'3/
BELL'S HANDBOOKS TO
CONTINENTAL CHURCHES
CHARTRES
MICROFILMED BY
UNIVERSITY OF TORONTO
LIBRARY
MASTER NEGATIVE NO:
93QO\k
C. Blin% Photo.]
WEST VIEW OF THE CATHEDRAL OF CHARTRES
,THE CITY OF
CHARTRES
p ITS CATHEDRAL & CHURCHES
BY
H. J. L. J. MASSE, M.A.
AUTHOR OF
"GLOUCESTER," "TEWKESBURY," ETC.
I* WITH FORTY-SEVEN
ILLUSTRATIONS
%
SEAL OF THE CATHEDRAL
CHAHTfcR
LONDON GEORGE BELL & SONS 19^0
DC
W. H. WHITE AND CO. LTD.
RIVERSIDE PRESS, EDINBURGH
PRE FACE
My sincere thanks are due to the Rev. the Abbe Clerval,
Superieur de l'CEuvre des Clercs, Chartres, for his many
• courtesies to me, and for his permission to reproduce several
k illustrations from books published by that body, together with
^the seal of the Cathedral and some drawings of the windows
from his Guide Chartrain. This is a book which, based largely
as it is on several larger books dealing with Chartres and its
history, has been of the utmost use to me, and should be in
the hands of all who visit the town and its churches.
To those who wish for further details of the earlier history
*pf the Cathedral and of the Abbey of S. Pierre, there are
r the Chartularies, with their mass of information ; and for
architectural drawings of the Cathedral, sections and details,
there is the Monograph published by the French Government.
Those who care to read Huysman's La Cathadrale will find
amongst much mysticism a vast amount of interesting infor-
A mation.
To the Societe Archeologique d' Eure et Loir I am greatly
indebted for the use of several interesting blocks, and want
of space only has prevented me from using more of them.
To Dr Oscar Clark of Gloucester I am indebted for one
excellent photograph, and to my friend Mr Gerald C. Horsley
for three drawings.
^ H. J. L. J. M.
h
\
.'
V
I
/
)
CHARTRES CATHEDRAL
CHAPTER I
THE CITY OF CHARTRES
Chartres first comes on to the scene of history as a town
which, under the name of Autricum, offered a long and brave
(resistance to the Romans under Julius Caesar, in his wars in
IGaul, B.C. 58-48. From its elevated position in the surround-
ing flat country, it could not help being a military centre, and,
|n consequence, the headquarters of the Celtic kings and
ynleftains of Western Gaul. Similarly from its position it
was a stronghold of the powerful heathen priests known to
us under the generic name of Druids, and after Caesar's wars
in Gaul it became their headquarters.
It was thus a stronghold of paganism, to which the early
[missionaries from Sens, sent out by S. Savinien and S.
I x Jte^tien, would naturally lay siege, in the hope of converting
the heathen to their own faith. This result was secured, and
Chartres became, from the time of Aventin, about 200 a.d.,
the see of a Christian bishop, suffragan to Sens, with which
) place it was connected by two Roman roads.
Under the Merovingian kings the country became part of
Uhe kingdom of Clodomir, one of the sons of Clovis, and
I oecame the property of different princes from time to time,
and again, because of its natural position, suffered consider-
ably. The town smarted under Sigebert in 574 a.d., and it
was laid waste by Thierry, King of Burgundy, in 600.
Under the Emperor Charles the Great (Charlemagne), whose
'm in life was to consolidate order and Christianity among
^ nations of Western Europe, the land in general enjoyed a
iiore peaceful time ; but after his death in 814, and the conse-
quent division of his empire, troubles again began.
A .
I
4 CHARTRES CATHEDRAL
The Northmen, in their attacks under Hastings, ravaged th*
town and burned the cathedral in 858, and northern France
in general was overrun by them from 876 to 912. During this
period Chartres had to contribute its share of the huge sums
of money that were paid, like our Danegeld, to purchase the
privilege of being left unpillaged. Hrolf, Rollo, or Rou, oy
lawed by Harold Fairhair, laid siege to Chartres in 911, b^
victory is said to have been secured to the town by the display
of the Virgin's tunica as a standard.
Charles the Simple adopted the wise expedient of colonising |
the Northmen in Neustria, by granting them land on condition.^
that they became Christians and did him homage. After tru*c'
the Northmen would have probably left the town alone, b¥c,,
drawn on by the hostile behaviour of Thibault le Tricheurl
(Theobald the Trickster), the first hereditary Earl of Chartres (
and of Tours, they came and burned down the town (962).
Eudes II., son of Thibault le Tricheur, getting possession of
the property of his great-uncle, Etienne, became the holder
the united earldoms of Champagne, Chartres, and Blois.
Etienne of Chartres took part in the First Crusade, undi\
Godfrey of Bouillon, 1096, and died in the Holy Land in
1102.
S. Bernard came to Chartres in 1 150 to preach in support
of another Crusade. He was elected generalissimo in the
cathedral, but he refused, saying, as he wrote later to Pot/
Eugene III. : " Quis sum ego ut acies nostrorum dispone;^!, Sil
egrediar ante facies armatorum . . . aut quid tarn semotum a
professione mea."
The connection of Chartres with Champagne was never
continuous, and came to an end in 12 18 with the death of^
Thibault VI., who died without heirs, and the earldom of
Chartres was then practically merged in the royal domain0 '
In 1280 the earldom was sold to Philippe le Bel, and then
given by him to his brother Charles of Valois, under whom
the town was officially recognised as a town or commune in |
1296.
Chartres reverted to the crown in 1346 (the year of
battle of Cregy), and in 1360, shortly after the conclusion
the humiliating Treaty of Bretigny — a treaty so called from'tii
village of Bretigny, near Chartres — by which King Jean III
regained his liberty; the town was visited by our Edward III.
* in 1
the)
1 / I
, THE CITY OF CHARTRES 5
I
•, A few years later (1369) Charles V. held a general assembly
at Chartres to discuss the renewing of the war with the
English.
In 1409, in Charles VI.'s reign, the sons of the Due
d'Orleans were publicly forced to be reconciled in the cathedral
to Jean Sans Peur, their father's murderer. Such a recon-
\ filiation could not last, and war ensued in the following year.
t*/1'' Taken possession of in 141 7 by the Burgundians, it re-
mained in their hands and in those of the English till 1432,
when, as being the key to Paris, it was recaptured by Dunois,
who, with Jeanne d' Arc, had overthrown the English at Mont-
, argis in 1427, and won the battle of Patay in is 29.
^|l Henry V. of England made a pilgrimage o Chartres in
' 1421.
Peace being made at Arras in 1435 between Charles VII.
and the Burgundians, the English a few years later were driven
out of France, and the land of La Beauce had rest for nearly
200 years.
Francois I. made the earldom into a duchy for his sister-in-
'Btw Renee in 1528.
In 1562 the French Protestants, under the Prince of Conde,
ravaged the country, but being unable to enter the town, went
northwards, and were defeated at the battle of Dreux.
In 1568 the Prince of Conde besieged the town to no real
- nurpose : it was strongly fortified, and the attacking force
^ \iade a breach in the walls, but tradition says that a statue of
the Virgin, which looked down from the Porte Drouaise,
became bullet-proof, and, further, that all Protestants who
looked upon it at once fell down dead, as though they had
f gazed on the Medusa of antiquity.
In 1548 the young Queen of Scotland, Mary Stuart, then
betrothed to the Dauphin Francois, came to place herself
plunder the protection of Notre Dame de Chartres. She Was
' accorded a grand reception, receiving a most flattering ad-
dress from Canon Charpentier.
Henri IV., in January 1591, attacked the town, and, after
three months' siege, took it by assault, and transferred to it the
i\seat of his government. He then laid siege in 1593 to Dreux,
■Vod, after taking it, and recanting his Protestantism, was
crowned in the cathedral with great pomp and ceremony in
1594, by Nicolas de Thou. Henri IV., after retaking Paris,
■fl
6 CHARTRES CATHEDRAL
left Chartres not at all disinclined to revert to its daily rouncv
of simple and peaceful life.
Louis XIII. in 1623 bought the Duchy of Chartres from
Henry of Savoy and gave it to his brother Gaston d' Orleans.
The great Louis XIV. gave it to the Due d' Orleans, and from
that time to this the eldest son of the Due d' Orleans has borne .
the title of Due de Chartres. r> '
In the terrible days of the Revolution Chartres had its fulX
share of horrors, when no one was safe, when the streets swam
with blood, and the churches were subjected to nameless
desecration.
In the war of 1870 Chartres, being less important J
than Orleans, escaped with occupation only by General
Wittich, the hero of the attack on Chateaudun, where the \
French with a few hundred francs-tireurs held over 12,000
Germans, with 30 guns, in check. Poor Chateaudun had to
suffer for its bravery, as, after being reinforced, the Germans
destroyed the greater part of the town by fire. What Chartres
would have had to undergo had it been fortified, or attempted
to be held, may be easily imagined, but the town may well b^- r\
thankful, even though it has not, like Chateaudun, had thex
glory of the red ribbon of the Legion d' Honneur awarded
^ twenty-six years after the occurrence.
Of the famous men of Chartres, other than the bishops,
who are placed in a separate list, the following must be
mentioned: — /«
Twelfth and thirteenth centuries. — Foucher de Charti es,
1059-1127, who wrote on the First Crusade. Bernard de
Chartres, philosopher and poet. Amaury de Chartres,
theologian, 1204.
Sixteenth and seventeenth centuries. — Jehan Texier, or
Jean de Beauce, the architect of the pourtour of the choir I
and the clocher neuf. Desportes, 1 546-1606, and his neuhetf-
Mathurin Regnier, poets and satirists. Pierre Nicole,
theologian and writer, of the Port Royal School, 1625-1695.
Etienne d'AHgre, Chancellor of France (1635). Michel
Felibien, historian 1666-17 19.
Eighteenth and nineteenth centuries. — Dussaulx, 1728-
1799. Brissot, 1 756, executed 1793. Jerome Petion, Mayor
of Paris, died 1793, both Girondists. The Abbe Sieyes,
j
THE CITY OF CHARTRES 7
Vicar-General of Monsigneur de Lubersac, the theorist of
the Revolution. General Marceau, who died of wounds
C. Blin, Photo.]
QUEEN BERTHA'S STAIRCASE.
at Altenkirchen in 1796, aged only 27 ; he is commemorated
by a statue and a square. Chauveau-Lagarde, 1769-1841,
8 CHARTRES CATHEDRAL
the advocate, who was counsel for Brissot, Charlotte Corday;
Queen Marie Antoinette, and of Madame Elisabeth.
In the town there are many old houses to be seen in spite
of the building fever that prevails. The oldest is probably
that now occupied (it has been restored out of all knowledge)
by the Post Office, opposite the vieux clocher. It was a
canon's house in the thirteenth century. *
The House of Loens, partly of the same date, now a
military bakehouse, should, if possible, be seen, as it was
a cellar belonging to the cathedral Chapter, in which pro-
vision and stores were kept.
There are two houses in the Rue de la Poissonnerie of the
fifteenth century, with overhanging gables and carved lintels
from the fish on one of which the house (Maison du Saumon)
takes its name. Close by is a staircase, from which fine views
of the surrounding extent of country are to be had. Lower
down, on the right, in a garden, is the wooden sixteenth-century
staircase known as the Escalier de la reine Berthe. It is a
spiral staircase of wood, mostly enclosed, about 32 feet high
and 10 feet 6 inches in diameter. The carvings are chiefly^J
statuettes. Inside is a door between two twisted columns.
Queen Berthe was the wife of King Robert — 1020.
Near S. Aignan's Church is an old house, much restored ;
and almost opposite is an old house with the front partly
built out upon four columns, now used as a wine-store, f*
etape au vin. ♦-
The house of Claude Huve (Rue Grind Cerf, 8) has an
interesting Renaissance front with the inscription —
SIC CONSTRUXIT CLAUDIUS HUVE
IATPOS DECORI URBIS
AC POSTERITATI CONSULENS
1.
The Hotel de Ville (in the Place des Halles) is a seventeenth
century house, built in red brick with stone facings, built by
the Montescot family in 16 14. The Museum, on the first
floor, contains a few good pictures, a fair natural history
collection, and the Laye collection of arms and armour,
medals, porcelain, etc. There are also five pieces of Flemish^
tapestry which were removed from the choir of the cathedral. V
Based on Raphael's cartoons, they seem to have been made
J
THE CITY OF CHARTRES 9
at Brussels. The sixth of the set, or what would seem to be
so, is in one of the side chapels of S. Ouen at Rouen.-
There is also a very fine fifteenth-century triptych in needle-
work, of which the subjects are : in the centre a " Descent
from the Cross," and on the wings "S. Catherine" and "S.
