From the restoration of M. Hoffbauer. At the left the Petit-Pont and the buildings of the archbishop's palace, destroyed in 1831; the cathedral, of which the choir and the south transept were finished only at this date; behind the cathedral, on the ground occupied to-day by a public garden, was the church of Saint-Denis du Pas, built previous to the cathedral and destroyed in 1813.
Since the nave of such a church often can be used for secular mass meetings without fear of impiety, and since a whole countryside will claim the right to throng the edifice on great festival days, a cathedral has to be far larger than an ancient pagan temple.[128] It must possess an interior meet for elaborate processions, stopping often at each of twenty-odd altars lining its walls. To erect a building like this is an undertaking in which a whole countryside can be asked to join. About forty years ago the old cathedral, built in the ancient Romanesque (round-arched) style with a wooden roof, was falling into disrepair, and the new pointed, stone-vaulted architecture was developing through all France. People from regions round made remarks about the "impiety" of the clergy and folk near Pontdebois in "dishonoring heaven." Various prelates taunted the ruling Bishop Thibaut with his mean cathedral. This Thibaut, however, had been an energetic as well as a devout man. By prudent administration of the diocese he had saved considerable money. He next persuaded his canons to curtail their luxuries and to contribute generously. Means, too, were taken to lure money from the faithful. The holy relics were exhibited. Indulgence from purgatory was promised to donors. Conscience-stricken barons were urged to atone for their crimes by liberal gifts to the new enterprise. Civic pride and excited piety won the deniers from the Pontdebois trade and industrial masters. A rich countess left a notable legacy on condition that the canons should always pray for her soul on the anniversary of her death. So between coaxing and religious feeling a goodly fund was collected—and, as was wisely said, "the new cathedral has saved many souls"—meaning that many sinful people were happily moved to redeeming acts of generosity. There were even gifts, it is said, from brigands and evil women, likewise a good many less debatable presents in kind, as when a baron gave both the necessary oak and the pay of the carvers for making the magnificent choir stalls, besides presenting the great stained-glass rose window. Whatever the source, no donation was denied, the bishop counting it fortunate if even the booty of thieves could be turned to the glory of God.
Building the Cathedral
Bishop Thibaut found a skillful architect, a Norman, half cleric, half layman, who had assisted on one of the great churches at Rouen. The plans this man drew up were very elaborate, but he did not live to see them more than half executed. Even if workmen and money failed not, it was dangerous to rush the erection of the great piers, buttresses, and vaulted ceilings. At Auxerre, where they tried to hasten the work, much of the choir suddenly collapsed "like a crash of thunder," though Heaven mercifully prevented the loss of life. At Noyon they began to build in 1152. Their cathedral was nearly finished by 1200. Notre Dame de Paris was begun in 1163, and the choir was fairly completed by 1177; but the great towers and façade certainly cannot be finished before 1225. Rheims was begun in 1211, but undoubtedly even the work on the choir cannot be ended under thirty years from that date. If Pontdebois is reasonably complete after forty years of effort it is therefore being built more expeditiously than the average cathedral. Indeed, many wiseacres shake their heads. "Too much haste," they mutter; "when one builds for God and in order to last till His Judgment Day, it is very sinful to hurry."
First the choir was finished with all energy possible, for here the canons must constantly chant their offices. The nave, which was more for popular gatherings, waited till later. There was great rejoicing when at last the main portal was so far completed that a very fine and tenderly carved statue of Christ could be set above the same. "Our beautiful God!" the people lovingly call the image; and from that time, year by year, the work went forward, every member or ornament that was added seeming to suggest something additional, as if the achieving of perfection were to be a work for eternity.
Cathedral a Natural Growth
To erect the main structure of his cathedral, Thibaut had called in a traveling fraternity of workmen, the Lodging-House Keepers of the Good God, who obeyed the Master of the Work—i.e., an architect. They would stay for years in one place, recruiting new members as old ones died, then moving elsewhere when no longer needed. This fraternity erected the main structure of the building; then Thibaut passed away, money failed, and enthusiasm somewhat lapsed. However, twenty years later, a new fraternity were put to work on the façade and towers. This was more delicate work, involving a great deal of skillful carving. They were obliged to stop again before completion had been attained. Probably a score of years hence, still another such fraternity will raise the second tower. Meantime, every year, a few skillful craftsmen, sustained by donations, add a statue here and a gargoyle yonder, put richly painted glass into another window, or complete the intricate carving around the railing to the pulpit stairs. Now and then there is a special exhibition of relics to attract worshipers and their alms.[129] One of the results is that the style of the different parts of the cathedral differs subtly according to the respective periods of their construction. There is not a contradiction, but only a pleasing variety. One feels that the cathedral is something living. It has come into being, not by arbitrary creation, but by a natural growth; like a mighty, comfort-spreading tree.
THIRTEENTH-CENTURY WINDOW IN THE CATHEDRAL OF CHARTRES, REPRESENTING SAINT CHRISTOPHER CARRYING CHRIST