IV
NOTRE DAME DE SOISSONS
Soissons, the other primitive example, is at once a surprise and a disappointment. From the railway, on entering the town, one is highly impressed with the grouping of a sky-piercing, twin-spired structure of ample and symmetrical proportions; and at some distance therefrom is seen another building, possibly enough of less importance. Curiously, it is the cathedral which is the less imposing, and, until one is well up with the beautifully formed spires, he hardly realizes that they represent all that is left of the majestic Abbey of _St. Jean des Vignes_, where Becket spent nine long years. It is a mere bit of stage scenery, with height and breadth, but no thickness. It is a pity that such a charming structure as this n.o.ble building must once have been is now left to crumble. The magnificent rose window, or rather the circular opening which it once occupied, is now but a mere orifice, of great proportions, but dest.i.tute of glazing. The entire confines of the building, which crowns a slight eminence at the entrance of the town, are now given over to the use of the military authorities.
A little to the right lies the one-time cathedral of Notre Dame, Soissons being another of the ci-devant bishoprics suppressed after the Revolution by the redistribution which gave but one diocese to a Department. Though not unpleasing, its facade is marred by its lack of symmetry, while the tower, which rises on the right 215 feet, is not sufficiently striking to redeem what otherwise is an ordinary enough ensemble. The tower to the left was never raised above where it now ends, and the facade, lacking the charm which the edifice might otherwise have had, were the towers as complete and well proportioned as are those of a later date which grace the remains of the old abbey, will be for ever wanting until this completion be carried out.
Romanesque is plainly noticeable in mixture with the early Gothic. The three portals are not remarkable, or uniform, and are severely plain, and, though of a noticeable receding depth, are bare and unpeopled. A well-proportioned rose window, though not so large as many in the greater cathedrals, has graceful radiating spokes and good gla.s.s. This is flanked by two unpierced lancet-pointed window-frames which but accentuate the plainness of the entire facade. Above is an arcaded gallery which was intended to cross the entire front, but which now stops where the gable joins the northerly tower. Restoration has been carried on, not sparingly, but in good taste, with the result that, in spite of its newness at the present writing, it appears as a consistent and thoroughly conscientious piece of work, and not the mere patchwork that such repairs usually suggest.
The guide-books tell one that Soissons is famous for its trade in haricot beans, and incidentally for the beans themselves, and for the great number of sieges which it has undergone, the last being that conducted by the Germans, who took possession in October, 1870, after a bombardment of three days.
Fergusson makes the statement, which is well taken, that the Cathedral of Notre Dame de Soissons, while not in any sense meriting the term magnificent, presents, in its interior arrangements, at least, a most symmetrical and harmonious ensemble. A curious though not unpleasing effect is produced by the blackened pointing of the interior masonry, of piers, walls, and vaulting alike. An unusual feature is the circ.u.mambient aisles to the transepts and the suggestion that a trefoil apsidal termination was originally thought of, when the rebuilding was taken in hand in the twelfth century. The transept is so completed on the south side, which possesses also an ancient portal, and, with the two at Noyon so done, presents a feature which is as much a relief from the usual rectangle as are the rounded choirs of Continental churches a beauty in advance of the accepted English manner of treatment of this detail.
The choir rises loftily above the transepts and nave, and, while the general proportions are not such as to suggest undue narrowness, the effect is of much greater height than really exists. This, too, is apparent when viewing the abside itself.
The Chapel of the Rosary in the north transept is overtopped by an effective arrangement of perpendicular window-framing, supporting a beautiful rose window of the spoke variety. It is safe to say that, had the entire s.p.a.ce provided been glazed, the effect of lighting would have been unique among the cathedrals of the world.
The only other decorative embellishments are some tapestries, a few well-preserved tombs, and an "Adoration" supposed to be by Rubens, which is perhaps more likely to be genuine, because of the situation of the church near unto Flanders, than many other examples whose claims have even less to support them.
_PART II_
_The Grand Group_
I
INTRODUCTORY
Expert opinion, so called, may possibly differ as to just what, or what not, cathedrals of France should be included in this term. The French proverb known of all guide-book makers should give a clue as to those which at least may not be left out.
"Clocher de Chartres, Nef d"Amiens Choeur de Beauvais et Portale de Reims."