John."
fr In a case are the arms of Philippe le Bel, given after the
battle of Mons-en-Paelle in 1304; and near them some of
the armour of Charles V., the first Dauphin of France. The
workmanship of the border of the steel boot seems to warrant
the date, fourteenth century.
The collection of Roman remains is also worthy of attentive
\\ study.
The Museum is open to visitors daily from noon to 3 p.m.
On Sundays and Thursdays from 2 p.m. to 4 p.m.
The Library is in the same building on the other side
of the staircase. It is rich in early manuscripts, removed
from the churches and religious foundations at the Revolution.
It is open on Mondays, Wednesdays, and Fridays, as a rule,
7* from noon to 3.30 p.m.
The Porte Guillaume is the only gateway that is left of
the ancient fortifications of Chartres. It has been so much
restored that, apart from its history and some of its details,
|t is difficult to realise that it was a fourteenth - century
building.
Near the Rue de la Poissonnerie is the entrance gateway to
the old Hotel de Ville, of thirteenth-century work.
\
V
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THE WEST DOORWAYS.
*
CHAPTER II
HISTORY OF THE CATHEDRAL
All the chroniclers of the Middle Ages seem to have accepted
without any questionings the fact of the foundation of a church
at Chartres before the birth of Christ. Chassanreus in his
" Catalogus Gloria Mundi" part 12, says : "Nonne notum est
apud Francos quod ecclesia beatissimae Virginis Mariae Car-
— • * notensis fuit ante Christi adventum aedificata in honorem
Virginis pariturae? de quo demonstratur quod si alii gentiles
de Christo verba prophetisaverunt, tamen Franci facto in eum
crediderunt, prout et Graeci qui templum Deo ignoto con-
struxerunt."
The " Legenda aurea sive flores Sanctorum" of Jacobus de
1 \ Voragine imputes to this Druidical legend of the Virgin who
should bear a son an Egyptian origin. He says : " Legitur in
historia scolastica quod Jeremias propheta, in Egyptum de-
12 CHARTRES CATHEDRAL
scendens post mortem Gedaliae, regibus Egypti signum dedit
quod eorum idola corruerent cum virgo filium parturiret. Qua
propter sacerdotes idolorum imaginem virginis, puerum
gremio bajulantis, secreto loco templi statuerunt, et earn ibi
adorabant. Sed a Bartholomeo rege postea interrogati, quid
hoc sibi vellet, dixerunt paternae tradicionis hoc esse
misterium quod a sancto viro et propheta eorum majores ^
acceperant, et sic in tempus venturum credebant."
This tradition of a Druid dedication to a " Virgini pariturae "
is borne out by other similar dedications.
Schedius, " De diis Germanicis" p. 346, says: " Hinc
Druidae statuas in intimis penetralibus erexerunt Isidi seu
Virgini" et qua Alius illic proditurus erat nempe Generis %
humani redemptor." A stone marked "virgini paritur^e
druides," found at Chalons Sur-Marne in 1833, on the site of
a pagan temple, bears out the quotation from Schedius.
Probably the key to the riddle, if any solution is required,
is to be found in the word Isidi. The Egyptians, as well as
the nations who borrowed rites and ceremonies from them,
had a similar worship of a virgin mother and a son, but as {heir I
worship antedates the prophecy in Isaiah vii. 14 by several
centuries, it must be attributed to an origin further east, or
to some of the elaborate Babylonian rites, which also paic1
great honour to a virgin mother and her child.
In Etruria, in Greece, in Thibet, in Peru, in Siam, the
same belief has prevailed, and universal acceptance of the cult
in some form or another is indicated.
This is a question which is as interesting as it is intricate,
and cannot be exhaustively treated in the space at com-
mand. The fact is that Christianity was introduced into
Western Gaul during the lifetime of S. Peter, who sent thither S.
Savinien and S. Potentien. These in their turn sent from Sens,
which even then, as it were prophetically, was the spiritual superior
of Chartres, S. Altin and S. Eodald, who seem to have con-
ducted a very successful mission in pagan Chartres. Whether
it was so successful that the Druids gave up their rites and
mysteries for those of the missioners, it is difficult to say ;
but such a step would account for the use of the pagan temple
or underground crypt by these early Christian worshippers. /
Later, as the number of the latter increased, a church of small
size was dedicated to the Virgin on the site of, or actually over,
\
HISTORY OF THE CATHEDRAL 13
7 . .
the Druidical temple. Towards 200 a.d. we find that the
name of the first Bishop of Chartres was S. Aventin.
This spiritual growth of the Church at Chartres was, as
elsewhere, the signal for very bloody persecutions. In the
time of Quirinus they were specially virulent, and his daughter
Modesta was among the victims. The bodies of the victims
/ were thrown down a well which was near the altar of the
Virgin, and which was known thereafter as the Putts des
Saints-Forts. Soon after this the then existing church was
destroyed.
The building which was next raised had an existence of
nearly four centuries, from the middle of the fourth century
to the time of Hunald. Constantine, by the Edict of Milan,
313 a.d., proclaimed toleration to Christians throughout the
empire, and portions of the Martyrium {v. p. 100) are con-
sidered to have been part of this Gallo-Roman church. Nothing
is known of the history of this building till the fact of a fire
is recorded in 753.
> Hunald, Duke of Aquitaine, being in revolt against Pepin
the Short and Carloman, the sons and heirs of Charles
Martel, attacked Chartres, and ruthlessly burned the church.
Later on, in remorse, he renounced the world and took monastic
vows in the He de Rhe.
In 753 measures for rebuilding were adopted, and Pepin ten
vv years later made a grant of part of the forest of Yveline for
• the purpose, but the church had a short existence, being
destroyed by fire by the Normans in 858 under their dreaded
leader Hasting. All the resident ecclesiastics, and all who
had fled into the church as a sanctuary were brutally murdered,
and their bodies thrown into the Puits des Saints-Forts.
The next Bishop Gilbert or Gislebert put his hand to the
. task of rebuilding towards 858, and eighteen years later the
church was enriched with the most precious relic, which, not-
withstanding other fires, wars, and the Revolution, it still
proudly possesses — the Camisia or the Tunica of the Virgin.
(For this v. p. 95.) In this rebuilding the Martyrium seems
to have been enlarged, the walls with the openings for
^v windows pierced in them being presumably of this date.
Vl Bishop Ragenfredus made himself responsible for the decora-
tion, having had lands conveyed to him by Hugh the Great,
the father of Hugh Capet.
i4 CHARTRES CATHEDRAL
This building, however, was not to be allowed to last long,
for in 962 it was burned, together with the town, by Richard,
Duke of Normandy, who had been attacked by Thibault le
Tricheur.
Again, the then Bishop Wulphard, whose predecessor only
survived the destruction of the church a week, began the re-
construction on the old foundations. He strengthened the
existing walls in the Martyrium, and planned and carried out
a transept on either side of it, in position to the east of the
present transept of the nave.
This church is said to have had a richly ornamented front,
and a roof by Teudon, who was also the donor of the original
chasse, or shrine for the Camisia.
Unfortunately, this church, in September 1020, when Ful-
bert was bishop, was struck by lightning, and caught fire. Of
Wulphard's work nothing was left standing but the transept
walls and the Martyrium. It seems probable that the greater
part of the buildings erected on the site up to this date had
been of wood.
From 1020 till 1028 Fulbert worked indefatigably at the
task of rebuilding. And his energy was not merely confined to
local effort and local assistance ; he called on all good Christians
from the lowest to the highest to help him in the work. He
applied to Robert the Pious, King of France, and to the other
kings of Europe, and to all the great feudal lords. Canute
contributed liberally, and was thanked by Fulbert in a letter
which is still preserved. Canute was the first in the list of
English kings and nobles who have been connected with
Chartres and its history.
Fulbert was loyally supported by the people, and he began
his work by enlarging the crypt, and building three large
chapels opening out of his ambulatory.*
After finishing the crypt thus enlarged, in 1024 he turned
his attention to the church proper, and before his death, in
June 1028, the building had made some progress, for a belfry
was built on the site of the present sacristy, and equipped with
a bell, weighing over two tons, presented by a donor named
Jean.
* A MS. (date early twelfth century) preserved at Chartres gives a repre-
sentation of this church, and also a portrait of Fulbert.
fc?
I
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:?--.
PflH(§7\ '
HAl fK
.
THE SOUTH-WEST TOWER OF THE CATHEDRAL. /^\
[From a drawing by Gerald C. Horsley. |
(Published in "Architectural Drawing." Messrs Cassell & Co.)
HISTORY OF THE CATHEDRAL
*5
( Bishop Thierry went on with the work, but in 1030 a fire
( burned the roof and the belfry, which, presumably, were of wood.
Henri I. paid for the
re-roofing of the nave. f N
Bishop Thierry, after the
roofing was finished,
,veopied the example of
11 his predecessors and en-
larged the crypt and the
church. The formal
dedication took place
\on October 17 th, 1037.
VTo wards 1050 a porch
at the west end was
made, and thirty years
or so later porches to
the north and south
transepts * were made.
Of the latter porches
.'traces have been found
' in recent alterations to
the building.
William the Bastard,
better known in England
' V as William the Conquer-
or, offered the Chapter a
belfry in wood.
The Chapter also de-
cided, in 1092, to erect
one in stone to take the
place of that destroyed
by fire in 1030, the site
"of which had been built
upon by Bishop Thierry.
It seems that it was built
at the west end of the
church.
The next Bishop (S. Ive) devoted his energies to the
decoration of the interior, and from the Chartulary it is clear
* A south porch attributed to Jean Cormier, physician to Henri I., was
erected before 1060.
Plan of Fulbert's Church, showing the
position of the later additions.
i6
CHARTRES CATHEDRAL
that he spent large sums on altars, hangings, and a screenA
but very little on the fabric. Mathilda, the wife of William '
the Conqueror, defrayed the cost of bells for the belfry, and
of the substitution of a leaden for the previously tiled roof.
The church had an apse ;
for, from the same source,
we read that one of the*
canons (Henri) rebuilt its I
roof and surmounted it with
a gilded angel.
The town of Chartres in
1 1 34 was mostly destroyed j
by fire, and the western y
part of the church suffered
so much that it was de-
cided to rebuild it. The
previous front (1050), and
the tower of 1092, were
pulled down, and the nave
and aisles were carried oneX
bay farther west. At the V
end of each aisle a tower
was built, and between the
towers a front, of which the
present porches, the front »/
up to the rose - window/
(subsequently re - erected
flush with the towers), the
south tower, and the north
tower to the third storey
formed part. The southern
belfry, usually known as Le
vieux clocher, was begun int *"
1 1 10, and in 1144 masons
were engaged on the two
towers at once, and by n 70 both were finished. The southern
one was finished with a stone top, the other with wood overlaid
with lead.
While the towers were in full progress — i.e. in 1145-1150—^
the^three stained-glass windows in the front were inserted, and
the very interesting work of the western porches was finished,
Carved Impost in the S.-W. Tower.
[Soc. Arch. d'Eure et Loir.
filt
HISTORY OF THE CATHEDRAL
i7
e last touch being the addition of the figure of the Virgin
Mary over the right-hand doorway (1150).
At this same busy period the crypt windows were enlarged,
and some frescoes were painted on the walls of the crypt,
traces of wh'ch were visible when Durand began to re-decorate
that pat t of the church. A door into the crypt near the Maitrise
'•Jsouth-east corner) was also made at this time.
,V In 1 1 94 fire again destroyed the greater part of the building
reared by Fulbert, the only parts that
escaped being the western front, with
its towers and its glorious painted
b^lass, and the crypt. The Camisia,
ejjhe pride of Chartres even then, was
preserved by the presence of mind of
two priests, who took it for safety
into the Martyrium, where it remained
for two days.
There was now no Fulbert to stir the
, people with his eloquence; but the
i j?apal legate, Cardinal Melior, came
■ forward, and, in response to his im-
passioned appeal, the clergy and good
folk of Chartres undertook to rebuild
the cathedral with all the splendour
"they could, and to make it so strong
9i>hat it should be able to withstand the
devouring forces of time and also of
fire. Their undertaking was truly
carried out, and the fabric now is what
they made it. The Bishop Regnault
de Moucon and his Chapter gave up their stipends for three
years to further the progress of the work they had in hand.
