Seeing Europe with Famous Authors Volume III Part 14

Amiens

By Nathaniel Hawthorne

[Footnote: From "French and Italian Note Books." By special arrangement with, and by permission of, the publishers, Houghton, Mifflin Co.

Copyright, 1871, 1883, 1889.]

The aspect of the old French town was very different from anything English; whiter, infinitely cleaner; higher and narrower houses, the entrance to most of which seeming to be through a great gateway affording admission into a central court-yard; a public square, with a statue in the middle, and another statue in a neighboring street. We met priests in three-cornered hats, long frock-coats, and knee-breeches; also soldiers and gendarmes, and peasants and children, clattering over the pavements in wooden shoes.

It makes a great impression of outlandishness to see the signs over the shop doors in a foreign tongue. If the cold had not been such as to dull my sense of novelty, and make all my perceptions torpid, I should have taken in a set of new impressions, and enjoyed them very much. As it was, I cared little for what I saw, but yet had life enough left to enjoy the Cathedral of Amiens, which has many features unlike those of English cathedrals.

It stands in the midst of the cold, white town, and has a high-shouldered look to a spectator accustomed to the minsters of England, which cover a great s.p.a.ce of ground in proportion to their height. The impression the latter give is of magnitude and ma.s.s; this French Cathedral strikes one as lofty. The exterior is venerable, tho but little time-worn by the action of the atmosphere; and statues still keep their places in numerous niches, almost as perfect as when first placed there in the thirteenth century.

The princ.i.p.al doors are deep, elaborately wrought, pointed arches; and the interior seemed to us, at the moment, as grand as any that we had seen, and to afford as vast an idea of included s.p.a.ce; it being of such an airy height, and with no screen between the chancel and nave, as in all the English cathedrals.

We saw the differences, too, betwixt a church in which the same form of wors.h.i.+p for which it was originally built is still kept up, and those of England, where it has been superseded for centuries; for here, in the recess of every arch of the side-aisles, beneath each lofty window, there was a chapel dedicated to some saint, and adorned with great marble sculptures of the crucifixion, and with pictures, execrably bad, in all cases, and various kinds of gilding and ornamentation. Immensely tall wax candles stand upon the altars of these chapels, and before one sat a woman, with a great supply of tapers, one of which was burning. I suppose these were to be lighted as offerings to the saints, by the true believers. Artificial flowers were hung at some of the shrines, or placed under gla.s.s.

In every chapel, moreover, there was a confessional--a little oaken structure, about as big as a sentry-box, with a closed part for the priest to sit in, and an open one for the penitent to kneel at, and speak through the open-work of the priest's closet. Monuments, mural and others, to long-departed worthies, and images of the Savior, the Virgin, and saints, were numerous everywhere about the church; and in the chancel there was a great deal of quaint and curious sculpture, fencing in the Holy of Holies, where the high altar stands. There is not much painted gla.s.s; one or two very rich and beautiful rose-windows, however, that looked antique; and the great eastern window, which, I think, is modern. The pavement has, probably, never been renewed, as one piece of work, since the structure was erected, and is foot-worn by the successive generations, tho still in excellent repair. I saw one of the small, square stones in it, bearing the date of 1597, and no doubt there are a thousand older ones.

Rouen

By Thomas Frognall Dibdin

[Footnote: From "A Bibliographical Tour in France and Germany."]

The approach to Rouen is indeed magnificent. I speak of the immediate approach, after you reach the top of a considerable rise, and are stopt by the barriers. You then look down a straight, broad, and strongly paved road, lined with a double row of trees on each side. As the foliage was not thickly set, we could discern, through the delicately clothed branches, the tapering spire of the cathedral, and the more picturesque tower of the Abbaye St. Ouen--with hanging gardens, and white houses, to the left--covering a richly cultivated ridge of hills, which sink, as it were, into the Boulevards, and which is called the Faubourg Cauchoise. To the right, through the trees, you see the River Seine (here of no despicable depth or breadth), covered with boats and vessels in motion, the voice of commerce, and the stir of industry, cheering and animating you as you approach the town. I was told that almost every vessel which I saw (some of them of two hundred, and even of three hundred tons burden) was filled with brandy and wine....

First for the cathedral, for what traveler of taste does not doff his bonnet to the mother-church of the town through which he happens to be traveling, or in which he takes a temporary abode? The west front, always the forte of the architects's skill, strikes you as you go down, or come up, the princ.i.p.al street--La Rue des Carmes--which seems to bisect the town into equal parts. A small open s.p.a.ce, which, however, has been miserably encroached upon by petty shops, called the Flower Gardens, is before this western front; so that it has some little breathing room in which to expand its beauties to the wondering eyes of the beholder. In my poor judgment, this western front has very few elevations comparable with it--including even those of Lincoln and York. The ornaments, especially upon the three porches, between the two towers, are numerous, rich, and for the greater part entire, in spite of the Calvinists, the French Revolution, and time.

