A completed church was here in 1050, having been erected by a monk, Azon by name. This was burned to the ground in an attempt to drive out a robber band which had taken shelter therein. Leo IX. engaged Yves, Count of Bellene and the Bishop of Alencon, to rebuild it, and restore its former splendour. This was in the twelfth century, but, later, owing to the insecure foundations, it was pulled down and rebuilt again. Now nothing remains of the former twelfth and thirteenth century work but the lady-chapel of the choir.
The interior of the nave is, at present, entirely filled with scaffolding, which looks as though it might not be removed for years. As a restorative policy this is commendable and was necessary, but it detracts from one"s intimate acquaintance with details. About the only lasting impression of the nave that can now be obtained is that its proportions are superb, and that its cylindrical pillars, with their foliaged capitals, would be notable anywhere.
In general effect the choir is charming, having gone through the restorative process and apparently suffered little thereby. It presents the unusual basilica form of setting the altar forward on a platform raised a few steps.
The transepts are of quite idyllic proportions, each possessing an ample rose window which makes up in design and framing what it may lack in the quality of gla.s.s with which it is set. These transepts, too, have undergone the usual restoration, and have come safely through with little sad effect. It is to be hoped that these continued restorations will be carried out with the same good taste, and in a like consistent manner. If so, there will be presented for the delectation of generations of the near future one of the most pleasing of the smaller cathedrals in all France. The triforium of the choir, and of the nave so far as it can be observed through the obstructing scaffolding, is singularly light and graceful, and the window framing throughout, though entirely lacking notable gla.s.s, is of manifest good design.
In fine, then, the general effect of the Cathedral of Notre Dame de Seez is one of lightness and grace, and it may be considered as an extraordinarily fine architectural monument, in spite of the anomalies of its west front.
The twin spires rise gracefully for perhaps two hundred and fifty feet, and are after the best manner of the great Gothic builders; of true proportions, and of the dwindling pyramidal form so much approved.
The facade, between the towers and the extraordinary b.u.t.tresses, is completely filled with an ample Gothic portal, which, though entirely dest.i.tute of sculpture, or indeed carving of any sort, offers a significant opportunity for some future efforts in this direction.
[Ill.u.s.tration: _CATHEDRAL of NOTRE DAME BAYEUX_]
VI
NOTRE DAME DE BAYEUX
The magnificently impressive Cathedral of Notre Dame is perhaps less intimately a.s.sociated with Bayeux in the average mind than is the wonderful story-telling tapestry which is domiciled in the same city. As for this treasure of the past, it is a subject so vast, and of such great significance, in both history and art, that it has many times been made the subject of weighty consideration. A well-known English amateur, the Honourable E. J. Lowell, has stated that popular tradition has credited it as the handiwork of Matilda, Queen of William the Conqueror, who worked it to commemorate his glorious achievements. If this be really so, the queen was probably a.s.sisted largely by the ladies of her court, as the extensive work, measuring some hundred and sixty odd feet, could hardly have been accomplished single-handed. Professor Freeman a.s.signs it to a similar period, but worked, as he thinks, by English workmen, for Odo, Bishop of Bayeux, the Conqueror"s half-brother.
A previous acquaintance with the great cathedrals of the Isle of France will tend somewhat to nullify the effect which is produced by Notre Dame de Bayeux, although, in point of size and general arrangements, at least, it fulfils its functions perhaps more acceptably than many a more renowned edifice. Its situation, on the side of a steep slope, produces a curious effect, first, with respect to the choir chevet, which is thus shown as rather gaunt and bare in its lower elongated stages, though undeniably a fine work in itself; secondly, in the general interior view where, from the western entrance, one comes upon the nave pavement a dozen or more steps below the portal, and again meets with the same effect further on at the transept crossing. There would appear to have been no other way but this of placing above ground what might otherwise have been the crypt; adding immeasurably to the fine appearance of the interior, the nave and choir appearing to lengthen out interminably by reason of the western elevation from which they are viewed.
A portion of the western towers, and the crypt which is beneath the choir, are thought to date from as early as the eleventh century, having been built by Odo, the half-brother of William the Norman. The splendidly proportioned Norman nave, with its decorated spandrels and archivolts, a worthy decorative embellishment developed before the days of coloured gla.s.s, possesses that bright and fresh appearance which is usually a.s.sociated with a recent work, whereas, as a matter of fact, it can hardly be, in its five circular arches at least, later than the late eleventh or early twelfth century. If it were true that modern restorative processes commonly disfigured no more than this, it is a pity that the dust and cobwebs, and a little of the grime of ages, were not more often removed. Here is the very excess of dog-tooth, arabesque, and grotesque carving, never found in connection with a building which is constructively decorative. Here also is an ornate frieze of no great depth and possessing none of the beauties of the two other distinct elements. As there is no triforium in the nave proper, this decoration is, of course, intended merely as a relief to a bareness which, on account of the generous height, would otherwise exist.
