How France Built Her Cathedrals: A Study in the Twelfth and Thirteenth Centuries. Elizabeth Boyle O'Reilly
the Revolution. During excavations in the cloister, in 1899, they came upon an image representing a bishop, and marked with the seal of Archbishop Guillaume-of-the-White-Hands. The statue is now set up in the choir aisle on the site where once stood an altar dedicated to St. Thomas of Canterbury.
The tutelary of Sens Cathedral is St. Stephen, the first martyr. A XII-century statue at the trumeau, or central shaft, of the west door presents him as the beautiful youthful servant of the Lord. Gazing at it one thinks of St. Augustine’s words: “The Church would never have had St. Paul but for St. Stephen’s prayer.” Paul, holding the robes of those who stoned Stephen, heard the martyr pray for his executioners. The trumeau statue of St. Etienne with its parallel feet marks the transition from the column image, such as those at Chartres’ western portal, to the XIII-century type of saintly personages at the doors of Rheims and Amiens. It escaped mutilation during the Revolution because some one had the wit to write on the stone tablet in the saint’s hand, The Book of the Law. The foliage relief on the shaft is exquisite.
As the XII century closed the archbishop of Sens was Michel de Corbeil (1194–99), a well-known scholastic writer. Under him and Pierre de Corbeil (d. 1222), his successor and also a learned teacher from the Paris schools, the axis chapel at Sens was rebuilt, and the upper vaulting of choir and nave reconstructed in order to enlarge the windows. As the longitudinal or wall arches were now raised to the level of the keystone, the bombé shape of the vault disappeared; in the chevet the wall ribs show as many as three sets of capitals. The vault sections of the side aisles, however, remained domical, as originally built.
Two other distinguished brothers, men of great lineage and intellectual attainment, ruled the see of Sens during many years, Gautier de Cornut from 1222 to 1241 and Gilles de Cornut, who died in 1254; and they had a brother who busied himself with the new cathedral at Beauvais. Gautier de Cornut, who while doctor of law in Paris University served as chaplain to Philippe-Auguste and Louis VIII, was the envoy sent in 1234 to fetch Marguerite of Provence to be married to Louis IX in Sens Cathedral, the king then being in his twentieth year. The young princess of the art-loving Midi came north accompanied by a troop of minstrels. Again in 1239 St. Louis returned to Sens for the Crown of Thorns, on its transit from Venice to Paris, and he walked out some miles from the city to meet it. Barefooted, he and his brother, Robert of Artois, bore back the previous relics to the cathedral, through streets hung with tapestries and lighted by candles. The relic rested in St. Étienne’s church all night and then in a solemn, eight-day procession was carried to Paris. The king had the archbishop write the formal account of it all. Gautier de Cornut erected the synodal hall which touches the cathedral’s façade, and his own statue and that of the young king decorated its buttresses. The best civic monument of St. Louis’ reign many think it to be, and as perfect in its own way as the hospital hall at Ourscamp, its contemporary.
In 1267 the cathedral’s southwest tower fell; it may have been one built in Carolingian times from the proceeds of a gold retable, or it may have been a XII-century tower of Archbishop Hugues de Toucy’s time, as are the two lower stories of the present northwest tower. Its fall necessitated the remaking of the last two bays of the nave and of the damaged western doors during the early XIV century. The side chapels were built then, too, but they have been rehandled in the present day, and are now dissimulated behind an arcaded wall. A record of 1319 speaks of the able Nicholas de Chaumes as architect here before he proceeded to Meaux Cathedral. He demolished the ancient chapel on the transept’s southern arm, but its corresponding chapel, on the transept’s northern arm, still exists and is, with the ambulatory walls, the oldest part of the church. Not till after the Hundred Years’ War, however, was the plan to erect a new transept carried through.
