How France Built Her Cathedrals: A Study in the Twelfth and Thirteenth Centuries. Elizabeth Boyle O'Reilly

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СКАЧАТЬ victory of the century. “On that day French unity received its baptism.”

      The king had vowed, were his arms successful, to endow an abbey. Bishop Guérin laid for him the first stone of the Abbaye de la Victoire, near his episcopal city.[52] Before this greatest of the bishops of Senlis died, his cathedral had begun to crown its southwest tower by the octagon and spire which are the boast of all the Valois country. St. Louis must have contributed to Senlis’ famous tower, which places in foremost rank, this, the smallest cathedral in France. The unknown architect gathered features from many a beacon to unite them here in a masterpiece. He may be said to have created a new type, since his belfry at Senlis made a school in the region.[53]

      The graduation of the upright shaft into the inclined plane, which in every tower is the crucial point, has here been accomplished with such address, such rhythm, that precisely at what instant the fusion takes place is not to be determined. It has been said that the shaft of the tower is too high in proportion to its spire; at a distance perhaps the criticism may seem justified, but not on closer view. Some have thought that Senlis’ belfry was a trifle too conscious of its charms, that it had not the calm poise of Chartres’ tower. So it may be; there is more of the woman than the archangel in it. Its personal graciousness has become so wedded with the lives of Senlis’ townspeople that they wish it good morning as they pass. The voyager will not find himself many hours in Senlis without pausing at every coign of vantage to gain some new silhouette effect of the slender beacon. It is charming when viewed in the same group as the Gallo-Roman ramparts. And from the open door of the church of St. Frambourg,[54] it can be studied at leisure.

      In the original plan of Senlis’ Cathedral there was only an indication of a transept—two small lateral chapels that open, to-day, from the choir aisle. When, about 1240, the radiant tower was finished they undertook to make a real transept. To insert one they had to do away with four bays of the nave; some ancient columns in the west piers of the transept witness to this change. In its present form the transept of Senlis belongs to the XIII century only in its lower walls.

      In 1504 a conflagration lasting several days destroyed the cathedral’s upper vaulting and necessitated the total reconstruction of the clearstory. In consequence, the exterior appearance of this very early Gothic church is most decidedly Flamboyant. Only the apse and the west façade have retained their Primary Gothic aspect. Chapels with complicated pendant vaults were built, aisles were added, and balustrades put before the tribune opening. Thick coats of whitewash coarsened the lines; in fact, restorations have been so radical, and many of them so over-ornate, that this cathedral has been called the Gothic of bad taste. An extreme criticism, for if some of the changes are distressing, Senlis’ transept façades, which also are later additions, are to be reckoned among the best work of the final phase of the national art.

      After the fire of 1504 the cathedral chapter sought assistance from the king: “Plaise au Roy d’avoir pitié et compassion de la paoure église de Senlis … laquelle, par fortune et inconvénient de feu a été bruslée, les cloches fondues, et le clocher qui est grant, magnifique et l’un des singuliers du royaume, au moyen du dit feu tellement endommagé qu’il est en danger de tomber.” Royalty responded generously as the sculpture shows; at the transept’s portals are to be seen the porcupine of Louis XII, the ermine of Anne of Brittany, and the salamander of Francis I.

      Under the learned Bishop Guillaume Parvi, confessor to Francis I, was laid the first stone of the transept’s elaborate south façade in 1521. On it worked Pierre de Chambiges, son of the noted maker of late-Gothic frontispieces, and Jean Dixieult. And when it was nearing completion in 1560 the north façade was begun, and finished by the latter master.

      Effective, vivid, alertly handsome are Senlis’ transept fronts. The wise traveler, even if he infinitely prefers the purer lines of early Gothic, will learn to value this florid final expansion of the national art. The renewal of builders’ energy in the XV and XVI centuries was a sumptuous phase worthy of admiration. Those who are partial to English Gothic do not need to be warned against depreciating French Flamboyant work. The advice to be eclectic in travel, so as not to lose any source of artistic pleasure, is for those whose ideal of the builders’ art is that of the Ile-de-France, comprised between 1150 and 1250. For such the chief interest of Senlis will be the cathedral’s apse, its main façade, and the splendid tower. Let them widen their sympathies and take in the effective transept-fronts of the Flamboyant rebirth.

      Senlis of the towers, of the silent squares, of the quaint names—rue des Fromages, rue du Puits-Tiphane, rue des Pigeons Blancs—a charming aristocratic little city, set in an undulating Corot-like landscape, dotted with country houses, was the very epitome of well-conditioned provincial life. Before the summer of 1914 no spot on earth seemed farther removed from violence and crime. Then came the invading hordes over the Valois land. On September 2, 1914, the Germans surrounded Senlis, which, ville ouverte though it was, they proceeded to bombard. One third of the obus that fell hit the cathedral. That the guns, three miles away, were pointed on the famous tower would seem to be proved by the fact that only those houses were damaged which lay in the direct line between the German battery and Notre Dame.

      When the enemy entered the city the mayor (shot later in reprisal) met them at the Hôtel de Ville. He had scarcely assured them that no troops remained in Senlis when shots rang out: by ill luck some colonial colored troops, on retiring, fired a salute. Thereupon followed the usual accusation that civilians were the combatants, and the usual tragic scenes of reprisal. Down the main street of the little city passed the trained wreckers of peaceful homes, prying open the doors to throw in incendiary bombs. Before night a whole section of Senlis lay an unsightly blackened ruin. … Then came the victory of the Marne and the invaders retreated. The havoc done to the cathedral can be repaired, though, in the process, must be lost the exquisite golden lichen stain which long ages had achieved. The preservation of Senlis’ tower was due to a curé of the cathedral who fearlessly pleaded for his church before the German commandant.

      THE CATHEDRAL OF SENS[55]

      What were Rheims and Soissons before their martyrdom but the transfiguring of stone and metal and wood; dead matter delved from the ground or hewn out of the forest, through the labor of man exalted into forms of absolute beauty, and, because of this loving labor, transformed … into a mysterious creation that, in the words of Suger of St. Denis, was neither wholly of earth nor wholly of Heaven, but a mysterious blending of both.

      —Ralph Adams Cram.[56]

       Senlis’ Tower (c. 1230–1250)

      Sens was a chief Celtic city at the intersecting of the Roman roads from Lyons to Paris, from Orléans to Troyes. Long did it dispute the title of primate of Gaul with Lyons and Rheims; even down to the XVI century Paris was within its jurisdiction. To-day as the express trains rush by from Paris to Marseilles, many a traveler looks out on a cathedral that seems to over-tower and overpower a flat, sleepy little town whose name he scarcely knows. When the cathedral was building in the XII century Sens was a center of the nation’s life, and under a succession of noteworthy archbishops reached its zenith.

      Here at the Council of Sens, in 1140, was scheduled to take place a final contest between St. Bernard and Abélard, and in that hour of enthusiasm over abstract controversy, the king with his court and people of every degree flocked to Sens for the schoolmen’s debate on the Trinity. At the last moment Abélard, the inexhaustible arguer who had himself called for the test, quitted the combat. Some twenty years later Pope Alexander III spent a year and a half in Sens, and hither came Thomas Becket to seek papal indorsement for his opposition to Henry II’s interference in church affairs. Between these two events, 1140 to 1164, lies the building of Sens Cathedral. At the time of Abélard’s and St. Bernard’s visit the present edifice had been started. During the residence here of Alexander III and the archbishop of Canterbury it СКАЧАТЬ