How France Built Her Cathedrals Part 18

CHAPTER VI

Six of the Lesser Great Cathedrals: Bourges, Beauvais, Troyes, Tours, Lyons, Le Mans

Every work of art truly beautiful and sublime throws the soul into a gracious or serious reverie that lifts it toward the Infinite.

Art of itself is essentially moral and religious, since it expresses everywhere in its manifestation the eternal beauty, or else it is false to its own law, to its own genius.

--VICTOR COUSIN, _Du vrai, du beau, et du bien_.

Scattered over France are a number of cathedrals that would stand in the first rank in any other land but one in which were such supreme churches as Chartres, Rheims, and Amiens. It is convenient to group here six of these lesser Great Cathedrals, since they will not fall properly within the coming four chapters, which deal with the regional schools of Normandy, Burgundy, the Midi, and Plantagenet Gothic.

According to the cla.s.sification used by M. Lefevre-Pontalis, there are six schools of Gothic architecture in France. Their differences lie in secondary characteristics such as ground-plan, ramifications of ribs, and the form of piers, window tracery, and ornamentations. Of the Ile-de-France and Champagne schools we have already gained some idea in tracing the first steps of the national art, and in following its highest development at Paris, Rheims, and Amiens. Of the six cathedrals here grouped that of Beauvais belongs to the Ile-de-France Picard school and that of Troyes to the Gothic of Champagne. But the four others--Bourges, Tours, Lyons, and Le Mans--show the influences of two or more schools and therefore fit more reasonably into this heterogeneous chapter. In speaking of Gothic schools it is well to recall that in the Flamboyant development there were no distinct regional groups. A similar Gothic style was used in the Midi as in Normandy, in Picardy as in Burgundy.

Though not of the greatest, these six churches are splendid monuments.

With hesitation one places such a cathedral as Bourges in a secondary group. Had Beauvais and Le Mans been completed on the same scale as their grandiose choirs, they would stand with the foremost. At Troyes are windows, of the same epochs as the stones framing them, that for splendor are second only to those of Chartres and Bourges. The cathedral of Tours is the personification of the equipoise of Touraine's art, and its storied windows are notable. The metropolitan church of Lyons possesses a grave individuality of the most singular interest, and its windows, too, are masterpieces.

During an astonis.h.i.+ng century--roughly speaking from 1170 to 1270--France built about eighty Gothic cathedrals, and more than three hundred fine churches. And the miracle is that each had its own distinct personality, which etches itself clearly on the traveler's mind. Such was the super-abounding joy of creation in the golden age of the national art that no two churches are alike.

THE CATHEDRAL OF BOURGES[131]

One goes before the Lord's altar, one bends the knee, one stays there in an att.i.tude of prostrate humility, and _perhaps_, in it all, one has not rendered to G.o.d a single homage. Why? Because religion does not consist of inclinations of the body, or of modesty of the eyes, but of humbleness of spirit, and not for an instant has the spirit been one with those demonstrations of respect and adoration.

One visits the hospitals and prisons, one consoles the afflicted, one tends the sick and helps the poor, and _perhaps_ the very one who displays in all this the most a.s.siduity and zeal is he who possesses the least Christian mercy. Why? Because he is carried on by a certain natural activity, or an entirely human pity touches him, or is it any other motive, except G.o.d, that leads him.--_On True and False Piety_, BOURDALOUE (1632-1704; born in Bourges).

The cathedral of St. etienne stands on a slight hill in the center of Bourges, and is a landmark for forty miles over the Berry plains that are the tranquil heart of France. The best architectural view of it is obtained from the park once attached to the archbishop's palace and said to have been laid out by Le Notre, master of this type of cold distinction which is so eminently French. As the entire south flank of the church is exposed to view there, the absence of a transept is what first strikes the attention. Bourges is the only XIII-century cathedral without the extended arms of the cross. Had it a transept it might appear short, whereas now its four hundred feet of length make the most imposing effect.

Bourges, Paris, Troyes, and Clermont are the only cathedrals with double aisles about choir and nave. Bourges is exceptional in that the inner aisle is twice as high as the outer--so high that it possesses its own triforium and clearstory; so high that the pier arches around the middle church rise to more than half the height of the edifice. Indeed, many an English cathedral could stand under the pier arches of Bourges. Each pillar is encircled by eight shafts--an arrangement that accentuates its loftiness. It may be claimed that there is over-emphasis in a procession of such giant columns about the interior of a church, and that there is something spectacular in a colonnade of such stupendous arches.

