Astronomical Clock.
As early as 1352 an astronomical clock was begun under bishop Berthold of Bucheck, and finished two years after by an unknown artist, in the time of John of Lichtenberg. It was fixed to the wall facing the present one. The frame-work of that first clock was all of wood; the stones that formed its basis are to this day seen projecting from the wall. It was divided into three parts; the lower part contained a universal calendar; in the middle was an astrolabe, and in the superior division were seen the three wise men and the Virgin Mary carved in wood; the wise men bent every hour before the Virgin, by means of a peculiar mechanism, which at the same time put in motion a chime of harmonious sounds and a cock crowing and flapping his wings.
The exact time at which this clock, which in the fourteenth century must have been a wonderful piece of workmanship, and was called the clock of the three sages, ceased going, is not known: it had been stopped for a long time, when in 1547 the magistrate of the town decided on having another made and putting it opposite the old one, in the very place the clock now occupies. Three distinguished mathematicians furnished the plan and superintended the execution of it: they were Dr Michel Herr, Christian Herlin, professor of mathematics at the school of Strasburg, and Nicholas Prugner, who, after preaching the reformation at Mulhouse and at Benfeld, occupied himself at Strasburg with mechanics and astrology. These three learned men began this work, but did not terminate it; it was resumed in the year 1570 by a pupil of Herlin, named Conrad Dasypodius of Strasburg, where he was a professor of mathematics. Dasypodius drew the design of the clock, but its execution was confided to two skilful mechanics of Schaffhouse, the brothers Isaac and Josiah Habrecht; Tobias Stimmer, also of Schaffhouse, had the charge of the paintings. This master-piece of the mechanical art of the sixteenth century was completed in 1574; it ceased going in 1789. As the exterior distribution of the present clock is nearly the same as that of the old clock, we shall abstain from describing the latter. In 1836 the corporation of the town of Strasburg adopted the resolution of causing this curious monument to be repaired. To Mr. Schwilgué, a distinguished mechanician of Strasburg, his native place, this remarkable work was entrusted; he began it the 24th of June 1838 and finished it at the end of 1842.
It is one of the most beautiful pieces of workmanship of our age; its mechanism is entirely new and in accordance with the present state of the science of astronomy, which as is well known, has attained a very high degree of certainty and exactness. Mr. Schwilgué has not made use of any of the pieces of the old clock, which are deposited in the chapel of the Œuvre-Notre-Dame; by comparing them with the pieces composing the new clock, one may judge of the progress of science and of the talents of the modern artist. M. Schwilgué preserved of the former clock only its fine case, the paintings and ornaments of which were carefully repaired. In this he had many difficulties to overcome, as well for the proper arrangement of this mechanism and lodging it in a space that was often very limited, as for making the old signs or indications accord with the movements of the clockwork. Of these many were marked only in painting, and must have been renewed after a certain time, as for instance those for the eclipses, which now by a most ingenious mechanical combination will henceforth last for ever. The little statues which hitherto had no articulation, are now moveable; the twelve Apostles have been added to the former number of them. The figure of Death, formerly on the same level with that of Jesus-Christ, is now placed in the centre of figures representing the four ages of life and striking the quarters of hours; the idea of assigning this place to the image of death is assuredly a more rational and finer one than that which prevailed in the old distribution of the figures. Childhood strikes the first quarter; Youth the second; Manhood the third, and Old Age the last; the first stroke of each quarter is struck by one of the two genii seated above the perpetual calendar; the four ages strike the second. Whilst death strikes the hours, the second of these genii turns over the hourglass that he holds in his hand. The image of the Saviour stands now on a higher ground; at the hour of noon the twelve Apostles pass bowing before him; he lifts up his hand to bless them, and during that time, a cock, whose motions and voice imitate nature, flaps his wings and crows three times.
