The Cathedrals of Northern France Part 10

No arbitrary territorial arrangement can be made to include with exactness each and every ecclesiastical division, but, since the Royal Domain and the immediately adjacent territory includes the major portion of what are commonly accepted as the Grand Cathedrals, it has been thought permissible, in the present case, to make a further subdivision which shall include Boulogne and St. Omer, north of Paris; eastward to the Rhine and southward to include Dijon and Besancon. A topographer might not make such a division or arrangement of territory; but no other seems possible which shall include the region lying between the extremes of Besancon and Boulogne.

The local characteristics or architectural types differ widely within these limits, both as to style and excellence. In one way, only, have they advanced under conditions of unity, that of the establishment of a Christian church, but, otherwise, now favouring the northern influence and now the southern. The frontier provinces have, as a natural course, been subject to many r.e.t.a.r.ding influences which have been wanting elsewhere; for invasion from without may be depended upon to be as baneful for the preservation of a nation's art treasures as a revolution from within. The Christian element early forced its way among the Franks, and Clovis, at the solicitation of his Christian queen and her bishop, was not averse to adopting what he might otherwise have regarded as a superst.i.tion. His conversion at Reims not only fostered and propagated Christianity, but gave an impetus to the foundation and building of churches in a most generous fas.h.i.+on.

The region to the eastward of Paris, which has played no unimportant part in the history of France, while prolific as to varied types of church building, possesses but one example of the very first rank,--and that, as a style which typifies Gothic art, may be said to rank supreme over all others,--Notre Dame de Reims. As the seat of the Metropolitain, and the City of Coronations, it was allied closely with early affairs of Church and State.

The principles and manner adopted by Guillaume of Sens in his great works early affected the style here, as seen by the many transition examples, just as the influence of the Monk of St. Benigne of Dijon caused the round-arched species of the west of France. At all events the primitive Gothic influences were early at work and in a measure absorbed the Romanesque tendencies which had flourished previously.

The most notable exception, an example of the distinctly southern type, is at Besancon, which has a remarkable array of contrasting style, with the Romanesque, though not of the best, predominating.

With the cathedrals in the extreme northerly section we have little to do,--in fact there is little that can be said. St. Omer is possessed of a wonderful old church which at one time ranked as a cathedral, and which has glimpses here and there of very good Gothic. There are also, in this otherwise not very interesting city, two other church buildings worthy of more than an ordinary amount of attention, the ruins of the Abbey of St. Bertin and the Church of St. Denis.

Boulogne-sur-Mer has a modern pseudo-cla.s.sical structure built well into the nineteenth century. It is more notable as a monument to the industry of the man who brought about its erection, taking the place of a former structure burnt during the Revolution, than as a satisfactory example of a great church. The same may be said with equal truth of the atrocious Renaissance and Pagan structures to be seen at Cambrai and Arras, though the conditions under which they were built differ. At Cambrai, however, the present building replaces a former structure levelled by fire.

Chalons-sur-Marne,--dear to every French patriot as being renowned for the manufacture of flags, a suffragan of Reims, has a remarkable cathedral of Romanesque foundation of the fifth to the seventh centuries. Its warlike record, from 273 A. D., when Aurelian vanquished Tetricus, to the occupation by the Germans in 1871, is one long succession of military affairs. To-day the city is the domicile of the most important army corps of France.

These towns, with Nancy, Toul, and St. Die in the valley of the Moselle, complete the list of those cities which by any stretch of territorial boundaries could be cla.s.sed under the head of "East of Paris."

It may be a debatable point as to whether Strasbourg and Metz might not have been included; the writer is inclined to think that they might have been, though their interests and influences have always been more Teutonic than Gallic,--still, they are thoroughly Germanized to-day, and, as we cannot interrupt the march of time, and the present volume will otherwise approach the limits originally set out for it, they must perforce be omitted.

[Ill.u.s.tration: _CATHEDRAL NANCY_]

[Ill.u.s.tration: _BOULOGNE_]

[Ill.u.s.tration: _St. OMER_]

[Ill.u.s.tration: _ARRAS_]

II

NOTRE DAME DE BOULOGNE-SUR-MER

Boulogne-sur-Mer is one of those neglected tourist points through which the much travelled person usually rushes en route to some other place.

