Part 18
The student of the Romanesque who transports himself suddenly from the Arno and the Apenines to the river-basin of the Po will find himself spirited away into a new architectural world. Let him flit from Pisa to Modena. Pistoia, a city of high interest on other grounds, will not long detain him. A single noble campanile is attached to a basilican _duomo_ which would hold a third or fourth-rate place at Lucca, and which at Pisa no one would think of mentioning at all. But at Modena his halt must be longer. The church of Pisa and the church of Modena are contemporary buildings, and the Great Countess is honoured as a benefactress by both; but they are as unlike one another as any two buildings of the same date and general style well can be. At Modena we get our first glimpse of the genuine Lombard form of the Italian Romanesque, a form wholly unlike either the domical or basilican type, and which makes a far nearer approach to the Romanesque of the lands beyond the Alps. The approach is indeed only an approach; the _duomo_ of Modena is Italian, and not English, French, or German; still it is a form of Italian far less widely removed from English, French, or German work than the style of Pisa or St. Vital. As at Pisa, the architect seems to have halted between two opinions. The church is cruciform, but the transepts have no projection on the ground-plan; there are real lantern-arches, not obscured as they are at Pisa, but they do not bear up any central dome or tower. The lantern-arches are pointed; but here, as at Pisa, the pointed form is more likely to be Saracenic than Gothic. Without, three eastern apses, rising from between pinnacles of quite Northern character, group boldly with one of the noblest campaniles of Italy, which is certainly not improved by the later addition of a spire. The great doorways rest on lions; the west front has a noble wheel window; the greater part of the outside is lavishly arcaded, but the arcading is of a different type from the long rows of single arcades at Lucca and Pisa; the favourite form at Modena is that of several small arches grouped under a containing arch.
[Illustration: THE CATHEDRAL OE MODENA, ITALY.]
With such an outside, we are not surprised to find, on entering the church, an elevation more nearly after the Northern type than anything which we have yet seen in Italy. At Pisa we saw an arcade, triforium, and clerestory; but the triforium was not so much the Northern type itself as the Northern type translated into Italian language. But at Modena we find as genuine a triforium as in any minster of England or Normandy. Its form indeed seems somewhat rude and awkward, as if the containing arch had been crushed by the lofty clerestory above. And eyes familiar with Norman detail may possibly be amazed at the sight of mid-wall shafts, and those of a somewhat rough type, showing themselves in such a position. But the mid-wall shaft is constructively as much in its place in a triforium as it is in a belfry window, and in the whole elevation there is nothing lacking. There is pier-arch, triforium, and clerestory, and the deep splay of the highest range hinders the presence of any continuous blank spaces such as we have seen in the Basilican churches. The capitals are a strange mixture of classical and barbaric forms, and in the alternate piers, supporting the arches which span the nave, we find huge half-columns, which form a marked contrast to the tall slender shafts commonly used in like positions in Northern churches. Altogether the Cathedral of Modena is strictly an Italian church, yet the approaches to Northern forms are very marked, and they are of a kind which suggests the direct imitation of Northern forms or the employment of Northern architects.
[Illustration: THE CATHEDRAL OF RHEIMS, FRANCE.]
THE CATHEDRAL OF RHEIMS
LOUIS GONSE
The basilica of Rheims is the ideal type of a great Gothic cathedral. Everything has been gathered together here to enchant the eye and touch the mind.
From the outside, with its eight spires, and the lace-work of its bell-towers, and its galleries boldly mounting to the sky, with the breadth of its arrangement, the splendid development of its cruciform plan, with its two cloisters and its magnificent dependencies, it appears as the sublime expression of western genius and the culminating point of the Christian idea.
