A century later Abbot Jarenton of St. Bénigne invited monks from Cluny to reanimate the spiritual life of his monastery. Paschal II blessed the Dijon abbatial, repaired after the fall of a tower in 1096. When in 1107 Aleth de Montbard, mother of St. Bernard, died in her castle two miles from Dijon, Abbot Jarenton hastened out to Fontaine-lès-Dijon to claim the body of the saintly woman for his hallowed crypt of St. Bénigne, and an enthusiastic procession carried the Blessed Aleth to the city. St. Bernard was an unknown lad at the time.
In 1131, Pope Eugene III blessed the Dijon abbatial subsequent to still other restorations. Finally, in 1271, the easternmost church of William of Volpiano was wiped out by fire (though his rotunda church was to stand till 1792), and the present St. Bénigne was begun immediately on the site of the destroyed Latin cross basilica.
If the ex-abbatial which is now Dijon’s cathedral is secondary in size and character, the parish church of Notre Dame is a veritable gem of Gothic architecture, faultless in construction and of singular purity and unity. Its influence on the Gothic art of the province was widespread. After a fire in 1137, which consumed half the city, a Romanesque Notre Dame had risen. It was cited, in 1178, as the first of the town, its bells sounding the opening and the shutting of the city gates and alarms for fire.
The present church of Notre Dame was begun about 1220; a record referred to it as in use in 1245. The architect had to contend with difficulties. His funds were so small that a minimum of building material was necessary. Three sides of his edifice were bounded by public thoroughfares; hence it was impossible to spread out the piles required by flying buttresses; at the same time the limited plot of ground made it imperative not to encumber the small interior by clumsy piers. How to construct a secure edifice without big piers, thick walls, or flying buttresses was the problem.
The builder showed his genius when he used the inclosure wall to counterbut the vault thrust and yet dared open these walls by generous Gothic windows. For ten feet above the ground the walls are heavy; then they become a mere shell, skillfully doubled by the use of colonnettes of durable stone, each slender shaft being so weighted that it stands with the security of iron.
The interior of Notre Dame appears charmingly spacious and airy. The XVII century added circular windows to the triforium of the apse, in character with the church, however. The exterior of the apse is plain and neat and, with the central lantern tower, composes an architectural group of simple elegance. The eastern buttresses fulfill a triple function as piers, as walls, and as counterbutting members. Technical subtlety is to be found throughout Notre Dame. The vaults of the side aisles were constructed to brace the principal span. The piers are uniform monoliths, but a sexpartite vault was built, though for a generation that system had been discarded in the north. The coping stones over the capitals of each alternate pier were enlarged to catch there the heavier weight.
There are so many points of resemblance between Notre Dame of Dijon and the choir of Auxerre Cathedral, begun in 1215, that M. Charles Porée has thought that the same architect designed both. Their profiles are alike, their capitals have similar salient crockets, and their colonnettes were cut from the quarry according to the rock’s horizontal strata, and not by the usual method of vertical cutting.
In boldness of technique the small Dijon church is a masterpiece to which many an eloquent page has been devoted.[308] Beneath an apparent simplicity is unsurpassed scientific construction. The great engineer Vauban praised it, as did Soufflot, the XVIII-century architect of the Panthéon at Paris. The balanced equilibrium of the national art can be carried no farther, and only the use of hard Tonnerre stone permitted this successful audacity. Were a modern student to present such a plan to any commission, said M. Lassus, he would be dismissed as mad.
While the nave was building a narthex was added before the western entrance, consisting of a fifty-foot-deep porch. Notre Dame’s west façade rides astride two rows of pillars set close together before the narthex, again a case of strength being attained by the able use of double walls. The façade’s superimposed arcades, used merely as decoration, as at Pisa, prevented the employment of strong buttress ridges, and give to the western front of the church a most un-Gothic aspect. It cannot be said that the lamp of truth is upheld, since the frontispiece makes no pretense to express the three-aisled interior, but rises above the roof like an abstract screen. The gargoyles that alternate with some ancient superbly cut panels of foliage across the west front, date only from 1881, and, as usual with restorations, the grotesque element has been overemphasized. A manuscript of the XIII century relates that the original gargoyles were removed when a bridegroom (a money-lender) about to enter the church was killed by the fall of a protruding image that represented a man gripping a money bag.
The imagery of Notre Dame’s portal has been entirely obliterated. When the Revolution voted to destroy “all signs of fanaticism,” an apothecary of Dijon mounted a ladder each morning and leveled with his hammer all the stonecutters’ work. The present image at the trumeau is a fragment saved from the late-Gothic Chartreuse of the Valois dukes. To Notre Dame Philippe le Hardi gave the Jacquemart[309] clock, one of his spoils from the sacking of Courtrai in 1382, whereat he had been assisted by the Dijon citizens par loyauté et parfait amour.