U* From Jean le Marcharid, who wrote in 1262, we learn
that many pilgrims came to the church, attracted by the
miracles that were said to have been wrought there. The
reputation thus acquired brought pilgrims from all the countries
of Europe, and the pilgrims, like those to the shrine of the
\v,murdered Edward II. at Gloucester, helped by their lavish
'Offerings to pay the wages and the keep of the workmen en-
gaged there, to supply the precious metal and furniture re-
quired for the interior.
Summit of the North-
west Towep.
[Soc. Arch. d'Eure et Loir.
iS CHARTRES CATHEDRAL
As early as 1226 Guillaume le Breton wrote that it
was "entirely rebuilt in ashlar work," and that it "had
nothing to fear from any earthly fire from that time to
the day of judgment," quaintly adding, that "it would save
from fires eternal the many Christians who by their alms
had helped in its rebuilding." But there was much to do yet J
in the way of finishing it according to the plans of its builda
The north and south porches and several smaller towers o! -.
turrets were unfinished, and the interior had to be glazed.'
However, by October 17, 1260 — only sixty-six years after the
fire— the vast building, practically as we have it to-day, was .
ready for consecratio/
Yby the Bishop, Pierre i
Mincy. At this cere-
mony Louis IX. (Saint
Louis), the donor of so
p>N$ - ._-,
\j a *S many windows (v. p. 68),
1 J- *T y? %S anrl nf the* North PnrrVi
and of the North Porch,
attended with all the |
royal family. \
After this consecra- 1
tion the work still went
on, the north and south
porches being finished
about 1275. 1^
Early in the fourteenth
Masons' Marks— Thirteenth Century. rpnh,n, tv. thrpp crnhlpQ
[Soc. Arch. d'Eure et Loir. century tne tnree gaoies
and galleries, niches and
statuettes in the upper portions of the various fronts were I
finished, and a small bell-turret was erected on the choir roof
in 1306 for the bells, known as " Commandes." Three years
later a similar turret was erected in the middle of the transept |
roof, but both of these being wood were destroyed in 1793. \T-
In 1 3 10 the Sacristy, with the tower next to it, were built.
The latter has been converted into a shaft for the warming
apparatus.
In 1324 the Chapter built a chapel in honour of S. Piat
over the existing Chapter-house. S. Piat's body was a highly^
respected relic since its deposition in the church in 13 10, a/KN
the alms of the faithful helped the Chapter considerably in
meeting the expense.
HISTORY OF THE CATHEDRAL 19
f In 1368 the two towers that flank the gable on the south
iront were constructed.
In 1386 the belfry was covered with lead.
In 1395 the old belfry was repaired at the top, and the bells
were placed in position in the belfries.
Little was done in the fifteenth century to the fabric beyond
*fj£ erection of the Vendome Chapel between two of the massive
buttresses on the south side of the church. Louis de Bourbon
gave the chapel in 1413, and it was begun in 141 7-18. It will
be seen that it is the only chapel that has been protected by
^eing built between the buttresses, and it is for this reason that
sjo many of the chapels and altars which are known to have
existed in the church cannot be now traced. Many of them
were merely placed near a pier in the nave or ambulatory, and
many against any available piece of wall. Most of these altars,
of which there were thirty-nine, were demolished in 166 1. Of
late, this chapel has been so restored (as the French understand
the word) that it looks like a new addition.
After the destruction of the wooden spire of the new belfry
it July 1506 the Chapter decided to substitute stonework for
wood, and to make it a few feet higher than before. The
architect was Jehan de Beauce, and the work was done in six
years, from 1507-15 13 (v. p. 42). The same architect in
1520 erected the clock-house to the north of the north tower.
r'^he bell was meanwhile being cast at Boulogne by Pierre
Si y vet.
In 1674 a fire broke out in the new belfry, but was got
under before the whole of it was destroyed.
In 1683 elaborate plans for water supply were proposed,
but being too costly, were dropped.
From 1514 to 1723 the enclosing of the choir was carried
on with occasional intervals, in which, probably from lack of
tunds, nothing was done at all. (For this v. p. 77.)
In 1 741 began the consideration of alterations in the fabric
of the choir. The plans, one must hope, were undertaken in
the hope of further beautifying what was already really fine,
but the result is terrible, and the architect, Chartier, has much
iVor which to answer, though the Chapter were quite as much
\t\ > blame.
v After due consideration the screen (jiibe) was demolished
in 1763, and a wrought-iron screen erected in its place. This
20 CHARTRES CATHEDRAL
connected two pillars which were adorned with bas-reliefs aili
figures. Four years later the colossal marble group repre-
senting the "Assumption," by Bridan, was installed. If the
Chapter had now only stayed the hand of the destroyer, much
insult to the genius loci might have been spared. The
tapestries in the choir were removed — they are now in the
Museum at the Hotel de Ville, — and in place of them wefe
set up eight bas-reliefs in glaring white marble, finished in
1788. This was quite in keeping with the degradation of the
piers in the choir by their coatings of stucco, painted to re-
semble marble, and the alterations to the soffits of the arches
so as to fit them for the flat stucco panels and the meaning-
less ornaments. To enable all these alterations to be bettjpr
seen, eight of the windows in the clerestory, given by S. Louis,
were removed.* But a time of greater tribulation was at hand.
Chartres, it is true, had not undergone a Reformation, but it
was now to undergo worse trials at the hands of the savage
crew of Revolutionaries. In 1790 the Chapter was abolished,
and in the next year the Convention — Bishop Bonnet and his
college of vicars — took its place. Bonnet had every intention
of enriching the cathedral at the expense of the churches that
were being suppressed wholesale in the town, and to him are
ascribed the so-called chapels in the two transepts — viz. that
of S. Lazare, and that of the Transfiguration, but in 1792
Bonnet was ejected by the town council, and died in the next
year. i
Then began a veritable reign of terror for the cathedral.1
The Treasure was despoiled ; the shrine containing the]
Camisia was opened, and the Camisia torn in two ; the statues,!
including those affixed to the piers in the nave, were sold foil
100 francs, and the large collection of relics was dispersed J
Some of these were collected and buried in the aisle neaJ
the chapel of S. Piat. The primitive statue of the Vir^ni,!
for which a Druidical antiquity was claimed, was turned out]
of its place in the church, and, in December 1793, burned in
the street opposite the western front.
If the church had been of wood or had had a timberedl
roof, there would now have been nothing but a picturesqu<f
ruin. As it was, some misguided spirits seriously propotf>
to pull it down because it " dominait trop la cite rlpublicaineA,
* The cost of these alterations was 450,000 francs.
HISTORY OF THE CATHEDRAL 21
£ Jut were deterred probably by the amount of labour that they
saw it would involve to cart away the stones. It was con-
verted into a Temple of Reason in 1793, on the lucus a non
lucendo principle, and was polluted by low orgies in every
part of the building. The group of the " Assumption " was only
saved by the presence of mind of an architect — Morin by
i-ame — who placed a red cap of liberty on the head of the
Virgin and a lance in her hand. In 1794 the official cult of
Reason ceased, and the Christian religion was restored, and
since then, beyond a short repetition in 1796 of the follies
and crimes of 1793, nothing has happened to interrupt the
regular course of the services of the church. The lead on
tae roof of the nave, weighing 458,164 livres, had an ap-
preciable value, and was removed by the revolutionary Com-
mission for Public Works. Most of it was sent to Paris, and
the rest was made into bullets, and the vaulting remained
uncovered for fully two years without suffering seriously in
consequence.
a Early in the present century the Camisia was reverently
pieced together, and placed in a new shrine, naturally of
less interest than its predecessor.
In 1806 the statue of la Vierge noire, or Notre Dame du
Pillier, was set up in the north aisle of the choir.
The Bishop was reinstated and the Chapter restored in 182 1,
after an interregnum of thirty-one years.
In May 1825 the new belfry was struck by lightning and
had a narrow escape from destruction. The fire, fortunately,
was put out at once, but the risk showed the necessity for the
installation of lightning conductors.
Carelessness on the part of two plumbers, in June 1836,
brought about another serious fire, and the whole of the wooden
r'io{—foret, as it was called — was destroyed, together with the
staging in both of the western towers and most of the bells.
The fire raged for twelve hours — from 6.0 p.m. to 6.0 a.m. —
and nothing could be done to get it under. In the end it
died out, as there was nothing left to burn. The stone vault-
v ing of the nave, choir, and transepts was the salvation of the
Vuilding; and the boasts of the thirteenth-century builders
' came true. As soon as the disaster was known, all France
came to the rescue. The government voted 400,000 francs
at once, and subsequently raised the grant to 1,085,000 francs.
22
CHARTRES CATHEDRAL
The substructure of the new roof* is cast-iron, and the roofi
is made of sheets of copper.
n£>
Unfortunately, the fire rendered
necessary some rej-
storation of the*
north belfry, and
the work was
clumsily done. *%
In 1 839 the large
pew on the north
side of the nave
was constructed,
the carving in the.
back being tb
commemorate the
fire of 1836.
Since the cathe-
dral has been
scheduled as a
historic monu-
ment, the govern-
ment has devoted
considerable sums
to the repair of
the fabric, and
much has been
done in the way
of wholesale re-
storation which
might well have
been postponed.
The whole exterior
has been ove^
hauled from the
top of the new
belfry to the lowest
courses of masonry
in the chevet.
Parts of th
western front have
* The space between the vaulting and the actual roof can be inspected by
anyone applying to the gardien, who accompanies visitors to the belfry.
Timber- Work destroyed in
Fire of 1836.
[Soc. Arch. d'Eure et Loir,
HISTORY OF THE CATHEDRAL 23
been renewed, and the south porches have been (1 898-1 900)
taken to pieces, much new work inserted on the lines of the
old, but without the original devotional feeling, and the whole
strengthened with steel girders. The north porch will prob-
ably be taken in hand next, and similarly treated.
Most of the stained-glass windows, if not all, have been
fecently re-leaded, cleaned, and securely re-fixed. In the
early sixties the eighteenth-century screen was removed and a
low iron grill substituted : the chapel of the Sacred Heart of
Mary was polychromed in 1865-1867, and from that time to
the present the chief outlays upon the interior have been on
the chapels in the ambulatory.
4 The south transept is now undergoing the process of being
scraped, and the acres of colour-wash are doomed. It is a
pity that scraping rather than poulticing or washing is the
method .adopted, as the stone, though hard, must inevitably
suffer at the hands of a careless workman. It is to be hoped
that funds will never be so plentiful as to encourage the pre-
siding genius of the restoration work to daub over the whole
rof the interior with the so-called decoration in polychrome.
Such a measure would not be without precedent — witness S.
Germain-des-Pres at Paris, Notre Dame la Grande at Poitiers,
and S. Sauveur at Bruges ; but it seems a system of painting
utterly at variance with the spirit of any Gothic cathedral.
Here it would completely alter the character of the sombre
*and devotional nave, it would dwarf the magnificent simple
vaulting, kill all the effects of light and shade, and would alter
the scale of the whole interior.
^
TYMPANUM OF THE CENTRAL DOORWAY IN THE WEST FRONT-
CHRIST AND THE FOUR EVANGELISTS.
CHAPTER III
THE EXTERIOR
The outside is best studied at close quarters from the open
space in front which has been made by demolishing a block
of mean-looking houses, and different points of view may be^
selected at will on the south side, from the street near the
Post Office, which utilitarian France has installed in a
thirteenth - century house after a thorough restoration, and
from the entrance to the Maitrise.
On the north side the narrow street which leads up to the
north porch does not give much facility for study, and the ,.
houses at the north-west corner are at present in the way.
On the eastern side the choir and the apsidal chapels are
rather built upon, but from the open ground at the back of
the Bishop's Palace a good view may be obtained. From the
lower town the mass of the building may be studied better
than at close quarters. J
At first sight the massiveness of the proportions strike one
the most, but studied piece by piece the thoughtfulness of the
construction will become evident. The whole of the building
24
THE EXTERIOR
25
proper is simple and restrained, the porches and details are
a mass of symbolic ornamentation and graceful work. While
simple and restrained, the sense of strength in the building is
enormous.
VIEW (FROM THE OUTSIDE) OF THE STAIRCASE LEADING
FROM THE CHOIR AISLE TO THE CHAPEL OF S. PIAT.
[Soc. Arch. d'Eure et Loir.
The stone of which the cathedral is principally built came
\ from the quarries of Bercheres l'-Eveque, and is a limestone
^containing many rugged masses of flint. In the foundations
and in the lower part of the%towers enormous blocks measur-
ing 10 ft. x 3 ft. have been used, and it is easy to imagine
26 CHARTRES CATHEDRAL
the amount of labour involved in carting these blocks from the \
quarry.
H.J. L.J,M.,Phoio.\
FLYING BUTTRESSES OF THE NAVE.
