imperfections—seldom, if ever, in aught but pleasurable anticipation, do we see in the masterpieces of art or nature a perfect unity; so why seek to negative their virtues by futile criticism? It would seem to be all-sufficient that such details, sins of omission or commission, should be noted merely, that we may pass on to other charms which must compel our allegiance.
When we visit the cathedrals of the Isle of France, we are at once in the midst of the best examples of French Gothic architecture, or of French Mediæval architecture, if the phrase is to be preferred.
PART I Transition Examples
I
INTRODUCTORY
Soissons, with Noyon and Laon, all within perhaps thirty miles of one another, may be said to best represent the nurturing and development of the early Gothic of France. These simple and somewhat plain types exemplify the style which was in vogue at the same time in the Low Countries. It is good Gothic, to be sure—at least, good as to its planning—but without that ornateness or lightness known to-day as characteristic of the distinctive French type, which so early developed boldly and beautifully.
One observes the resemblances in style between the notable cathedral at Tournai, in Belgium, the neighbouring types of French Flanders, and the cathedrals of this trinity of French towns lying contiguous thereto, Noyon itself being for long interdependent with the see of Tournai. Nevertheless, it is a beautiful type which was cradled here in the country called, by Cæsar, Suessiones; and difficult it would be to attempt to assign preëminence to any one edifice.
Noyon, without a doubt, has the greatest charm of environment, and is of itself in every way a pleasing and satisfying example of what should most truly inspire and impress us in a cathedral. Stevenson describes it as being "the happiest inspiration of mankind, a thing as specious as a statue at the first glance, yet, on examination, as lively and interesting as a forest in detail. The height of its spires cannot be taken by trigonometry: they measure absurdly short, but how tall they are to the admiring eye. … I sat outside of my hotel and the sweet groaning thunder of the organ floated out of the church like a summons";—and much more of the same sort, all of which tells us that, once we find ourselves on a plane of intimacy with a great church, we continually receive new impressions and inspirations, and it is in this vein that one who has known this group of simple but fascinating churches on their own ground, so to put it, can but seek to convey the idea that it is good that we have such contrasting types as a relief and an antidote to an appetite which otherwise might become sated.
II
NOTRE DAME DE LAON
For over twelve hundred years, until the see was abolished at the Revolution, Laon was the seat of a bishop who in point of rank was second only to the primate at Reims. Crowning the apex of a long isolated hill, upon which the entire town, now a fortress of the third class, is situated, the cathedral of Notre Dame de Laon, still so called locally, has endured since the beginning of the twelfth century, and may be considered a thoroughly representative transition example.
The present structure is on the site of one burned in 1112, and during comparatively recent years has been entirely restored.
Its crowning glory is in the disposition and number of its fine group of towers: two flank the western façade, and are rectangular at the base, dwindling to a smaller polygon, which is flanked with corner belfries and pierced by a tall lancet in the central structure, showing a wonderful lightness and open effect. A curious and unique feature of these towers is the addition of four oxen in carven stone perched high aloft in the belfries. These sculptured animals may be merely another expression of symbols of superstition, and if so are far more pleasing than some of the hideous and monstrous gargoyles ofttimes seen. Two other towers, each 190 feet in height, adjoin the transepts, to each of which is attached a double-storied, apsidal, ancient chapel. Two similarly projected towers are lacking. The lantern is square, with a shallow, conical, modern roof.
In the transition type Romanesque influences were evidently dying hard. The Gothic was seldom full blown, and at Laon shows but the merest trace of pointedness to the arches of the western façade, either in the portals or in the higher openings.
The lack of a circular termination to the choir is but another indication of a link with a transitory past; an undeniably false note and one very unusual in France, the choir being of the squared-off variety so common in England. This may be coincident with the English custom of the time, or it may be directly due to a local English influence;—most probably the latter, inasmuch as an English prelate held the see for a time, and the city, in the early fifteenth century, was for a number of years in English hands. It is significant that in some of the smaller churches of the diocese is to be noted the same treatment.
The rose windows of both the eastern and western façades are Gothic in inception and treatment, and are unusually acceptable specimens of these supreme efforts of the French mediæval builders, the glass therein being distinctly good, though perhaps not remarkable.
The transepts are rectangular and, with the ensemble of the entire structure, were their towers completed, there would be produced, not only a unique example, but a towering effect only a degree less interesting than the perfectly proportioned pyramidal form so much admired in the perfectly developed Gothic.
The interior is equally attractive with the exterior, and, though the church is not by any means of remarkable dimensions, it presents in its appropriate disposition of detail a far more roomy and pleasing arrangement than many a larger example.
The transepts are divided into a nave and side aisles, the columns which partition them, like those of the nave proper, being cylindrical and of massive proportions, which, however, lighten as they rise to the vaulting. They are unusually symmetrical when viewed together, the capitals of the lower series being ornately carved, each of a varying design.
Above the aisles are lofty galleries. The nave chapels were added in the sixteenth and seventeenth centuries. The stained glass, like that of the rose windows, is in the nave distinctly good, particularly that of the lower range on the southerly side. The pulpit, of carved wood of the Renaissance period, is not of the importance and quality of this class of work to be seen across the Rhine border.
The former Bishop's palace, adjoining the left of the choir, is now the Palais de Justice. A few remains of a former Gothic cloister are to be remarked, surrounded by the later construction.
III
NOTRE DAME DE NOYON
In Notre Dame at Noyon, Notre Dame at Laon, and the cathedral at Tournai, is to be noted the very unusual division of the interior elevation into four ranges of openings, this effect being only seen at Paris and Rouen among the large cathedrals. Noyon and Laon borrowed, perhaps, from Tournai, where building was commenced at least a century before either of the French examples first took form. It is perhaps not essential that such an arrangement be made in order to give an effect of loftiness, which might not otherwise exist; indeed, it is a question if the reverse is not actually the case, though the effect is undeniably one of grandeur. Soissons, too, may rightly enough be included
