The interior presents by no means the awe-inspiring grandeur of the exterior ma.s.s, and is possibly inferior to both Amiens and Chartres, and though well disposed, lacks the lightness of Cologne or Beauvais. A first impression rather indicates large proportions of length, breadth, and height in the nave, though these dimensions are not actually of the greatest. The transepts, including their aisles, are, however, of an extreme width, but very short; and the absence of side chapels, either here or in the nave, produces a regularity of outline unusually convincing.

The nave piers, of which there are ten on either side, with two window piercings, are of a manifestly heavy order, the capitals unusually so, being very deep and weighty with carving in high relief. The triforium is severely plain, being a mere shallow gallery of small pointed arches.

The nave itself is, moreover, somewhat gloomy, when contrasted with the brilliant lighting of the aisles, caused by the peculiar arrangement of plain and coloured gla.s.s, the former filling the windows of the clerestory and the latter those of the aisles, the reverse being the case with the opposite ranges. The aisles have no chapels between the rather low windows, but groups of cl.u.s.tered columns against the walls.

The vaulting is deep, with simple ribs, coloured with a blue ground spangled with stars and _fleurs-de-lys_. The choir is surrounded by seven chapels.

There are ten columns in the choir, all with beautifully wrought capitals. The pavement here is composed of marble taken from Libergier's abbey church of St. Nicaise, from which edifice, since destroyed, was transferred the tomb of Jovinus, the Roman prefect of Reims, who became converted in 366 A. D. The sarcophagus consists of a huge block of marble, nine feet by four, with a figure of Jovinus, "lion hunting on horseback," carved in high relief. The roof of the choir is curiously constructed of wood, of chestnut, say the authorities, as no spiders are found. The high altar, as reconstructed by Poncelet Paroissien in 1550, was a very beautiful affair if old prints, usually none too reliable as to detail, are regarded. It was, however, destroyed during the middle of the eighteenth century.

The gla.s.s of the rose window dates in part from the period of the greatest richness (thirteenth century).

The sepulchral monuments, aside from the sarcophagus of Jovinus, are to-day practically _nil_, having been swept away during the terrors of the Revolution. Two interesting effigies still remain, however, near the western doorway, a figure of a mailed knight and an abbess.

Among the real riches of the Cathedral are the remarkable and unique tapestries; well preserved, and of the finest quality of design and texture. Fourteen, by Lenoncourt, date from 1530-70; those in the south aisle, the Pepersacks, the gift of Abbe Lorraine, from 1640; and the modern Gobelins of the nineteenth century, the gift of the government.

The "Tresor," which includes the church plate, most of which appears to have endured the ravages of invasion and wars, is truly magnificent and intrinsically of great value. The chief of these are: the chalice of St.

Remi, of the eleventh century; a reliquary containing a thorn from the Holy Crown; the marble font in which Clovis was baptized in 496 A. D.; the chasuble of Louis XIII., and the _Sainte Ampoule_, which contained the holy oil brought by a dove from heaven for use at the conversion of Clovis, now a mere fragment enclosed in a modern setting, after having been ruthlessly shattered by a _sans-culotte_ in 1793.

Adjoining the Cathedral, on the right, is the Episcopal Palace, which, with its dependencies, occupies a hectare or more of ground. In the first courtyard is the modern library building, which houses the cathedral's rich bibliographical treasures. Further, through a gateway, is a structure, in itself a grand building, of the time of Louis XIV.

The right wing was constructed by Le Tellier in 1690. This portion is now occupied as a dwelling by the archbishop. At the end of the furthest courtyard is "The House of the Kings," a truly grand establishment, so called in the official doc.u.ments because it was the _logement_ of the monarchs who visited the city on affairs of state. This recalls to mind not the least notable of the functions performed by the great cathedral itself.

With four exceptions all the Kings of France, from Clovis to Charles X., here first entered into their kingly state. The monarchs of France were a long and picturesque line, and the ceremonies attendant upon their coronations were accordingly imposing and magnificent. The culmination, for theatrical splendour and effect, was doubtless that of Charles VII., who, through the efforts of the "Maid," here came into his own. It was a splendid, if gaudy, pageant, and the most memorable event among that long series which only ended with the coronation of Charles X. in 1823.

_PART III_

_The Cathedrals of the Loire_

I

INTRODUCTORY

The Loire Valley for its whole length may, in every sense, be well considered the dividing-line between northern and southern influences.

The romance and sentiment which cradled itself here could only have emanated from the more languid south, and from vastly differing conditions to those of the colder north. The admiration usually bestowed upon the attractions of its domestic architectural forms is, no doubt, fully merited; albeit that the cathedrals of these wealthy and powerful communities are, no one can possibly deny, if not of a mongrel type, at least of a degenerate one. It is perhaps hardly fair to note such an expression without qualification where it is applied to St. Gatien at Tours, which is really a delightfully picturesque structure; or to St.