The enormous buttresses and their flying buttresses in two*
tiers are another feature of the exterior. Five massive piers on
either side of the nave support the thrust of the vaulting of the
THE EXTERIOR 27
roof, which is borne by the flying buttresses of a construction
peculiar to Chartres. Each flying buttress is composed of an
upper and a lower portion, further strengthened by an arcade
with round headed arches, each consisting of two blocks of
stone, and supported by short, massive shafts. The arrange-
ment resembles the segment of a wheel with its spokes. The
1 original architect may have been afraid to trust to two flying
buttresses as are found at Soissons, and . therefore further
strengthened his work, with the unique result here obtained.
The ruggedly severe character of the work is noteworthy, and
perhaps it was the appearance of these buttresses that made
Racine say " La cathedrale de Chartres est grande, mais un
i peu barbare."
Between the buttresses will be noticed the early twelfth-
century windows of the crypt, the large windows of the aisles of
the nave, and, above, the clerestory windows, consisting of a
foliated circle surrounded by as many quatrefoils and trefoils
as could be pierced through the stone-work, with two lancet
windows below, taking up the whole available space between
two buttresses. These windows may be said to be an inven-
tion of the architect of Chartres. He has taken a bay between
a pair of flying-buttresses, and, after piercing the wall with
the largest circular window that was possible in the space,1
has filled the rest of the wall below it with two long windows
s extending from the sill right up to the outer edge of the
* moulding of the rose window. It seems so simple and
direct a way of lighting the nave that one wonders it was
not done before the thirteenth century. The nature of the
Berchere stone had much to do with the inspiration, as it
was hard and durable — witness the old belfry and the lower
part of the other, — and could stand the working necessary.
», The flying buttresses may best be studied from the gallery
immediately above the roof of the aisles of the nave, or from
the one above. Round the choir the sixteen flying buttresses
are differently treated : they are later in date, and lighter in
construction, the radial supports of the flying buttresses of
the nave being replaced by arcades of pointed arches with
,, small roses interspersed in the solid masonry between the
heads of the arches.
These flying-buttresses of the choir look very much less
graceful than the more solid ones of the nave. Although
y
28 CHARTRES CATHEDRAL
the filling between the two main members is lighter, the
general effect is not so pleasing, and the lateral supports
or braces give the impression that the work was found to
be insufficiently solid and strong.
A contrast will be noticed between the lead-covered roofs
of the aisles and the copper roof of the nave.
A Flamboyant chapel, begun in 141 6, and vigorously^
restored in 1872, somewhat breaks the uniformity of the
south front of the nave.
The galleries, with their stone balustrading, are simple and
graceful, but much restoration has been rendered necessary
by the damage done to the roof by the fire in 1836.
The south porch will be described in detail later, but its >
many beauties must not prevent a careful visitor from study-
ing the early work in the lowest stages of the ambulatories
on the south side. On the north side, the sacristy prevents
this. There is also a good doorway of early work leading
into the crypt, and the exterior of the staircase which leads
from the ambulatory to the chapel of S. Piat is very fine —
much finer than the chapel, which is choked rather by the
proximity of the library.
Formerly the .lower storey of the chapel of S. Piat (p. 89)
was the salle capitulaire or chapter-house, but now is used
as a schoolroom for the Maitrise. The chapel roof used
to be decorated with a gilded angel at the eastern end, but ,
this disappeared at the time of the Revolution. Both the
turrets contain winding staircases.
South Porch. — This porch is approached by a grand
flight of steps, and, though only about 6 \ feet wider than
that on the north side, seems at first sight to be very much
larger altogether. It is made up of three bays, each with
a pediment containing niches, and above is a gallery of _
large statues. This porch is devoted to the "Glorification of
Christ " as the Supreme Judge of all things, and the subject
is therefore the "Last Judgment," and of the many representa-
tions of this awe-inspiring theme, this porch is one of the
best, if not the best. Christ, as Judge, with the Apostles,
occupies the central bay, with the martyrs on His right ,
(the left bay), and the confessors on His left (the right-
hand bay), together with nine choirs of angels, the four-and-
twenty elders and the virtues on the vaulting and on the pillars.
C. Blin, Photo.]
THE SOUTH PORCH.
30 CHARTRES CATHEDRAL
The Central Bay. — The first thing to strike the eyes*"^
of the beholder is the grand statue of Christ, who is tread-
ing the lion and the serpent under His feet. Below are :
i. Pierre Mauclerc of Dreux praying. 2. The same, seated
with his wife Alix. Both are represented as donors of bread
to the poor. Round the figure of Christ, on the left wall,
are: 1. S. Peter, with Simon Magus under his feet. 2. S,*
Andrew. 3. S. Thomas. 4. S. Philip. 5. S. Matthew.
6. S. Simon. Opposite to these are: 1. S. Paul. 2. S. John.
3. S. James. 4. S. James the Less. 5. S. Bartholomew.
6..S: Jude.
: In the tympanum at the top is represented Christ seated
on a throne as the Judge, with the Virgin and S. Johnf
interceding for all sinners. Grouped round the Judge are six
angels bearing the instruments of the Passion. Below this
iare two scenes: 1. S. Michael weighing a soul, symbolised
here by a nude infant. On the other side of the scale are
a small devil and two toads, typical of mortal sin, and below
another little devil is tampering with the balance. 2. The
separation of the righteous and the wicked. On the right f
hand of S. Michael is an army of the elect, conducted by
angels to Abraham's bosom, which is represented in the
second row of figures of the vaulting. On his left hand,
on the lintel, are the lost, a crowd of kings, bishops, priests,
monks, and nuns, being led away by horrible demons to the
Hell's mouth close by, which, with its flames, is vividly por- f
trayed. The continuation of the lintel, on the left, shows
us: 1. An angel carrying a saint to bliss. 2. Abraham's
bosom with three souls in it. 3. A king. 4. One of the
elect. 5. A king, led by an angel. On the right-hand side
: are demons of terrible aspect, taking away persons of various
I degrees to punishment.
On either side of the central figure, the second row of m
figures represents the dead, who have been raised to go before
the Judge.
Over the Resurrection are nine choirs of angels : four
Cherubim and four Seraphim, six Dominations, eight Powers,
five Principalities, five Virtues, five Archangels, and twelve
Angels. The thrones are missing from their place here, but i*
will be found in the outer row of the two side bays.
The sixth tier contains twenty-eight small figures, arranged
I
THE EXTERIOR 31
/'in pairs, bearing scrolls or books, and representing the
I prophets ; and the seventh contains fourteen beautiful statues
of virgins who have fought the good fight and died in defence
of their chastity. Each holds in her hand a lily, a badge of
purity. In the gable, in a niche, is the Virgin, seated with
the Child Jesus, and two angels are censing.
.* The square pillars contain reliefs bearing on the main
/ subject of this bay — viz. on the two sides facing the trumeau
f pier the twenty -four elders, crowned and seated, playing
I on musical instruments. On the other two sides are
I the twelve Virtues, and the contrary Vices — viz. on the
1 left pillar, west face at the top: 1. Faith. 2. Idolatry.
3. Hope. 4. Despair. 5. Charity. 6. Avarice. On
1 the south side : 1. Chastity. 2. Impurity. 3. Prudence.
\ '4. Folly. 5. Humility. 6. Pride.
The pier on the opposite side has at the top, on the
! east face : 1. Perseverance. 2. Fickleness. 3. Temperance.
I 4. Drunkenness. 5. Concord. 6. Discord ; and on the south
\side : 1. Docility. 2. Intractability. 3. Mildness. 4. Anger.
/*5. Strength. 6. Cowardice.
The left or western bay is devoted to the noble army of
Martyrs, of whom eight are here represented as having been
more particularly concerned with the cathedral, all protected
by canopies, and trampling their earthly foes under foot. On
Jthe left are: 1. S. Laurence, as a deacon. 2. S. Clement,
nvith a pointed tiara. 3. S. Stephen, as a deacon, with S. Paul
beneath. 4. S. Theodore, in a coat of mail. On the right
are : 1. S. Vincent, with his faithful crow. 2. S. Denis,
Bishop of Paris. 3. S. Piat, Bishop of Tournai. 4. S. George,
who, like S. Theodore, is in a coat of mail. S. George and
S. Theodore are both very finely wrought figures.
, On the tympanum, and in the first band of the vaulting,
<rwe have, in four scenes, the story of S. Stephen — viz. in
(1), on the left, in the vaulting, S. Stephen before the Sanhedrin ;
, (2) the saint being dragged outside Jerusalem ; (3) his death ;
(4) in the vaulting on the right, the Jews laying their garments
at the feet of Saul. In the tympanum we see a life-sized
^figure representing Christ appearing to S. Stephen. In the
next, five rows of the vaulting there are twenty-eight small
statues of various martyrs. In the first there are eight
bearing palms and the seal of the Almighty ; in the second,
32 CriARTtfES CATHEDRAL
six receiving the Blood of the Lamb ; in the other three^
Levites, priests, bishops, kings, emperors, and popes, who
underwent martyrdom. The sixth row contains the parable
of the wise and the foolish virgins ; and the seventh contains
angels, cherubs, archangels, incense-bearers, and acolytes.
In the gable S. Anne is seated, holding a vase in which is a
lily, the symbol of purity; and also two acolytes. <^
The vaulting is in the main supported by two square piers, '
enriched with bas-reliefs framed in graceful vine foliage. The
pillar here on the left presents twenty-four scenes from the
Golden Legend of the deaths of martyrs. On the east face,
at the top, is : i. S. Thomas of Canterbury. 2. S. Blaise. ,
3. S. Leger, Bishop of Autun. 4. S.Vincent. 5. S.Laurence'
6. S. Cheron. On the south face: 1. S. John the Baptist. I
2. S. Denys of Athens. 3. S. Saturnin, Bishop of Toulouse.
4. S. Piat. 5. S. Procope of Alexandria. 6. S. Symphorien
of Autun. On the west face: 1. S. Calixtus. 2. S. Cyprian.
3. S. Ignatius, Bishop of Antioch. 4. S. Theodore.
5. S. Eustace. 6. S. Gervais and S. Protais. On the north
face: 1. S. Clement. 2. S. Potentien. 3. S. Lambert, Bishop
of Maestricht. 4. S. Vite and S. Modeste. 5. S. Bacche.
6. S. Quentin.
The right-hand bay is devoted to the Confessors, who are
represented by eight large figures — viz. on the left : 1. S.
Nicholas. 2. S. Ambroise. 3. S. Leo. 4. S. Laumer—
a fourteenth-century insertion : he was Abbot of la Perche/
and on the right: 1. S. Martin of Tours. 2. S. Jerome.
3. S. Gregory the Great. 4. S. Avit, Abbot of Micy.
This statue, like its fellow (4, above), is of the fourteenth
century.
The tympanum portrays the life of S. Martin and S. Nicholas.
On the left we have : 1. S. Martin giving away half of his
cloak. 2. Christ appearing, clad in the half cloak. On thJ^
right : 1. S. Nicholas, giving a dowry to three portionless
daughters. 2. His tomb with the miraculous drops of oil.
In the vaulting on the left, immediately above S. Leon, there
is the legend of S. Giles : 1. Giving his cloak to a beggar.
2. Met by the king. 3. Seated in his cell with a hind.
4. Accompanied by wild animals. 5. Visited by an ange»f**
6. Performing a' mass. 7. A squire holding the king's horse.
Above this row are five others, filled with warriors, monks,
THE EXTERIOR
33
Jiaymen, priests, deacons, bishops and archbishops, popes,
kings, and emperors, all wearing the nimbus of sanctity.
In the outermost row of the vaulting there are ten of the
Apostles — viz. at the left (at the bottom) : i . S. Peter.
\ 2. S. Matthias. 3. S. Matthew. 4. S. Andrew. 5. S. John.
j On the right : 6. S. Paul. 7. S. Thomas. 8. S. James the
Less. 9. S. James. 10. S. Bartholomew. In the gable the
.Virgin, seated, with a book, supported by two
/ archangels.
j Trie pier on the right shows us various
/ incidents in the lives of certain Confessors.
On the west face, at the top: 1. S. Leon.
2. S. Martin. 3. S. Lubin. 4. S. Avit.
3. S. Anthony. 6. S. Benoit. On the south
there are: 1. S. Gregory the Great. 2.
S. Remy. 3. S. Solenne. 4. S. Laumer.
5. S. Calais. 6. S. Hilaire. On the east
side there are, at the top: 1. S. Sylvester.
2. S. Martin. 3. S. Caletric. 4. S. Benoit.
%. S. Lie. 6. S. Arnoult. And on the north
.side, at the top: 1. S. Ambrose. 2. S.
