here it is to be noted that no delineation has ever been made by modern hand which shows its facade in its entirety. The roofs of the houses and shops around its base indicate no special squalor or poverty, as is the case with regard to some Continental churches, and there is a picturesque grouping of firs and poplars to the left which adds considerably to an already pleasing prospect. The whole grouping is, perhaps, none the less attractive than if the facade, with those extraordinarily beautiful non-contemporary spires, stood quite un.o.bstructed. In fact, it is doubtful if many a monumental shrine might not lose considerably, were it taken from its environment and placed in another which might not suit its graces so well.

These really fascinating spires, famed of all writers, archaeologists, and painters alike, are the _clef_ by which the whole harmony is sounded. One cannot but echo, and reecho, all that has been said of them, though in a quandary as to which of the two is the more beautiful: the plain, simple, symmetrical, older spire, or that wonderful work of Texier's, replacing another burned in 1506, which rises in gently sculptured and tapered ranges to a height which exceeds its companion by some twenty-five feet. No more appropriate or convincing wording could be given of it than by quoting Fergusson's estimate, which sums it up as being "the most beautifully designed spire in Europe, surpa.s.sing even Strasburg and Antwerp."

It is rather a pity that from no suitably near-by point can one obtain a full view of the effect of the western facade. One poor little house seems ever to thrust itself into the ensemble, though it is to-day apparent that certain others, which must have cut into the front still more, have been cleared away. Clearly, with all its charm and beauty of detail, it is for its great and general excellencies that the cathedral at Chartres most impresses itself upon the memory.

Visitors to-day will have no easy task in locating Lowell's "little pea-green inn," in which he indited the lines, "A Day in Chartres;" as appreciative and graceful an estimate of an inanimate thing as ever was made in verse:

"The Grecian gluts me with its perfectness Unanswerable as Euclid, self-contained, The one thing finished in this hasty world.

But ah! this other, this that never ends, Still climbing, luring fancy still to climb, As full of morals, half divined, as life, Graceful, grotesque, with ever new surprise Of hazardous caprices, sure to please, Heavy as nightmare, airy light as fern, Imagination's very self in stone."

Among the other attractions of the west facade is the Porte Royale, so called, the central doorway which was only opened for the entrance of the sovereign. It is decorated with the "signs of the zodiac" and "symbols of the months." Next in point of richness are the grandly effective north and south porches, with their triple doorways or portals, setting back some twenty feet from their jambs, which, as at Noyon, and in the smaller church at Louviers, are pierced with a transverse pa.s.sage.

The north porch, with its range of three open-sided and deeply recessed doorways, has unmistakably debased tendencies, but is filled with sculptured statuary of more than ordinarily effective disposition, more remarkable for magnitude and ornateness than for finesse of skill and workmanship, or even as a detail of good taste.

The life-size statues of all three recesses are held aloft by pedestals, on pillars of twisted and of spiralled trunks, a formation reviled by Ruskin, but producing an effect much more pleasing than some galleries of effigies we have seen, where the figures appear as if hung up by the hair of their heads, or are clinging to the walls by invisible spurs at their heels, or, as is not infrequently the case, are standing or hung on nothing, as though they were graven of some bewitched magnetic stone.

Here for the first time is seen, in the sculptured figures of the three great portals, the plastic forms which were to add so greatly to the Gothic architecture: male and female saints, Evangelists, and Apostles in great array, all somewhat more than life-size. Only one adverse impression is cast: that of petrifaction. The figures, almost without exception, appear as integral parts of the architectural fabric, rather than as added ornament. They are most ungainly, tall, stiff, and column-like, much more so than similar works at Reims, or at Amiens, where the sculpture has something of the vigour and warmth of life.

The south porch, erected in the reign of Henry I. by Jean Cormier, partly from donations of Matilda, queen of the Norman Conqueror, contains a series of _ba.s.so relievos_,--seen also in the arches of the choir,--manifestly not of good Gothic principle, and one which is the very ant.i.thesis of the northern spirit, as the name itself implies.

The earliest portion of the existing church, the crypt, is that of a timber-roofed structure burned in 1020. It was erected early in the eleventh century by Fulbert, the famous Bishop of Chartres, also remembered--possibly revered--as being the prolific letter-writer of his time.

John of Salisbury was bishop in the next century, and under him were built the lower stages of the western facade and towers. In this church Edward III. called for the help of Heaven to aid his plans, and here Henry of Navarre was crowned King of France, a change of venue from Reims, where so many previous and subsequent coronations were held.

The interior gives a deal of the thrill for which one should always be prepared. The gloom, so apparent at first, slowly brightens as the eye becomes accustomed to the finely filtered light, which penetrates through the gorgeous coloured gla.s.s, a feature which ranks with the spires as a vivid impression to be carried away. Nearly all of this gla.s.s is of equal worth and attractiveness, being, with the exception of three windows of a late date, and a few uncoloured ones, all of the gorgeous thirteenth-century variety.

The whole ma.s.s of the clerestory throughout gives the effect of windows heavily hung with tapestries through which the outside light pierces in minute rays. This comparison is made advisedly, inasmuch as, regardless of the quality and value of the gla.s.s, it is composed mainly of those minute and fragmentary particles often more rich in colour than design.

