St. Sagelone's remains practically a pure Gothic example of its time, rather later than the rest of its kind in Metz. It has some fine coloured gla.s.s, in spite of the fact that its antiquity cannot be very great.

St. Clement's is a dependency of the Jesuit installation, which reflects more credit upon that order than has usually been accorded them in the arts of church-building.

It is a more or less incongruous combination of the Italian and Gothic styles, but blended with such a consummate skill that the effect can but be admired.

In form St. Clement's is frankly a _Hallenkirche_, with the three naves of equal height. In general the nave is late Gothic, with the marked tracery of its time in its fenestration.

The capitals of the piers, supporting the arches between the nave and its aisles, are stately but heavy, according to Gothic standards, and appear misplaced, luxurious though they undeniably are. St. Clement's is supposed to resemble the variety of Gothic which has been employed in Sicily, where Gothic of the best was known, but was used in conjunction with other details, which really added nothing to its value or beauty as a distinct style.

One leaves Metz with the memory full of visions of many churches and much soldiery of the conventional German type.

There is plenty, in all of these towns, to remind one of both France and Germany. In the geography of other times, Metz was Lotharingian; but French was very early the language of the city, and its prelates and churchmen, when they did not use Latin, spoke only the French tongue, and fell under French influences. Therefore it was but natural that the type of Metz's princ.i.p.al church should have favoured the French style, even though it developed German tendencies.

XI

SPEYER

When Christianity penetrated into the vast and populous provinces of Germany, the Frankish kings favoured its progress and founded upon the banks of the Rhine many religious establishments.

Dagobert I., King of Austrasia, built the first church at Speyer, upon the ruins of a temple which the Romans had consecrated to Diana. When, at the beginning of the eleventh century, this early structure fell in ruins, thanks to the bounty of Conrad II., another of far greater and more beautiful proportions was erected.

The idea of a new edifice was proposed to Walthour, then bishop, who, like many of his fellow prelates of the time, was himself an architect of no mean attainments. The difficult art of church-building had no secrets from the bishop, and he set about the work forthwith, and with ardour. He worked three years upon the plans, and on the 12th of July, 1030, in the presence of the va.s.sals and seigneurs of the court, the emperor laid the foundation-stone of the present cathedral, and declared that the church should serve as the sepulchre of the princes of his race. Twelve tombs were prepared beneath the choir, which itself is known as "the Choir of the Kings," in the same way as the cathedral itself has come to be known as the "Cathedral of the Emperors."

Eight emperors and three empresses have been placed within these tombs: Conrad II., Henry III., Henry IV., Henry V., Philip of Suabia, Rudolph of Hapsburg, Albert of Austria, Adolph of Na.s.sau, the wife of Conrad II., Bertha, the unfortunate companion of Henry IV., and Beatrice, the wife of the great Barbarossa.

Above the tombs of the emperors one may read the following Latin inscription:

"_Filius hic--Pater Hic--Avus Hic--Proavus jacet istic--Hic proavi conjux--Hic Henrici Senioris._"

The cathedral of Speyer was far from being completed at this time, but the new bishop, Siegfried, was a no less able architect than his predecessor, and he directed the work with zeal and talent.

[Ill.u.s.tration]

Already the princ.i.p.al body of the church was rearing itself skyward, and in 1060 the edifice was practically complete, after thirty years of persevering effort.

It is a bizarre sort of a church as seen to-day, and must always have had much the same character; still it is of a style which gave birth to a new and distinct movement in cathedral building, and the authorities have declared that the three edifices founded by the Emperor Conrad, the cathedral of Speyer, the collegiate church of St. Guidon, and the monastery of Limburg, were the foundations of a new school of ecclesiastical architecture, and the envy of all the other provinces of the Empire.

The cathedral was consecrated under Bishop Eginhard, and immediately all church-building Europe went into raptures over it, its proportions and dimensions, its fine plan, its six spires, and the magnificently s.p.a.cious arrangement of its transept and apside.

In 1159 the fabric suffered much from fire, but before a decade had pa.s.sed it was restored in such a manner that the church again stood complete.

Another fire followed in 1189, and in 1450 yet another of still greater extent, and only the holy vessels, the reliquaries, and the altar ornaments were saved from the flames.

Bishop Reinhold, of Helmstadt, and the chapter, set about forthwith to rebuild the cathedral, and, while its ashes were still smouldering, they took a vow to make it more beautiful than before.

The bishop wrote a letter to Pope Boniface VIII., on the occasion of his jubilee in the same year, and obtained a pontifical decree that all who gave financial help toward the erection of the new cathedral should be blessed with the same indulgence as those who visited the tombs of the apostles at Rome.