Within, it is dazzling. All the resources of decoration have been prodigally employed. Indeed, the eye does not know which of the marvels to select, and if this stupendous whole has been preserved to us by a miracle, nothing in the world can be compared to it. The brilliant series of windows, one of the most complete and beautiful in existence; the pavement, with its labyrinth and countless mortuary tombs; the rich altars and chapel paintings; the tomb of St. Nicaise; the pulpit of St. Remi; the rood-screen, a master work by Colard de Givry, made in 1417; the railings of the choir, with precious hangings and stalls; the high altar charged with relics, and presents from the Kings of France; its golden retable and its splendid ciborium of the Thirteenth Century, in silver gilt; the sacrarium, the fonts, and the sepulchres;--form a great mass of treasure.
And how greatly is the feeling increased by memories when you reconstruct the public life of Notre-Dame of Rheims, and the events of which she was the theatre during the long course of centuries; when you dream of all the coronations, councils, and meetings that have taken place beneath its vaults! No edifice, in truth, is, in this respect, more worthy of our honour and admiration.
Notre-Dame of Rheims measures in round numbers one hundred and thirty-nine metres long and thirty-eight metres high beneath the vault; it is not surpassed in length by the Cathedral of Mans, thanks to the unusual dimensions of its absidal chapel, nor in height by Beauvais, Cologne, Metz, Amiens, or Saint-Quentin. The great divisions of the whole, founded upon a triple scale, in height and breadth, are clearly accentuated. From the lower part of the nave the view is one of striking grandeur and harmony; the dazzled glance loses itself in these vast depths, under the luminous sheets of light which spread out from the lateral bays, while the large vault, clouded in the mysterious penumbra of the high windows, ornamented with their glass, invites you to meditation. No cathedral offers so powerful an opposition to light. The arrangement of the great piers cantoned by four half-columns bound together also increases the fleeting perspective.
Of the whole building, I have only to criticize the composition of the triforium, which is truly not of the first order; it demands more elegance and firmness; the arches of that gallery, the decorative function of which is so important in a Gothic church, seem heavy and as if crushed between the robust piers of the ground-floor and the large bays of the upper story.
In all that belongs to the Thirteenth Century, the execution bears witness to an extreme care and luxury. The Cathedral of Rheims, principally in its interior work, is a model that has never been surpassed from the point of view of technique, of show and of the judicious use of material. The carving is of the first order. The capitals of Rheims are celebrated, and very justly. The independence of the _Style champenois_ has introduced some elements of life and fantasy which give them a character of their own. Some of the most beautiful, notably the capital of the _Vendanges_ (The Vintages), have been made popular by the mouldings in the Musée of the Trocadéro; but all of them are remarkable on account of the variety of the motives that decorate them. Viollet-le-Duc has justly observed that the capitals of Rheims present a decisive progress in the union of the capital of the principal column with the capitals of the connected columns: a very great difficulty which Gothic architects did not solve until after numerous groupings. Here the monotony has been avoided by a division of the bound columns into two segments, separated by an astragal. The effect of this division is most happy and constitutes one of the most striking peculiarities of the Cathedral of Rheims.
The choir is unanimously admired. However, it has not the breadth nor the spring of the great choirs of Bourges, Amiens and Mans; but it derives its originality from its depth and its radiating chapels; and to the preservation of its most exquisite windows it owes a poetic charm that very few interiors can equal. The windows of Rheims are, in reality, the most perfect we have seen after those of Chartres, Bourges, Mans and Auxerre. In purity of expression they surpass the windows of Soissons, Troyes, and Châlons. The windows in the apsis are masterpieces; their sweet intensity, in the scale of blue, is truly enchanting. They were executed from 1227 to 1240 under the episcopate of Henri de Braisne, whose figure appears in the principal window, in the centre of nine large, high windows, between the twelve suffragans of Rheims, arranged in order, according to their rank in the province: Soissons, Laon, Beauvais, Noyon, Senlis, Tournai, Cambrai, Châlons, Thérouanne, Amiens, etc., each having at his side a Gothic cathedral.