J Martin of Tours. 3. S. Marcel of Paris. 4.
S. Giles. 5. S. Jerome. 6. S. Martinien.
The Western Front is the finest in
some ways, in that it is the most complete.
At the ground level there are the three rather
low doorways (which compose the western
or usual entrance), dating from the first half
of the twelfth century, 11 34-1 150. Every
available part of the three arches is covered
with sculptured figures and ornament, varying
from attenuated figures over life - size to
■ ainiature figures of a few inches. There the West
(are still traces of gold and colour on the (Soc. Arch^kure
more protected figures — e.g. in the tympanum et Loir)
of the central door. It has been supposed by some that the
motif of the doorways was copied or borrowed from the front
at Aries ; in any case, this doorway remains one of the typical
■^camples of Early Gothic work,
j Above the doorways are the three windows of about the
same date, perhaps a trifle later; above, again, is the rose-
34 CHARTRES CATHEDRAL
window, which probably re-
placed an early triplet window.
This, together with the gallery
■ — called royal from the kings
represented in it — is thirteenth-
century work, and the gable is
again a century, or nearly so,
later in date.
As at Paris and at Bourges
the thirteenth -century builders
kept the two western towers of
the previously-existing church,
and they also kept the west
front, though, as Viollet le Due
points out, the wrest front, which
formerly stood back so as to be
inside, or at any rate on, a line
joining the inner or eastern
sides of the western towers,
was removed, and made to run
flush with the western face of
these same towers. This change
of the original plan may have
been due to a wish to lengthen
the nave, which even now seems
short and small as compared
with the enormous choir with its
double aisles. Traces are to be
seen inside the church in the
space between the chapel of the
Seven Sorrows and that of the
Calvary, of what was once ex-
terior masonry of the two towers,
now isolated, apparently on a
blank, white-washed wall. Above
the front, when removed, were
placed the three original twelfth-
century windows and their pre-
cious filling of glass, and above
was inserted the existing rose-
window.
From the West Front.
(South side of central doorway.)
TH£ EXTERtOk 35
Over the three doorways two
pilasters with simple mould-
ings run up on either side of
the central window as far as
the rose, where they finish
with carved heads — on the
north that of an ox, on the
south that of a lion holding
a man's head, symbolising
the fortiter and the suaviter
of the Church, or perhaps
Vigilance and Sacrifice.
The windows are of extra-
ordinary size though they are
dwarfed by the proportions
of the whole front and the
towers ; of the three, that in
the centre measures 34 ft. 9
in. by 13 ft, while those at
the sides measure 28 ft. by
9 ft. Traces will be noticed
in the wall of arches over the
two side windows.
Above the cornice, not quite
in the centre of a rather stiff
square setting, is a jewel, a
chef d'ceuvre, in the form of a
rose-window 46 feet in extreme
diameter, "looking as expan-
sive and symbolic as if it were
the wheel of Time itself."
This window was copied in
1225 for the cathedral of
Cambria by Villard de Honne-
court, and is given in his
sketch-book.
Higher still is a gallery with
a delicate balustrade sup-
ported on a beautiful cornice
and stretching across the front
from tower to tower, and above
From the West Front.
(North side of south doorway.)
V ._
36 CHARTRES CATHEDRAL
it is a row of niched figures, with a strong family likeness
intended for the kings of France. The first seven are
Merovingians, and hard to differentiate ; probably Clovis I.,
Childebert I., Clotaire L, Gontran, Dagobert L, Thierry II.,
Clovis II., all benefactors of the cathedral; then comes
Pepin le Bref. The ninth was destroyed in the siege of
1 59 1, and was restored in 1855. Tenth in order is Philippe^
L, then Louis le Gros, Louis le Jeune, Philippe Auguste,
Louis le Lion, Louis IX. (S. Louis), Philippe le Hardi, 1270-
1285, in whose reign the gallery is said to have been finished.
From this gallery a fine view of the town can be got by those
who do not wish to mount the tower. At close quarters the
statues, which are boldly wrought, do not look, and probably
were not intended to look, as well as they do from the street
below.
Above the gallery in a niche in the gable is a huge statue
of the Virgin and Child flanked by kneeling angels holding
torches in their hands, and on the apex of the gable is the
statue of Christ in the act of bestowing His blessing.
The main idea of the western entrance is the " Glorification
of the Saviour," and it is carried out with most elaborate detail,
as will be seen below. From the fourth century the main
entrance to a church had the name of porta spea'osa, porta
triumpha/is, or, as here, the porte roya/e, as the " King of
Kings " is represented over the lintel of the central door.
Begun in mo by workmen who were acquainted with, V.
they had not actually worked on, the doorway of S. Sernin
at Toulouse, it was finished towards the year 115.
Taking, first of all, the statues, which attract the eye, from
their curious proportions — i.e. the very long bodies and the
small heads — one is struck by the life-like reality of the faces.
The various heads in the west front are most carefully carved
in a styb quite their own. Neither features nor details betra\|
the German, the Roman, or the Frank, they are the presenta-
tion of a race more like that of the old Gauls, and they seem
to show that the sculptor preferred to look around him for
inspiration, rather than to work out an ideal face.
Of the twenty-four original statues only nineteen are left.
From the costumes alone it would be no hard task to date trft
work of the porch, but the identity of the persons represented
is pure guesswork. Some have imagined that the figures are
A
THE EXTERIOR 37
\the ancestors of the son of David, following the genealogy in
s St. Matthew, chapter i.; others, again, have maintained that
they are saints and benefactors to the church, arguing from
the presence of the crowns on some of the heads.
' ^ Over the heads of most of the figures in the smaller door-
ways are very graceful canopies.
The capitals of the columns . contain a great variety of
carved figures, two hundred in all, which depict scenes in the
life of Christ, or in that of the Virgin, the subjects being taken
from the spurious as well as from the canonical gospels.
The series begins in the central doorway (the porte royafe),
with (1) S. Joachim and S. Anna sent away by the High
Priest for being childless; (2) their great distress; (3) their
••■visitation by an angel; (4) their meeting at the Golden Porch
of the Temple ; (5) the birth of the Virgin Mary ; (6) her
parents plan to take her to the Temple ; (7) they do so ; and (8)
watch her while going up the Temple steps ; (9) and return.
In the next capital (10) we have the betrothal of the Virgin
to S. Joseph; (11) the marriage; (12) the journey to Nazareth,
,with (13) the Annunciation; (14) the Visitation; (15) on the
right hand splay of the left doorway, the Nativity; (16) the Adora-
tion of the shepherds; (17) the wise men before Herod, and
(18) their Adoration of the Holy Child; (19) on the corre-
sponding splay the Flight into Egypt, and (20) the Massacre
of the Innocents.
Returning to the right hand side of the central doorway,
*
^we have (1) Christ among the Doctors in the Temple
(2) the Circumcision; (3) the Presentation in the Temple; (4)
the journey to Jerusalem; (5) the return journey to Nazareth;
(6) the Baptism in the Jordan ; (7) the Temptation ; (8)
Judas covenanting with the High Priest ; (9) the Last Supper.
Then, on the left splay of the right-hand doorway, (10) the Be-
*trayal in the Garden ; (11) the triumphal entry into Jerusalem ;
' (12) the Burial by Joseph of Arimathoea and Nicodemus ; (\$)
the Resurrection; (14) (on the opposite splay) Christ washing
the Apostles' feet; (15) the disciples' journey to Emmaus ; (16)
Christ sups with them before (17) their return to Jerusalem;
(18) the final appearance of Christ on the Mount of Olives.
In the left-hand doorway on the lintel (which is 8 feet 9
inches in width) are ten of the twelve apostles, seated, and
* Nos. 1 and 2, 10 and II, are in reverse order.
38 CHARTRES CATHEDRAL
looking at the angels who are coming down from Heaven andi
announcing the Ascension.
In the extreme top of the tympanum we have Christ stand-
ing on a cloud between two supporting angels.
In the vaulting are the months, and ten of the signs of the
»
mm
,.,.:\..:..
PEDESTAL FROM THE WEST PORCH.
[Drawn by Gerald C. Horsley.
I
zodiac ; and beginning at the bottom there are, on the right,
January, represented by Janus bifrons with Capricornus ; then
February, represented by an old man warming himself, and
Aquarius. For March, there is Mars, and a vine-dresser, and
the Fishes. On the other side of the doorway April and the
Ram ; then May, represented by a mounted huntsman with a^
falcon, and the Bull. June is represented by a haymaker,
THE EXTERIOR 39
and the Twins. Returning to the point of starting — i.e. next
to January, but in the next and outer row — the first is July,
a reaper and the Crab ; the next is August, with a man binding
a sheaf of corn, and the Lion. September is represented by
wine-making, and the sign of Virgo. On the other side of the
door October, the time for gathering fruit, and the Scales, or
"rather the remains of the female figure that once held them.
November and December are represented by a man killirg
a pig and eating portions of it, the two signs being the Scorpic n
for November, and the Archer for December.
The central doorway or porch is intended to represent the
kingdom of the risen Christ, who is in the tympanum seated
, on a throne, with His feet on a footstool. With one hand the
Saviour holds a book, with the other He is in the act of
blessing. Around Him are the four Beasts symbolical of
the four Evangelists, and below are the twelve Apostles
standing and conversing together, with single figures at each
end of the row.
The spaces in the first row in the vaulting are filled with
-' angels bearing books, scrolls, the other rows containing the
four and twenty elders, richly and variously clad, bearing
curious instruments of music.
The right-hand doorway — the usual entrance to the west-
end of the church — is the Virgin's doorway. Over the door, on
the lintel, are, from left to right, the Annunciation, the Vjsita-
\ tion, the Nativity, the angels appearing to the shepherds, and,
above, the Presentation of Christ in the Temple. In the
tympanum, we have the Virgin, crowned and throned, holding
a sceptre in one hand ; in the other, Christ in the act of bless-
ing. Two archangels, censing, complete what is a very fine
group.
The date of the statue of the Virgin is known to have been
t 1 1 50, having been given by an archdeacon named Richer.
In the first row of the vaulting on the left there are,
curiously enough, figures similar to those in the left door-
way, and which seem strangely out of place here — viz. the
Fishes and the Twins, and over them archangels censing. On
the right side are Pythagoras, and over him Music . striking
» three bells with a hammer. In the second or middle row
on the left is Dialectic, a figure with a lizard and a sceptre,
accompanied by Aristotle; next comes Rhetoric, a figure
4o CHARTRES CATHEDRAL
declaiming, accompanied by Cicero ; then Geometry, with a
compass, accompanied by Euclid ; next Arithmetic, a figure
with a book, and Nichomachus ; then Astronomy with a bushel,
accompanied by Ptolemy ; and lastly Grammar, a figure
threatening some young scholars with punishment, accom-
panied by Priscian.
Traces of painting are to be seen on some of the carvings. *
The South Tower in the West Front— The chief
part of this tower,* usually called the clocher vieux, dates from
about i no — with a pause at 1150, when the square part was
finished — to the year 1170, the date of its completion. This
tower from the first was entirely built of stone, and seems to
have been repaired for the first time in 1395, at the period <
when the bells were inserted in the belfries, but it was never
raised or altered in the design. It was again repaired in 1683,
and in 1753-54 the 40 ft. at the top were restored by Guillois,
and an iron cross and ladder placed to give access to the
top. Since 1836, when this belfry was gutted by fire, it is
only possible now to go up to the second floor, and that by
a ladder, not by any means a reassuring mode of ascent.
The enormous size of the blocks of stone will strike the
attention of the most casual visitor, but others will note the
union of massive simplicity with perfect grace, and agree with
Viollet le Due, who wrote of this tower that it was the finest
work of the kind in France. " The simplicity of its mass,
the perfect proportion of its various parts, its graceful outline, r
make it a work for constant meditation." " The base," he adds,
is " full, massive and free from ornaments, and transforms
itself, as it shoots up into a tapering octagonal spire, in such
a way that it is not possible to say when the heavier construc-
tion leaves off and the lighter begins."
In another place he points out, that the architect has shown -
an unusual restraint in his work, that all his effects are got*"
by his proportions, and not by his decoration, that the tran-
sition from the square tower to the octagonal fleche or spire
is a masterpiece that has never been surpassed. Everything
has been carefully thought out beforehand, nothing left to
chance. He finishes by saying that though this old clocher
* The base of this tower is, roughly speaking, a square, of which the
side is 54 feet, the other tower being rectangular, with its longest side
50 feet.
THE EXTERIOR
4i
is fifty years older than the church, it will, from its strength,
be still standing when the rest of the building has become
a ruin.
In the lowest stage there was formerly another entrance to
the church— viz. on the south
— but this is now blocked up.