There is little doubt but that the result of the deep rich blue, claret, and orange gives a first effect of insufficient lighting which would try an artist or photographer sorely, though not a detracting element in churches which would often appear cold and unconvincing were such an attribute lacking. There are also three magnificent rose windows of great size (thirty to forty feet), containing equally good gla.s.s.

A double ambulatory surrounds the seven-chapeled choir, which is further enclosed by a magnificent sculptured stone screen begun in the sixteenth century by Texier, who designed the marvellous north spire. The _Vierge du Pilier_ of the north choir aisle, a fifteenth-century shrine, is the subject of great local veneration. The treasury contains a _relique_ in the form of the veil of the Virgin, supposed to have been presented by Charlemagne to Princess Irene.

Other interior details of note are an eleventh-century font; the large crypt beneath the choir; the unequal level of the pavement of nave and choir; and the maze, which still exists in the nave. This last feature is a winding circular path some forty odd feet in diameter, and, in all, perhaps a thousand feet long. As a penance in place of a pilgrimage to Jerusalem, "the journey of the maze" was performed by the penitent on his knees--taking perhaps an hour or more, according to the size and length of the path, which varied with different churches where they formerly existed. The other most notable example in France is at St.

Quentin, northeast of Paris.

IX

NOTRE DAME DE REIMS

The very ancient city of Reims, now the capital of the Department of the Marne, was a large centre of population when it first fell under the sway of the Romans. During Caesar's occupation it was known as Duroctorum, in the Praefecture of the Gauls.

A powerful metropolis and a faithful adherent of the Romans, the city early attained prominence as a centre of Christianity. St. Sixte preached the word here shortly after the first bishopric was founded, after capture by the Vandals in 406 A. D. The city was practically razed by Attila, who afterward met defeat at Chalons. During the Roman Empire it was the most important town of the Province of Belgica Secunda, later becoming known as the capital of the Remi, the name given to the people inhabiting the country round about.

[Ill.u.s.tration: NOTRE DAME _de REIMS_ ...]

In 508 A. D. the Franks under Childeric captured the city, and in 720 A.

D. Charles Martel captured it from Bishop Rigobert. Here, too, Pope Stephen had his famous interview with Pepin, and attended the crowning of Louis le Debonnaire in 816 A. D. In 744 it was made an archbishop's see, with suffragans at Amiens, Beauvais, Chalons, and Soissons. It is to-day the ecclesiastical capital of France--the Archbishop of Reims being the metropolitan prelate.

Clovis, son of Childeric, King of the Ripuarian Franks, in 496 A. D.

conquered the last Roman stronghold at Soissons, and, having married a Burgundian princess, Clotilda, was induced to accept Christianity. He was accordingly baptized here by St. Remi on Christmas Day, 496 A. D.

Leo III. met Charlemagne here; a council was held in 1119 A. D. by Calixtus II. in an attempt to reconcile Henry I. and Louis le Gros; and, later, another, to excommunicate another Henry.

Succeeding years saw a continuity of archbishops, who achieved by their religious works a world-wide fame and glory. In these early days they held the temporal as well as spiritual power of the cities, and in some instances even coined their own specie.

In spite of the changes of the times and conditions of life, the ancient capital of Belgica Secunda still remains the chief city of the Departments of the Marne, Ardennes, and Aisne. Its ecclesiastical and secular monuments, headed by the grand Cathedral of Notre Dame, form an array which is well worthy of such extended consideration as the traveller or student can give. The Benedictine Abbey, the Church of St.

Remi, is likewise notable in all of its dimensions and details. Its construction dates from 1162-1506, though the remains of a former tenth-century structure are made use of therein. Its chief treasure is the tomb of St. Remi, a wonderful Renaissance funeral monument of imposing proportions. Another monumental feature of more than unusual note, is the magnificent Roman arch of the former fortress of Porte Mars. This truly majestic specimen of the work of the Roman builder is supposed to have been erected by Agrippa in 25 B. C., in honour of Augustus, although another authority puts it as late as the period of Julian, 361 A. D. At any rate, it has stood the rigours of a northern clime as well as any Roman memorial extant; indeed, has seen fall all its contemporaries of the city, for at one time Reims was possessed of no less than three other gateways, bearing the pagan nomenclature of Ceres, Mars, and Venus.

The various other memorials of the city are on a no less grand scale, but the average person will hardly have eyes and ears for more than a contemplation of the wealth of splendour to be seen in its overpowering cathedral. Of the glorious group of monumental churches of northern France, the Cathedral of Notre Dame de Reims, if not admittedly the most beautiful and memorable Gothic edifice in all France, needs but little qualifying comment. It has a preeminence which has been generally conceded, and even elaborately endorsed, by most observers qualified to pa.s.s opinion hereon. Contemplation of the wealth of detail, and of the disposition of its wonderful west front, no less than of its general excellencies, can but compel the decision that in its exterior, at least, the Cathedral of Reims is the peer of any existing Gothic fabric.

