Old Continental Towns

by Walter M. Gallichan

There are several points of difference between the early Gothic styles of England and France, and height is a characteristic of the French cathedrals; the architects delighted in lofty vaultings, and seemed to vie with one another in attaining great height. Double aisles and double flying buttresses are other features of the French Gothic churches, distinguishing them from the churches of England of the same date.

The French pillars are heavy, and not so highly ornamented as those of England. In the windows we find chiefly in France the lancet; and the circle, with trefoils and quatre-foils, is a common form. Specimens of round windows may be studied to advantage in the Cathedral of Chartres.

The most beautiful examples of early French Gothic architecture, in detail, are the ornate portals, especially of the western façades, the spires, the imposing towers, the rose windows, and the high vaulting.

The west front at Chartres is early twelfth-century work. Few façades present such a bewildering wealth of decoration and of impressive height. The windows are enormous, and the central rose window is remarkably rich in design. Each of the three doorways is full of most interesting statuary, with luxuriant decorations.

The north portal was once gilded and coloured, but this embellishment has disappeared. Many figures adorn this doorway, and every one of them will repay close inspection. The central door on this side is exquisite. Another impressive front is on the south. Here are the statues of Christ trampling on the lion, and of Christ as Judge. Innumerable figures cluster on this porch. Every façade and doorway of the Cathedral of Chartres is a gallery of statuary.

Very noble are the two huge towers. The north tower is the more majestic of the two, and dates from the sixteenth century. It is literally covered with delicious ornament and mediæval statuary. The south tower is massive, but plainer, rising to a height of about three hundred and fifty feet. It is adorned with some quaint symbolic figures. There were once two immense bells within this tower.

The interior of the cathedral impresses by its vastness and height. A wider nave is not to be found among the cathedrals of France, and the aisles are proportionate in width. The eye ranges upwards to the wonderful roof, with its opulent decoration, to the beautiful triforium, and the tall, narrow windows of the clerestory.

The magnificent choir screen is finely sculptured. Among the host of figures are the Virgin, Saint Joachim, and the Adoration of Wise Men. Several groups, representing scenes from Scripture, deck the screen. The effigies are far too numerous to describe in detail. There is a monument within the choir, “The Assumption,” by Bridan. The pavement is of variegated marble.

In the south aisle of the choir is a tall stained-glass window of an early date. Several of the painted windows were executed before the fourteenth century, and these are to be seen in the nave, the clerestory, and the transcepts. The chapels have several interesting stained windows, fine roof decorations, and handsome portals. In the sacristy there is a notable window; and in the ambulatory will be seen the clothed figure of the Virgin Mary, one of the chief treasures of the cathedral.

The sixteenth-century Church of Saint Aignan ranks next to the cathedral in interest. It has a fine, but somewhat worn, front, still rich in examples of Renaissance art. More than once fire has ravaged this church, and during the Revolution the edifice was despoiled and damaged. Saint Aignan is the burial-place of the bishop whose name it bears. There are many stained windows in the church. The interior is in other respects somewhat plain.