This stage is lighted by two
small windows.
The second or belfry storey
is now open. The bells, Mary
and Gabriel, weighing 13 J and
10 tons respectively, were melted
down in 1793, and the belfry
wood-work was burnt in the fire
of 1836.
Out of the total height of this
south tower (349 ft. 6 in.), the
spire proper is 148 ft.; it measures
2 ft. 8 in. in thickness at the
lowest part, and 12 in. at the
top. Its ornamentation consists
chiefly of rounded mouldings on
the angles of the octagon. The
flat spaces between the mould-
ings are carved to represent
scales with semi-circular finish.
In the soffit of topmost
window, on the north side of
this tower, is the inscription in
big Roman letters : " Harman,
1 164 n.d.d." — i.e. Harmanus
nato Domino {i.e. a.d.) 1164.
It is most likely that he was
the magister operum. Littera
scripta matiet.
On the lowest part, south front of the tower, are three
statues, one representing an angel (&h ft. high), with out-
stretched wings, supporting a semicircular sundial (see p,
57), dated 1578; an ass playing on a hurdy-gurdy, and close
by, on the next buttress, a sow spinning. These two subjects
are a warning to the over-ambitious.
H.J. L.J. M., Photo.]
Mouldings— South-West Tower.
42 CHARTRES CATHEDRAL
The other sundial was erected by Canon de Bengy in 1763.
The North Tower {le clocher neuf). — Like its companion,
this tower, which is rectangular in plan, was built almost
at the same time as far as the third storey, but it was
finished with a timber spire overlaid with lead. This, after
being burnt down in the fire of 1194, was rebuilt in similar
materials, and lasted till another fire, caused by lightning,'
destroyed it in 1506. Jehan de Beauce was then com-
missioned by the Chapter to build the tower, and
instructed to make it higher and more beautiful than it
had been before. This work took from 1507 to 15 13. A
small fire broke out in 1674 in the watcher's room. Since that
time, beyond being carried up 4 feet higher in 1690 by Ange, r
who adorned the top with a bronze vase, the tower has not
been much interfered with till 1836, when the ringing
chamber and most of the bells were destroyed by fire.
Beginning at the third storey, where Jehan de Beauce also
begins, we notice first outside the delicate balustrade. In
the tower there is a pointed window, divided into two parts
by a clustered pier. The tracery is Flamboyant.
In this year the cross on the top was placed in position.
In the third tstage, on the wall inside, is an inscription, now
barely legible, in which the tower is made to tell its own
story.
je . fu . jadis . de . plomb . et . boys . construit. <*
grant . hault . et . beau . de somptueux . ouvraige.
jusques . ad . ce . que . tonnerre . et . oraige.
ina . consume . de gate . et . detruit.
le jour . sainte . anne . vers . six . heures de nuyt.
en . lanee . mil . cinq . cens . et . six.
je . fu . brule . demoly . et . recuyt.
et . avec . moy . de . grosses . cloches six, *
apres . messieurs . en . plain . chappitre . assis.
ont . ordonne . de . . pierre . me . reffaire.
a grant . voultes . . et pilliers . bien . massifs.
par . jehan . de beausse . macon . qui . le sut . faire.
l'an dessu dist . apres . pour . leuvre . faire
assouar firent . le . vint . quatrieme . jour.
du moys de . mars . pour . le . premier affaire.
premiere . pierre . et aultres . sane . ce jour. 1
et . en . avril . huitiesme . jour . expres.
rene . dilliers . evesque . de . regnon.
THE EXTERIOR
43
pardist . la . vie . au . lieu . du . quel . apres.
feust . erard . mis . par . postulacion.
en . ce . temps . la . que avoys . necessite.
avoit . des gens . qui pour moi lors veilloient.
du bon . du . cceur . feust . yver . ou este.
dieu . le . pardont . et . a . ceulx . qui . sy . employent.
1506.
H.J. L. J. M., Photo.]
CAPITALS-NORTH-WEST TOWER.
This window, which measures 13 ft. wide by 48! ft. high,
lights the fourth storey (in which are two large bells, Marie C.
/ 1 3, 2 28 lbs.), the tenor, and Joseph (about half that weight),
and extends from the bottom to the top of the fourth storey.
The fifth storey contains four bells :
Anne, D., .
Elizabeth, E.,
2040 lbs.
1510 „
Fulbert, F.,
Piat, G., .
1095 lbs.
870 „
* It is cleverly arranged, so as to conceal the origin of the
octagon by the prominence given to the four corners, where, in
each, the richly ornamented pinnacle work serves to tie the
44 CHARTRES CATHEDRAL
. /
balustrade to the tower, and to support three enormous sculp-v
tured figures. On the pinnacle at the right, next to the steps,
are S. John the Baptist with his goatskin, and the Agnus Dei,
S. Andrew with a cross, S. John bearing a chalice, and accom-
panied by an eagle bearing a pen and an inkstand. The second
pinnacle has upon it S. Paul with book and sword, S. Thomas
with a sword, S. Simon with a saw. On the third are S. Jame*
the Less, and S. James the Great as a pilgrim, and S. Philip
with a cross ; and on the fourth are S. Bartholomew, S. Peter
with a book and a key, and S. Matthew. These four pinnacles
are joined to the tower with light flying buttresses, ornamented
with graceful mouldings and grotesque figures.
The eight windows in this storey are simpler than those in
the storey below, but the hollow mouldings contain much
beautifully carved work — mostly running foliage and grotesque
little animals. The undercutting, considering the nature of
the stone, is wonderfully skilful. Over each of the lights is a
gable, in one of which is a Christ in the act of blessing, with a
book and a globe. This is, as the inscription sets forth, a
votive offering of the architect.
The bell-ringers ring them by means of a little platform
fixed at right angles to the beam which carries the bells,
and they stand so that eath ringer has to work one foot
for his own bell, and the other for that of his neighbour.
The sixth storey is also surrounded by a gallery, in flam-
boyant style, with many gargoyles, which is ornamented a
the corners of the octagon with pinnacles, each connected
with the tower and with the west pinnacle with light flying
buttresses. The eight faces, which are 23 feet in height, are
decorated with panels of rich tracery. Within is the room
for the watchmen, through whose carelessness, as the Latin
inscription tells us, the belfry caught fire in 1674.
Outside the western door is the 2nd verse of Psalm cxxvi.
NISI DOMINUS CUSTODIERIT | CIVITATEM FRUSTRA
VIGILAT I QUI CUSTODIT EAM | F.FOUCAULT.
The seventh storey, reached by a staircase, contains the bell
cast in 1520, by Pierre Sayvet (11,000 lbs.), on which the hours
are struck. The walls are pierced with sixteen trefoil-headec
arches. From this storey a grand view of la Beauce can be
obtained.
THE EXTERIOR
45
>
From this point of the tower the spire begins ; the edges of
the sides of the octagon are ribbed and crocketed, and the
H.J. L.J. A/., Photo. .]
RENAISSANCE CLOCK-TOWER.
* sides are ornamented with scale-work. The bronze top was
placed there by Auge in 1691, and in 1854 the cross was
added. On the top of the cross is a vane in the form of a
46
CHARTRES' CATHEDRAL
sun, thus forming a counterpart to the moon on the other
spire.
The bell has the inscription in black letter : petrus sayvet
me fecit, and three Latin elegiac couplets.
//. J.L.J. M., Photo.]
PARAPET AND CORNICE— NORTH SIDE OF NAVE.
Facta ad signandos solis lunaeque labores
Evehor ad tantas culmina celsa domus.
Annus erat Christi millesimus adde priori
Quinqentos numero bis quoque junge decern
Illo quippe anno quo Francus convenit Anglum
Perpetuaque simul discubuere fide.
The plan clearly shows that nine towers were intended
to be built on the church. They were intended to be as
H.J.L.J.M., Photo.]
THE NORTH PORCH FROM THE WEST.
48 CHARTRES CATHEDRAL
follows: — Two at the west end, as we find them now; tw£> '
at each corner of the north and south front — these are only
partly carried up; one on each side of the choir, before
the apse begins — their staircases are indicated in the plan
(Y,Y) ; lastly, a central tower to be supported by the
four mighty piers to be found at the point of intersection
of the transepts and the nave and choir. What the heigh*
of this central tower may have been intended to be is not
known, but it needs but a little stretch of the imagination
to picture the church with its nine towers, or rather with
its eight towers, all helping to set off the grace of that in
the centre. On the analogy of the tower of Jehan la Beauce
it might have soared to a height of nearly 500 feet, or, if
modelled on the more solid lines of the vieux docker, would
have reached only the height of 422 feet, a trifle less than
the graceful spire at Amiens.
On the north side a much more sombre view of the
building will be seen, as a rule, except on fine bright evenings
rather late, when the sun has got round to the north of
west. At the foot of the clocher neuf is a Renaissance worlf
clock, with a curiously wrought face. The buttresses ana
other details are the same on this side, though possibly in
better natural preservation, owing to the situation. The small
houses that flanked the eastern end of the north nave aisle,
as shown in old prints and engravings, have fortunately been
cleared away, and the greater part of the cathedral on this
,side, excepting the upper part of the tower and the clock,
as:of the early thirteenth century. Portions of the upper part
of the north porch, and, of course, the sacristy, are of the
next century.
The North Porch, which, like the others, is a mass of
symbolic carvings and enrichments, all excellently wrought,
is one of the finest specimens of its date, 12 15-1275. Like?
the other porches, too, it was richly painted and gilded,
and the effect must have been gorgeous.*
This porch, like that on the south side, was an after-
thought," and the buttresses were cut away, to the detriment
of the solidity of the transept ; for, as early as the fourteenth
* There were regulations in force which expressly stated that a carving -
for a church was not to be considered finished till it had been examined
by an expert and then painted.
THE EXTERIOR
49
century, ties were inserted to hold the porch and the church to-
gether. Taken together, the three bays measure in length 124 J
feet, and in depth 2 1 feet, and every available part is covered
with statues of all sizes to the number of 700, mostly of persons
who figure in the Old Testament history.
^ //./• L.J. M., Photo.}
q' THE PARAPET OF THE NORTH TRANSEPT.
The central bay gives the keynote to the whole porch
— the "Glorification of the Virgin"; the left-hand bay
gives her virtues, the chief incidents in her life; while the
right-hand bay gives us various Old Testament types of the
Virgin.
Taking, therefore, the right-hand bay first, on the walls
will be seen : 1. Balaam. 2. The Queen of Sheba.
50 CHARTRES CATHEDRAL
3. Solomon (with a jester). 4. Jesus, the son of Siracrf.
5. Judith. 6. Joseph and the wife of Potiphar.
In the tympanum over the door there are two subjects :
1. Job on a hearth, with a demon. 2. The Judgment of
Solomon.
Above, in the vaulting, which consists of several rows of
statuettes and carved panels, there are: 1. Twelve angers
carrying the heavenly bodies, torches, crowns, arms, etc., and
doing homage to Christ, who is here appearing to Job.
2. Eight panels, of which those on the left refer to Samson,
and those on the right to Gideon. 3. The story of Esther
on the left, and on the right that of Judith and Holophernes.
4. The story of Tobias.
On the outer edge are the twelve months of the year,
with the corresponding signs of the Zodiac, and just below,
in the vaulting, the allegorical representations of summer and
winter. Beginning on the left, they are : 1. January (Janus
Bifrons). 2. February. 3. March (vine-pruning). 4. April
(flowers and ears of corn). 5. May (hawking). 6. June (hay-
making). 7. July. 8. August (harvesting). 9. September
(vine-pressing). 10. October (sowing corn), n. November
(acorn-gathering). 12. December (pig-killing). The signs of
the Zodiac will be seen next to these twelve months, with
summer at one end of the row and winter at the other.
A finely wrought label, with undercut carving, runs round
the front of this bay. On either side of the bay, in a nich^
is a king seated ; in the gable is a bishop, between two angels,,
censing. In the actual front of this bay are four large
statues. Ferdinand, King of Castile, and a prophet on the
left; on the right, S. Louis with bare feet, and another
prophet. Beneath these four statues are the Arts and
Sciences : 1. Agriculture (Adam, Cain, and Abel). 2. Music
(Jubal with a lyre). 3. Metal work (Tubal Cain). 4. Median
(Hippocrates). 5. Geometry and Architecture (Archimedes
with a square). 6. Painting (Apelles). 7. Philosophy
(Aristotle). 8. Magic (a wizard and a dragon).
Round to the west of this porch are the statues of S.
Potentien and S. Modesta, the martyred daughter of Quirinus,
the Roman Governor. This latter is a beautiful piece of work,..,
but is being slowly spoiled by the iron band round the waist.