These figures of bishops of gigantic proportions have a majesty that cannot be described. But in the midst of these splendours, it is the rose of the western window which is perhaps the most worthy of everything to hold your attention. Composition, brilliancy, harmony and elegance of position,--it possesses all these qualities. It would be difficult to find a more admirable witness of the decorative sense of the old glass-workers. When across the network of the immense surface, the light from the setting sun is thrown, the whole interior of the church is illuminated as if by a conflagration. The preservation of this masterpiece is unfortunately greatly compromised by the crack like a sabre cut which crosses the façade near the rose. The high windows in the nave represent the Kings, just as in the Cathedral of Sacres; they are still more beautiful, however, of deep rich colours, but of a less careful execution than the great rose and the windows in the choir.
All these marvels, however, pale before the carved decoration that surrounds on the inside the lower part of the three doors of the façade, a kind of drapery in relief, as unique by the character of its invention as by the perfection of its workmanship.
This extraordinary decoration envelops up to their summits the three ogival windows that open upon the porch. It goes up as high as the triforium, by a succession of seven rows of niches closed by trefoil arches, and separated from them by panels and corner-pieces of leaves borrowed from the flora of the country and divinely carved. You see in turn: the laurel, the vine, the pear, the apple, the holly, the oak, the ivy, the water-lily, the bulrush, the peony, the clover, the chestnut, the liverwort, and the olive. A hundred and twenty-two statues of incomparable beauty, rivalling the most beautiful productions of sculpture of former times, occupy the niches, and, deliciously set off by the floral decoration of the plain surfaces, stand out like living personages from the dark background of the niches.
Each one of these figures is a most precious work, studied from nature with a sovereign knowledge of drapery and movement. Here is a priest officiating in his chasuble and holding the Eucharist; there, is a warrior in coat-of-mail, who seems to have just returned from the Crusades; moreover, there are some prophets of heroic mien, noble virgins with trailing robes, and martyrs, illuminated with ecstasy. All this mural decoration was made in the spirit of the architecture, intended to complete the iconography of the great door and to amplify still further the cyclic character,--the general theme being the history of Christ and the glorification of the Virgin, with the accessory scenes that belong to it.
Let us cross the threshold: we are outside, before the façade. We must walk farther away in order to embrace all the lines and take in the masterly idea of the whole. It is most celebrated, that is well-known; for a long time, its richness has been a synonym of beauty in mediæval art. I have already said that the general conception is of the highest order, the upward movement is magnificent, the statues blossom with a bewildering luxuriance, and the infinite multiplication of the details, which--miraculous fact--do not obliterate the majestic section of the lower stages, so happily cut by the tall bays scattered in the bell-towers. Nevertheless, when you come nearer, you are surprised at finding so much uncertainty in the conduct of this terrible enterprise! How much weakness and lassitude in the highest parts! You perceive both haste and economy there. All that dates from the end of the Fourteenth and the beginning of the Fifteenth Century is mediocre; the sculpture, cut in bad materials that are injured by the frost, is coarse and flabby: the nobility of the contours is lost beneath the excessive ornamentation, and the absence of the spires deprives this aërial building of its necessary finish.
To be satisfied, the eye must rest below the row of Kings made during the reign of Charles V.
While the upper stories have been made of soft stone of a bad quality, the lower parts, built of hard stone, have acquired in the course of time the hues of Florentine bronze. It is here that the Champagne sculptor has lavishly exhibited the treasures of his spirit, his audacity and his genius. When the great statues of the portals of Rheims are mentioned, everybody is of one accord.
The Queen of the basilica, the Virgin, is the soul of this cosmos, the centre from which everything radiates.
She is crowned by Christ beneath the daïs of the great gable, and this composition, which is still brightened by the remains of the gold background from which it stands out, is one of the most exquisite creations of Christian Art; the Virgin is also on the pier; she is directly or indirectly in every scene of the life of Jesus. Her memory, her legend, her poetry are everywhere: she is at once the culminating point and the humble pretext of all this magnificence. At Paris, at Bourges and at Amiens, it is Christ; here, it is the Virgin; and around this admirable theme a powerful thought has quickened into being a race of statues, a people in whom life, movement and fantasy circulate, beneath the compassionate gaze of the Mother of God and under the influence of her adorable grace. Charm is really the special characteristic of the sculpture at Rheims,--a special charm that is always evident, a charm carried to the point of _morbidezza_ which in certain figures has been compared, and not without reason, to the mysterious charm of Leonardo da Vinci.