As you enter the cathedral, at the center door, by descending two steps, you are struck with the length and loftiness of the nave, and with the lightness of the gallery which runs along the upper part of it. Perhaps the nave is too narrow for its length. The lantern of the central large tower is beautifully light and striking. It is supported by four ma.s.sive cl.u.s.tered pillars, about forty feet in circ.u.mference; but by casting your eye downward, you are shocked at the tasteless division of the choir from the nave by what is called a Grecian screen; and the interior of the transepts has undergone a like preposterous restoration.

The rose windows of the transepts, and that at the west end of the nave, merit your attention and commendation. I could not avoid noticing, to the right, upon entrance, perhaps the oldest side chapel in the cathedral, of a date less ancient than that of the northern tower, and perhaps of the end of the twelfth century. It contains by much the finest specimens of stained gla.s.s--of the early part of the sixteenth century. There is also some beautiful stained gla.s.s on each side of the chapel of the Virgin, behind the choir; but altho very ancient, it is the less interesting, as not being composed of groups, or of historical subjects. Yet, in this as in almost all the churches which I have seen, frightful devastations have been made among the stained gla.s.s windows by the fury of the Revolutionists....

On gazing at this splendid monument of ancient piety and liberality--and with one's mind deeply intent upon the characters of the deceased--let us fancy we hear the sound of the great bell from the southwest tower--called the Amboise Tower--erected, both the bell and the tower, by the uncle and minister of Amboise. Know, my dear friend, that there was once a bell (and the largest in Europe, save one), which used to send forth its sound for three successive centuries from the said tower. This bell was broken about thirty years ago, and destroyed in the ravages of the immediately succeeding years. The southwest tower remains, and the upper part of the central tower, with the whole of the lofty wooden spire--the fruits of the liberality of the excellent men of whom such honorable mention has been made. Considering that this spire is very lofty, and composed of wood, it is surprising that it has not been destroyed by tempest or by lightning.

Leaving the cathedral, you pa.s.s a beautifully sculptured fountain, of the early time of Francis I., which stands at the corner of the street, to the right; and which, from its central situation, is visited the livelong day for the sake of its limpid waters. Push on a little further, then, turning to the right, you get into a sort of square, and observe the abbey--or rather the west front of it--full in face of you. You gaze, and are first struck with its matchless window: call it rose, or marigold, as you please.

I think, for delicacy and richness of ornament, this window is perfectly unrivaled. There is a play of line in the mullions, which, considering their size and strength, may be p.r.o.nounced quite a masterpiece of art. You approach, regretting the neglected state of the lateral towers, and enter through the large and completely opened center doors, the nave of the abbey. It was toward sunset when we made our first entrance. The evening was beautiful; and the variegated tints of sunbeam, admitted through the stained gla.s.s of the window, just noticed, were perfectly enchanting. The window itself, as you look upward, or rather as you fix your eye upon the center of it, from the remote end of the abbey, or the Lady's Chapel, was a perfect blaze of dazzling light; and nave, choir, and side aisles seemed magically illumined. We declared instinctively that the Abbey of St. Ouen could hardly have a rival--certainly not a superior.

Let me, however, put in a word for the organ. It is immense, and perhaps larger than that belonging to the cathedral. The tin pipes (like those of the organ in the cathedral) are of their natural color. I paced the pavement beneath, and think that this organ can not be short of forty English feet in length. Indeed, in all the churches which I have yet seen, the organs strike me as being of magnificent dimensions.

You should be informed, however, that the extreme length of the interior, from the further end of the chapel of the Virgin, to its opposite western extremity, is about four hundred and fifty English feet; while the height, from the pavement to the roof of the nave, or the choir, is one hundred and eight English feet. The transepts are about one hundred and forty feet in length. The central tower, upon the whole, is not only the grandest tower in Rouen, but there is nothing for its size in our own country that can compare with it. It rises upward of one hundred feet above the roof of the church; and is supported below, or rather within, by four magnificent cl.u.s.ter-pillared bases, each about thirty-two feet in circ.u.mference. Its area, at bottom, can hardly be less than thirty-six feet square. The choir is flanked by flying b.u.t.tresses, which have a double tier of small arches, altogether "marvelous and curious to behold."

I could not resist stealing quietly round to the porch of the south transept, and witnessing, in that porch, one of the most chaste, light, and lovely specimens of Gothic architecture which can be contemplated.

Indeed, I hardly know anything like it. The leaves of the poplar and ash were beginning to mantle the exterior; and, seen through their green and gay lattice work, the traceries of the porch seemed to a.s.sume a more interesting aspect. They are now mending the upper part of the facade with new stone of peculiar excellence--but it does not harmonize with the old work. They merit our thanks, however, for the preservation of what remains of this precious pile. I should remark to you that the eastern and northeastern sides of the abbey of St. Ouen are surrounded with promenades and trees: so that, occasionally, either when walking or sitting upon the benches, within these gardens, you catch one of the finest views imaginable of the abbey.

Chartres

By Epiphanius Wilson

[Footnote: From "The Cathedrals of France." By permission of the author. Copyright, 1900.]

For many a mile over the rich cornfields of Beauce, of which ancient district Chartres was once the capital, the spires of Chartres are visible. The river and the hill const.i.tute at Chartres the basis of its strength in long-forgotten warfare; its walls in piping times of peace have been leveled into leafy boulevards, but it may still be entered through one of the antique gates that survive as memorials of its former fortifications.

