The Cathedrals of Northern France. Mansfield Milburg Francisco

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СКАЧАТЬ be considered that the new manner of building had everything in favour of its speedy growth. It was thus definitely assured of a warm welcome, and, following in the footsteps of Clovis himself, the rulers were more than willing to aid what they believed might be a strengthening influence, politically, as well as morally.

      The style may be justly said to be a natural and growthful expression of a race, and more significant than all else is the fact that nowhere, not even on the Rhine, which with northern France claims the origin of the style, is to be found any single example equalling in any like measure the perfections of "Les Grandes Cathédrales Françaises," though it be recalled that in many instances the German buildings were planned and often erected by French architects and artisans.

      Among the two thousand or more "Monuments Historiques" paternally cared for by the French government and under the direct control of the Ministry of Public Instruction and the Beaux Arts, none are of the relative importance, historically or artistically, of the Grand Cathedrals. Certain objects, classed as megalithic and antique remains, may be the connecting links between the past and the present by which the antiquarian weaves the threads of his historical lore; but neither these nor the reliques which have been dug from the ground or untombed from later constructive elements, all of which are generously included in the general scheme by the Department of Beaux Arts, which has provided a fund for their preservation and care, have one tithe of the appealing interest which these great churches bespeak on behalf of the contemporary life of the times in which they were built, reflecting as they do many correlated events, and forming, in the interweaving of the history of their inception and construction, an epitome of well-nigh all the contemporary events of their environment, as well as the greater parts which they may have played in general affairs of state.

      The best example of a part so played is that of the cathedral at Reims, which saw the crowning within its walls of nearly every monarch of France from the time of Philippe Augustus (1173) to that of Charles X. (1823). The monarchs of France, a long and picturesque line, have ever sought to ally the Church on their side, and right well they have been served, not ignoring, of course, certain notable lapses. In the main, however, the rulers and the people alike, whatever may have been the periodical dissensions, combined the forces which made possible the projection and erection of these noble examples of an art which, in the Gothic forms at least, here came to its greatest and most interesting phase.

      Invasion, revolution, and the stress of weather and time, all played their part in the general desecrations which sooner or later followed; far the most serious of these visible damages reflected upon us to-day being the malpractices occurring at the Revolution, whether at the hands of a sans culotte or of the most respectable of bourgeois, led away by the excitement of revolt. The depredations were irreparable; they razed, burned, or ruthlessly shattered shrines, statues, or even reliquaries, as at Reims, where the Sainted Ampulla, which contained the miraculous oil brought by a dove from heaven, now preserved in reconstructed fragments in the sacristy, was dashed to pieces in a fury of uncontrollable wrath.

      The paucity of sculptured decoration in certain places only too plainly designed for it is, too, frequently painfully apparent. Such sculptured decoration and glass as were easily to hand met with perhaps the most ready spoliation, while here and there, from some miraculous reason, a gem was left entire, though likely enough in a bruised and shattered setting.

      This is what befell most of the great churches, and, for this reason, any work treating of these architectural glories of France must make due allowance in hazarding opinions as to the merit or lack of merit of any particular example as it now exists, as compared with what it may have been as it once was, or had it been completed in accordance with the original design.

      In local and cathedral archives much valuable and interesting information exists, treating in this very manner such embellishments as may to-day be lacking; but unfortunately such facts are often buried in a mass of other irrelevant material which would make its discovery unusually difficult to any but a very learned local antiquarian. In this same connection, also, there is a dearth of illustrative material which can be depended upon as to minutiæ or accuracy of detail. Hence it is possible to deal only with such general facts as may be supported by the best contemporary information based upon the researches of others. It may be well to note here, however, a fact which is often overlooked, namely, that the written records of France are not only very complete and exhaustive, but, with respect to Paris itself, to cite an example, the documentary history, consecutive and exact, from the time of the decline of Roman power is preserved intact, – a record which is perhaps not so true of any other large city in Europe.

      In dealing with the cathedrals of the north, territorially, we have to consider those examples which are generally accepted as being all that a cathedral church should be. Of the first rank are those gathered not far from the confines of the mediæval Isle of France. They too, are best representative of the true Gothic spirit, while the southernmost examples, those of Dijon and Besançon, are of manifest Romanesque or Byzantine conception. Each, too, is somewhat reminiscent of the early German manner of building, the latter in respect to the double apse, which is often found across the Rhine, but seldom seen in France. The most northerly of all is at St. Omer, where are the somewhat battered remains of a satisfactory Gothic cathedral, although Amiens, not far to the south, is perhaps the ideal cathedral when considered from a general point merely. For the western representative, a line running due west from Paris almost into the Atlantic finds at Quimper, a small port fifteen miles from the sea, the Cathedral of St. Corentin, which, though not as lofty, is more of the manner of building of the Isle of France than one might suppose would be the case here in this outpost of Brittany, where are found so many evidences of Romanesque influences, retained long after they had been given over elsewhere.

      Such, then, are the extremes of latitude and of architectural style which combine to give variety to the interest which is always aroused by the contemplation of the masterworks of any of the arts, where outside and contiguous influences have something in common therewith.

      As a type to admire, there is no doubt but that the cathedral that possesses an apsidal termination of the easterly or choir end, as is nearly the universal custom in France, has charms and beauties which may be latent, but which are simply winning, when it comes to picturing the same structure with the squared-off ends so common in England.

      It was Stevenson, was it not, who wrote of the satisfaction with which one always looks upon the east end of a French cathedral, "flanging out as it often does in sweeping terraces, and settling down broadly upon the earth as though it were meant to stay." Certainly nothing of the sort is to be more admired than the rare view of the choir buttresses of Notre Dame at Paris, likened unto "kneeling angels with half-spread wings;" the delicate and symmetrical choir buttresses of Amiens; the sheer fall of Beauvais; or the triply effective termination of the one-time cathedral of Noyon, which falls away in three gracefully gentle slopes to the ground. Again Stevenson's power as a descriptive writer lingers in our memory. He says, of no cathedral in particular, "where else is to be found so many elegant proportions growing one out of the other, and all together in one?.. Though I have heard a considerable variety of sermons, I have never yet heard one that was so expressive as a cathedral. 'Tis the best preacher itself, preaches day and night, not only telling you of man's art and aspirations in the past, but convicting your own soul of ardent sympathies; or rather, like all good preachers, it sets you preaching to yourself, – and every man is his own doctor of divinity in the last resort."

      To best estimate the charms and values of these architectural monuments one should consider; first, the history and topography of their environment, —i. e. as to why and when they may have been planned and built; secondly, their personality, as it were, – who were their founders, their patrons, their bishops; thirdly, the functions in which they may have partaken, any significant events which may have passed within their walls or centred within their sees; and fourthly, the artistic beauties of their fabric and its embellishments.

      In most cases all of these values are so interwoven and indissolubly linked with the growth of the structure itself from its very СКАЧАТЬ