All these personages of high stature, blackened and polished by time, possess an indescribable grace, smiling and familiar, an indescribable and eloquent gravity that puts them into communion with the spectator; they are indeed of our country and of our race; their idealism, always youthful despite the centuries, is not too far removed from earth to respond even now to the secret aspirations of our souls; they are the glory of the portals of Rheims, the glory of French sculpture.
Beautiful as these figures are, they must not let us forget the population of two thousand five hundred statues that make the Cathedral of Rheims a unique monument of decorative and monumental sculpture. All the images of this old basilica deserve attentive study. An entire volume would scarcely suffice to enumerate them. It is necessary to take a trip to the roof to measure fully this incredible wealth: giants of stone, angels with spread wings, apostles, saints and royal figures, fantastic animals, more than forty metres high, which occupy the pinnacles of the buttresses, are lined along the galleries of the transepts or fortify the balustrade of the roof; figures full of vitality that project from the corners, the springs of the arches, the junction of curves, as crowns, supports, caryatides, mascarons, and gargoyles; capricious, expressive and energetic figures, to execute which the Champagne chisel, the freest and most supple of Gothic chisels, has given itself full scope, with an exuberant joy.
Despite the devastations of the rococo period, to which was added that of the Revolutionary period, the Cathedral of Rheims has not been entirely stripped of her incomparable artistic treasures. She has preserved a great portion of her tapestry hangings, and her Treasury is still one of the richest in France.
The tapestries of Rheims have been very learnedly described by M. Ch. Loriquet. Before the Revolution the collection was unique. Hincmar, Hérivée, Regnault de Chartres, Juvénal des Ursins, Robert de Lenoncourt, the great Cardinal of Lorraine, the Cardinal of Guise, Henri de Lorraine, the Kings of France and the Chapter were the principal donators.
These tapestries were used to decorate the cathedral on days of special solemnity. Of the magnificent collection there only remain the fifteen pieces by Lenoncourt, two of the six tapestries of the _Grand Roi Clovis_, given by the Cardinal of Lorraine, fifteen tapestries executed by Pepersack, at the order of Henri de Lorraine, the four pieces ordered from Lombart d’ Aubusson by the Chapter, four tapestries called the _Cantiques_ and two Gobelins after Raphael’s Cartoons.
The most remarkable are certainly those by Lenoncourt and those of the Clovis set. The first were offered to the cathedral by the Archbishop Robert de Lenoncourt; one of them bears the dedication of 1530. They represent the _Life of the Virgin_. They are of Flemish origin and of a very fine execution. The composition is rich, spirited and of an extremely graceful style. Some of them have not lost the freshness of their colours and can still be counted among the best specimens of the art of tapestry at the beginning of the Sixteenth Century. These precious hangings occupy the wall surfaces of the side-aisles of the nave, where they produce a sumptuous effect.
[Illustration: THE CASTLE OF S. ANGELO, ITALY.]
THE CASTLE OF S. ANGELO
AUGUSTUS J. C. HARE
The Ponte S. Angelo is the Pons Elius of Hadrian, built as an approach to his mausoleum, and only intended for this, as another public bridge existed close by, at the time of its construction. It is almost entirely ancient, except the parapets. The statues of St. Peter and St. Paul, at the extremity, were erected by Clement VII., in the place of two chapels, in 1530, and the angels, by Clement IX., in 1688. The pedestal of the third angel on the right is a relic of the siege of Rome in 1849, and bears the impress of a cannon-ball.