The cathedral itself is one of that group to which belong Amiens, Rheims, Bourges and Notre Dame de Paris. It is noted for its size, magnificence and completeness, and contains in itself, from its crypt to its highest stone, an exemplification of architectural history in France from the eleventh to the fourteenth centuries. We may suppose that Christianity was first published in the Beauce province by the same apostles, Savinienus and Potentienius, who had evangelized Sens and the Senones. Their disciple, Aventin (Aventinus), is recognized as the first Bishop of Chartres, and as the builder of the first cathedral which stood on the site of the present building....

The naves, the north and south transept portals, and the choir belong to the thirteenth century, the north tower to the fifteenth, and the magnificent jube, or screen, which runs round the choir, is evidently sixteenth century style, being an example of that Renaissance employment of Gothic details, of which we find such glorious counterparts at Rouen and Albi. The western facade of Chartres is plain in comparison with those of Amiens or Rheims. The voussures of the three central portals are comparatively shallow. Above them are three lancet windows which resemble windows of the Early English Style. The rose-window, beneath which the lancets are placed, is of great dimensions and effective tracery. The highest story of the front between the towers is screened by a rich arcade, over which rises the gable point.

This arcade, or gallery, is intended to break the abruptness with which the pointed roof rises between the two spires. These spires are different in design, the southern tower being much earlier than that at the north.

The southern spire, in its austere simplicity and exquisite proportions, is certainly the finest I have seen in France, and can only be paralleled elsewhere by that which rises like a flower-bud almost ready to burst over Salisbury plain. The northern tower is very much more elaborate, and reminded me of those examples with which the traveler becomes so familiar in the many churches of Rouen. The richly crocketed gables, the flying b.u.t.tresses and pinnacles which run half way up this spire, while they adorn it, seem to stunt the profile and rob it of its towering alt.i.tude, just as is the case with the western spires of St. Ouen. Yet this northern tower is considerably higher than the ancient one at the south, being 374 feet high, while the more ancient spire is only 348. The other dimensions of the church are as follows: It is 420 feet long; 110 feet wide; its height from ceiling vault to pavement is 115 feet. The modern tower was built by Louis XII. in 1514, the architect being an inhabitant of Beauce, a certain Jean Texier.

The carvings in the west front of the cathedral are examples of the beginning of French sculpture, as it emerges from the severity and rigidity of Byzantine types. The human figures are long, slender, and swathed almost like mummies in their drapery. The faces are strongly individualized and seem to be portraits. While these statues must be attributed to a period previous to the middle of the twelfth century, we see in them the originality of French genius struggling to break away from the fetters of Eastern precedent.

Viollet-de-Duc thinks that these faces belong to the type of the ancient Gaul; the flat forehead and raised arch of the eyebrows, the projecting eyes, the long jaws, the peaked and drooping nose, the long upper lip, the wide, closed mouth, the square chin, the long wavy hair are neither German, Roman, or French. There is a blending of firmness, grandeur and refinement in these wonderful countenances, each of them apparently copied from a different model. They are crowned and nimbused as the kings and saints of antique France. A more impressive gallery of ill.u.s.trious personages is nowhere else to be found.

Rheims

By Epiphanius Wilson

[Footnote: From "The Cathedrals of France." By permission of the author. Copyright, 1900.]

French cathedrals have, as it were, a royal character, and this is emphasized especially in the history and architecture of Rheims cathedral, which became, from the time of Philippe Auguste, the church at whose altar the kings of France were crowned.

The origin of the Church at Rheims dates from the third century; when we are told Pope Fabian sent into Gaul a band of bishops and teachers. Rheims was chosen as the seat of an episcopal primacy, and it was in the church built by St. Nicaise, or Nicasius, in 401, that Clovis was baptized and crowned in 496. This ancient building, doubtless of simple Roman proportions, was rebuilt in the reign of Louis the Debonair in 822, when Ebon was archbishop.

It was completed with a magnificence which vied with the churches of Constantinople, Ravenna and Rome. It was considered in its day the most splendid church in France. Its roof and walls blazed with gilding and many-tinted paintings. Its floors were of marble mosaic. Rich tapestries hung round the choir, and its treasury was filled with masterpieces of the goldsmith and the jeweler. This church continued to be the wonder of Gallic Christianity until the beginning of the thirteenth century, when it was destroyed by fire. It is remarkable to notice in the history of French cathedrals how many of them were rebuilt just at the time when the pointed style, which may be called preeminently the Christian style of architecture, had come to birth almost simultaneously in various countries of Europe.

We are obliged to come to the conclusion that the pointed arch was introduced in Germany, France and England by the Crusaders, who had seen it used in the East, and had considered it best fitted for buildings that enshrined the sublime mysteries of the Christian faith. It was in the pointed style, therefore, that the new cathedral of Rheims was built. The name of its architect is not known, but his plan shows that he must have been a man of profound genius. Archbishop Alberic Humbert laid the foundation stone in 1212. The whole province contributed liberally to the work, and in 1242 the building was sufficiently advanced for the celebration of divine service in the choir.