Mr. Schwilgué has altered the old calendar into a perpetual one with the addition of the feasts that vary, according to their connexion with Easter or Advent Sundays. The dial, nine metres in circumference, is subject to a revolution of 365 or 366 days, according as the case may be. Mr. Schwilgué has even indicated the suppression of the secular bissextile days. He has moreover enriched his work by adding to it an ecclesiastic compute with all its indications; an orrery after the Copernican system, representing the mean tropical revolutions of each of the planets visible to the naked eye, the phases of the moon, the eclipses of the sun and moon, calculated for ever; the true time and the sideral time; a new celestial globe with the procession of the equinoxes, solar and lunary equations for the reduction of the mean geocentric ascension and declension of the sun and moon at true times and places. A dial placed without the church and showing the hours and days, is put in motion by the same mechanism of the clockwork.
The camerated roof of the back part of the chancel was formerly covered with paintings executed in 1686 representing Dooms-day. A few paintings only adorned till now the interior of the Cathedral, among which the most remarkable oil-paintings, executed by artists of Strasburg, are: the Shepherd's Adoration, by Guerin, the Laying in the tomb, by Klein; the Ascension, by Heim, and some others. In the seventeenth and eighteenth centuries the chancel was several times and in different ways enlarged and disfigured by ornaments little correspondent with the elegance and grandeur of the gothic order. Tribunes, stairs and wainscots that formed a strange contrast with the rest of the edifice were added. The altar, adorned in 1501, with fine figures carved in wood by Master Nicholas of Haguenau, was changed in 1685 by order of bishop William Egon of Fürstenberg; that new altar, covered with a baldachin, was destroyed by fire, and in 1765 the present one, which has nothing in its form worthy of notice, was erected. Great repairs were begun some years ago under the direction of the city corporation, struck, as every body was, by the great disproportion between the chancel and nave. It was resolved to restore the chancel to its primitive form and arrangement, and thus to reestablish the due proportions between that part and the rest of this magnificent church. This great labour is now finished. Their natural complement, as required by the style of this part of the pile and its extensive fronts and arch-roofs, is the execution of a certain number of monumental paintings, intrusted to two distinguished artists, Prof. Steinle, Director of Städel's Institute in Frankfort a/M. and the historical painter Steinheil in Paris, a native Alsacian. The former is charged with the execution of the fresco-paintings in the chancel and lateral naves, whilst the latter undertook the reestablishment of the paintings that represent the Dooms-day on the upper wall of the chancel, in front of the great nave. Both works, begun in 1876, came in sight for the visitors of the Cathedral, at the end of 1878.
In restoring to this part of the edifice its former appearance, it has highly augmented the effect produced on the inward aspect of the Cathedral; now also may be decided the question, hitherto doubtful, of the exact time at which the chancel was built; with certainty, it may already be said, that it was not erected, as was often affirmed, in the time of the emperor Charlemain.
In removing the superfetations that had taken place during these two last centuries, and in reestablishing the architectural forms that the wretched style then prevailing had concealed, a succession of large ogive arches of an admirable and powerful proportion which form the inferior part of the Apsis, and support a gallery serving as a basis to the upper story, have come to light. On this story, which is separated from the cul-de-four (spherical vault) by a single moulding, are three large ogive windows, the middle one of which is of colossal dimensions, and between the columns below are in a symmetrical manner placed, on each side, the doors of the treasury and chapter-room, and in the centre lies the bishop's throne, the niched vault of which is still more richly decorated; between the intermedial arches are the staircase doors leading to the gallery.