Below S. Potentien is a scene representing a baptism, and
THE EXTERIOR 51
then the martyrdom of the saint ; below, S. Modesta, le Puits
des Saints- Forts, and the death of S. Modesta.
The left-hand bay deals with the life of the Virgin. On
the splays of the porch wall there are large statues which
represent on the left : 1 and 2. The " Annunciation " by the
Archangel Gabriel. 3. Isaiah, the foreteller of the Incar-
ftation. Below these are various demons.
On the other side the subject is the " Visitation." The figures
are : 1 and 2. The Virgin greeting the aged Elizabeth, while
below are the Burning Bush and a prophet. 3. . Daniel, who
is trampling underfoot the worship of Baal. All these six
statues are fine in conception and execution, especially the
draperies. The canopies, too, which represent buildings of
various kinds, are wonderfully done. In the tympanum are
represented : 1. The Birth of Christ. 2. The Angels announcing
the glad tidings to the Shepherds. 3. The Adoration of the
Magi. 4. Their warning in a dream. The heads of the figures
are wonderfully perfect.
In the vaulting above, which is divided into rows or tiers,
there are in the first row ten angels carrying torches. In the
second, on the left, are the five foolish virgins, while on the
right are their wiser companions. They partly overflow into the
third row, which contains the Virtues (all women), and the
Vices. At the left at the bottom are — 1. Prudence with Folly
below. 2. Justice and Injustice. 3. Strength and Cowardice.
4. Temperance and Luxury. On the right are — 1. Faith and
Infidelity. 2. Hope and Despair. 3. Charity and Avarice.
4. Humility and Pride.
In the fourth row are twelve queens, with a very strong family
likeness, intended to represent some of the gifts of the Holy
Spirit. In the fifth are beautiful statuettes, which represent
the various occupations of the active as compared with the
contemplative life, typified by a woman's work. On the left
she is washing wool, carding it, stripping and combing hemp,
using a distaff, winding the thread. On the right she is re-
presented as praying, reading, meditating, teaching others.
At the ends of the moulding in the vaulting are, on the left,
a shoemaker at work, on the right, a monk reading.
In the last and outermost row are fourteen statues of queens
representing the fourteen Heavenly Beatitudes as described
by S. Anselm. They are as follows, beginning on the left at
52
CHARTRES CATHEDRAL
the bottom : i. Beauty, with four roses. 2. Liberty, with two
crowns. 3. Honour, with two mitres. 4. Joy, with an angel.
5. Pleasure, also with an angel. 6. Swiftness, with three arrows.
7. Strength, with a lion. 8. Concord, with two doves. 9. Friend-
pp^^p
MHHMH| MM —
' 1 ''&■
JH IHr -
1 y
1
PB- 1
ffri.
1
M *
1 ■ &
Ms 1
1.
•j
CENTRAL DOOR OF THE NORTH PORCH.
ship, with four doves. 10. Long life, with an eagle. 11. Power,
with three sceptres. 12. Health, with three fish. 13. Security^
with a castle. 14. Science, with a winged gryphon.
Before 1793 there were two large statues in the front of this
bay, which from the analogy of the porte royale at Paris, and
THE EXTERIOR
53
the south porch at
Reims, are said to have
been the Synagogue
with its eyes bandaged
over, and the Church
holding the Gospel. On
*the pedestal of the
latter are seen traces of
Strength overpowering
Cruelty, and Justice
slaughtering an ape.
Round to the east, fac-
ing the sacristy, is the
damaged pedestal which
supports what is prob-
ably Philippe III. (le
Hardi), the son and
successor of S. Louis,
;who succeeded to the
throne in 1270, while
this porch was being
built. The other statue
has quite disappeared.
At either side of this
bay (as in that on the
'right) are niches with
statues of kings, and
in the gable is a bishop
between two angels.
The doorway of the
central bay is divided
♦into two parts by a pier,
upon which are S.
Anne,* the mother of
the Virgin, with the
infant Virgin in her
* In 1204 the head of S.
\Anne was sent as a relic to
Chartres by the Emperor
Baldwin after the sacking
of Constantinople.
s---s£>
■\n
'1tH
Sculpture in the North Porch— The West
Pier of the Central Archway.
[From a drawing by Gerald C. Horsl
54 CHARTRES CATHEDRAL
arms. Below are traces of Joachim with his flocks, receivings
the news of the coming birth of the Virgin. The side
walls of this bay contain a series of statues in two sets —
those on the left representing Christ by His Old Testament
types, while some of those on the right represent Him in
person: viz. on the left — i. Melchizedech as a high priest.
2. Abraham and Isaac. 3. Moses and the brazen serpent*
4. Samuel sacrificing. 5. David with lance and crown.
On the right — 1. Isaiah with the stem of Jesse. 2. Jeremiah
bearing a Greek cross. 3. Simeon with the infant Jesus
in his arms. 4. S. John the Baptist in camel-skin, holding
a lamb and trampling the Evil One under his feet. 5. S.
Peter with the keys and pastoral staff.* Close to S. Peters
whose costume is that of a pope of the time, is Elijah, with
the wheels of his chariot of fire, and Elisha attempting to
keep him back ; and, on the other side, near Melchizedech,
Elisha restoring to life the son of the Shunamite.
In the tympanum is the " Deification of the Virgin " — her
death in the presence of Christ ; her Resurrection and Assump-
tion ; her coronation ; and, above all, are two angels censing,
with two others at the side. The figures have been sadly
mutilated.
In the splay of the vaulting the first row consists of angels,
with halos, bearing censers, torches, books, and palms. Then
are four rows containing the ancestors of the Virgin Mary, and
an equal number of prophets who have prefigured her. OuF*
of these (fifty-two statuettes in the four rows) are composed a
tree of Jesse, t which begins from between the feet of Jesse in
the fourth row on the left. After this there are two rows, separ-
ated by carved panelling, with persons bearing scrolls or books,
and intended to represent the whole human race paying its
respects to the Virgin. ^p
The two rows at the outer edge of the splay are an account
of the Creation, and a life of Adam and Eve. On the left at
the bottom are the Creation — 1. Of the Heavens and the Earth.
2. Of Light and Darkness. 3. The Firmament. 4. Plants
and Trees. 5. The Sun and the Moon. 6. Fishes and Birds.
7. Animals. 8. The Garden of Eden. 9. Man. Then, de-
* These ten personages are found in juxtaposition with the Virgin at
Paris, Amiens, Rouen, Reims, Bourges, and at Sens,
t The same idea, probably by the same mason, is to be seen at Laon.
THE EXTERIOR
55
scending — i. Adam standing before the Creator. 2. The four
rivers of Eden. 3. Adam giving thanks to God. 4. The
Creation of Woman. 5. The Fall of Adam and Eve. 6. Their
shame. 7. Their doom. 8. Their expulsion from Eden. 9. "In
the sweat of thy brow shalt thou eat bread."
In the gable is Christ surrounded by angels, and on each
^ide of the bay are two huge gargoyles, one of which has still
its three little supporting heads.
The statues in the front on the left are those of two bene-
factors, Philippe, Comte of Boulogne, who died in 1233,
and Mahaut, Comtesse of Boulogne. Before the Revolu-
H.J. L.J. J/., Photo. \
PLINTHS OF THE PIERS IN THE NORTH PORCH.
tion there were also statues of Philippe and Auguste, King of
France, who died in 1223, and his rival, Richard Cceur de Lion.
^The brackets contain incidents in the life of David — i.e. (1) as
a shepherd boy being anointed by Samuel ; (2) charming away
Saul's melancholy; (3) arming himself, (4) fighting, and (5)
slaying Goliath.
On the right are: 1. A prophet (probably Ezekiel) with a
J scroll. 2. Louis VIII. 3. Isabelle, his daughter, habited as a
.\nun. 4. (Inside the arch leading into the right bay), Zachariah
with a censer. On the brackets are incidents in the life of
Samuel, who, in (1), with Hannah and Elkanah, takes a lamb
to Eli; (2) serves in the Temple; (3) has a vision; (4) the
56 CHARTRES CATHEDRAL
<--
capture of the Ark by the Philistines, death of Eli's son ;
(5) Dagon's fall; (6) return of the Ark.
The plinths of the front piers and the columns which support
the statues inside the porches are all worthy of careful study,
as also is the arcade work in low relief on the outside of the
west side over the statues. Soon, no doubt, this porch will be,
in the hands of the restorer, and probably many of the statues
will be entirely remade, all empty spaces will be filled, and the
whole will be strengthened with steel girders. There are some
who will be glad to have seen it before this takes place. Much
of the ' front of the gables is stained by the rust from the
supports of the copper roof. This might have been avoided
by covering the iron-work at the ends with copper or lead tube/
The background of the porch consists of five Pointed
windows, the large rose window, 44 feet in diameter, with the
angels or ecclesiastics above. Above, again, is the gallery and
the gable, both fourteenth century, containing a statue of the
Virgin and Child supported on either side by an angel censing.
At the sides of the porch are two towers, unfortunately in-,
complete, as the height, 126 feet, is about half of what they
should be when finished. One of them serves as a shaft for
the heating-apparatus, which is in the crypt.
To the left of the north porch is an entrance to the crypt,
and further to the east is the sacristy, built in 13 10, of which
the window tracery is remarkable.
Abutting on the sacristy are the iron gates which form the'
entrance to the garden of the Bishop's Palace.
J
■
the South-west tower, showing the angel
SUNDIAL (p. 41).
C. Blin, Photo.]
\Chartres
THE INTERIOR, LOOKING EAST.
CHAPTER IV
INTERIOR — THE NAVE
" Dependent on its structural completeness, on its wealth of
well-preserved ornament, on its unity in variety, perhaps on
some undefinable operation of genius, beyond, but con-
currently with, all these, Chartres has still the gift of a unique
power of impressing. In comparison, the other famous
churches of France, at Amiens for instance, at Reims, or
at Beauvais, may seem but formal, and to a large extent re-
producible, effects of mere architectural rule on a gigantic
scale." *
, The above quotation may at first seem an exaggeration, but
the more carefully the place is studied the more apparent will
the truth appear, especially to those who have seen the other
churches above mentioned. It is a French commonplace to say
that a cathedral composed of the towers of Chartres, the nave of
Amiens, the choir of Beauvais, and the porch of Reims would
make up a building that nothing else could possibly surpass.
.This is no doubt quite true, but as no such ideal building
exists, or is ever likely to exist, Chartres can only be fairly
compared with what is now in being. Granted that portions of it
are less fine than some which can be found elsewhere, a careful
study of the fabric as a whole, — not a hurried examination made
while the fiacre is kept at the door, — will tend to produce the
deliberate opinioh that the cathedral is the finest in France,
x The Nave (241 feet long, 53J feet wide, or including the
aisles 109 feet, 122 J feet high) is, as will be seen from the
plan, somewhat short in comparison with the other parts, even
including the space between the two western towers, being
only 30 feet longer than the two transepts taken together.
In width the nave exceeds all the cathedrals of France or
1 Germany, being nearly 4 feet wider than the nave at Cologne,
or that at Amiens.
* W. Pater in " Gaston de Latour."
59
60 CHARTRES CATHEDRAL
The aisles of the nave are 25-]- feet in width.
The nave proper consists of six bays, which are not uniform
in width, the narrowest being at the west end and the widest
being those nearest the transepts, — the total difference
between the first and the sixth being a fraction over 3 feet.
Of the existing chapels there are only two in the nave
proper, one in the north-wrest corner within the space covered^
by the walls that support the new belfry, and the other in
the south-west corner, under the old belfry. The former,
dating from 1837, is dedicated to the Seven Sorrows, and is
also used as a baptistery.
The altar-piece has for its subject a Pieta, and is attributed
to Carracci, as it was so often repeated by him. „,
The chief architectural features in this chapel are the
capitals of the piers.
Immediately opposite, in the south-west corner, is the
Calvary Chapel, first used in 1830. It contains a large cross
in wood of no merit, dating from the mission of 1825.
The vaulting of the whole cathedral is a very fine speci-
men of early work. The main ribs of the vault spring from or
are rather continuations of the tall clustered pilasters which
are themselves continuations of the main piers ; * and from
the points where each of the main ribs rise, two other cross-
ribs also spring. These at their points of intersection are
adorned with crown-shaped bosses, for the most part enriched
with carvings of foliage, coloured in part, which have beenr
marred with colour-wash. Lines in imitation of ashlar-work
have been painted upon the vault.
