Each phase of the regional school of Gothic can be found in Angers. In the tower of St. Aubin, a vestige of an ancient abbey named after a VI-century bishop of the city, is a ribbed cupola, typical of the incubating period of the school.[185] It is more a cupola than a Gothic vault. The stones are laid horizontally in concentric rings, and the ribs are more decorative than structural, being in part embedded in the infilling. The abbot who erected it ruled from 1127 to 1154.
The First Period of the Gothic of Anjou is represented at Angers by a masterpiece of elemental force—the nave of the cathedral. Three huge so-called domical vaults, truly Gothic in construction, span the sixty-foot unaisled nave of St. Maurice. The stones are laid parallel with the groin line of each triangular panel between the intersecting ribs. Those diagonals are needlessly heavy, for the builders were still experimenting. The crown of each vault section is ten feet higher than the framing arches—wall arch and transverse arch. The exceptional span of Angers’ three massive vaults is due to a reconstruction of the nave undertaken in the XII century, at which time the side aisles of the Romanesque cathedral were eliminated and the entire width of the edifice thrown into an unobstructed hall.
Mr. John Bilson, the eminent English archæologist, belittles the influence of the cupola church in Angevin Gothic, the shape of whose vaults he attributes to a structural cause. He thinks that the extreme width of Angers’ nave made it essential to raise the keystone above the crowns of transverse and wall arches in order to prevent its settling. The diagonals were made more obtuse than the equilateral framing arches lest they might tower too high. Given the form adopted for the arches, the bombé vault web resulted inevitably. Arch curves determine the forms of a vault. None the less is M. Berthelé’s account of the Plantagenet school sound both ethnically and æsthetically. The Angevin architect chose to persist in the use of bombé vaults over narrow spans where there was no structural need to raise the keystone.
A succession of cathedrals had stood on the site of Angers’ actual church. To that of the IV century, St. Martin, Gaul’s apostle, presented relics of St. Maurice and his legion of Theban soldiers. A Merovingian cathedral mentioned by Gregory of Tours was succeeded by a Carolingian basilica, and after the year 1000 the chief church of Angers was rebuilt several times as Romanesque. A dedication occurred in 1030. In 1032 the cathedral was wiped out by a fire caused by that remarkable personage, Fulk Nerra, the Black Falcon, who raised Anjou from an insignificant under-fief to be one of the chief powers in France.[186] To atone for his feudal excesses, Fulk built many shrines and made many pilgrimages; in Palestine, with the same melodramatic instinct for the picturesque which his descendant, Cœur-de-Lion, was to display, he walked barefooted in the streets of Jerusalem, flagellated by his own servitors, as he lamented, “Lord be merciful to a perjured, unfaithful Christian wandering far from his native land.”
All over Anjou, and in Touraine, Fulk III put up abbey churches and castles; “the great builder,” he was called. One day, from his castle on the rock of Angers, his falcon eyes saw a dove fluttering over a certain spot beyond the river, and there he founded the abbey of St. Nicholas in 1020, and his wife at that period (he had a succession of wives, one of whom he is said to have killed) founded a nunnery close by to which was once attached the church of the Trinité. In the XVI century St. Nicholas was called Ronceray, because a bramble-rose insisted on pushing its way up through the choir’s pavement.[187] A superman was Fulk the Black, highly dowered intellectually, with enormous capacity for organization, but of shameless wickedness, calculating, subtle, unscrupulous as to the means by which he pursued his designs, and of demoniac temper—marked traits in his race from generation to generation.
Vestiges of the cathedral of Angers which rose after the fire of 1032, and in which Urban II preached the First Crusade, are in the actual nave, built by Bishop Ulger[188] (1125-49). He taught in the cathedral school, which school was the nucleus of the present University of Angers. His successor, Bishop Normand de Doué (1149-53), at his own expense, substituted for the timber roof of the new nave its massive Angevin vaults. When we recall that only fifteen years earlier Abbot Suger, who started Gothic architecture on its triumphal career, was building the heavy diagonals to be seen in the antechurch at St. Denis, we can understand what pioneers were the builders of southwest France in the use of the cardinal organ of the new system.
Angers Cathedral continued building during the final years of the XII century, under Bishop Raoul de Beaumont (1177-97), who erected the southern arm of the transept and added a short choir; the city walls at that period prevented the farther extension of the apse. Along the west façade, the same prelate built a spacious porch, twenty-five feet deep, which stood till 1806, when, in spite of episcopal protest, the civic authorities tore it down rather than trouble to repair it. Sorely does the western entrance need that softening portico. Angers’ portal images are of the same archaic column-statue type as those at Chartres’ western doors, and here, too, in the tympanum is a Byzantine Christ in an elliptical aureole, surrounded by the symbols of the evangelists. Bishop Raoul de Beaumont came of one of the illustrious races of crusaders, statesmen, and prelates, the ancienne chevalerie in which France was so prolific for centuries. A XIII-century Beaumont, marshal of France, stood by Joinville in voting against the knight’s return to Europe until they had redeemed their servitors from captivity; a XIV-century Beaumont was instrumental in giving Dauphiny to France; a Beaumont in the XVIII century was the archbishop of Paris, who warned the nation that if it de-Christianized itself it would be denationalized. Bishop Raoul’s nephew, Guillaume de Beaumont, became bishop of Angers, and in 1236 donated land from his garden for the erection of the northern arm of the transept. Eight-branch Plantagenet vault sections cover transept and choir.
The choir of Angers Cathedral was extended after 1274, when permission was obtained from St. Louis’ brother, Charles d’Anjou, to demolish part of the city ramparts. Heavy buttresses mark the junction of the old part and the new. By the extension of the eastern limb the church became a bold Latin cross. Secluded nooks in dim religious corners are not to be found in these unaisled churches of southwestern France. In them is no curving procession path, no picturesque perspective effects. Though they possess their own quiet nobility, seldom does their grave reverence rise to sublimity. The exterior of Angers Cathedral was made equally simple, without radiating apse chapels or flying buttresses.
The cathedral’s nave boasts some windows which were donated before 1180 by a generous canon. Borders of the St. Denis glass were repeated in them. The third window (north), which has an inimitable deep blue background and a wide border, relates St. Catherine’s life; the fourth portrays, the Burial of the Virgin; and the fifth is devoted to St. Vincent. Probably local workers allied with the St. Denis school made these lights. In the nave’s southern wall is a good Renaissance lancet, transferred here from a ruined château. When the choir was completed, its windows were filled with glass of the Paris school a century later than the nave’s windows. The transept roses are Flamboyant Gothic.
Angers Cathedral tops a high hill, so that its towers are landmarks, visible for thirty miles around. Its west façade has been so reconstructed that it now presents the ungainly proportions of the church fronts in Hanover and Brunswick. After a fire, in 1516, when the towers were renewed, stone spires were added by the well-known Flamboyant Gothic master, Rouland Le Roux, who elaborated the frontispiece of Rouen Cathedral. Then, in 1533, a third tower was built between the original two. One of its walls rested on the west façade, but the other three have mere arches for foundations, so that the tower hangs in space, as it were, the kind of feat applauded by the tourist guide, but which the true lover of structural sincerity can dispense with. Jean de l’Espine, a local master of whom Angers is proud, designed the curious central tower, and two sculptors who had worked on groups at Solesmes made the façades eight warrior images which have been restored.