Part 4

Mostly these great halled churches exist in Westphalia, where there is a fine example in the cathedral at Paderborn, and again there is St. Ludger at Münster, and many others. In one form or another the type is frequently met with throughout Germany, and is therefore to be considered as a distinct German architectural expression.

In summing up, then, one may well conclude that German church architecture, in its general plan and outline, is not of the amazing beauty of the French, and is in a way lacking in mass effect. With respect to details and accessories, however, the German churches are graced with much that one would gladly find everywhere as an expression of the artistic embellishment of a great religious edifice.

In spite of the austerity of many of these German churches in the fabric itself, there is frequently an abounding wealth of accessory detail in fitments and furnishings.

In France the Revolution made away with much decorative embellishment and furniture of all sorts. The Reformation in Germany played no such part, and so there is left much really artistic detail which contributes a luxuriance that is wanting in constructive details.

The universally elaborate carven pulpits and choir-stalls are wonders of their kind. It is true they are usually of wood instead of stone, but it must be remembered that the Germans were ever great wood-workers.

The pulpits of Freiburg and Strasburg are thoroughly representative of the best work of this kind. They may be said, moreover, to be of the Gothic species only, whereas similar works elsewhere are most frequently of the Renaissance period.

In no other European country are the altars so rich in detail, the sacristies so full to overflowing with jewelled and precious metal cups, vases, and chalices, or the crucifixes, triptychs, and candlesticks so sumptuous.

In the cathedral at Aix-la-Chapelle the congregation seats itself upon chairs; but most frequently in Germany one finds sturdy, though movable, oaken benches.

Of the carved choir-stalls, those at St. Gérêon's at Cologne are the most nearly perfect of their kind on the Rhine; those at Mayence, while elaborately produced, being of a classic order which is manifestly pagan and out of keeping in a Christian church.

German churches in general made much of the cloister, though not all of the examples that formerly existed have come down to us undisturbed or even in fragmentary condition. But, in spite of the Protestant succession to many of the noble minsters, many of these cloisters have endured in a fair state of preservation. Attached to the western end of St. Maria in Capitola at Cologne is an admirable example, while the Romanesque types at Bonn, at the abbey of Laach, and at Essen are truly beautiful. Examples of the later pure Gothic construction are those at Aix-la-Chapelle and Trèves.

[Illustration: _Chandelier, Aix-la-Chapelle_]

But little exterior sculpture has been preserved in all its originality in the Rhenish provinces, revolutionary fury and its aftermath having accounted for its disappearance or mutilation. In the Cistercian church at the abbey of Altenburg, there is a plentiful display of foliaged ornament, and there are the noble statues in the choir of the cathedral at Cologne. Mayence has a series of monuments to the bishop-nobles attached to the piers of the nave, and in the Liebfrau Kirche at Trèves and the cathedral at Strasburg are seen the best and most numerous features of this nature.

One of the most unusual of mediæval church furnishings, a sort of chandelier, is seen both at Aix-la-Chapelle and Hildesheim. In each instance it is a vast hoop-like pendant which bears the definition of _coronæ lucis_. Others are found elsewhere in Germany, but not of the great size of these two.

Organ-cases here as elsewhere are mostly abominations. The makers of sweet music evidently thought that any heavy baroque combination of wood-carving and leaden pipes was good enough so long as the flow of melody was uninterrupted.

The stained glass throughout the Rhine valley is mostly good and unusually abundant, and the freedom of this accessory from fanatical desecration is most apparent. The same is true of such paintings as are found hung in the churches, though seldom have they great names attached to them; at least, not so great as would mark them for distinction were they hung in any of the leading picture galleries of Europe.

At Essen the baptistery is separated from the main church, like that at Ravenna, or at Aix-en-Provence, the two foremost examples of their kind. A little to the westward of this minster, and joined to it by a Romanesque ligature, is a three-bayed Gothic church which occupies the site, or was built up from a former chapel dedicated to St. John the Baptist.