The bishop lost no time, and his agents went forth into all Germany to get funds to reerect the sepulchral church of the emperors. They were received favourably, and twenty-one thousand golden florins furnished Bishop Reinhold the means of carrying out his project.

After the wars of the sixteenth century, when Speyer was sacked, pillaged, and burned, the st.u.r.dy walls of the cathedral again fell, and only in the eighteenth century was it restored. For a long time, only the choir was rebuilt, the nave being neglected up to 1772, when Bishop August of Limburg undertook to restore the entire edifice, which, considering that he did it in the eighteenth century, he did comparatively well.

The choir and nave reflect, considerably, the spirit of the middle ages.

The facade alone indicates the false taste of the period in which it was restored.

In general the exterior decoration is simple and remarkable for its interest.

The interior was wisely restored in 1823, and shows a series of mural decorations of more than usual excellence, and the statue of Rudolph of Hapsburg, a modern work by a pupil of Thorwaldsen's, is less offensive than might be supposed.

In Speyer's cathedral are an elaborate series of frescoes by Schraudolph, forming a part of the extensive renovation undertaken by Maximilian II. of Bavaria.

The cloister, built in 1437, exists no more. The baptistery is a curious octagonal edifice ornamented with eight columns and surmounted by a dome. It is lighted by eight narrow windows. The origin of the baptistery is in dispute; but, while doubts are likely enough to be cast upon the a.s.sertion, it is repeated here, on the strength of the opinion of many authorities, that it may have descended from the time of Dagobert.

There are numerous grotesque carvings, which ornament the cathedral in its various parts, and which have ever been the despair of antiquarians as to their meaning.

In one place on the exterior of the apside is a queerly represented melee between gnomish figures of men and beasts with human heads. And again, in the nave, there is a figure of a dwarf with a long beard, with a sort of helmet on his head, and a sword at his side. If he is supposed in any way to represent the Church militant, the symbolism is badly expressed.

St. Bernard preached the Crusades here in the presence of Conrad III., of Hohenstaufen, who was so inspired by the enthusiasm of the holy man that he took the cross himself.

It was in the cathedral of Speyer, too, that St. Bernard added to the canticle of "_Salva Regina_" these words, "_O Clemens! O Pia! O Dulcis Virgo Maria_," which have since been sung in all the Roman churches of the universe.

An ancient legend recounts how one day St. Bernard had come late to the church, when the statue of the Virgin cried out to him: "_O Bernharde, cur tum tarde?_" and that the saint, with very little respect on this occasion, replied: "_Mulier taceat in ecclesia_." "Since that time,"

says the legend, "the Madonna has never spoken."

XII

CARLSRUHE, DARMSTADT, AND WIESBADEN

_Carlsruhe_

Carlsruhe is modern, very modern, and is a favourite resting-place with those who would study the language and customs of Germany. In fact, there is not much else to attract one, except a certain conventional society air, which seems to pervade all of its two score thousand inhabitants.

The architectural treasures of the city mostly bear eighteenth-century dates, from the great monumental gateway, by which one enters the city, and on which one reads, "_Regnante Carolo Frederico, M.B., S.R.I.P.E._,"

to the Academy of Fine Arts, really the most beautiful structure of the city, which dates only from 1845, though reproducing the Byzantine style of the early ages.

The great palace designed by Weinbrunner branches out like the leaves of a fan, and, if not the equal of Versailles or Fontainebleau, suggests them not a little in general effect.

The two chief churches of Carlsruhe are in no way great ecclesiastical edifices, or of any intrinsic artistic worth whatever. Both the princ.i.p.al Protestant place of worship and the Catholic edifice are from the designs of Weinbrunner, and are a confused mixture of pretty much all the well recognized details of style, with no convincing features of any. They are pretentious, gaudy, and quite out of keeping with religious feeling.

The Catholic edifice is a poor, ungainly imitation of the Pantheon at Rome, which reflects no dignity upon its author or the religion which it houses.

The Protestant church has its facade ornamented with six Corinthian columns--a weakly pseudo-cla.s.sic style--which lead up to a tower which would be suitable enough to a country-side German parish church, but which, in a prosperous and gay little metropolis of pleasure, like Carlsruhe, is unappropriate and unfeeling, particularly when one recalls that it is a modern building which one contemplates. The window openings, too, recall rather those of a dwelling-house than of a religious edifice. So, when all is said and done, there is not much in favour of Carlsruhe's churches.