Rouen, Paris, and Le Mans should be included, as well possibly as the smaller but no less convincing examples at Seez, Sens, Laon, and Troyes, as being of an a.n.a.logous manner of building, and, by all that goes to make up the components of a really great church, Bourges might well be considered in the same group. For practical and divisional purposes it is perhaps well to compose an octette of the churches of the Isle of France and those lying contiguous thereto, Paris, Beauvais, St. Denis, Amiens, Reims, Rouen, Chartres, and Le Mans, which may be taken together as representative of the greatest art expression of the Gothic builders, as well as being those around which centred the most significant events of Church and State. To attempt to catalogue even briefly the charms and notable attributes of even the first four, would require more than the compa.s.s of several volumes the size of the present, whereas the attempt made herein is merely to lead with as little digression as possible up to the chief glories for which they are revered, and to suggest some of the many important and epoch-making events intimately a.s.sociated therewith. More would be impossible, manifestly, unless the present work were to transcend the limitations which were originally planned for it, hence it is with no halting a.s.sertion that we enter boldly upon that chronology or resume which, in a way, presents a marshalled array of correlated facts which the reader may care to follow in further detail in the list of bibliographical references included at the end of the volume.
Certain facts relating to the history and the architectural features generally of these great cathedrals are known to all, and are chronicled with more or less completeness in many valuable and authoritative works, ranging from the humble though necessary guide-book to the extensive if not exhaustive architectural work of reference. The facts given herein are such, then, as are often overlooked in the before-mentioned cla.s.ses of works, and as such are presented, not so much with the avowed object of imparting information, as to remind the reader of the wealth of interest that exists with relation to these shrines of religious art. This seems to be the only preamble possible to the chapters which attempt to even cla.s.sify these magnificent buildings, wherein much is attempted and so little accomplished in recounting their varied attractions. Let this explanation stand, therefore, for any seeming paucity of description which may exist.
[Ill.u.s.tration: _Le Bon Dieu d"Amiens_]
II
NOTRE DAME D"AMIENS
The ever impressive Cathedral of Notre Dame d"Amiens is in most English minds the _beau ideal_ of a French cathedral. It is contemporary with Salisbury in period, at least, but it has little to remind one of the actual features of this edifice. Often a.s.sociated therewith, as a similar type, it has little in reality in common, except that each is representative of a supreme style. Beyond this it is hard to see how any expert, archaeologist, antiquary, or what not, would seek to discover relationship between two such distinct types. Salisbury is the ideal English cathedral as to situation, surroundings, and general charm and grace. This no one would attempt to deny; but, in another environment, how different might it not appear,--as for instance placed beside Amiens, where in one particular alone, the mere height of nave and choir, it immediately dwindles into insignificance. Under such conditions its graceful spire becomes dwarfed and attenuated. Need more be said?--The writer thinks not, since the present work does not deal with the comparative merits of any two cathedrals or of national types; but the suggestion should serve to demonstrate how impossible it is for any writer, however erudite he may be, to attempt to a.s.sign precedence, or even rank, among the really great architectural works of an era. This observation is true of many other examples of art expression.
[Ill.u.s.tration: NOTRE DAME _d"AMIENS_ ...]
The cathedral at Amiens is dedicated to the Virgin, and is built in the general form of a Latin cross. Over the princ.i.p.al doorway of the south portal, on one of the upper plinths, may be seen the inscription which places the date of the present edifice.
[+] En l"an"[=q]ue l"Incarnati[=o] valait mcc et xx. Ro....rs, ifu: rimisit: le premiere piere: iasis,... le cors.... Robert...
The work was undertaken by one Robert de Luzarche, in the episcopate of Evrard de Fouilloy, the forty-fifth Bishop of Amiens, whose tomb may be seen just within the western doorway, and occupies the site of other structures which had been variously devastated by fire or invasion in 850, 1019, 1137, and 1218. For fifty years the work went on expeditiously under various bishops and their architects. "Saint" Louis, Blanche of Castille, Philippe the Hardy, and the city fathers all aided the work substantially, and the fabric speedily took on its finished form. Through the later centuries it still preserved its ent.i.ty, and even during the Revolution its walls escaped destruction and defilement through the devotion of its adherents.
In later days important work and restoration has been carried out under the paternal care and at the expense of the state; and the city itself only recently contributed 45,000 francs for the clearing away of obstructing buildings.
A French writer has said, "It is only with the aid of a Bible and a history of theology that it is possible to elucidate the vast iconographic display of the marvellous west front of the cathedral at Amiens." Like Reims, its three portals of great size are peopled with a throng of statues. The central portal, known as the Porche du Souvenir, contains the statue of the Good G.o.d of Amiens; that on the right is called after the Mere de Dieu, and that on the left for St. Fermin the Martyr. Above the gables is the "Gallery of Kings," just below the enormous rose windows. Above rise the two towers of unequal loftiness, and lacking, be it said, thickness in its due proportion. The carven figures in general are not considered the equal in workmanship of those at Reims, though the effect and arrangement is similar. For a complete list of them, numbering some hundreds on this facade alone, the reader must refer to some local guide-book, of which several are issued in the city.