Certainly the main clearstory is dwarfed by comparison, and the contrast in height between inner and outer aisle is too violent. Bourges must pa.s.s as a superb experiment rather than the restrained achievement from which emanates a school. Subsequent architects preferred to take as model the more cla.s.sic division of Amiens' interior wall elevation.

None the less is this most original basilica magnificently and romantically beautiful. Upon entering the church for the first time one feels the gripping sensation of beholding a thing audacious and gigantic. And yet the impression conveyed is not that of overweening pride. There is reverence here. Bishop Durandus tells us that the piers of a church are the bishops and doctors who sustain the temple of G.o.d by their doctrines, that the length of a church representeth fort.i.tude which patiently endureth till it attain heaven; its breadth, charity; its height, courage that despiseth prosperity and adversity, hoping to see the gladness of the Lord in the land of the living. The windows are hospitality with cheerfulness, and tenderness with charity. They are Holy Scriptures which expel the wind and the rain--that is, all things hurtful--but transmit the light of the true Sun--that is, G.o.d--into the hearts of the faithful.[132] So wrote the wise old XIII-century Midi bishop for whom the whole world and everything in it were symbols.

Sound doctrine, fort.i.tude, and warm protecting hospitality--such are qualities supremely understood of Bourges. There is awe in this church and there is magic. Of the boundless imagination of dreams are certain sunset aspects here, when from the wide western window of Jean de Berry gleams of light strike athwart these vast arches of wonderland, across these sixty big pillars of stone, and night-time hours--during the May evening services of Our Lady--when the great church as in fearsome meditation is shrouded in shadow.

[Ill.u.s.tration: _The Apse of Bourges (1200-1225)_]

Some four or five cathedrals have stood, in turn, on the same site which was close by the Gallo-Roman city walls. For the early Christians were despised as pariahs, and allowed to build only on the outskirts of cities, until the edict of Constantine permitted them to exercise their religion with honor. All over France churches are to be found ab.u.t.ting on the ancient ramparts of towns. Of the early cathedrals of Bourges only the core of the present crypt remains. From the Romanesque edifice immediately preceding the present cathedral come its XII-century side portals.

There are strong a.n.a.logies between the ground-plan of St. etienne of Bourges and that of Notre Dame of Paris, especially if one recalls that the cathedral of Paris, as first designed, possessed no transept.

Probably the plans of both were made at the same time, but the work in the capital of the royal demesne started immediately in 1163; hence it retained the galleries over the side aisles--a Romanesque tradition--whereas, at Bourges the actual building began only in the last decade of the XII century, when such tribunes were pa.s.sing out of vogue. Bourges thereupon undertook to modify its first design, and it tried the startling experiment of making an inner aisle whose height comprised both aisle and tribune.

The crypt of Bourges,[133] one of the most s.p.a.cious in France, was begun by Archbishop Henri de Sully (1184-99), brother of Bishop Eudes who helped build the west facade of Paris Cathedral. When Henri died, the decision was left to his brother in Paris, as to which of three Cistercian abbots should be the succeeding archbishop in Bourges. The nomination fell to St. Guillaume Berruyer (1199-1208) of the house of Nevers, whose counts had built the admirable Romanesque St. etienne in that city. Guillaume had watched both Paris and Soissons' cathedrals rising; he had been a monk in Pontigny, whose church was the earliest Gothic venture in Burgundy, and he was abbot of Chaalis, where the church also was Primary Gothic. This holy Cistercian was loath to leave his cloister, and always wore his white robe and fasted like a genuine son of St. Bernard. In his face shone his purity of soul, and it is said that his manner was merry.

Only a saint could have made the ambulatory of Bourges, a place apart from the world's fret, fas.h.i.+oned for meditative prayer, its walls hung with gospel parables of mosaic gla.s.s. It is thought that while the new Gothic choir was building, services were held in the Romanesque cathedral, which may have been partly open to the elements, since St.

Guillaume caught a chill in it while preaching, from the effects of which he died in 1208. Ten years later, the first ceremony held in the completed choir was for his canonization; without the usual process of investigation the pope declared him a saint.

