A Little Tour of France. Генри Джеймс

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      Chapter ii

      IT IS a very beautiful church of the second order of importance, with a charming mouse-coloured complexion and a pair of fantastic towers. There is a commodious little square in front of it, from which you may look up at its very ornamental face; but for purposes of frank admiration the sides and the rear are perhaps not sufficiently detached. The cathedral of Tours, which is dedicated to Saint Gatianus, took a long time to build. Begun in 1170, it was finished only in the first half of the sixteenth century; but the ages and the weather have interfused so well the tone of the different parts that it presents, at first at least, no striking incongruities, and looks even exceptionally harmonious and complete. There are many grander cathedrals, but there are probably few more pleasing; and this effect of delicacy and grace is at its best towards the close of a quiet afternoon, when the densely decorated towers, rising above the little Place de l'Archevêché, lift their curious lanterns into the slanting light and offer a multitudinous perch to troops of circling pigeons. The whole front, at such a time, has an appearance of great richness, although the niches which surround the three high doors (with recesses deep enough for several circles of sculpture) and indent the four great buttresses that ascend beside the huge rose-window, carry no figures beneath their little chiselled canopies. The blast of the great Revolution blew down most of the statues in France, and the wind has never set very strongly towards putting them up again. The embossed and crocketed cupolas which crown the towers of Saint Gatien are not very pure in taste; but, like a good many impurities, they have a certain character. The interior has a stately slimness with which no fault is to be found and which in the choir, rich in early glass and surrounded by a broad passage, becomes very bold and noble. Its principal treasure perhaps is the charming little tomb of the two children (who died young) of Charles VIII. and Anne of Brittany, in white marble embossed with symbolic dolphins and exquisite arabesques. The little boy and girl lie side by side on a slab of black marble, and a pair of small kneeling angels, both at their head and at their feet, watch over them. Nothing could be more elegant than this monument, which is the work of Michel Colomb, one of the earlier glories of the French Renaissance; it is really a lesson in good taste. Originally placed in the great abbey-church of Saint Martin, which was for so many ages the holy place of Tours, it happily survived the devastation to which that edifice, already sadly shattered by the wars of religion and successive profanations, finally succumbed in 1797. In 1815 the tomb found an asylum in a quiet corner of the cathedral.

      I ought perhaps to be ashamed to acknowledge that I found the profane name of Balzac capable of adding an interest even to this venerable sanctuary. Those who have read the terrible little story of "Le Curé de Tours" will perhaps remember that, as I have already mentioned, the simple and childlike old Abbé Birotteau, victim of the infernal machinations of the Abbé Troubert and Mademoiselle Gamard, had his quarters in the house of that lady (she had a specialty of letting lodgings to priests), which stood on the north side of the cathedral, so close under its walls that the supporting pillar of one of the great flying buttresses was planted in the spinster's garden. If you wander round behind the church in search of this more than historic habitation you will have occasion to see that the side and rear of Saint Gatien make a delectable and curious figure. A narrow lane passes beside the high wall which conceals from sight the palace of the archbishop and beneath the flying buttresses, the far-projecting gargoyles, and the fine south porch of the church. It terminates in a little dead grass-grown square entitled the Place Grégoire de Tours. All this part of the exterior of the cathedral is very brown, ancient, Gothic, grotesque; Balzac calls the whole place "a desert of stone." A battered and gabled wing or out-house (as it appears to be) of the hidden palace, with a queer old stone pulpit jutting out from it, looks down on this melancholy spot, on the other side of which is a seminary for young priests, one of whom issues from a door in a quiet corner, and, holding it open a moment behind him, shows a glimpse of a sunny garden, where you may fancy other black young figures strolling up and down. Mademoiselle Gamard's house, where she took her two abbés to board, and basely conspired with one against the other, is still farther round the cathedral. You cannot quite put your hand upon it to-day, for the dwelling of which you say to yourself that it must have been Mademoiselle Gamard's does not fulfil all the conditions mentioned in Balzac's description. The edifice in question, however, fulfils conditions enough; in particular, its little court offers hospitality to the big buttress of the church. Another buttress, corresponding with this (the two, between them, sustain the gable of the north transept), is planted in the small cloister, of which the door on the farther side of the little soundless Rue de la Psalette, where nothing seems ever to pass, opens opposite to that of Mademoiselle Gamard. There is a very genial old sacristan, who introduced me to this cloister from the church. It is very small and solitary, and much mutilated; but it nestles with a kind of wasted friendliness beneath the big walls of the cathedral. Its lower arcades have been closed, and it has a small plot of garden in the middle, with fruit-trees which I should imagine to be too much overshadowed. In one corner is a remarkably picturesque turret, the cage of a winding staircase which ascends (no great distance) to an upper gallery, where an old priest, the chanoine-gardien of the church, was walking to and fro with his breviary. The turret, the gallery, and even the chanoine-gardien, belonged, that sweet September morning, to the class of objects that are dear to painters in water-colours.

      TOURS—THE СКАЧАТЬ