Our three churches, then—Coutances and Dol certainly—rank with our smaller English cathedrals, allowing for a greater effect of height, partly positive, partly produced by narrowness. They are, in fact, English second-class churches with the height of English first-class churches. Bayeux, in every way the largest of the three, perhaps just trembles on the edge of the first-class. Coutances, the smallest, is distinctly defective in length; the magnificent, though seemingly unfinished, central tower, plainly wants a longer eastern limb to support it. Even at Bayeux the eastern limb is short according to English notions, though not so conspicuously so as Coutances. We suspect that Dol is really the most justly proportioned of the three, though in many points its outline is the one which would least commend itself to popular taste. The central tower is still lower than that at Lisieux; it is rather like that of St. Canice at Kilkenny, only just rising above the level of the roof. But, as is always the case with this arrangement, the effect is solemn and impressive. The low heavy central tower is a common feature in Normandy, and one to which the eye soon gets accustomed. The west front of Dol is imperfect and irregular; the southern has been carried up and finished in a later style, while the northern one, whose rebuilding had been begun, was left unfinished altogether. The whole front is mutilated and poor, and the chief attractions of Dol must be looked for elsewhere. The west front of Coutances is as famous as the west front of Wells, and both, to our taste, equally undeservedly. Both are shams; in neither does a good, real, honest gable stand out between the two towers. The west front of Coutances also is a mass of meaningless breaks and projections, and the form of the towers is completely disguised by the huge excrescences in the shape of turrets. Far finer, to our taste, is the front of Bayeux. Though it is a composition of various dates, thrown together in a sort of casual way, and though the details of the two towers do not exactly agree, yet the different stages are worked together so as to produce a very striking effect. The later work seems not so much to be stuck upon the earlier as to grow out of it. One could hardly have thought that spires, among the most elegant of the elegant spires of the district, would have looked so thoroughly in place as they do when crowning towers, the lower parts at least of which are the work of the famous Odo. There is nothing of that inconsistency which is clearly marked between the upper and lower parts of the front of St. Stephen's at Caen. The general external effect of Bayeux can hardly be judged of till the completion of the new central lantern. This last is a bold experiment, seemingly a Gothic version of the cupola which it displaces. But as far as the original work goes, there can be no doubt of Bayeux holding much the first place among our three churches.
Interior of Coutances Cathedral
Looked at within, the precedence of Bayeux is less certain. The first glance at Coutances, within as without, is disappointing, mainly because the visitor has been led to expect a building on a grander scale. But the interior soon grows on the spectator, in a way in which the outside certainly does not. The first impression felt is one of being cramped for room. The difference between Coutances and Bayeux is plainly shown by the fact that at Bayeux room is found for a spacious choir east of the central tower, while at Coutances a smaller choir is driven to annex the space under the lantern. This is an arrangement which is often convenient in any case, but which, as a matter of effect, commonly suits a Romanesque church better than a Gothic one. But when we come more thoroughly to take in the internal beauties of Coutances, we begin to feel that Bayeux, with all its superior grandeur, has found a very formidable rival. Coutances is the more harmonious whole. The choir and the nave vary considerably, and the choir must be somewhat the later of the two. But the difference is hardly of a kind to interfere much with the general effect. The general appearance of the church is thoroughly consistent throughout, and the octagon lantern, with its arcades, galleries, and pendentives, all open to the church, forms a magnificent feature. It is evidently the feature of which Coutances was specially proud; it is repeated, at a becoming distance, in the other two churches of the city, as well as elsewhere in the diocese. The nave arcades of Coutances are exquisite, the triforium is well proportioned and well designed, except that perhaps the beautiful floriated devices in the head may be thought to have usurped the place of some more strictly architectural design. The clerestory is perhaps a little heavy. In the choir the clerestory and triforium are thrown into one stage of singular likeness, though in this style the lack of a distinct triforium is always to be regretted. The mouldings in both parts have, as is so usual in Normandy, an English look, which is quite unknown in France proper, and in the choir we find a larger use of the characteristic English round abacus. But, next to the lantern, the most striking thing in the interior of Coutances is certainly the sweep of the eastern aisles and chapels, where the interlacing aisles and pillars produce an effect of spaciousness which is not to be found in the main portions of the church.