In the choir, the triforium, which is omitted in the nave, springs into being in beautiful and ornate form. The lower arches, with the supports, the attributed work of an English architect, are of the usual Gothic form, in contra-distinction to the rounded heads of those of the nave.
The clerestory, though delicate and graceful, is somewhat curtailed from the dimensions of that of the west end of the church.
The transepts are unusually bright and cheerful, with a series of windows more beautifully designed than those of either the choir or nave. The choir stalls are of oak, carved in the best manner of the Renaissance.
The charming tower group of this cathedral is as effective, perhaps, as any among all the northern churches. The central belfry, albeit of a base, though pretentious, rococo design, follows no accepted style, but adds imposingly to the general outline. (Its height is over three hundred feet.) In this tower, as in the window tracery, the _fleur-de-lys_, always a sign of the decadent in Gothic style, is to be seen. The western towers, with their spires, follow the truest pyramidal form, and, though carrying both pointed and round-arched openings, are in every way representative of the best work of their period. The northwesterly tower has an elongated turret, extending from the lower ranges, which, when seen from a distance over the roof of the nave, appears as a protuberance not unlike a dove-cote. This contains the spiral staircase up which visitors are earnestly implored, by the caretaker, to wend their way and partic.i.p.ate in the view from the heights above. This view, though undeniably wider in range than are most elevated view-points, is hardly of interest to one who seeks the beauties of the structure itself. There are three porches on the west facade, all fairly well filled with foliaged ornament and bas-reliefs.
They are of the thirteenth century, and of a thoroughly florid order.
Included in the "_tresor_" are two gifts from St. Louis, the chasuble of St. Regn.o.bert, and an ivory and enamel casket.
[Ill.u.s.tration: _CATHEDRAL of NOTRE DAME SAINT LO_]
VII
NOTRE DAME DE ST. LO
This picturesquely situated city of the Cotentin, St. Lo, is so named from the Bishop St. Laud, who lived in the neighbourhood in the sixth century. Later, it became a Huguenot stronghold, and was ably, though unsuccessfully, defended by Colombiers. It forms, with its former Cathedral of Notre Dame crowning its height, another of those ensembles which will always linger in the memory of the traveller who first comes upon it clad in spring and summer verdure. The rippling Vire at its very feet gives at once the note; it not only binds and enwraps it like the setting of a precious stone, but adds that one feature which, lacking, would be a chord misplaced. Perhaps no other cathedral in all France, with regard to its bijou setting, certainly no other so accessible to the English tourist, has more dainty charm than this not very grand, but graceful, church at St. Lo. Its towers, though not uniform as to size, are of apparently the same gradual proportions, and, if not the most impressive, are at least the most beautiful in Normandy. They rise high above the wooded crest which encircles their base in true picture-book fashion. The attraction of the river, here, is unusual, in that it presents no accustomed "slummy" picturesqueness, but winds slowly, amid its green, to the very base of the cliff which upholds the chief portion of the town and its cathedral.
The facade presents a _melange_ of the work of at least three epochs, a not unusual feature in some of the smaller cathedrals. It has a mean little house built into its northwest corner, a crude and ugly clock-face stuck unmeaningly on its facade, and a general air of dilapidation, with respect to the statues originally contained in its archivolts and niches, which, to say the least, is not creditable to those who have been responsible for its care. It would seem that so lively and important a centre of local activity might have devoted a little more thought and care to the maintenance of this charming building.
Built up from a foundation of which but little, if any portion, visibly remains, Notre Dame shows a debas.e.m.e.nt of design and decoration of its facade which is not only not admirable, but is, in addition, sadly disfigured. The one detail, for the most part good in style, is a not unduly florid arcade, which plainly indicates its superiority over the rest of the building.
On the north side is an open-air pulpit of stone overhung with a canopy, a highly interesting detail, though, of course, not a unique one. Unable to command admiration as an absolute novelty, it is a.s.suredly a charming feature, and is delicately and profusely sculptured. It suggests much in conjunction with the busy life of the rather squalid neighbouring market-place, whose only picturesque attribute is when it is crowded with the gaiety of a market or a fete day. By far the most compelling interest in the building, after an inspection of its interior, is the view to be had from a distance.
The nave is late Gothic, and widens out in curious fashion toward the east; otherwise the interior arrangements are not remarkable. One bulbous chapel on the south side supplants the usual transept.
