Where was found the marvellous genius capable of conceiving and executing the plan of the Cathedral of Chartres?—this man who, careless of human fame, and careful only to work for God, has left no record of his name, and is called by Jehan le Marchant simply li mestre de l'œuvre.
The "master of the work" for three years wrought with incredible ardor. The idea had sprung from his mind complete, and he longed to see it realized in its colossal harmony. It is only in the crypt, in the old spire, and in the western portal, spared by the fire of 1194, that the ancient style is to be recognized; everywhere else the art of the XIIIth century triumphs, and we behold the poem of stone as it was hewn out in the first purity of its beauty.
At the end of three years resources failed, and the work could not go on. "Then," says the poet Jehan, with all the simplicity of a mediæval chronicler—"then the Holy Virgin prayed her divine Son to work fresh miracles in her Cathedral of Chartres, in order that the increase of alms and offerings might be such as to secure its completion:"
"La haute Dame glorieuse
Qui voloit avoir merveilleuse
Iglise, et haute, et longue, et lée,
Si que sa per ne fust trovée,
Son douz Fils pria doucement
Que miracles apertement
En son Eglise à Chartres feist,
Que tout le peuple le veist,
Si que de toutes parts venissent
Gens qui offerendes tous feissent,
Que achevée fust siglise,
Qui estoit à faire emprise."[80]
Miracles, which in this place had at all times been numerous and remarkable, and which we might cite by thousands, are said to have now greatly multiplied. Those which at that period excited the enthusiasm and gratitude of the people to the highest degree were the cures of a terrible malady very common in the middle ages, and known by the name of the "burning sickness." The unfortunate persons who were attacked by it, besides being consumed by fever, suffered internally as if from torture by fire, while outwardly their bodies were covered with frightful ulcers, of which the pain was intolerable. The victims of this malady came from all parts for relief and healing to Our Lady of Chartres. According to Jehan le Marchant and other contemporary writers, the disease never failed to disappear, either during or immediately after the novena which it was customary for each sufferer to make in the church.
This increase of favors revived the ardor of the faithful. Gifts and thank-offerings were made in great abundance, and the building of the church went on, with what vigor may be gathered from the fact that, in little more than twenty years afterwards, the cathedral was built and covered with what William le Breton calls its merveilleuse et miraculeuse roof of stone. It is in the year 1220 that he writes: "Entirely rebuilt anew in hewn stone, and completed by a vaulted roof like the shell of a tortoise, the cathedral has no more to fear from fire before the day of judgment."
The new tower received a spire like that of the old, excepting that it was constructed of wood and lead, and destined to perish in the very partial fire of 1506, to be replaced by the beautiful and delicately sculptured steeple of the XVIth century, still so greatly admired. The porches were finished,[81] as well as the sculptures, in their finest details, and the windows put in. On the 17th of October, in the year 1260, the edifice was complete, and on this occasion the Bishop of Chartres, Pierre de Maincy, seventy-fifth successor of S. Aventine, solemnly consecrated his cathedral, in presence of the king, S. Louis.
Description, however picturesque, is utterly inadequate to convey a worthy image or idea of a Gothic cathedral in all the mysterious fulness, richness, and variety of its details. Chartres must be seen, must have received many quiet hours of contemplation, before its magnificences will have shown to what heights Christian art was raised by Christian devotion in those early centuries of enthusiasm and of faith.
And yet we cannot leave the reader at the threshold without inviting him to glance with us rapidly, and therefore most imperfectly, within.
How grand is the perspective which opens upon the view, when, looking from the "Royal Gate" towards the sanctuary, the eye takes in this triple nave, with its forest of pillars, amongst which fall, in rich and softened splendor, warm rays of light and color from the higher windows! All the dimensions are on a scale of grandeur. In its elevation, the cathedral is divided into three parts, the idea of the Blessed Trinity ruling this arrangement. The arcades, springing from the ground, form the first line, under the triforium, which forms the second, while above this rises the third height, containing the clerestory windows, which are lofty, double lancets, each surmounted by a rose. The lower walls are pierced by simple lancets of very large size. To the right and left of the nave are aisles without side chapels; but in the double aisle which is carried round the choir are seven apsidal chapels, of which the centre one, dedicated to Our Lady, is the most important. The pillars of the nave are massive in their proportions, to bear the weight of the lofty superstructure. There are sixteen circular or octagon pillars round the choir, with well-sculptured capitals; and in the centre of the transept rise four colossal pillars, around which cluster a number of smaller ones, which are carried up to the spring of the roof. The latter was the most beautiful in the world, and was called the Forest, being constructed of fine chestnut-wood, which time colors with a sort of golden hue, and which attracts neither dust nor spiders. The roof of St. Stephen's Hall at Westminster gives a good idea of what this must have been, with its exquisite fan tracery and graceful pendants, until, on the fourth of June, 1836, the whole was destroyed by fire. The iron roof by which it has been replaced, though excellent in its kind, is far from approaching the worth and beauty of the ancient Forêt.