Chapter IV
A POEM IN ARCHITECTURE
The church of Brou is like no other church in the world. In the first place, instead of dragging through centuries of building and never quite reaching completion, it was begun and finished in the space of twenty-five years—from 1511 to 1536—and it was supervised and paid for by a single person, Margaret of Austria, who built it in fulfillment of a vow made by her mother-in-law, Margaret of Bourbon. The last Margaret died before she could undertake her project, and her son, Philibert II, Duke of Savoy, called "The Handsome," followed before he could carry out her wishes. So his duchess, the other Margaret, undertook the work, and here on this plain, between the Juras and the Saône, she wrought a marvel in exquisite church building which still remains a marvel, almost untouched by any blight, after four hundred turbulent years. Matthew Arnold wrote a poem on the church of Brou which may convey the wonder of its beauty. I shall read it some day, and if it is as beautiful as the church I shall commit it, and on days when things seem rather ugly and harsh and rasping I will find some quiet corner and shut my eyes and say the lines and picture a sunlit May afternoon and the church of Brou. Then, perhaps, I shall not remember any more the petty things of the moment but only the architectural shrine which one woman reared in honor of another, her mother-in-law.
It is not a great cathedral, but it is by no means a little church. Its lofty nave is bare of furnishings, which perhaps lends to its impression of bigness. But then you pass through the carved doors of a magnificent juba screen, and the bareness disappears. The oaken choir seats are carved with the richness of embroidery, and beyond them are the tombs—those of the two Margarets, and of Philibert—husband and son.
The Tomb of Margaret of Austria, Church of Brou
I suppose the world can show no more exquisitely wrought tombs than these. Perhaps their very richness defeats their art value, but I would rather have them so, for it reveals, somehow, the thoroughness and sincerity of Margaret's intent—her determination to fulfill to the final letter every imagined possibility in that other's vow.
The mother's tomb is a sort of bower—a marble alcove of great splendor, within and without. Philibert's tomb, which stands in the center of the church, between the other two, is a bier, supported by female figures and fluted columns and interwoven decorations, exquisitely chiseled. Six cupids and a crouching lion guard the royal figure above; and the whole, in spite of its richness, is of great dignity. The tomb of the Duchess Margaret herself is a lofty canopy of marble incrustations, the elaborateness of which no words can tell. It is the superlative of Gothic decoration at a period when Gothic extravagance was supreme.