From 1236 to 1260, a nephew of St. William's, Blessed Philippe Berruyer, was archbishop of Bourges and carried forward the nave; and the saint's great-niece, the Countess Matilda of Nevers, contributed generously.

Bourges commemorated her saintly bishops in the clearstory of her inner aisle. The window wherein St. Guillaume is pictured shows his niece as the donor.

Never was monument set on a more majestic base than the choir end of Bourges. There the crypt stands above the ground, owing to the slope of the land. The chevet of St. etienne is incomparable. In every part of the edifice good mason work was done, save in the upper vaults, where the necessity of economy led to skimping. It is apparent that, as the eastern curve of the cathedral was rising, the architect modified his plan. In his apse walls he inserted small chapels, each standing on two columns and an engaged shaft and each roofed by a stone pyramid. Not only does the circlet of little shrines add to the beauty of the chevet, but each chapel serves the practical purpose of a b.u.t.tress. That they were afterthoughts is proved by the ambulatory windows not being set symmetrically over the crypt windows. However, the chapels must have been added during the building of the procession path, because the latter's vaulting shows no sign of reconstruction.

The cathedral of Bourges is not well doc.u.mented. Only by a study of the stones themselves can it be dated. Its eastern end was building during the first part of the XIII century; in 1266 the chapter contributed toward the works, their donations being used probably for the completion of the nave. At the end of the XIII century porches were added to the side doors retained from the Romanesque cathedral. Work continued on the west facade during the early part of the XIV century, but when, in 1324, St. etienne was dedicated, it had been completed in its main parts for forty years.

This makes the west front of Bourges about a century younger than its apse. The five deeply recessed portals correspond to its five aisles, and the western towers are set clear of the aisles, as at Rouen; that to the southwest is now braced by a flying b.u.t.tress and detached b.u.t.tress pile. In 1506 the northwest tower collapsed. It was rebuilt by alms, given as thank-offering for the privilege of eating b.u.t.ter during Lent, hence its name Tour de Beurre. Such b.u.t.ter towers may be called the XVI century's method of charity bazaar to raise money for church repairs.

During the heyday of Gothic, the fervent layman gave voluntarily, asking for no return, and in that spirit rose the _clocher vieux_ at Chartres.

Compare that sublime monument with the elegant, mundane late-Gothic "b.u.t.ter towers" of France, and you comprehend how inevitably the spirit of builders reveals itself in the work of their hands.

Of the five western doors of Bourges, only the central one is wholly of the XIII century (c. 1260-75). Its representation of the Last Judgment, adjudged to be the best ever set up at a cathedral door, the _Dies Irae_ warning in stone, is derived from Job, St. Paul, St. Matthew, and the Apocalypse. In the upper zone Christ is enthroned; in the lower is shown the arising of the dead from their tombs. Between these scenes is the splendid panel of the Judgment, with the stately archangel as its central figure, holding the scales of justice. To his left malign demons seize on the d.a.m.ned to plunge them into the jaws of the Leviathan described in Job. To his right the blessed ones smile with complacency as they move toward Paradise, here represented by a hieroglyphic--supposed to be Abraham's bosom, out of which peep some little souls smuggled safely away.[134] St. Peter stands at the gates of Paradise, holding the keys, a doctrinal symbol of his power to bind and to loose, until in time popular fancy pictured him as the actual gatekeeper of heaven. Among the elect is represented a king holding the flower of sanct.i.ty, probably meant for St. Louis. Beside the king is a cord-girdled monk--hence the name "cordeliers" for Franciscans--showing how popular was the new Order.

The fall of the north tower caused the ruin of the portals near it, and when rebuilt in the XVI century an iconographic error was made which would have been impossible with the trained scholastics of an earlier day--the mother of the Saviour was placed on his left, instead of in the seat of honor on his right. In the fatal year 1562, when from end to end of France the churches were mutilated, the Calvinists attacked the portal images of Bourges and flung the carven stones into the breaches of the town walls. They went so far as to mine the giant piers in order that the great edifice might totter to its fall; but happily their control of the city was cut short, or the tragedy of Orleans might have been enacted.[135]

Bourges is a chosen spot for stained gla.s.s, second only to Chartres.

Students have made the study of its windows a lifetime enthusiasm.

Nowhere can the epochs of the vitrine art from the XII to the XVII century be more easily studied. The school of St. Denis, however, is not represented. Two small panels, now set in a window beside the south portal, are earlier in date than Suger's windows; their flesh tone is purplish; perhaps they are the oldest colored gla.s.s extant in France.

