"Clocher de Chartres, Nef d'Amiens
Choeur de Beauvais et Portale de Reims."
Rouen, Paris, and Le Mans should be included, as well possibly as the smaller but no less convincing examples at Séez, Sens, Laon, and Troyes, as being of an analogous manner of building, and, by all that goes to make up the components of a really great church, Bourges might well be considered in the same group. For practical and divisional purposes it is perhaps well to compose an octette of the churches of the Isle of France and those lying contiguous thereto, Paris, Beauvais, St. Denis, Amiens, Reims, Rouen, Chartres, and Le Mans, which may be taken together as representative of the greatest art expression of the Gothic builders, as well as being those around which centred the most significant events of Church and State. To attempt to catalogue even briefly the charms and notable attributes of even the first four, would require more than the compass of several volumes the size of the present, whereas the attempt made herein is merely to lead with as little digression as possible up to the chief glories for which they are revered, and to suggest some of the many important and epoch-making events intimately associated therewith. More would be impossible, manifestly, unless the present work were to transcend the limitations which were originally planned for it, hence it is with no halting assertion that we enter boldly upon that chronology or résumé which, in a way, presents a marshalled array of correlated facts which the reader may care to follow in further detail in the list of bibliographical references included at the end of the volume.
Certain facts relating to the history and the architectural features generally of these great cathedrals are known to all, and are chronicled with more or less completeness in many valuable and authoritative works, ranging from the humble though necessary guide-book to the extensive if not exhaustive architectural work of reference. The facts given herein are such, then, as are often overlooked in the before-mentioned classes of works, and as such are presented, not so much with the avowed object of imparting information, as to remind the reader of the wealth of interest that exists with relation to these shrines of religious art. This seems to be the only preamble possible to the chapters which attempt to even classify these magnificent buildings, wherein much is attempted and so little accomplished in recounting their varied attractions. Let this explanation stand, therefore, for any seeming paucity of description which may exist.
II
NOTRE DAME D'AMIENS
The ever impressive Cathedral of Notre Dame d'Amiens is in most English minds the beau ideal of a French cathedral. It is contemporary with Salisbury in period, at least, but it has little to remind one of the actual features of this edifice. Often associated therewith, as a similar type, it has little in reality in common, except that each is representative of a supreme style. Beyond this it is hard to see how any expert, archæologist, antiquary, or what not, would seek to discover relationship between two such distinct types. Salisbury is the ideal English cathedral as to situation, surroundings, and general charm and grace. This no one would attempt to deny; but, in another environment, how different might it not appear,—as for instance placed beside Amiens, where in one particular alone, the mere height of nave and choir, it immediately dwindles into insignificance. Under
such conditions its graceful spire becomes dwarfed and attenuated. Need more be said?—The writer thinks not, since the present work does not deal with the comparative merits of any two cathedrals or of national types; but the suggestion should serve to demonstrate how impossible it is for any writer, however erudite he may be, to attempt to assign precedence, or even rank, among the really great architectural works of an era. This observation is true of many other examples of art expression.