It perhaps hardly warrants further consideration except for the history of its past, and its intimate a.s.sociation with certain events which might seriously have affected the history of England. It is, however, an interesting enough place to-day, if one cares for the bustle and rush of a seaport and fis.h.i.+ng town,--not very cleanly, and overrun with tea-shops and various establishments which cater only to the c.o.c.kney abroad, who gathers here in shoals during the summer months. There is, too, a large colony of resident English, probably attracted by its nearness to London, and possibly for purposes of retrenchment, for there is no question but that the franc, of twenty per cent. less value than the s.h.i.+lling, accomplishes quite as much as a purchasing power. This must be quite a consideration with _pater-familias_ with a limited income derived from Consols or some other traditionally "excellent investment."

Most travellers are familiar with what attractions Boulogne really does offer, but few if any would consider its very modern and ugly cathedral one of them.

Perched in the centre of the _Haute-Ville_, overlooking the city and port, the Cathedral of Notre Dame exists to-day more as a monument to the energy and devotion of its founder than as a notable architectural work. It follows no particular style, except that it is Italian of the most debased general type, though no doubt parts of it meet the dimensions and formulas laid down by accepted good examples in its native land. There is no doubt but that its domed cupola is manifestly out of place, though this detail is the only feature which gives the cathedral any distinction.

A Gothic church stood here up to the Revolution, and the building of the present structure was devotedly undertaken to replace its loss by a doubtless earnest man, who, in his zeal, sought to build after what he considered a newer if not a better style. Parts of the crypt are of the ancient twelfth century church; but the structure above dates from 1827-66.

Its facade, of a poor cla.s.sical order, is flanked by two slight cupola towers equally meaningless and insignificant. Surmounting the central dome is a colossal statue of the Virgin.

The interior is in no way remarkable or interesting. There are a few monuments and a gorgeous high altar of precious marbles, mosaic, and bronze, the gift of Prince Alex Torlonia. The lady-chapel is still resorted to as a place of pilgrimage by the seafaring and fisher folk of the neighbourhood.

A modern reproduction of a sarcophagus from the catacombs at Rome forms the tomb of Mgr. Haffreingue (1871).

III

NOTRE DAME DE CAMBRAI

Cambrai is one of that quartette of cathedral cities of northern France which in no sense take rank as ecclesiastical shrines of even ordinarily interesting, much less beautiful, attributes. Of the other three, Arras, St. Omer, and Boulogne, St. Omer alone is possessed to-day of anything approaching the great Gothic churches which were spread broadcast throughout France during the five centuries of church building in the middle ages.

In manners and customs, and indeed in speech to some extent, these cities all partake somewhat of the _locale_ of those of the Low Countries. These attributes, which have retained their original ident.i.ties across the borders, were for many centuries, and even so late as the seventeenth century, existent in French Flanders. Curiously enough, in none of these cities are any of the primitive Gothic types to be noted in the cathedral churches, though many possess their olden-time belfries and watch towers, preserved to-day with something of the local pride which evinces itself elsewhere with respect to cathedrals. It is possible that this is due to the fact that this great industrial centre of northern France is more given to the arts of manufacture than to the devotion of church-going or even of church building. Another notable and almost universal feature of these cities are the Renaissance or Romanesque gateways,--silent reminders to-day of the mediaeval communities which they once protected, and of the warlike invasions of the past.

The Cathedral of Notre Dame de Cambrai is on the site of an older abbey church, which was of the same ugly style as the present edifice itself, but which dated, however, only from the early eighteenth century. The present building is said to furnish a replica, of the vintage of 1859, of the tasteless and crude style of the earlier building. There are statues therein of Fenelon, Bishop Belmas, by David d'Angers, and of Cardinal Regnier; and a series of grisaille windows, after originals by Rubens, by Geeraerts of Anvers.

The chimes of Cambrai rank among the most noted in Europe. They are composed of thirty-nine bells and produce a carillon, "very agreeable,"

says a French authority. They certainly do,--the author can endorse this from a personal knowledge,--and they have not as yet descended to such ba.n.a.lities as popular military marches. The largest bell, given by Fenelon in 1786, weighs 7,500 kilos.