There is no triforium either in choir or nave, the lighting princ.i.p.ally being effected by the large windows of the aisles.
It is pertinent to recall here that one of Charlemagne"s own foundations of the ninth century, destroyed by the barbarians, was situated near by, the famous Abbey of St. Croix.
[Ill.u.s.tration: _Notre Dame de Coutances_]
VIII
NOTRE DAME DE COUTANCES
Like many another town of western Normandy, like Falise, Domfront, St.
Lo, Granville, Avranches, and Mont St. Michel itself, Coutances rises high above the surrounding plain and stands dominant in the landscape for miles on either hand. Of perhaps more magnitude, as to area, than any of the other examples, the city has the added attribute of three towered ecclesiastical edifices, which rise n.o.bly in varying stages far over the neighbouring roof-tops of the town itself and the tree-clad slopes which embank it.
The oldest of the Norman Gothic cathedrals, and that which partakes the most of local character, is Notre Dame de Coutances. Certain French archaeologists have said that the main body of the church is actually that of the eleventh century. It is more likely, however, that none of the building at present in view is earlier than the thirteenth century, the epoch during which contemporaneous Gothic first grew to its maturity. In any event, such building and construction was going on from 1208 to 1233 as would indicate that it was the entire present edifice which was being planned at that time. In this case it is quite possible that the rebuilding was going on slowly, foot by foot, in a manner which not only encompa.s.sed and absorbed the older building, but in reality eradicated every vestige of it. Says a French writer of enthusiasm, "The Cathedral of Coutances, as it now stands, is one of the most n.o.ble and grand religious edifices in France, with all the qualities of a monument of the first order, of perfect dimension, beauty of plan, unity of workmanship, and distinction of form." Any one of these attributes, were it literally so, might well turn a commonplace structure into an unapproachable masterpiece. In a measure, all of his eulogy is quite true, and the pity is that more do not know of its fascination and charm.
The facade of the Cathedral of Notre Dame is of the indigenous Norman-Gothic type. The fine towers, in addition to combining the symmetrical elements of Gothic, have, each, as well, a flanking towerlet, attached to their outer sides, enclosing a spiral stairway.
These extend to quite the full height of the tower proper; and, though by no means a wholly attractive feature, are not as offensive as might at first be supposed. It is doubtful, in fact, if the general strength and impressiveness of the entire structure would not be impaired were the arrangements otherwise.
The present ogival structure is built on the remains of a Romanesque church erected by a famous Bishop of Coutances, Geoffroy de Montbray, with funds supplied by Guillaume Bras-de-Fer, Odon, Roger, Onfroy, and Robert, sons of Tancrede-de-Hauteville, the Norman conquerors of Sicily and Calabria, whose names have been given fabled prominence in more than one epic poem. The early structure was consecrated in 1056, in the presence of William, then Duke of Normandy, a few years before he became the Conqueror. Supposedly none of this former church remains; in fact, what fragments, if any, exist, are doubtless covered in the present foundations.
Mainly, the present structure is thirteenth-century work, with a lady-chapel of the fourteenth century.
An unusual, and exceedingly beautiful, effect is given by the Gothic window mullions, between the chapels, in reality a series of geometrical window-frames, without gla.s.s. No florid ornament either inside or out is to be found to offend against accepted ideals. In short, "the whole is of a piece complete." The parapets of triforium and clerestory, with foliaged carvings, are about the only ornate decorations to be seen.
The central tower, of great proportions, but incomplete as to the addition of a spire, is a marvel of strength and power. Its interior, elaborately decorated, forms a lantern at the crossing. Here, as at Bayeux, the choir is raised a few steps above its aisles, giving a certain impressiveness beyond what might otherwise exist.
The interior, generally, is admirable. Cl.u.s.tered columns, as they are commonly called,--in reality they are cl.u.s.tered pillars, if word derivations are to be considered,--separate both nave and choir from the aisles; and, in case of the choir, a series of elongated circular pillars are coupled, one behind the other, an unquestionably unique arrangement.
The transepts are practically non-existent, as the widening does not extend beyond the extent of the nave chapels. This leaves the ground-plan, at least, a mere parallelogram with a rounded eastern end.
Notre Dame de Coutances is one of the few really great Gothic churches not possessing an example of those French masterworks, the rose window.
Again referring to the fine tower group, it is probably true that, were the huge central tower properly spired, the ensemble would rival Laon in regard to its impressive situation and elaborate pinnacles.
St. Pierre, of the fifteenth century, and St. Nicolas, of the fourteenth, complete the trinity of fine churches which Coutances possesses. The latter contains the unusual arrangement in a Continental church of pews in place of chairs, although formerly, it is said, this feature was not uncommon in Normandy.