The interior is extremely simple ([Fig. 39]), and rather obtains its impressive effect from the magnitude of its leading features, and still more from the noble sentiment which must have pervaded the mind of its designer, than from anything which can be specifically defined in words. Its nave is of unusual width, being 49 feet from centre to centre of the pillars, which are alternately vast clustered piers of about 11 feet 6 inches diameter (a large portion of which runs up to the vaulting), and coupled columns of nearly three feet diameter each. The triforium is somewhat too small—the only
Fig. 40.—Cathedral of Sens. View of Choir Aisles.
fault in the composition—and the clerestory windows have, unfortunately, been renewed at a later age. It is generally stated that the whole of the vaulting was renewed with them: this, however, is incorrect; the only parts renewed were the side cells, which, as is proved by evidence I need not here go into, were round-arched, and came low in the clerestory wall, thus diminishing the height of the windows—a defect which led to their reconstruction. Not only are the ribs of the original section, but the bosses are clearly of the same early age, which, I think, is sufficient to disprove the idea of the vaults having been rebuilt. The vaulting of the aisles has round transverse arches, and the aisle windows, as well as the wall-arcading, are round-arched ([Fig. 40]). The carving is of the same kind with that I have so often described, and most of it is severely simple. Some of the capitals to the wall-arcading are very rich, and many of them contain grotesque animals, birds, etc., finely carved ([Figs. 41], [42]).
Figs. 41, 42.—Sens. Capitals from Choir Aisles.
The west portals were, probably, the latest part of the original church, and have since been altered by the substitution of tympana of later date; but the sculptured art they contain is some of the very finest of its period, many of the figures being of classic beauty, and of far more than classic expression. This church was dedicated in 1167, though (with the sole exception of the portals) its character would have led one to place it earlier than St. Denis.
Two years before the consecration of Sens was commenced the great crowning work of the French transition—Nôtre Dame at Paris.[20] Its erection occupied the remainder of the century, while that of the western façade reaches over the first quarter of the succeeding one. I will not attempt a description of what this most noble church was in its original condition: it will be found clearly particularised in M. Viollet le Duc’s Dictionary—a work which should be in the hands of every architectural student. I will rather confine myself to its influence upon sculptured foliage.