[Ill.u.s.tration: Notre Dame de Cambrai]

IV

NOTRE DAME DE ST. OMER

Under Baldwin of Hainault, Artois, including St. Omer, was ceded to the kingdom of France as late as the mid-seventeenth century. Few minor churches are possessed of the galaxy of charms and attractions of the _ci-devant_ Cathedral of Notre Dame at St. Omer. Hardly in the accepted forms of good taste are the Byzantine slabs of marble stuck upon the walls here and there, as in a museum; the Renaissance screens; the overpowering organ case; the votive offerings and tablets without number; and the alleged wonderful astronomical clock, with its colossal wooden figures of the sixteenth century,--all of which go to compose a heterogeneous ma.s.s more interesting as to occasional detail than as a thorough expression of saintly temperament.

The decorative scheme is carried still further by the large number of paintings with which the church is hung; a tribute none too common in France, and more usually a.s.sociated with the Flemish churches of nearly every rank. A reflection of their preeminence in this respect is naturally enough visible in French Flanders.

"The Descent from the Cross," attributed to Rubens, appears likely enough to be a genuine master, but it has been so roughly restored by overpainting, that it is to-day of impaired value.

St. Omer, among all the group of northeast France, presents a true Gothic example in its great Basilique de Notre Dame, and it is a pity that its further development was along lines which indicate a trend, at least, toward debas.e.m.e.nt. This is plainly to be noted in the tracery of the lower and clerestory windows of nave and aisles.

Its enormous tower covers nearly the entire western end of nave and aisles, in much the same way as those of some of the fortified churches of the south. Its Gothic is of the true perpendicular style, however, and, with the general grand proportions of the building, gives that immensity and ma.s.siveness which is a.s.sociated only with a church of the first rank. The _arcs-boutant_ of the nave are hardly deserving of mention as such, though they are manifestly st.u.r.dy props which perform their functions in perhaps as efficacious a manner as many more graceful and delicate specimens elsewhere. There is just a suggestion of a central tower, which, as is often the case in France, has dwindled to a mere cupola, if it had ever previously grown to a greater height. The transepts are of imposing dimensions, that on the south having an enormous rose of perhaps thirty-five feet in diameter, with an elaborately carved portal below, which contains a "Last Judgment" in the tympanum. The choir, chevet, and chapels, while existent to a visible and very beautiful degree, are somewhat overshadowed by the great size of the transepts. There is this to be said, however: that the choir, a restoration of our own day, presents, as to style, the type of Gothic purity at its height. It has five radiating chapels, not including that of Notre Dame des Miracles, which adjoins the south transept and contains innumerable votive tablets. For the rest, except for the fact that the interior partakes of a mere collection of curios and relics, it is in general no less imposing in its proportions than the exterior. The clerestory windows, however, are of ill proportions for so grand a structure, being short and squat; and here, as elsewhere throughout the building, is to be found only modern gla.s.s.

The great bell of the western tower weighs 8,500 kilos.

Chief among the notable accessories and reliques is the monolithic tomb of St. Erkembode, bishop of the one-time see of Therouanne, period 725-37. The sarcophagus itself, dating from the same century, was brought here from the original site. The tomb of St. Omer was restored in the thirteenth century and shows a remarkable sculptured group of Christ, the Virgin, and St. John, called the "Great G.o.d of Therouanne."

It was saved from the ruin of the church at Therouanne, which was destroyed with the greater part of the town in 1533 by Charles V., in revenge for the "loss of three bishoprics," as history states. At this time the sees of St. Omer and Boulogne were founded.

The near-by Palace of Justice, built by Mansart in 1680 and enlarged for its present use in 1840, was the former Episcopal Palace.

St. Omer has also two other grand churches, St. Sepulchre, of the fourteenth century, and the ruins of St. Bertin (1326-1520), which, before the Revolution, with St. Ouen at Rouen, and the collegiate church at San Quentin, was reckoned as one of the most beautiful Gothic abbeys in France. To-day it is a magnificent ruin, its huge tower (built in 1431) and portions of the nave and crossing being all that remain. It was considered the finest church in the Low Countries, and for size, purity, and uniformity of style it ranked with the best of its contemporaries.