Historical Sketch of the Cathedral of Strasburg

by Anonymous

(S. John. 1. 14.)

The nave, decked with a copper roof, abounds no less in decoration than the front. It has large ogive windows adorned with rosaces; at the place where the buttresses, equally carved with rosaces, join the counterforts or pillars, they have at their tops fine clochetoons; a great many statues and grotesque figures of heads complete the ornaments of this part of the church. Two galleries, one under the windows, the other below the clochetoons of the counterforts, lead from the towers to the cross-aisle. This, as we have already said, is still byzantine in several parts of it. The southern porch, formed by two semi-circular doors made evidently at one of the remotest periods of the Cathedral, is adorned with bas-reliefs and statues; according to tradition, it is reported that two of these statues are the work of Sabina of Steinbach. One is a woman in a triumphal posture holding in her hands a communion cup and a cross; she is the symbol of the church that vanquished the synagogue; the other, a symbol of the latter, is a woman looking down, blindfolded and leaning with pain on a broken spear, whilst the laws of the twelve tables drop from her left hand. On the parvis before this porch is erected, on the left, the statue of Sabina herself, and on the right, the statue of Erwin of Steinbach, both due to the chisel of Mr. Grass.

The wall of the upper tier has openings for several windows of an ogive form, above which a gallery runs all along; two round-windows take up the third tier. The northern portion of the cross-aisle has more generally preserved the byzantine manner than that we have just spoken of; however, this intermixture with the gothic style denounces latter renovations. The ancient porch, the remains of very old constructions, is masked by a fore-front that belongs to the last period of the gothic art, and which was built in 1494 by James of Landshut; this new porch (porch of St. Laurence), though handsome in its ensemble, is wanting in that noble simplicity and purity of taste that distinguishes the other parts of the Cathedral; it is overloaded with ornaments, and its statues have a stiffness that is found nowhere else.

The octangular dome over the chancel is also of the byzantine era; however, it has been renewed in several parts. In the place of the deformed cupola, destroyed by the fire of 1870, a handsome pyramid has been erected in the year 1878, after the plans of Mr. Klotz, architect of the Cathedral.

Up to 1772 the lower part of the lateral fronts of the church was disfigured by paltry decayed houses; the same year they were pulled down and in their places the present porticos were built, which are not wanting in elegance: the shops and stalls that formerly obstructed in so disgraceful a manner the access to the nave, have also disappeared; and the porches have been repaired with a great amount of good taste.

The view of the interior of the nave leaves a deep impression. It is mysteriously lighted by magnificent painted windows, and supported on each side by seven large pillars, composed of round agglomerated columns. The two first of these pillars, more gigantic than the rest, support also the towers; the total elevation of the upper arch is more than 31 metres. The interior front, over the principal porch, is adorned with a beautiful sculptured round-window; between this and the grand rose-window is a glass gallery. Above the arches that unite the pillars on both sides of the nave and all along is a fine gothic gallery, serving as a basis to large windows, similar to those of the lower sides of the church. The lower part of the wall of the latter is ornamented with a range of small columns, joined together by og-arches. The magnificent windows of this church represent subjects and personages of Scripture and Legend. Among the artists who have painted these windows, the oldest one known, is master John of Kirchheim; those made after his drawings were put up in 1348; there is no doubt that many of his works still adorn the Cathedral. The names of John Markgraf, James Vischer and the brothers Link were mentioned later. At the latter part of the eighteenth century John Daniel Danegger painted also some, which, however, owing to their mediocrity, have since been removed. For some years past they have undergone considerable repair under the direction of artists of talent and well acquainted with the science of antiquities. The painted windows of the upper galleries of the nave represent the seventy four ancestors of Jesus Christ; higher up are the images of saints and martyrs; in the right aisle, over the vestry, is seen the gigantic figure of saint Christopher: on the South side, of the six windows that have each sixteen divisions, the four first contain some scenes from the history of the Bible; the two last, the day of Judgment and the celestial Jerusalem. On the North side, in an equal number of windows, you see the birth of Jesus Christ, the wise men, and the portraits of several German emperors; the last of these windows represents a series of the oldest events in Scripture. The effect produced by these beautiful windows is greatly increased since they had the happy idea to wash away the daubing with which, about thirty years ago, they had besmeared the inner walls of the Cathedral; by these means the bare part of the wall, a fine stone of a rosy tint, which served for the construction of the church, is rendered visible; it was a measure that bespoke much good taste and knowledge of the christian art.

On the left side of the nave is fixed the organ which extends up to the superior arch. It is a master-piece of work of Andrew Silbermann, who was one of the most able organ-builders of his time and who built it in 1704. Pierced by a shell during the bombardment of 1870, this organ of Silbermann has been restored by a distinguished organ builder of our city.

On the same side, at the fifth pillar, stands the pulpit, erected in 1486 by John Hammerer, by order of the magistrate, for the celebrated preacher Geiler of Kaysersberg. This work of sculpture, remarkably delicate, is adorned with nearly fifty little statues, the meaning of which is easy to understand. The canopy is of a modern style, and was made in 1824 to replace a more ancient one, perhaps the first erected in 1617, which has been handed down to us as a most simple piece of workmanship, and made of lime-wood. At the foot of the stairs are two figures, a man in the posture of rest and a woman praying; we may justly suppose that they are meant for the maker of the pulpit and his wife.