Capitals in Bayeux Cathedral
The interior of Bayeux, besides its greater spaciousness and grandeur of effect, is attractive on other grounds. It is far more interesting than Coutances to the historical inquirer. Many facts in the history of Normandy are plainly written in the architectural changes of this noble church. The most interesting portion indeed does not appear in the general view of the interior. The church of Odo, the church at whose dedication William was present, and which must have been rising at the time of the visit of Harold, now survives only in the crypt of the choir and in the lower portions of the towers.[11] The rest was destroyed by fire, like so many other churches in Normandy, during the wars of Henry the First. Of the church which then replaced it, the arcades of the nave still remain. No study of Romanesque can be more instructive than a comparison of the work of these two dates. Odo's work is plain and simple, with many of the capitals of a form eminently characteristic of an early stage of the art of floriated enrichment—a form of its own which grew up alongside of others, and gradually budded into such splendid capitals of far later work as we see at Lisieux. Will it be believed that the remorseless demon of restoration has actually descended the steps of this venerable crypt, and that two of the capitals are now, not of the eleventh century, but brand-new productions of the nineteenth? Of course we are told that they are exact copies; but what then? We do not want copies, but the things themselves, and if they were a little ragged and jagged, what harm could it do down underground?
A striking contrast to the work of Odo, a contrast as striking as can easily be found between two things which are, after all, essentially of the same style, is to be seen in the splendid arcades of the nave, one of the richest examples to be found anywhere of the later and more ornamented Romanesque. The arches are of unusual and very irregular width; the irregularity must be owing to something in the remains or foundations of the earlier building. They are crowned, however, not by a triforium and clerestory of their own style, but a single clerestory of coupled lancets of enormous height, with the faintest approach to tracery in the head. The effect is striking, but certainly somewhat incongruous. The choir is one of the most beautiful productions of the thirteenth-century style of the country, always approaching nearer to English work than the architecture of any other part of the Continent. Another church at Bayeux, that which now forms the chapel of the seminary, is well known as being more English still. It might, as far as details go, stand unaltered as an English building.
And now for a few words as to the obscure Breton church which we have ventured to put into competition with such formidable Norman rivals.[12] Perhaps it derives some of its attractions from its being out of the way and comparatively unknown. It has that peculiar charm which attaches to a fine building found where one would hardly expect to find it—a feeling which reaches its highest point at St. David's. The first impression which it gives is that there is something Irish about it; there is certainly no church in Ireland which can be at all compared to it; still it is something like what one could fancy St. Canice growing into. One marked characteristic of Dol Cathedral comes from its material. It is built of the granite of the country, which necessarily gives it a somewhat stern and weather-beaten look, and hinders any great exuberance of architectural ornament. Not that we think this any loss; the simple buttresses and flying buttresses at Dol are really a relief after the elaborate and unintelligible forests of pinnacles which surround so many French churches, even of very moderate size. It is only in the huge porch attached to the south transept that an approach to anything of this kind is found. But very beautiful work of other sorts may be seen at Dol. The smaller porch is a gem of early work, and the range of windows in the north aisle presents some of the most delicate triumphs of geometrical tracery, too delicate in truth to last, as all are more or less broken. The flat east end gives the church an English look, and the flat east end with an apsidal chapel beyond it especially suggests Wells. Within, the church has a great effect of height and narrowness, greater certainly than Coutances. Like Coutances, the nave and choir are of somewhat different dates, the choir being more modern, but, unlike Coutances, still more unlike Bayeux, they range completely together in composition. The nave we might fairly call Early English. It is not quite so characteristic as some of the work at Bayeux, but it uses the round abacus freely, although not exclusively. But for a few square abaci which are used, and for the appearance of early tracery in the side windows, it might pass as a purely Lancet building. The choir is fully developed geometrical work, of excellent character, with a beautifully designed triforium and clerestory. Altogether we think Dol may make good its claim to a high place among churches of the second order. It is specially curious to see how a building which does not differ in any essential peculiarity of style from its fellows assumes a distinct character, and that by no means wholly to its loss, through the use of a somewhat rugged material.