The arms of the Chapter, the chemisette of Notre-Dame, and the escutcheon of a dauphin will be noticed at the end of the last line.
You reach the old tower from the new by way of the Gallery of Kings or by crossing, within, the vaulting of the nave, beneath the copper roof which has taken the place of the old wooden roof destroyed in the fire of 1836. The old roof was an immense and elaborate construction of timber known to the people as The Forest, because, one old chronicler explains, had the trees of which it was composed still been growing they would constitute a large forest by themselves; because, says another, the sight of it recalled to the people the sacred groves of the ancient Druids, who once performed their rites upon this spot. The magnificent woodwork of the belfry of the old tower was consumed in the same fire, and the huge bells that were once its boast—Mary and Gabriel—were melted down in 1793 to supply the men of reason with bullets.
The great bell of the old tower (Marie) had been re-made in 1723 and carried the inscription—
‘Marie-Anne je m’appèle
Et trente mille je pèse,
Celui qui bien me pèsera
34,000 trouvera.’
At the foot of the Clocher Neuf is the extremely elegant little Renaissance clock tower, which was built by Jehan de Beauce in 1520, when he had completely abandoned the Gothic style and adopted the classic manner lately introduced by the Italian artists who had followed Louis XII. and François I. into France. Partisans of pure Gothic may call it mythological, mannered, mundane, but the more catholic lover of the beautiful will not dismiss it so contemptuously. From this pavillon de l’horloge there used to run alongside the nave up to the transept some fourteenth-century buildings, which were demolished in 1860. They served as a lodging for the Sœurs-cryptes, who, when the epidemic known as the Mal des Ardents was scourging France in the eleventh and twelfth centuries, had charge of the Hôpital des Saints-Lieux-Forts, organised in the north gallery of the crypt to receive the crowds of sufferers who flocked to the shrine of Notre-Dame-de-Sous-Terre. The patients were received and nursed in this hospital for nine days and then dismissed, healed or not.[76] From the fourteenth century onwards the plague gradually decreased in intensity, cases became less and less rare, and the staff of Sisters was finally reduced to one, known as La Dame des Grottes.
We will leave for the present the exterior of the Cathedral and return later to the consideration of the north and south porches. For it is time to enter, by the western portal which we know, the sanctuary of Notre-Dame. Here, amid the dim shadows of old dreams, the mystic may indulge his fancy, and here, if anywhere, wandering through this veritable gallery of Madonnas, in escaping from the feverish passions of the world, a man may cool his hands awhile in the gray twilight of Gothic things. More souls, they say, have been healed at Chartres than bodies at Lourdes. In solitude and silence it is best; but wonderful also and impressive is the Cathedral when filled with long trains of pilgrims, whose shuffling feet and murmured prayers echo through the vast nave and resound from the innumerable chapels. These sounds, these sights carry us back in a flash of memory to those mediæval days when Sébastien Rouillard was astonished at the crowds of all nations who congregated here ‘and slept all night in the church or in the grottoes for lack of lodgings.’ On the very threshold the sloping floor of the west end of the nave, so made that it might the more easily be cleansed, suggests that scene.
Surely the vast nave with its gloomy spaces is filled with the ghosts of forgotten worshippers, and it thrills with the unheard echoes of unanswered prayers. It is melancholy with the records of perverted faith and false enthusiasm, and it is magnificent with the chanted hopes of the faithful and the undying promises of the Risen Lord. The blood of martyrs and the blood of infidels cries aloud from those stones which once resounded with the fiery exhortations of a crusading monk or of a fanatic preaching the extermination of the Jews and the persecution of the Huguenots.
Here knights have kept their vigil and watched by their armour on the eve of a Crusade, and here many a young squire after his night watch by the altar, clothed in vestments of white linen that symbolised his moral purity, has been struck on the shoulder with the consecrated sword and made ‘a knight in the name of the Father, the Son and the Holy Ghost.’ Hither, again, courtier pilgrims have brought with them the perfume of Paris, and Norman peasants the odour of the fields. Here many a penitent Magdalen has poured out her soul in contrite supplication. Here, too, the hand of the sacrilegious destroyer has wrought its vile work, and yet failed to leave more than a few blots and stains upon the mighty fabric reared by mediæval faith.
You may close your eyes and imagine that you are present at a Mass of old days—a Mass of the dead—a silent Mass, at which no sound escapes from the lips of the praying, and no tinkle comes from the bell that is vainly shaken. Kings do penance before the sacred altar, knights in chain armour kneel and take the sign of the cross; noble lords, clad in velvet and brocade, with plumes in their hats and swords at their sides, carry in their hands tall canes, with golden knobs, and bow to great dames with powdered hair, who hide behind their fans lovely faces powdered, painted, patched. And in the aisles a crowd of youthful artisans, in brown jerkins, dimity breeches, and hose of blue, stand beside young women with rosy cheeks and downcast eyes. Elsewhere peasant women, in their old skirts and laced bodices, sit tranquil, whilst upright, behind them, their young lovers shift their legs and twist their hats in their fingers, gazing open-eyed.
They seem to follow with their silent lips the noiseless priests as they perform that ritual order of Notre-Dame de Chartres, which rejoiced the Gothic soul of Gaston de Latour; a year-long dramatic action, in which everyone had and knew his part—the drama or mystery of redemption, to the necessities of which the great church had shaped itself. For all those various ‘offices’ which, in pontifical, missal and breviary, devout imagination had elaborated from age to age with such a range of spiritual colour and light and shade, with so much poetic tact in quotation, such a depth of insight into the Christian soul, had been joined harmoniously together, one office ending only where another began, in the perpetual worship of this mother of churches. And Notre-Dame had also its own picturesque peculiarities of ‘use,’ and was proud of its maternal privilege therein.[77]