[Illustration: FONT LIMBURG]

Sooner or later the custom became prevalent of erecting a baptismal font within the precincts of the main church itself, thus doing away with a structure especially devoted to the purpose. This change came in the ninth century, hence no separate baptisteries are found dating from a later epoch only, except as an avowed copy of the earlier custom.

At this time, too, immersion had given way to sprinkling merely, though in many cases the German name still applied is that of _taufstein_, meaning dipping-stone.

Late examples of fonts were frequently in metal, the most remarkable in the Rhine valley being in St. Reinhold's at Dortmund, in St. Maria in Capitola, and St. Peter's at Cologne, and in St. Mary's and St. James's at Mayence.

One of the most elaborate, and certainly the most beautiful and remarkable of all, is the stone font of the cathedral at Limburg.

VI

CONSTANCE AND SCHAFFHAUSEN

_Constance_

There is a sentimental interest attached to Constance and the lake which lies at its door, which has come down to us through the pictures of the painters and the verses of the poets. Aside from this, history has played its great part so vividly that one could not forget it if he would.

The city was founded about 297 A.D. In after years it fell before the warlike Huns, and all but disappeared, until it became the seat of a bishop in the sixth century, the jurisdiction of the bishopric extending for a dozen leagues in all directions.

In the tenth century it became a _ville impériale_, and by the fifteenth it had a population of more than forty thousand souls, and the bishopric counted eight hundred thousand adherents. To-day the city proper has decreased in numbers to a population which hovers closely about the five thousand mark.

[Illustration: _Constance Cathedral_]

The emperors convoked many Diets at Constance, and in 1183 the peace was signed here between the Emperor Barbarossa and the Lombard towns.

The cathedral, or münster, of Constance is dedicated to "Our Lady", and is for the most part a highly satisfying example of a Renaissance church, though here and there may be noticed the Gothic, which was erected on the eleventh-century foundations.

The façade has been restored in recent years, and is flanked by two pseudo-Romanesque towers or campaniles in the worst of taste.

The interior is divided into three naves by columns bearing rounded arches. Above, in the grand nave, are a series of round-headed windows, while those in the aisles are ogival.

The choir contains a series of Gothic stalls in stone, which, unless it has very recently been scraped off, are covered with the ordinary cheap whitewash.

The painted vaulting is atrocious, and, while its hideous colouring lasts, it matters little whether it is of the Romanesque barrel style or ogival. The nervures are there, so it must belong to the latter variety, but it is all so thickly covered with what looks like enamel paint and gaudy red and blue "lining" that it is painful to contemplate.

There is a fine statue of John Huss supporting the pulpit. It is an adequate monument to one who made history so vivid that it reads almost like legend. In the pavement is a _plaque_ of copper which indicates the spot where Huss stood when his sentence was read out to him. According to tradition--some have said that it was the ecclesiastical law--Huss was hurled from the church by a _coup de pied_.

The organ-case, of the fifteenth century, which backs up the inside wall of the façade, is one of the most gorgeous of its kind extant, although there is no very high art expression to be discovered in the overpowering mass of mahogany and lead pipes which, with inadequate supports, hangs perilously upon a wall.

This particular organ-case is richly sculptured with foliage and figures of men, demons, and what not. If it is symbolic, it is hard to trace the connection between any religious motive and the actual appearance of this ungainly mass of carved wood.

There is in the cathedral an elaborate allegorical painting by Christopher Storer, a native of Constance, and executed in 1659 by the order of Canon Sigismund Müller, who died in 1686, and whose tomb is placed near by.

An immense retable is placed at the head of the nave. It is of fine marble, and, though a seventeenth-century copy of Renaissance, is far more beautiful than such ornaments usually are outside of Italy.

At the head of the left aisle is a chapel which also has an elaborate marble retable of the same period. At the summit is a crucifix, and below in niches are statues of St. Thomas, of Constantine, and of his mother, Ste. Hélène. In the same chapel is a "Christ in the tomb", in marble, surrounded by the twelve apostles.