The Apsis is not very deep and terminates by a segment, cut out of a masonry work outwardly square; entirely devoted to the sanctuary, it only contains the high-altar, the twenty four stalls of the chapter and a necessary room to perform divine worship. In 1878 an accompanying organ has been erected on the left side. This beautiful instrument, made by Mr. Merklin, the skilful organ-builder of Lyons, is a masterpiece of art and taste that enhances indeed the chancel of the Cathedral. In front and a few steps lower down lies the chancel, destined to the inferior clergy and choristers. This chancel surmounted by a large octagonal cupola, the external part of which was struck by lightning in 1759, is placed at the intersection of the transepts and nave; open and lighted on all sides, one can admire the boldness and majesty of the columns and basis that support the arched roofs. The cripta or subterranean place, extending under the whole length of the chancel, is worthy of notice; it has also been recently restored. It is of an older order than the constructions of Erwin of Steinbach; it is perhaps the remainder of the edifice erected by bishop Werner, at the beginning of the eleventh century; the shape of the pillars, their cubical tops or chapters, the arches exclusively semi-circular, bring us back to those times. This crypta, that remained unimpaired during all the changes which the Cathedral must have undergone in the course of so many centuries, forms a nave with two arch-vaults and a round chancel. All along the walls of the nave are stone benches. Four of the inner pillars have still hinges affixed to them which prove that this portion of the crypta could be closed by a double door. At its entrance is what is called the holy tomb, a very ancient group of figures representing Jesus Christ and his disciples on the mount of Olives, at the moment when the soldiers are going to seize the Lord: this group comes from the chapel of the Augustines, erected in 1378; it was placed in the crypta in 1683.
The most ancient of the present chapels of the Cathedral is that of Saint-Andrew, in the South aisle of the chancel; it is remarkable for the details of its columns and for its ornaments of a very old style; it contains the tombs of several bishops, the oldest of which is that of Henry of Hasenburg, who died in 1190. Behind the North aisle of the chancel, is Saint-John the Baptist's chapel, also very old, and being now lower than the pavement of the Cathedral. Besides several epitaphs, one here sees the fine gothic sepulchre of bishop Conrad of Lichtenberg, who died in 1299. The colossal statue of that prelate lies on a stone and has still some marks of the colours with which it had formerly been painted; in one hand he holds a book, in the other was his crosier of which only the lower part is now left; his head covered with the mitre rests on a cushion and his feet lie against a lion[1]. Near the entrance of this chapel, surrounded by an elegant railing, is the baptismal-font of sculptured stone, the master-piece of Josse Dotzinger of Worms, who died in 1449.
[1] The epitaph of Conrad is as follows:
«Anno domini MCCLXXXXIX kal. Augusti obiit Conradus secundus de Lichtenberg natus, Argentinensis episcopus, hic sepultus. Qui omnibus bonis condicionibus, quæ in homine mundiali debent concurrere, eminebat; nec sibi visus similis est in illis. Sedit autem annis XXV et mensibus sex. Orate pro eo.»
The first chapel built in the Cathedral was Saint-Lawrence's, next to the North portal of the transept. It was the oldest parish in the town and diocese of Strasburg; the vicar of Saint-Lawrence was the first archpriest of the diocese and at the same time grand-penitentiary of the Cathedral. This chapel, decayed with time, was rebuilt after the plans of master James of Landshut, who died in 1495, and was completed in 1505; when in the course of time it became too small for the parish, it was transferred in 1698 into the neighbouring chapel of Saint-Martin, which had been built in 1420 and then assumed the name of Saint-Lawrence's chapel that it retained ever since. Among the sepulchral monuments it contains, is seen that of Mr. de la Bâtie, in his live time commander of Strasburg. In this chapel is the entrance to the vaults, where to this day the bishops' mortal remains are deposited.
The chapel opposite the latter, on the right side of the church, is dedicated to saint Catharine; it was erected in the year 1331 by bishop Berthold of Bucheck who is interred in it. It was newly arched in 1542 and formerly contained the holy tomb. The entrances both into this and the chapel of Saint-Lawrence are decorated with several old statues; in Saint-Catharine's chapel is the tomb of Conrad Bock, a nobleman of Strasburg, who died in 1480; this work is remarkable for the manner in which the numerous figures that surround the bed of the dying man, are grouped together.
The sepulchral stones that served as flag-stones or pavement in the interior of this large building, have long ago been removed. Besides the sepulchral monuments and inscriptions already mentioned we shall note the epitaphs of Erwin of Steinbach, of Husa his wife, and of his son John, at the lower part of the buttress in the little yard behind Saint John's chapel[1]; also the inscription to the memory of Conrad Gürtler, who bequeathed to the chapter of the Cathedral his house, a large building in the rue du Dôme; this inscription is opposite that of Geiler of Kaysersberg; finally, in one of the vestries is the epitaph, in german verses, of the celebrated printer John Mentelin of Schlestadt.