Of the XIII-century school of Chartres are the twenty and more lancets in the ambulatory, legend-medallion windows ranking with the best ever made. They repeat some of the themes used by the artists at Chartres, such as the parables of the Prodigal Son, presented by the tanners, and of the Good Samaritan, which latter lancet at Bourges is an exception in having its story begin at the top. Ancient windows are to be read usually from the bottom upward. The first window in the choir aisle, as you enter it from the north, shows the beggar Lazarus despised and suffering on earth, then carried by angels to Abraham's bosom, wherein (in the topmost medallion) he sits cozily ensconsed, but Dives, the bad rich man, is s.n.a.t.c.hed by demons from his earthly scenes of plenty and thrust into h.e.l.l. The lancet which, at Bourges, is devoted to the Apocalypse, is held to be a subtle commentary on the vision of Patmos.

To the fifth large window of the ambulatory, called the New Alliance, the Jesuit fathers, Cahier and Martin, have devoted over a hundred pages--a veritable treatise on symbolism--in their monumental study of the earlier stained gla.s.s in this church. "Prophecies in action," our friend Joinville called the prefiguring of the New Law by the Old, so popular during the Middle Ages. New Alliance windows are to be found in various cathedrals--their theme being the subst.i.tution of Gentiles for Jews by the merit of the Cross.[136] The guild of butchers was the donor of this abstract doctrinal window of Bourges.

The only break in the XIII-century gla.s.s of the choir aisle is in the axis chapel, where the windows--of the XVI-century Renaissance--belonged originally to the Sainte-Chapelle of the ducal palace that once existed in Bourges; other windows from the same source have been reset in the cathedral's crypt. The small scenes at the base of each lancet--the signatures as they are called--show that here, as at Chartres, the larger number of these priceless treasures of art were donated by the little people of the Lord--carpenters, weavers, coopers, money changers.

A window given by the stonecutters, in the choir aisle of Bourges, is devoted to St. Thomas, the apostle, patron of builders. Bourges and Chartres afford the best opportunity for a more intimate study of the legends and symbols then most popular. Here, as at Chartres, the _Golden Legend_ should be one's inseparable companion.

In the high windows of the middle choir the apostles are ranged on one side of Sancta Maria, and the prophets on the other--another of the many contrasts of the Old and New Testaments. The nave's clearstory is chiefly XIII-century grisaille. The XIV-century artists, in their desire for more light, gave up the profound colors of their mosaic-like windows for that coldly elegant phase of the vitrine art, when the use of white was carried to excess and each figure set in its own panel was pictured like a statue with architectural niche and dais.

About 1370 Duke Jean of Berry, born connoisseur like his brothers Charles V, Philippe of Burgundy, and the Duke of Anjou, presented to Bourges Cathedral its immense western window. Before the Medici, this Valois prince collected cameos and medals and bric-a-brac. Among the twenty castles he built were those of Poitiers, Riom, and Bourges, on which were employed the noted Flamboyant Gothic architects, the Dammartin brothers. When the Sainte-Chapelle of the palace in Bourges was destroyed (1759), the duke's tomb, which his nephew Charles VI had ordered of Jean de Cambrai (1477-83), was brought to the cathedral. The sarcophagus was once surrounded by alabaster statuettes, some of which are in the Museum. The arrangement of mourners came from his brother's world-famous tomb in Dijon. In his old age the spendthrift, unstable Jean de Berry married the very youthful Jeanne de Boulogne, and kneeling images of both duke and d.u.c.h.ess have been placed on either side of the entrance to the axis chapel of the cathedral. Apparently art-loving John of France was in person the homeliest of men. The Revolution damaged these images, which were restored by means of drawings made of them by Holbein in the time when Bourges was a Mecca for the artists of Europe.

Some of Duke Jean's friends presented early XV-century windows to the side chapels of Bourges Cathedral. His physician, Aligret, gave one.