From the same aisle ascends a charming ogival staircase ornamented with statues and bas-reliefs. Separating the chapels from the aisles are two magnificent iron grilles. In a Gothic chapel near the entrance is a fine _cul de lampe_ sculptured to represent the history of Adam and Eve.

A cloister exists, in part to-day as it did of yore, to the northeast of the cathedral. It is a highly beautiful example of fifteenth-century work, with its arcades varying from the firm and dignified early Gothic to the more flamboyant style of later years.

The church of St. Stephen is another ecclesiastical treasure of Constance with a rank high among religious shrines.

St. Stephen's occupies the site formerly given to a chapel dedicated to St. Nicholas, while not far away there was, in other times, another known under the name of Maria Unter der Linden. The Bishop Salomon III., who occupied the see from 891 to 919, enlarged the first chapel, which was further embellished in 935 by the Bishop Conrad of Altdorf, who added a choir thereto.

This in time came to be known as St. Stephen's. It was entirely renovated in 1047-51 by the Bishop Theodoric, who was interred therein upon his death. The church served as the meeting-place of the famous Roman tribunal known as the _Sacra Rota Romana_. Under the Bishop Otto III., who was Margrave of Hochberg, it was entirely reconstructed in 1428, and to-day it is this fifteenth-century building that one sees. Previously, if the records tell truly, the great windows of the clerestory contained coloured glass of much beauty, but the remains of to-day are so fragmentary as to only suggest this.

From 1522 to 1548 St. Stephen's was consecrated to the followers of Luther, the first incumbent under this belief being the famous Jacob Windner of Reutlingen.

The exterior of St. Stephen's is not in any way remarkable. The bell-tower, which is very high, is a great square tower to the left of the choir, surmounted by a steeple formerly covered with wooden shingles, but in recent times coppered. The clock in this tower was the gift of Bishop Otto III. There is also a fine chime of bells, which will remind one of the churches of the Low Countries when he hears its limpid notes ring out upon the still air.

The interior has been newly whitened with that peculiar local brand of whitewash, and while bright and cheerful to contemplate, is also very bare, caused perhaps by the vast size of the nave and choir.

The aisles are separated from the nave by ogival arches, rising from a series of octagonal pillars, upon which are hung statues of the twelve apostles. The wooden roof of the nave and its aisles is curious and dates from 1600, but it is mostly hidden by a plaster covering which was added in the early nineteenth century.

The gilded and highly decorated organ and its case dates from 1583. In 1819 and 1839 it was "restored," whatever that may mean with regard to an organ, and at some time between the two dates were added two colossal figures of David and St. Cecilia. There are numerous and elaborate paintings in St. Stephen's which would make many more popular shrines famous. The most notable are "St. John before King Wenceslas," "The Stoning of St. Stephen," "The Glory of the Lamb," and an "Adoration," the work of Philip Memberger, who painted this last at the time of the reëstablishment of the Catholic faith at Constance in 1550. A portrait of the artist is preserved in the sacristy.

Many other works of art were demolished or carried away in the years of the Reformation.

In 1414 three Popes disputed the honour of occupying the Holy See, John XXIII., Gregory XII., and Benoit XIII. The Emperor Sigismund, after having met the deputies of each of the aspirants at Como and Lodi, assembled a council to put an end, if possible, to the anarchy which had arisen within the Church. Its place of meeting was Constance, and the emperors, kings, princes, cities, churches, and universities of Germany, Sweden, Denmark, Hungary, Bohemia, and Italy all sent their deputations. France was represented by Pierre d'Ailly, Archbishop of Cambrai, and Jean Gerson, the chancellor of the University of Paris.

The Council of Constance was the most numerous body which had ever been called together on behalf of the Church. It opened its sessions on the 5th of November, 1414, and continued until the 12th of April, 1418.

