How France Built Her Cathedrals: A Study in the Twelfth and Thirteenth Centuries. Elizabeth Boyle O'Reilly
men of the XII century were Anselm’s pupils; one of them was that bishop who began the Primary Gothic tower of the cathedral at Rouen. Anselm and his brother trained the youths who, having heard St. Norbert of Cologne preach in Laon Cathedral, in 1120, followed him to Prémontré, in the forest of Coucy, which estate gave its name to the new order Norbert there founded. Like the Cistercians, so swift an increase had the white canons of Prémontré that they soon counted a thousand houses over Europe and were an evangelizing force for their century even as Cluny had been earlier and as the Franciscans and Dominicans were to be in the XIII century. The citizens of Laon clamored for Anselm as their bishop when the miserable Gaudri was killed in 1112, but he declined the honor and directed the choice to the worthy Bartholomew de Vir, who restored temporarily the cathedral.
It is not known exactly when was laid the foundation stone of Laon’s Gothic cathedral. By its sculpture, the profiles, and the noticeable keystones, the archæologists say that it belongs to the last third of the XII century and that it kept to its original plans, though its building continued into the first third of the XIII century. The bishop-founder was a pupil of Anselm’s and himself had taught rhetoric in Paris. Gautier de Mortagne (1155–71) gave generously of his own revenues to the new works. The choir he built ended in a semicircle and consisted of the present three bays next the transept. There, and in the west wall of the transept, the profiles are different from those elsewhere in the church.
In a second spell of work they finished the transept, the nave, the towers, and the west façade just before 1200. Laon’s façade ranks among the great western frontispieces of Gothic architecture, a model for that of Rheims. What chiefly characterizes it are the profound shadows made by cavernous porches, projecting gables, and other varied surfaces. It has been called a supreme composition in light and shade. In accentuating the upward surge of lines it was a pioneer. When the façade was finished the choir was lengthened by seven bays, and now was terminated by a flat wall whose prototype is to be found in Laon town in the church of St. Martin, an early-Gothic edifice, building about 1165. Various regional churches used the square chevet. As the custom died out in France, it struck root in England, where the Cistercians made it popular. Those accustomed to the rectagonal chevet of the English cathedral may prefer that type, but to a lover of the apse of the French cathedral, of the curving procession path with its radiating chapels that mystically suggests the thorn crown around the Sacred Head, it will ever seem a dull way to end a sanctuary precisely like a transept arm.
The cathedral of Laon was consecrated in 1237. That same century built the treasure hall and the large chapel beside the west façade. The XIV century added side chapels between the buttresses, and in those chapels at Laon appears the academic precision of that skilled but dry period. About the same time was made a new southern portal for the transept, and the wheel window over it was replaced by a big Rayonnant Gothic light.
The hill citadel called by Charlemagne in the Chanson de Roland “my good town of Laon” was held by the invader from August, 1914, to October, 1918. Though the city was shelled by the French, not a piece of glass in the cathedral was broken. St. Martin’s abbatial, too, is intact, and the XII-century Templar’s church, the only well-preserved monument in France built by the great military Order. The Prussians’ horses were stabled at first in the cathedral till a general public protest stopped such a desecration. When the Allies, under General Foch, drove back the German lines in the final weeks of the war, the retreat was too swift for much havoc to be wrought. On October 13, 1918, General Mangin made his triumphal entry into Laon, whose much-enduring citizens flocked around him in the cathedral to chant a solemn Te Deum.