Maurice, at Angers, which is unique as to its charm of situation, and one of the most interesting churches anywhere to be found. But the fact is that the general plan and design is not only open here to much just criticism, but is not of the order of consistency which alone ent.i.tles an architectural monument to rank as truly great. In no instance, from Orleans to Nantes, are the cathedrals of these cities possessed of the consistent array of charms which would ent.i.tle them to a proportionate share of the admiration which is usually accorded to the great domestic establishments, the Chateaux of Blois, Chenonceau, Chambord, Langeais, or Loches.

The climatic conditions of this region hardly more than intimate the suggestion of the southland, but there is to be seen in the vineyards, and indeed in things that grow, generally, a notable tendency toward a luxuriance that is not found northward of this valley. Productive, prosperous, influential, and possessed of historical and sentimental a.s.sociations as a touring ground far beyond any other section of France, the Valley of the Loire at once takes rank as the land _par excellence_ where the traveller can be sure of a maximum of pleasure and profit; and one worthy in every way of as prolonged study and sojourn as one's possibilities and circ.u.mstances will allow.

The towns group themselves naturally _en suite_ in the following order: Orleans, Blois, Tours, Angers, and Nantes, and are so considered in the pages that follow.

[Ill.u.s.tration: _CATHEDRAL of Ste CROIX ORLEANS_]

II

ST. CROIX D'ORLEANS

The a.s.sociation of Orleans, in English minds, mostly rests upon the events connected with the siege. Its history in the past has been mainly that of b.l.o.o.d.y warfare and ma.s.sacre. As the Genab.u.m of Gallia, it was burned by Caesar in 52 B. C. in revenge for a previous ma.s.sacre of the Romans. By Aurelian it was rebuilt and named Aurelianum, the progenitor of its present nomenclature. St. Aignan in 451 secured the safety of the city to the cause of Christianity by warding off Attila's attack.

Clovis captured it in 498, but at his death it became the capital of an independent kingdom which was afterward, in 613, united with that of Paris. Activities no less extensive or vivid followed, till the English besieged the city in 1429, only retiring before the conquering hosts led by the Maid of Orleans on the 7th of May; the Huguenots held it as a stronghold under Coligny; and latterly the Germans occupied it, were driven out, and again reoccupied it as a base in 1870-71. Such, in brief, is a partial record of its troubles and trials, with scarce a reference to a Christian or religious motive, if we except Attila's unsuccessful attack and Coligny's Protestant fervour.

The almost legendary part played by Jeanne d'Arc should suffice to impress indelibly upon the mind the chief event in connection with any city with which her name and fame were a.s.sociated.

In the third century seven bishops were sent out from Rome, to extend the influence of the Church, to Tours, Orleans, Toulouse, Narbonne, Paris, Limoges, and Auvergne; though, in spite of the success with which they met, and the zeal with which they worked, their meetings were chiefly held in the houses of their more opulent converts, and church building at the time appears not to have been so much desired as the dissemination of the Word itself. Since its occupation by the Germans in "'71," great contrasting elements have sprung up. Nowhere, not even in the "up-to-date" Rhine cities of Germany, is better exemplified the trend of the age in which we live. There are notable indications of its modernity in the architecture of public and private buildings, many streets and boulevards of the city being laid out anew and bisecting the older portions.

The Cathedral of St. Croix, of widely contrasting styles and eras, forms a pleasing enough key-note to it all, in spite of its garish crudities.

At its best, when viewed from the bridge which spans the well-nigh dry bed of the Loire, it composes well with what is at all times a pleasing prospect, and is set off to great advantage by the fringe of green boulevard along the river bank,--a fine enough setting for an architectural monument of whatever rank, be it new or old, consistent or conglomerate. As for the cla.s.sification of the architectural style of the cathedral itself, it is an unprincipled mixture of components, but little related to each other. The southern influence is apparent, alike in the scanty remains of the Romanesque, and the restored Renaissance portions, while Gothic peeps out here and there, in no mean proportions, as though it were misplaced and out of its true environment. The cathedral, which was destroyed in 1567 by the Huguenots, in spite of the admonitions of the Condes, is still visible in the fragments of the choir aisles, the fourteenth-century chapels appearing to have been uninjured. This much remains of the Gothic of Henry IV.'s time. The late seventeenth-century work is a manifest expression of the debas.e.m.e.nt of Gothic, and such other additions as were made in the reigns of the Louis carry the vulgarities still further, the acme being reached in the pseudo-cla.s.sical north and south porches, which are sepulchral-looking of themselves, and not even of the most admired variety of the species.

The most that can be remarked, considering all the distinctive features, is the fact that this cathedral is the only Gothic church, so ranking, that is not of Mediaeval growth, a fact which may well account for its unsatisfactory style.

The facade follows the usual enough arrangement of three portals, though very ugly ones, flanked by rising towers on either side. In this case these doorways are of the nondescript variety commonly accepted as base Gothic, but hardly warranting even such a term of endearment. They are in fact flamboyant as to their lines, though of a remarkable poverty as to further embellishment, if we bar a series of misplaced armorial blazonings.