John XXIII. declared that he would abdicate if his two competitors would agree to follow his example. Gregory XII. agreed to this and sent his abdication to the council by an ambassador, Carlo Malatesta; but Benoit XIII. fled to Spain and still clung tenaciously to the title of Pope. Finally, at a conclave composed of thirty-two cardinals, Othon Colonna was, in 1417, elected Pope under the name of Martin V.

The council held at Constance which condemned John Huss, who was a Wyclif disciple before he was one of Luther's, took place in 1414. Huss was condemned to be burned alive in 1415, and "he mounted the pile," says history, "with the courage of a martyr."

One may see in the Place Brühl, a kilometre from the centre of Constance, the very spot where the "pile" was erected.

The present customs warehouse (Kaufhaus) formed Constance's famous council-chamber, and to-day it is one of the most interesting curiosities of the city.

The grand council-chamber is situated on the first floor of the building, and was erected in 1388. Its length approximates two hundred feet, and it is perhaps one hundred in width with a height of twenty feet.

The ceiling is held aloft by fourteen wooden pillars, and there are twenty-three windows.

There are no traces of wall decorations, and the opinion is hazarded that the walls and pillars were, at the time of the council, hung with draperies.

From the windows there is a fine view of the Lake of Constance, and but a little distance away is the Franciscan convent, now transformed into a factory, where was incarcerated John Huss previous to his martyrdom.

_Schaffhausen_

Of the falls of Schaffhausen, Victor Hugo wrote: "_Effroyable tumulte_." This is the first impression. The four grand, overflowing channels of the cataract tumble, rise and redescend in an eternal tempest of rage.

A musical German once said that the only way to express the tumult of Schaffhausen's fall was to "put it to music." He probably had Wagner in mind, and perhaps there are persons who could conjure up a picture of its foam-decked course by means of the master's harmonies.

Montaigne was of a more practical turn of mind. He said: "_Cela arrête le cours des bateaux et interrompt la navigation de ladite rivière_."

Compared with Niagara, Victoria Nyanza, or the great cataract at Yosemite, the falls of Schaffhausen depict no great splendour of aspect, though they are tumultuous and unqualifiedly picturesque. Furthermore, they form a pretty setting for the little city of some five thousand souls which bears the same name.

With Basel, Schaffhausen has preserved its mediæval character far more than the other cities of Switzerland. Its streets are narrow and irregular, and most of its houses are of the deep-gabled variety, many of them having their fronts frescoed in truly theatrical fashion, the effect, as might be supposed, being highly pleasing.

Schaffhausen owes its prominence in the commercial world to its falls, which make it necessary for merchandise making its way between Constance and the Lower Rhine to be transshipped at this point. The traffic is by no means so large as that which goes on in the Lower Rhine, but it does exist in proportions so considerable as to justify a certain activity in this old-world town which is noticeable to-day, and which has existed for many centuries. The name Schaffhausen (Schiffhausen) comes, it is claimed, from the houses of the boatmen, and this seems sufficiently plausible to be accepted without question.

The Fortress of Munoth dominates the city, crowning the height of Mont Emmers. It occupies the site of an ancient Roman stronghold, and, like its fellows which crown the heights bordering upon the German Rhine, is formidable in its grimness if not for its actual value in modern warfare.

In 1052, Count Eberhardt of Nellenburg founded an abbey here, and accorded to the abbot rights and powers without limitation, so far as the count's seigneurial lands were concerned. To-day, however, Schaffhausen is not rich in ecclesiastical monuments. Its cathedral is a Byzantine edifice of the twelfth century, and is a development from the church of the ancient abbey founded by Count Eberhardt.

There are no constructive or decorative details which call for remark, save twelve columns, each cut from a solid block of sandstone. They measure perhaps twenty feet in height, and are three feet or more in circumference.

There is no resemblance between the architecture of this church and others in the Rhine valley; therefore it cannot be considered as typical of any Rhenish manner of building.

St. John's is an ogival edifice also without any great merit, unless it be that of a grandeur which is contrastingly out of place in its cramped surroundings.

Below Schaffhausen is Sackingen, the third forest city of the Rhine. It owes its origin to a convent of St. Hilaire, founded in the sixth century by St. Fridolin.