The south portal, the _Portal de la Vierge doree_ or _Portal de Saint Honore_, shares company with the west facade in its richness of sculpture and its rose window and its gable. Here also are to be seen the supporting b.u.t.tresses which spring laterally from the wall of the transept and cross with those which come from the choir.
The north portal, on the side of the Bishop"s Palace, does not show the same richness as the others, though perhaps more than ordinarily ornate.
The spire above the transept crossing is a work of the sixteenth century, and is perhaps more remarkable than its rather diminutive appearance, in contrast with the huge bulk of the edifice, would indicate.
The extreme height of nave and choir (147 feet), adds immeasurably to the grand effect produced by the interior, a height in proportion to breadth nearly double that usual in the English cathedrals. The vaulting is borne aloft by over one hundred columns. The natural attribute of such great dimension is a superb series of windows, a promise more than fulfilled by the three great rose windows and the lofty clerestory of nave and choir. The sixteenth century gla.s.s is exceedingly profuse and brilliant.
The lateral chapels of the nave were added subsequent to the work of the early builders, all being of the sixteenth century, while the eleven choir chapels are of the thirteenth century, all with very ornate iron grilles, which are a feature only second to a remarkable series of "choir stalls," numbering over one hundred, showing a wonderful variety of delicate carved figures of the sixteenth century, the work of one Jean Turpin, the subjects being mainly Biblical.
A stone screen with elaborate sculptures in high relief surrounds the choir, that on the south representing the legend of St. Firmin, the patron of Picardy, and that on the north, scenes connected with the life of John the Baptist. In a side chapel dedicated to St. John reposes the alleged head of John the Baptist. Others have appeared elsewhere from time to time, but as they are not now recognized as being genuine, and the said apostle not being hydra-headed, it is possible that there will be those who will choose to throw the weight of their opinions in favour of the claim of Amiens.
The flying b.u.t.tresses at Amiens are not of the singular lightness a.s.sociated with this notably French characteristic; they are in the main, however, none the less effective for that, and a.s.suredly, so far as the work which they have to perform is concerned, it was doubtless necessary that they should be of more than ordinary strength.
The view of the ensemble from the river shows the ma.s.siveness and general proportions in a unique and superb manner. Amiens is not otherwise an attractive city, a bustle of grand and cheap hotels, decidedly a place to be taken _en route_, not like Beauvais, where one may well remain as long as fancy wills and not feel the too strong hand of progress intruding upon his ruminations.
III
ST. PIERRE DE BEAUVAIS
Beauvais is by no means an inaccessible place, though how often have we known one who could not tell in what part of France it was situated. Of course, being "off the line" is sufficient excuse for the majority of hurried travellers to pa.s.s it by, but, leaving this debatable point out of the question, let us admit, for the nonce, that it is admirably located if one only chooses to spend a half-day or more in visiting the charmingly interesting city and its cathedral, or what there is of it, for it exists only as a luminous height _sans_ nave, _sans_ tower, and _sans_ nearly everything, except a choir of such immensity that to see it is to marvel if not to admire. It is indeed as Hope has said, "a miracle of loftiness and lightness; appearing as if about to soar into the air."
[Ill.u.s.tration: ST. PIERRE ... _de BEAUVAIS_]
How many readers, who recognize the charms for which the cathedral is most revered, know that it was intended to rank as the St. Peter"s of the north, and like its Roman prototype, was to surpa.s.s all other contemporary structures in size and magnificence. This was marked out for it when, in the middle sixteenth century, the builders of its central spire, which fell shortly after, sought to rival the Italian church in a vast Gothic fabric which should be the dominant northern type in contra-distinction to that of the south. This of itself, were there no other contributory interests, which there are to a very great degree, should be all-sufficient to awaken the desire on the part of every one who journeys Parisward to obtain a more intimate acquaintance with this great work. Here was an instance of ambition overleaping itself,--exceeding by far the needs and conditions of its environment and like many another ill-planned venture, it fell to ruin through a lack of logic and mental balance. To-day we see a restored fabric, lacking all the attributes of a great church except that which is encompa.s.sed by that portion lying eastward of the nave proper, its frail b.u.t.tresses knitted together by iron rods, its piers latterly doubled in number, and many more visible signs of an attempt to hold its walls and roofs up to the work they have to perform.
The present structure, in so far as certain of its components go, was commenced within five years of Amiens (1225), which calls to mind the guide-book comparison, which seems so appropriate that it must really have previously originated from some other source,--Amiens, "a giant in repose;" Beauvais, "a Colossus on tiptoe."