There are here copies of the nine Raphael tapestry cartoons, the originals of which are preserved at South Kensington, also of frescoes by Guido Reni and Domenichino.
The chief artistic, if not architectural, charm to be seen within the purlieus of the cathedral is that of the ancient chapter-house, across a narrow way, to the right of the church itself. This gem of mediæval building is perhaps not remarkable as to any of the principles which it sets forth in its manner of construction, but it takes one back some hundreds of years, a sheer plunge far beyond the age of the most prominent features of the main church, and gives a thrill somewhat akin to the emotion which one feels when he comes across a single leaf torn from an old illuminated manuscript. This charming ruin, for it is hardly more than that, being a mere lumber-room, shows in the weathered look of its covered stairway nearly all of the qualities which the painter loves to depict,—colour, texture, and, above all, that indescribable charm which artistic folk, and others who can see as they do, call life.
Clearly, the Cathedral of St. Etienne de Meaux, as an interesting shrine, may be classed well at the head of the secondary cathedrals of the third Gothic period.
XIII
ST. PIERRE DE TROYES
To the thorough student of English history, Troyes is perhaps first recalled as being the birthplace of the treaty "decreeing for ever a common sovereign for England and France," a treaty which, it is minded, "stood no while." Again, some dubious antiquary has put it forward as the home of that variety of weights "which are not avoirdupois."
The Counts of Champagne had, in the once well-walled city, both a castle and a palace. Olden-time houses, good Gothic woodwork and Renaissance stonework, are here in abundance; also, according to the authority of Fergusson, a well-nigh perfect Gothic church in St. Urbain; likewise a great cathedral,—rather ugly as to its general outline. All these are possessed by Troyes, and to-day the reminders and remains of each and all are exceedingly vivid and substantial.
Certain cathedrals of France show plainly the different phases and developments of the art of building through which they have passed; others indicate little, if any, deviation from a certain accepted style. St. Pierre de Troyes is of the first category. Here is Gothic in all its variations. Its environment, too, is characteristic of the many varying moods through which its constituency has passed. A truly mediæval city in the picturesqueness of its older portions, Troyes is famed alike in affairs of Church and State. The dimensions of the Cathedral at Troyes, which approach those of the grand group, and the general majesty of its interior only further this opinion.
The main body covers the none too frequent arrangement of five aisles, which, following through the transept, continue, with the double pair on each side, to likewise girdle the choir. The splendour of immensity is further enhanced by its large windows, including two rose openings set with old glass, and the general richness of its sculptured decorations. The abside of the choir is ranked among the best Gothic works of the time.
The choir, begun in 1206, is composed of thirteen arcades, symbolical of Christ and the twelve apostles, from the chief of whom the cathedral takes its name. The windows of the triforium are large and divided into four compartments. The general disposition of the choir, with its radiating chapels, is superb; and it is exactly this satisfying, though perhaps undefinable, quality that is ofttimes lacking in an originally well-planned work which fails to inspire one. The choir contains an iron grille of the thirteenth century, of very beautiful workmanship, and is surrounded by five hexagonally sided chapels.