The "Lives of the Saints" recounts how St. Columba and his disciples left Ireland and came to Constance, where they separated and went their various ways to evangelize the Rhine valley. To St. Fridolin fell that

## part lying between Basel and Laufenburg. His bones are yet venerated in

the church of St. Hilaire.

[Illustration]

VII

BASEL AND COLMAR

_Basel_

After traversing several of the Swiss cantons, the Rhine leaves Switzerland at Basel. After the breaking up of the vast empire of Charlemagne, Basel came first under the authority of the Emperors of Germany, and then under that of the kings of the second house of Burgundy, until 1032, at which time the city became definitely incorporated into the German Empire.

Rudolph of Hapsburg besieged the city in 1274, and through the fourteenth and well into the fifteenth century it was the theatre of many struggles between the bishops and the emperors.

In 1061 and 1431 important councils of the Church were held here.

In 1489, at the village of Dornach, scarce half a dozen miles from Basel, took place that battle between six thousand Swiss and fifteen thousand Austrians which made possible the future independence of Switzerland.

During the sixteenth century Basel enjoyed a glorious era with respect to science and art.

Its university, the oldest in Switzerland, founded by Pius II., shone brilliantly with the reflected light of the philosopher Erasmus, the alchemist Paracelsus, and many theologians and geographers. Hans Holbein was born here in the seventeenth century.

The Rhine divides the city into two unequal parts, which are connected by a bridge which was originally constructed in 1220.

Although Basel bears even yet, in its architecture, the stamp of an imperial city of the middle ages, it must be counted as somewhat modern. Nevertheless, of all the cities of the first rank in Switzerland it resisted the march of innovation the longest. For instance, there was a time when all the clocks of the city were an hour behind those of their neighbours. In 1778, however, the Swiss government decreed that on the first of the following January all the clocks of the city must be regulated by solar time. The innovation excited the indignation of the people exceedingly; but, fifteen days after the date originally set, the city fell in with the new regulation, and took up anew the routine of its life.

[Illustration: CATHEDRAL CLOCK BÂLE]

"The most magnificent of the Swiss women," says a gallant French writer, "are those of Basel, but they know too much (at all times and all places)," he continued, somewhat dulling the effect of his praises.

"They have an elegance of carriage and dress, which, added to their naturally agreeable qualities, gives them a preëminence over all other women of Switzerland."

All this is as flowery a compliment as the fair sex of any country could receive, and, judging from appearances, as one lingers a few hours or a few days in Basel, it is all true.

The most remarkable of all the edifices of Basel is its cathedral, or münster, dedicated to the Virgin.

In certain of its features one finds a distinct Lombard influence,--in its sculptures and carvings, notably the two carved lions in the crypt, which are the counterparts of others at Modena and Verona in Italy,--though in general it is a Gothic structure.

The cathedral was founded by the Emperor Henry II. of Bavaria in 1010, and was dedicated in 1019.

It is constructed of red sandstone, as are the chief of the architectural monuments along the Rhine, and is an imposing example of the Gothic of that time.

The great portal on the west is richly decorated in the archivolt. It is flanked on either side by an arcade whose buttress pillars are each surmounted by a statue in a canopied niche or _baldaquin_.

[Illustration]

At the foot of the north tower is an equestrian statue of St. George and the Dragon, and at the angle of the southern tower is another of St. Martin.

Two small doorways, each entering the side aisles, flank the arcade of the portal. Above the principal doorway of this façade is a _balcon à jour_ before the great window which lights the main nave.

The towers rise beside this great window, and are of themselves perhaps the most remarkable features of the church.

They are not exactly alike, but they reflect more than any other part of the edifice the characteristics of the Gothic of these parts. The northern tower was completed in 1500, and is sixty-six metres in height. The southern tower is perhaps more ornate, and resembles, if somewhat faintly, Texier's beautiful spire at Chartres.

The ogival windows of the side walls are strong and of ample proportions.