Though less huge than Strasburg or Cologne, and lacking the doubled tier of flying b.u.t.tresses of the latter, it is altogether the most splendid and well-proportioned Gothic ma.s.s extant. The diminishing or pyramidal effect of the towers and gable of this west facade is an exemplification of the true symmetry of Gothic form. Lofty, and not closely hemmed in by surrounding structures, it looms, from any adjacent view-point, fully two-thirds of its decorated splendour above the general skyline round about. Aside from modern adulation we have the praise of an early historian, who delivers himself thus:

_"Decor et majestes praeclarissime hugus structurae omnem scribendi peritiam longe superat, ob elegantum omnibus est admirationi, at que sibi similem non habet in tota Gallia."--Met. Rememsis Hist. Dom.

Guliol. Marlot S. Nicasii Rem. Prioris, Tom ii. p. 470._

Following the preaching of St. Remi, and the murder of St. Nicaise, who founded a church on this site in 400 A. D., Ebo, bishop in 818 A. D., laid the foundations of a new church, Louis I. granting that such material as might be needed be taken from the city wall. To a.s.sist, the sovereign also sent his architect, Rumaldi. In 847 A. D. Archbishop Nicman secured a renewal of the privileges, and in the presence of the king the building was consecrated in 862 A. D. The western entrance was ornamented with graven statues of Louis I., the patron, Pope Stephen, and the archbishop himself.

This entire fabric succ.u.mbed to fire on the 6th of May, 1210, and the present structure rests merely on the remains of the ancient crypt, which in a measure survived. Few visible remains of this ancient foundation are to-day visible. The new church reared itself rapidly under the immediate supervision of the Archbishop Alberic de Humbert.

The choir, begun within two years of the fire, made such progress as to allow of the high altar being ceremoniously dedicated within three years; and, before the middle of the century, the records tell us that the main body of the church was entirely completed. The right tower was uncompleted at this time, but was finished by Cardinal Philastre in 1430, up to which time intermittent labour had evolved a superlative combination of constructive and decorative excellencies. The extreme lightness of the west front is brought more and more to impress itself upon one by reason of the consistent disposition of the excellency and delicacy of its sculptured ornament.

This western front, from the grand portals upward, is the _apogee_ of French Gothic ornament,--at once the admiration and boast of all France.

Here is no mixture or confusion of style, in design or decoration. The pointed arches of window and doorway are of the accepted "best manner,"

the heavy detail is placed low and rises gracefully to the "Gallery of Kings," a grand succession of stone effigies of royalties from Clovis to Charles VII., a decorative arrangement not made use of elsewhere to anything like a similar extent, a fact which of itself stamps the cathedral as the royal church of France. Conceived by one Gaucher, the portals are not only superior to all others in richness, depth, and quality of the sculpture shown in the hundreds of figures with which they are peopled, but are of exceedingly true and appropriate dimensions, taken in relation with the other parts of their setting.

Immediately above the gable of the central portal is a wonderful rose window, of the spoke variety, containing thirty-four sections,--of immense size and nearly forty feet across. This "most perfect rose,"

designed by Bernard de Soissons, may well be credited as one of the masterworks of architectural decoration in all the world. Flanking this great window on either side are two open lancet arches, while above is the "Gallery of Kings" before mentioned. The twin mullioned towers on either side rise for two hundred and sixty-seven feet. Light and airy, they depend for their effect of grace and symmetry entirely upon structural design, lacking sculptured ornament of any kind. Formerly they possessed spires of a great height, which, however, were destroyed by fire in the fifteenth century.

"Were all its original attributes complete," says Fergusson, "we should have the _beau ideal_, externally, of a cathedral." This is probably an adaptation of Viollet-le-Duc's estimate, which he expresses thus: "This west facade is the most splendid conception of the thirteenth century,--Paris, like Laon, being really a transition example, Amiens representative of different epochs, Chartres a mere reunion of fragments, and Bourges and Rouen a _melange_ of three centuries."

The south transept portal, which is of great breadth, contains statues of the Archbishops of Reims, and one of Clovis. A similar doorway on the north side, though now walled up, contains, in the tympanum, a fine sculptured "Last Judgment," while the transept itself houses one of those great clocks so frequently met with in Continental churches,--in this instance said to be the oldest running time-piece in existence.

Seven flying b.u.t.tresses, between the transept and the west front, flank the nave, each holding aloft an elegantly canopied niche containing a full-length winged figure, a further unique arrangement being a similar figure which caps or pinnacles the outer piers, from which the b.u.t.tresses spring. Above the point of contact of the b.u.t.tresses with the main body, runs an effective bal.u.s.trade of small pointed arches, while the abside shows, again, a wonderful combination of the b.u.t.tress as a decorative and utile feature, combined.

The exterior may be summed up briefly as being the most gorgeously peopled and decorated structure of its age--as though it were expressly designed to show off this great throng of statues to the best possible advantage. Taken collectively, the series forms, says one writer, "the most complete and magnificent collection of mediaeval iconography extant." The figures were originally perhaps as many as five thousand, representing nearly all the families of mankind.

In size the Cathedral of Reims ranks third among the four largest in France, being exceeded only by Amiens and Chartres, while Paris is slightly smaller.