The Hundred Years' War put a stop to the acc.u.mulation of art treasures in the metropolitan church. When Charles VII, "the little king of Bourges," as the English had dubbed him ironically, went with the victorious Maid of Orleans to be crowned king at Rheims, his gentle queen, Marie of Anjou, stayed in Bourges with her mother, Yolande of Aragon. Marie's brother, then a youth under Jeanne's command, was to become the good King Rene of history. To Bourges Jeanne herself came later. She lodged with an estimable widow of the town who, years afterward, during the inquest conducted for the Maid's rehabilitation, bore testimony to the young girl's simple goodness. She told how gallantly Jeanne mounted a horse and how adroitly she managed a lance so that "everyone was in admiration of her, for no knight could have done better."[137]

Then when "_Jehanne la bonne Lorraine_," as Villon called her, had given France a new soul, when the blight of the Great Schism of the West was over, and France accepted the same spiritual chief as the remainder of Europe, there came about the energetic, happy, restless manifestation of art which we call Flamboyant Gothic. Bourges then possessed a Maecenas in the person of a merchant (son of a tradesman of the city) whose s.h.i.+ps covered the sea. Jacques Coeur, from 1443 to 1452, built himself, in his native town, the finest burgher's house in France, to see which Rene of Anjou--great-nephew of Jean of Berry--came especially to Bourges. Its walls were carved with quaint devices and images,[138] and, like Van Eyck's, were the charming little angels painted on its chapel vaults. No civic monument in the land excels it; it ranks as the best with Rouen's Palais de Justice and the Hotel Cluny at Paris.

The same merchant-prince built in Bourges Cathedral a private chapel for his family, and beside it a rich Flamboyant Gothic sacristy. The Annunciation window in the chapel (1450) is held to be the best gla.s.s of its century, uniting the better drawing of the later day with a plain, firm, general design. The face of the Angel Gabriel has been said to be a portrait of Jacques Coeur. St. James is represented in pilgrim garb because of the fame of his shrine at Santiago Compostela. It is thought that Jacques Coeur donated the row of richly damasked windows in the west facade beneath Jean of Berry's big sheet of gla.s.s, made fifty years earlier. Colors have become richer and the figures show a tendency to escape from the rigid att.i.tude of statues, but not yet has absolute congruity between the hues been achieved.

Jacques Coeur was not to be buried in the chapel he had prepared. He served the same master who had let the Maid of Orleans perish at Rouen without striking a blow to save her. With money provided by the merchant-banker of Bourges, Charles VII had reconquered Normandy, but he let the estate of his faithful servant be rapaciously confiscated without a trial, and left him to languish in prison for two years before being banished from the kingdom by the mockery of a law process. Jacques Coeur died in exile in 1461, but his good name was exonerated, and his son Jean, archbishop of Bourges, was buried in the cathedral's choir.

The merchant-prince's chapel pa.s.sed with his mansion into the hands of the Laubespine family, whose kneeling statues now adorn it.

With the XVI century there opened another golden period of the vitrine art in Bourges. A local master, Jean Lecuyer, won fame. He made the Tullier window (1532) in the tenth bay (south) of the cathedral. The donor, Canon Tullier, and his father, mother, and various ecclesiastic relatives, are being presented by their patron saints to a distinguished-looking Madonna. The architectural background shows what headway the foreign Renaissance had made in France, though the chief figures are still true to French traditions. The colors are faultlessly balanced and certain exquisite half-tones are noticeable. In the upper panels, in a fair blue sky, are entrancing little angels giving a celestial concert, fiddling, beating a drum, singing with all their hearts, for this is the shrine built by St. William, who knew how to be holy and merry as well.

The Tullier light has been called the loveliest of XVI-century windows.

And yet no one can deny that enamel painting on gla.s.s was a deterioration of the art. The old masters had followed a sounder tradition when they subordinated their windows to their architecture, making them an integral part of it, and not merely isolated painted pictures. Jean Lecuyer also composed the window (1518) relating the lives of St. Stephen and St. Laurence in the cathedral's nave (south side), and several brilliant lights in St. Bonnat's church. Even the XVII century produced interesting work at Bourges; in the Martigny chapel of the cathedral (north side of nave) the portrait of the donor is as realistic as a miniature.

THE CATHEDRAL OF BEAUVAIS[139]

C'est alors que se const.i.tue cette merveilleuse discipline, vrai fondement de la culture intellectuelle et de la science, qu'est la discipline scholastique.... Toute la connaissance est tournee vers la science de l'etre, vers la metaphysique, plus haut encore vers la theologie; plus haut encore, vers theologie vecue, vers la contemplation.--JACQUES MARITAIN.