[1] Anno domini MCCCXVI. XII Kal. Augustii obiit Domina Husa uxor magistri Erwini. Anno domini MCCCXVIII. XVI Kal. Februarii obiit magister Erwinus gubernator fabrice ecclessie Argentinensis. Anno domini MCCCXXXVIII. XV Kal. Aprilis obiit magister Johanni (sic) filius Erwini magistri operi huius ecclesie.—There was formerly on that spot a burial ground; it is very likely that Erwin and his family were buried there. When some years ago, they were digging a waste-well for the lightning conductor, they discovered an old coffin of stone, broken and filled with earth and bones. All these remains with the exception of some fragments taken away by some curious amateurs, were deposited in a vault.
We shall add one word more on the foundations of the Cathedral. Every one knows the old story, according to which this edifice rests on piles, between each of which it were possible to go in boats on canals extending even under the place Gutenberg. As far back as the seventeenth century, they dug to a considerable depth, and have since several times renewed the experiments, to ascertain the nature of the foundations, that have been found to lie very deep and to be very solid, formed of masonry reposing on clay mixed with gravel; under a portion of the nave this bottom is reinforced by oaken piles.
Through a door on the right of saint Catharine's chapel you enter the area of the workhouse of the stone-cutters of the Cathedral (Steinhütte). These workmen, even to this day form a particular corporation that seems to have originated in the days of Erwin of Steinbach; at all events it is a certain fact that the masons of the Cathedral were from the beginning a body, distinct from the ordinary masons; that they have not admitted among them every one who presented himself, and that they had secret signs to know one another. This (loge) society of the masons of the Cathedral has become the cause of many others in Germany; Dotzinger, the successor of John Hültz as architect of this church, united them all in one body; a general meeting of the masters or chiefs of the different loges, held at Ratisbon in 1459, adopted certain rules and regulations, and chose as their grand-masters the architects of the Cathedral of Strasburg, where the principal loge or lodge (Haupthütte) was established. Maximilian I confirmed the establishment and the rules of this corporation on the 3d October 1498. At the beginning of the eighteenth century it was transferred to Mayence.
It has already been stated that at a very remote period the Cathedral had received rich and important donations composing the Œuvre-Notre-Dame, the revenues of which were originally under the direction of the bishops; but as they squandered them away «leaving the building to decay,» the chapter assumed their administration in 1263, after the war between the town and Walter of Geroldseck; however, the canons did no better and in 1290 the magistrate of the city was obliged to take back from them the management of the revenues. The estate and income of the Œuvre, employed only for keeping in good order and for repairing the Cathedral church, are still managed like other property that belongs to the city; the collector of the revenues is appointed by the city corporation, who also names the architect and sculptor of the Œuvre. The receiver's office is in a handsome house (Frauenhaus), built in 1581, after the taste of those times, situated opposite the South side of the Cathedral. In that house, where the old plans of the church and the pieces of the old clockwork, above mentioned, are carefully preserved, we have also to admire the light and elegant construction of the staircase.
| TRANSCRIBER'S NOTES The following changes have been made as needed to facilitate reading: standardized punctuation and accents, moved illustrations, and renumbered and moved footnotes. Additional changes are listed below: [Page 7]: Changed "enthousiasm" to "enthusiasm" for consistency. [Page 16]: Changed "pittoresqu s" to "pittoresques" and "counter-forts" to "counterforts." [Pages 20] and [34]: Changed "doomsday" and "dooms-day" to "Dooms-day" for consistency. [Page 21]: The phrase "if tine" matches the original text. [Page 22]: Changed "Landsburg" to "Landsberg." [Page 23]: Changed "plat-form" to "platform." [Page 24]: The measurement "0m .460" matches the original text. [Page 26]: Changed typo "is" to "it" and changed "bizantine" to "byzantine" for consistency. [Page 32]: Changed "clock-work" to "clockwork." [Page 40]: Changed typo "eigtheenth" to "eighteenth." |