THE CATHEDRAL OF SOISSONS[60]
The other evening before the ruins of a Cistercian abbey, that once harbored St. Louis and his mother, Blanche of Castile, a group of Alpine chasseurs and Zouaves fell to recounting their daily feats of heroism just as in the times of chivalry the strong, swift strophes of the chanson de geste celebrated knightly prowess. To the north, the cannon thundered. … And the next morning, a Sunday, I assisted at Mass in a Gothic-vaulted hall that had served as promenoir for the monks of Cîteaux. Soldiers filled all the wooden seats, others thronged the threshold, bareheaded in the shadow of the ruins. … Then when the sacrifice of the body and blood of our Lord was celebrated, a song rose in the dawn: “Kyrie Eleison! God be praised!” And the soldiers within the chapel and without sang before returning to battle as in the ancient Chanson de Saucourt: “Kyrie Eleison!” Even those harnessing the great cart horses, those saddling their own restive mounts, those extinguishing the fires of the night’s bivouac, and those charging the six-wheeled camions, all took up the canticle: “God be praised! Kyrie Eleison!”. … And the implacable cannonading to the north echoed in the deep quarries, whence had come the stones builded here for God’s glory.
—A war picture of Longpont abbey,[61] by Gabriele d’Annunzio, who visited the battle-front in 1914.
To-day the fair white city of Soissons lies a scene of desolation, only to be likened to a wrecked town of old-time barbarism. They say that Soissons Cathedral is more damaged than if a geological convulsion had wrecked it. Deliberately was it taken as a target, though, as French troops held the highlands round the flat town, there can be no excuse that the towers were used as posts of observation. The westernmost bays are ruined; the north side of the big church has been riddled with projectiles; flying buttresses have been cut off; great rents show in roof and sides; the vaulting hangs in air; a pier lies prone, its stones scattered like a pack of cards; the aisles are dismantled, and the windows, some of which Blanche of Castile gave in 1225, have been reduced to powdered dust. In one week of January, 1916, over three hundred projectiles fell on the church, said the old priest, who lived in the midst of the wreckage, to a visitor to whom he spoke gently of God’s mercy. In the once “sweet and tranquil provincial city, whose soul was the daughter of honorable simplicity, grass grows in the street. Soissons is a dead city. Its casementless windows fix you like the eye of the blind.” Always has it lain in the path of war, this ancient capital of Clovis that has ever been part of the very heart of France, but never war such as this!
Here, in 486, Clovis won the battle of Soissons that annihilated the last remnant of Rome’s empire in Gaul, and conquered the land to the Loire. In the evil days of the Hundred Years’ War, Soissons suffered. So depopulated was it by the XVI-century religious wars that it took over a century to recover. Nor did the Revolution spare the seat of the ancient monarchies of France. In 1814 occurred an explosion of gunpowder that wrecked precious windows in the cathedral, some of them the gifts of Philippe-Auguste. In 1870 the Prussian bombardment of Soissons devastated what remained of the abbey church of St. Jean-des-Vignes, whose Flamboyant Gothic spires have been mutilated again in the World War.[62]
Under the southern flank of the shattered cathedral nestles the diamond of Primary Gothic art in France, the transept arm built by the crusading bishop, Nivelon de Chérisy. As by a miracle it has escaped. The most exquisite thing in France, many of us hold it to be. It has drawn its devotees back to Soissons time and time again, this perfect thing so little heralded. They would test a second and a third time the overpowering first impression it had made. Perhaps it had been some happy mood, some subtle lingering shadows of the late afternoon, that had touched it momentarily to an ethereal grace. And then standing face to face again with its small and stately beauty, those who love this early-Gothic monument of France know that its power is not a chance or borrowed comeliness.
Sit before it for hours; study the mystery and play of its lights and shadows; try to seize in what lies its young poesy of grace, its maturity of dignity, “its invincible impression of virginity.” In vain to analyze it. Can that intangible quality which is sheer inevitable beauty be dissected? Those who fall under the spell of its supernal loveliness lose all false shame that would prune adjectives, lest their praise be excessive. No glow of words can convey the something celestial here. The nave and the choir of Soissons Cathedral are XIII-century Gothic at its prime, and yet they seem merely to be the setting for a jewel, for the small apse preceded by one bay, which is the transept’s southern arm. That