[Ed. Hautecœur, Paris.
TYMPANUM OF THE NORTH TRANSEPT DOORWAY.
The sculpture of the portal of the North Transept is devoted to the history of the Virgin—of whom the dividing pier between the doors bears a beautiful statue. The carving in the lowest division of the tympanum deals with the Birth of Christ, the Visit of the Magi, the Presentation in the Temple, and the Flight into Egypt. The carving of the other divisions refers to the history of Theophilus, a mythical monk who signed a contract with the Devil, like Faust, but was saved by the interference of the Virgin. On each side of the portal are three empty niches. These, as well as the portal, possess canopies. An arcade of lights is the chief feature, between the entrance and the great rose window previously alluded to. The portal of the South Transept has figures of Christ, St. Martin, St. Stephen, St. John the Baptist, Moses, St. Denis, St. Thomas, St. Peter, St. Bartholomew, David, and Aaron. The tympanum has a representation of the Martyrdom of St. Stephen. This portal is seldom used. Again we have the arcade of lights leading to the great rose. The gable end is in its turn pierced by another smaller circular window of remarkable beauty. It will be seen that while there are great differences between the fronts of the two transepts, structurally they resemble one another.
Returning to the north side of the church, beneath one of the windows belonging to a choir chapel is the well-known Porte Rouge, a delicate masterpiece which we may probably attribute to the early part of the fourteenth century. In its tympanum is represented the Coronation of the Virgin, while in its vaulting we have scenes in the life of St. Marcel. The door gained its name from the fact that it was originally painted red. It seems always to have held a high place in the affections of the Parisians. Victor Hugo appears specially to have delighted in it, for he writes: “La petite Porte-Rouge atteint presque les limites des délicatesses gothiques du quinzième siècle.” Near the Porte Rouge, under the windows of the Choir chapels, are seven bas-reliefs representing scenes from the Virgin’s life. They date from the sixteenth century.
He must be insensible indeed to the grandeur of Gothic building who fails to be impressed when he stands at the east end of Notre Dame. There, in the great main circular sweep, we can appreciate the tiers of buttresses, the spear-like forest of pinnacles, each one constructively necessary, each duly subordinated to an ordered scheme, each wisely and appropriately decorated. Standing here, we are indeed under the spell of the august ecclesia parisiaca, the ancient silent witness of changes so immense and so fruitful of result, of victories in the arts alike of peace and war which have been of such profound consequence not merely to Paris, and to France, but to mankind in general.
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[Ed. Hautecœur, Paris.