Topping the gables of the portals are a series of circular apertures, with framing of a sort, but without gla.s.s,--a poor imitation of what a rose window might be at its worst. Above is an arcaded gallery of nine graceful arches, the first really attractive ornament of this debased facade. The towers, finished so late as 1789 by M. Paris, the king's architect, rise loftily some two hundred and eighty feet, with ranges of slight columns and perpendicular lines, which give the grand and imposing effect of height of which the cathedral is undeniably possessed, and which, when viewed from down the Rue Jeanne d'Arc, is without doubt impressive,--far more so than greater intimacy will sustain.

The nave, of a height of one hundred feet, is flanked by double aisles, and in appearance is every way superior to the exterior.

No remarkable art treasures are to be seen, if we except a series of sculptured Stations of the Cross beneath the windows, and the Gothic altars of the transepts.

[Ill.u.s.tration: _CATHEDRAL of S. LOUIS BLOIS_]

III

ST. LOUIS DE BLOIS

Regardless of the sentiment which attaches itself to Blois by reason of its magnificent chateau, and in spite of its undeniably picturesque and interesting environment, it hardly takes sufficient rank as a cathedral city to warrant more than a pa.s.sing consideration. As it is, one cannot get from under the shadow of its overpowering attraction, and, in spite of the poverty and depressing qualities of the Cathedral of St. Louis, perhaps no place in the Loire valley has more claim upon the attention of the enthusiastic tourist. The wonderful chateau is all that has been said of it, and more. The picturesqueness of the city's streets of stairs, and its general up and down hill situation, offering charming vistas, unique in a city of the north, are, except for its size, really more suggestive of Genoa or Naples. In the general ensemble of the city, the Loire is an attraction of itself, when viewed from across that wonderful stone bridge, the first public work endowed by Louis XV. But even then, the awkward and uninteresting cathedral does not enter into the view with that liveliness and impressiveness which we are wont to a.s.sociate with such an environment. In short, it must be set down that in the lack of pleasing qualities in its cathedral, is found Blois'

greatest disappointment.

The tourist _pur sang_ will care little about this. He usually rushes in and out during the daylight, and recalls but little except the fascinating staircase of the chateau attributed, as to its spiral formation, to Da Vinci; the ornamental chimney-pieces; and the fact that historical events of the past have intermingled inextricably the gruesome stories of the royal houses which bore respectively the arms of hedgehog and salamander. This only, with perhaps the memory that at one time or another a certain event took place involving the use of some forty odd daggers.

Perhaps, after all, it would be an embarra.s.sment of riches did the town possess a cathedral, or even other monuments, to vie with this spectacular attraction which, from every view-point realizes the ideal of our imagination, as to just what a chateau and its history might be.

From near or far the cathedral shows no charm of outline. Its ridgepole is marred by three unusually obtrusive "lightning conductors," which could hardly have been more offensive had they been turned into those lath-like crosses which are seen elsewhere. Its tower is a monstrosity, with an egg-shaped protuberance which is neither shapely nor impressive, while the southern range of the nave and aisle, when viewed laterally, shows a bareness and poverty of design unusual and painful. The ensemble, from this point, is one of a certain impressiveness. It could hardly be otherwise, with the situation which it commands, even were it the grossest thing that ever took shape in architecture. Its irregularities and inconsistencies, and the great variety of outline shown by the roof-tops of the town, perhaps, make up in a measure for the lack of individual beauties in the church itself.

There is this much to be said, however, for the functions which this church performs. If all were as much made use of by the market-day peasants, streaming in from the surrounding country, who, with their jugs, market-baskets, and what not, in their hands, enter the building, say a short prayer or two, and toddle out again, there would doubtless be fewer churches with a poverty-stricken air and more of a better and more prosperous cla.s.s.

The greater part of the cathedral which originally stood on this site was destroyed during the Revolution, and that which was afterward reared here was merely a restoration by Mansard, who, it is to be presumed, made such use as was possible of what remained.

The interior, most will agree, is no more remarkable than the exterior adornments; in fact the same paucity of plan and of detail appears from one end to the other, inside and out. The aisles are astonishingly low; the choir and nave, each unusually short. There are no transepts, and there is no triforium whatever, no chapels of any remarkable beauty, and little gla.s.s that is even pa.s.sable. On the walls of the nave, beneath the low clerestory windows, are a series of four carven Renaissance marble panels, with other blanks suggesting the ultimate addition of similar sepulchral-looking ornaments. Such, in brief, is a resume of the attractions, or rather the lack of them, as it will strike the average person. It is perhaps no small wonder that the traveller who desires to study architectural forms, or to sketch them, should prefer the less holy precincts of the chateau, where every facility is offered for the pursuance thereof, to that more "blessed ground," covered by the cathedral, which offers little enough in itself, and that little under a surveillance which makes one regret that the feudal times are not still with us,--when we might vent our spleen and anger upon any who offend us.