Sens then possessed as its archbishop, during forty years, the energetic Tristan de Salazar (d. 1519) who had fought, sword in hand, with Louis XII in the Italian wars. Like Bishop Jacques d’Amboise, who was then finishing at Paris the present Musée Cluny as town house for his abbey of Cluny, Archbishop de Salazar built the Hôtel Sens in Paris for his diocesan house. To his own cathedral he added the southwest tower’s upper story (to which later a Renaissance lantern was attached) and he connected the synodal hall with the episcopal palace by a rich gallery. Some sculptured panels now attached to a pier in the nave of Sens Cathedral originally formed part of a tomb he had made for his parents. It was this munificent art patron who began the late-Gothic transept. In 1490 the most notable architect of the day, Martin Chambiges, was invited to direct the work, and for four years he gave it his personal supervision until called to Troyes to make the Flamboyant Gothic façade of that cathedral.
Sens Cathedral contains some ancient windows, four of which are among the best in France and allied with Suger’s school, though probably executed as the XIII century opened, since the saddle bars follow the outline of the medallion pictures. Those four exceptional windows of the choir aisle sparkle with the jeweled intensity of the golden age of the vitrine art. In one of them is told the story of St. Eustace, often to be met with in French iconography, since he figured in the Golden Legend. Another describes the return to England of Thomas Becket and his immediate martyrdom. Originally next to it hung a companion lancet, giving Becket’s early life, but this was done away with to make room for a chapel. The other two lancets are of the Biblia Pauperum type. In one, the parable of the Prodigal Son is given. In the other is the story of the Good Samaritan, and the half medallions on either side of each central scene interpret it symbolically. Such correlation of the Old and the New Testament was most popular in the Middle Ages. Beside a medallion which shows the traveler fallen among thieves stands the expulsion of Adam and Eve from the Garden of Eden; and the scene of the charitable Samaritan is accompanied by pictures of the Saviour’s death and resurrection. They might not be able to write and read, the ordinary men and women of that day, they had no daily journal to crowd their minds with half-digested facts, but their souls were fed by sound ethical truths set forth clearly in their one great book, the cathedral. The artisan donors of such windows we may be sure knew the symbolic meaning of every panel.
In the clearstory windows at the curve of Sens’ choir is more XIII-century glass, but it is later work, lacking the marvelous glow of the choir-aisle lancets. The two big roses of the transept are splendid. A celestial concert was then a favorite theme. The south rose (1500) was made by the same Champagne artists, Lyénin, Varin, Verrat, and Godon who filled the nave of Troyes Cathedral with its high-colored translucent woodcuts. The north rose of the transept finished in 1504, was the work of native masters, influenced by the noted school of Troyes. The side windows in Sens’ Flamboyant transept are equally good.[57]
Jean Cousin, born in Sens, 1501, made two of the cathedral’s windows, the rich one of St. Eutropius, in the nave, and the Tiburtine sibyl of amplest design, in the shrine to the south of the axis chapel. Nothing could be more resplendent as picture windows, but Gothic-Renaissance work, whose tendency was to treat each light as an isolated picture, is not equal to the close-woven patterns of XII-and XIII-century mosaic glass, which kept itself in subordination to its architectural setting. The immense superiority of the earlier windows is demonstrated in Sens Cathedral, which offers us both types at their best.
THE CATHEDRAL OF LAON[58]
And I saw the holy city, the new Jerusalem, coming down out of heaven from God, prepared as a bride adorned for her husband.—Apoc. xxi:2, used in the office for the dedication of a church.
While Sens, Noyon, and Senlis were building, the splendid cathedral of Laon was begun, about 1160. The usual transition features of Primary Gothic showed in its retention of tribunes over the side aisles, in the simultaneous use of round and pointed arches, the beringed colonnettes, and the salient transept arms. The chapel, in two stories, that opened on each arm of the transept, was another Romanesque tradition.
The interior of Laon, “the cathedral of Purity, Silence, and Power,” is indeed most impressive. One bay follows another with a regularity that is accentuated by the interior elevation being in four stories—pier arcade, tribune arches, triforium wall arcade, and clearstory. It is not a lofty church, but, like English cathedrals,