These angels, which have been called the “breezy maniacs” of Bernini, are only from his designs. The two angels which he executed himself, and intended for this bridge, are now at S. Andrea della Fratte. The idea of Clement IX. was a fine one, that “an avenue of the heavenly host should be assembled to welcome the pilgrim to the shrine of the great apostle.”
From the Ponte S. Angelo, when the Tiber is low, are visible the remains of the bridge by which the ancient Via Triumphalis crossed the river. Close by, where Santo Spirito now stands, was the Porta Triumphalis, by which victors entered the city in triumph.
Facing the bridge, is the famous Castle of S. Angelo, built by the Emperor Hadrian as his family tomb, because the last niche in the imperial mausoleum of Augustus was filled when the ashes of Nerva were laid there. The first funeral here was that of Elius Verus, the first adopted son of Hadrian, who died before him. The Emperor himself died at Baiæ, but his remains were transported hither from a temporary tomb at Pozzuoli by his successor Antoninus Pius, by whom the mausoleum was completed in A.D., 140. Here also were buried, Antoninus Pius, A.D., 161; Marcus Aurelius, 180; Commodus, 192; and Septimius Severus, in an urn of gold, enclosed in one of alabaster, A.D., 211; Caracalla, in 217, was the last Emperor interred here. The well-known lines of Byron:
“Turn to the mole which Hadrian rear’d on high, Imperial mimic of old Egypt’s piles, Colossal copyist of deformity, Whose travell’d phantasy from the far Nile’s Enormous model, doom’d the artist’s toils To build for giants, and for his vain earth, His shrunken ashes, raise this dome! How smiles The gazer’s eye with philosophic mirth, To view the huge design which sprung from such a birth,
seem rather applicable to the Pyramid of Caius Cestius than to this mausoleum.
The Castle, as it now appears, is but the skeleton of the magnificent tomb of the Emperors. Procopius, writing in the Sixth Century, describes its appearance in his time. “It was built,” he says, “of Parian marble; the square blocks fit closely to each other without any cement. It has four equal sides, each a stone’s throw in length. In height it rises above the walls of the city. On the summit are statues of men and horses, of admirable workmanship in Parian marble.” Canina, in his _Architectura Romana_, gives a restoration of the mausoleum, which shows how it consisted of three stories: 1, A quadrangular basement, the upper part intersected with Doric pillars, between which were spaces for epitaphs of the dead within, and surmounted at the corners by marble equestrian statues; 2, a circular story, with fluted Ionic colonnades; 3, circular story, surrounded by Corinthian columns, between which were statues. The whole was surmounted by a pyramidal roof, ending in a bronze fir-cone.
The history of the Mausoleum, in the Middle Ages is almost the history of Rome. It was probably first turned into a fortress by Honorius, A.D., 423. From Theodoric it derives the name of “Carcer Theodorici.” In 537, it was besieged by Vitiges, when the defending garrison, reduced to the last extremity, hurled down all the magnificent statues which decorated the cornice, upon the besiegers. In A.D., 498, Pope Symmachus removed the bronze fir-cone at the apex of the roof to the court of St. Peter’s, whence it was afterwards transferred to the Vatican garden, where it is still to be seen between two bronze peacocks, which probably stood on either side of the entrance.
Belisarius defended the castle against Totila, whose Gothic troops captured and held it for three years, after which it was taken by Narses.
It was in 530 that the event occurred which gave the building its present name. Pope Gregory the Great was leading a penitential procession to St. Peter’s, in order to offer up prayers for the staying of the great pestilence which followed the inundation of 589; when, as he was crossing the bridge, even while the people were falling dead around him, he looked up at the Mausoleum and saw an angel on its summit, sheathing a bloody sword, while a choir of angels around chaunted with celestial voices, the anthem, since adopted by the church in her vesper service--“_Regina cœli, lætare--quia quem meruisti portare--resurrexit, sicut dixit, Alleluja_.”--To which the earthly voice of the Pope solemnly responded: “_Ora pro nobis Deum, Alleluja_.”[10]