Whether it is true or not that each of the architects en-
gaged on these huge buildings tried to outdo his confreres,
Chartres falls short in respect of the height of the nave. At the
west-end the height is 122 \ feet. Bourges is 10 inches higher, ,
or 123 feet 1 inch, Reims 123 feet 5 inches, Metz 142 feet,/
Amiens 144 feet, while Beauvais (in the choir) reaches the
enormous height of 157 feet.
In the aisles, the height of the vaulting is 45 \ feet. Fifty-
two detached piers and forty engaged pilasters support the
weight of the vaulting, assisted by the buttresses outside.
* Parker, in his " Introduction to the Study of Gothic Architecture," says
that the nave is "nearly as massive as Norman work, although the effect
of heaviness is removed by the enormous height."
H.J.LJ.M.tPhoto.\
THE NAVE— NORTH SIDE.
62 CHARTRES CATHEDRAL
The piers in the nave and transepts are alternately cylindrical
and octagonal in section. The cylindrical piers have smaller
octagonal columns, and the octagonal main piers have smaller
cylindrical columns, apparently almost detached, but in reality
part and parcel of them.*
In the ambulatory of the choir, several of the piers are
circular in section, and are without any supplementary1
columns ; these have octagonal bases and square plinths.
The capitals are very varied, chiefly drawn from the
vegetable kingdom, somewhat conventionalised, but always
to be recognised. In feeling they suggest a modification
of the type known as Corinthian.
At the crossing, four enormous piers, of which each face is^
covered with a mass of slender columns, rise from the nave
to the roof, a height of 120 feet, without a break. These
piers were intended to bear up a mighty tower, high above
the rest of the fabric, but this part of the architect's design
(in fact, the feature of the towers generally) has been left
unfinished. Villard de Honnecourt calls these piers toureaus,
because of the tour (or tower) that was to be built upon them. *
The Triforium which runs round the whole of the
building differs in the spacing and character of its arcading
in the different portions. In the nave each main bay consists
of an arcade of four smaller bays of Pointed arches, the
soffit of which is flat with a round moulding at the inner
and the outer edge. The capitals are richly carved with
foliage, but the bases are rather severely plain.
In the transepts there are five bays in each arcade, while
in the choir the two westernmost bays have four each, followed
by three bays with five each and finally in the apse seven
bays with two in each.
As a background for the graceful shafting there is a blank
wall, not, as in many other French churches, a series ol
windows glazed with coloured glass.
The Clerestory consists of tall lancet windows arranged in
pairs, each 22 feet 9 inches in height and 6 feet 6 inches wide,
with a rose window (20 feet in diameter) above, filling the
whole of the available space in the bay. /
* The piers in the nave were robbed of their statues by the sans-culottes
in 1793. They are said to have been 7 feet in height with bases and
canopies.
THE INTERIOR
79
is principally stucco ; and (14) has been much mutilated. In the
former there is but little left of Marchand's work beyond the figure
of Simeon, who is robed as a High Priest.
In 14, the effect of the Italian Renaissance on French work can
Clark, Photo.]
SOUTH AISLE OF CHOIR.
be seen. The work is still essentially French and, though terribly
mutilated, is an important example of its time.
15. This group was finished in the next year 1543 by Nicholas
Guybert, and represents the Baptism of Christ in the Jordan by S:
John the Baptist. The angel is the work of a different sculptor.
8o CHARTRES CATHEDRAL
Though there are said to be many faults (chiefly anatomical) in the
chief figure, the whole is pleasing, and is devotional throughout,
quite different in feeling to the next three groups.
The bas-relief on the pillar on the left is good work ; it represents
Christ among the Doctors at Jerusalem.
1 6, 17, 18, are by Thomas Boudin, who was commissioned in
1 6 10, and finished the work in 161 2. The style is affected and not
pleasing. There is a great lack of expression and feeling. The
work is more like that of a statuary than that of a sculptor.
16. Represents The Temptation.
17. The Canaanitish woman beseeching Christ to cure her
demoniac daughter. The kneeling figure is one of the best by
Boudin.
18. The Transfiguration. The Moses was no doubt suggested
by the Moses of Michel Angelo. *
19. The Woman taken in Adultery. This is a fine group by
Jean de Dieu, 1681.
20. The Restoration of sight to the man who was born blind. This
is another fine piece of work by Pierre Legros (of Chartres) the
elder, 1683.
Here follows a space which lacks canopies. Formerly #
there were several relics of saints — viz. the bodies of S. Piat,
S. Lubin, Bishop of Chartres, S. Caletricus, S. Tugdualus,
S. Bethaire, and S. Soulein, and of other saints and martyrs.
These relics were in gold or silver vessels — a fact which accounts
for their disappearance. All traces of the altar in this
position have been removed.
21 and 22 are by an artist of a later date, viz. Tuby le jeune
of Paris, and were executed in 1703. The two bays represent the
triumphal entry into Jerusalem.
23 to 29 are the latest in date of all the works in the pourtour,
having been done by Simon Arazieres in 17 14.
23. Depicts The Agony in Gethsemane. 24. The Betrayal by
Judas. 25. The Trial before Pontius Pilate. c
26. The Scourging of Jesus. 27. The Crown of Thorns.
28. This scene, The Crucifixion, occupies two bays above the
north door leading into the sanctuary. The grouping is effective.
29. In the group to the right of the doorway, which is a later
addition, the Virgin is gazing at the dead Christ.
30-33 are the work of Thomas Boudin, 161 1. The difference
in the treatment as compared with his other work will be noticed. . f]
30. The Resurrection. 31. The Holy Women bringing perfumes.
32. Christ and the disciples on the way to Emmaus. 33. Christ
resolving the doubts of Thomas.
>
THE INTERIOR 81
The eight groups which are next in order are ninety years
earlier than the work of Boudin, as they were done by
the same artist (Jehan Soulas) as the earlier groups on the
south side, and at the same time. This artist was assisted by
Jehan Texier.
They differ, however, from those on the south side in
that each group has an inscription on the plinth.
34. Come Jesucrist ressuscite aparoist a la Vierge. The
appearance of the Risen Saviour to the Virgin.
35. Come Nostre Seigneur monte es cieux. The Ascension.
36. Come le Saint Esprit descent sus les Apostres. The
Virgin Mary and eight Apostles are present.
yj. Come Nostre-Dame adore la croix. The Adoration of
the Cross by the Virgin, who is accompanied by S. John, Mary
Magdalen, Mary Salome.
38. Cest le trepassement Nostre-Dame. The death of the
Virgin. The grouping is well arranged and carefully worked
out. The Apostles are all present. S. Peter is robed as a
priest, S. John is weeping, S. James the Greater is telling his
b beads, S. James the Less is taking his spectacles.
39. Le porteme?it Nostre-Dame. The body of the Virgin is
borne by the Apostles. S. John leading the procession to the
Valley of Jehoshaphat.
40. Le Sepulcre de Nostre-Dame. The intended burial and
the Assumption are here represented.
*> The doorway below this has a finely-carved door formerly
the entrance to the chapel of S. Guillaume.
41. Le Couromiement Nostre-Dame. The Coronation of the
Virgin is one of the finest groups in the ambulatory. The Virgin
is represented as kneeling upon a bank of clouds and being
crowned by the Three Persons of the Trinity.
•>
Organs. — There were small organs at Chartres from the
thirteenth century. S. Louis in 1269 wrote to the Chapter invit-
ing them to restore the services of the church, the crucifix, and
the organs in view of his approaching pilgrimage to Chartres,
previous to his departure for the Second Crusade.
I In 1349 organs, still portable, were ordered to be paid for
with a legacy left by Etienne Belot, with other moneys, and a
gift from Canons Louis de la Vieuxville and Erard de Dicy.
In 1353 Jean de Chateaudun was sent to Paris at the Chapter's
82
CHARTRES CATHEDRAL
expense, to learn the organ, and was instructed to remain there
till he was proficient.
In 1475 tne Chapter arranged with Gombault Rogerie, a
brother of the Freres Precheurs, that he was in two years to
supply an organ "de 16 piez de principal a double parement,
ainsi que les grand orgues de S. Pierre de Poitiers, le dit corps
d' orgue a 3 Tourelles et 2 mictres ; et le tout aussi bel on
plus que menuiserie d' orgue qui soit en ce royaume, moyen-
nant 550 livres tournois." Later, in 1481, Maistre Gauthier le
Marays undertook to finish the Dominican's organ for 55 ecus
d'or. This organ seems to have been in the same position
as the existing instrument. Since then many costly alterations
and partial rebuildings have been necessary, much was done in^
1868, but in 1884 the organ was entirely renovated by Messrs
Abbey of Paris.
Great Organ
1. Double Open Diapason 16 ft.
2. Double Stopped Diapason 16 ft.
3. Open Diapason . . 8 ft.
4. Flute . . . 8 ft.
5. Open Diapason . . 8 ft.
6. Diapason . . 4 ft.
7. Principal
8. Cremona
9. Clarion
10. Trumpet i. .
11. Trumpet ii.
12. Bombarde .
. 2 ft.
. 4ft.
. 8ft.r
. 8 ft.
. 16 ft.
Swell
Organ
1. Keraulophon .
2. Flute .
3. Diapason
4. Voix Celeste .
5. Diapason
. 2 ft.
. 8 ft.
. 8 ft.
. 8 ft.
. 4ft.
6. Principal
7. Hautboy
8. Trumpet
9. Cor Anglais
10. Vox Humana
. 2 ft.
. 8 ft.
. 8 ft.r
POSITIF
?) Organ
1. Diapason
2. Flute .
3. Principal
4. Trumpet
5. Cremona
. 4ft.
. 8 ft.
. 2 ft.
. 8 ft.
6. Clarion
7. Plein Jeu
8. Gamba
9. Montre
10. Bourdon
. 4ft.
. 4ft.
. 8 ft.'
. 8 ft.
Pedal Organ
1. Open Diapason
2. Bourdon
. 16 ft.
. 8 ft.
3. Trumpet
4. Bombarde .
. 8 ft.
. 16 ft.
14 Combination pedals.
The organ is ingeniously stowed away in the upper part of
the two easternmost bays of the south side of the nave, where
THE INTERIOR 85
on the knees was a practical reminder of the road which Christ
was forced to take on the way to Calvary, so that the stations
of the Cross may be in some way a more comfortable survival
of these labyrinthine progresses. Others have thought they
were for the use of the faithful who could not go to the
Crusades, but who could at any rate pray for the success of
their absent friends.
Devotional exercise of some kind seems to have been the
raison cT etre of these ingenious constructions ; and at Chartres,
at any rate, where intra-mural interment has been, fortunately,
unknown, it is out of the question to imagine that the labyrinth
marked the grave of the architect or of any one else.
CHAPTER V
THE CHAPELS, THE SACRISTY, AND THE WINDOWS
IN THE CHOIR AISLES
The cathedral had at one time thirty-nine altars of which
twenty-two were foundations of the late fourteenth century.
Many were removed in 1661 from the body of the church,
and some remained in use till 1791, when the chapter was
dissolved, and Bishop Bonnet's revolutionary regime was
established.
Apart from the two chapels at the west end of the nave and
the Vendome Chapel, the rest are situated in the transepts and
in the ambulatory of the choir. In the north transept is the
Chapel of the Transfiguration (E), founded in 1791,
and taking its name from the subject of the altar-piece. To
place the chapel here involved the blocking up of the eastern-
most door of the north porch and of a stained-glass window
containing the Parable of the Ten Virgins. This window
would have been preferable artistically to the present chapel.
In the Ambulatory (north side), the first, and to many visitors
the most important, chapel is that (F) dedicated to Notre-
Dame du Pilier, and containing the Black Virgin, or the Vierge
aux Miracles. The face of the Virgin is very dark,* almost
black, in complexion, concealed by a veil. The hair is gilded.
The Virgin has worn a crown since the coronation of the figure
by Pius IX., and also a tunic, a robe, and a very richly em-
broidered cloak. She is seated upon a throne holding in her
right hand a pear, in her left the infant Christ.
Many votive offerings are suspended in the spaces near the
statue, and many candles are bought and lighted by the faithful
who come from far to pay their respects to the Vierge aux
Miracles. There are lamps which are kept burning day and
night, and the work of attending to the visitors and pilgrims
* Perhaps in allusion to Song of Solomon i. 5 : "I am Mack, but
comely, O ye daughters of Jerusalem."
86
CHAPELS, SACRISTY, AND WINDOWS 87
is so great that a priest from the (Euvre des Clercs is always
in attendance at the desk.
The figure is of the fifteenth century, and was originally on
the old screen across the choir, where it was placed at the
foot of the Crucifix. It was removed from thence when the
screen was destroyed in 1763, and, after being placed near a
pier in the choir, was, in 1791, banished to the crypt, and its
place taken by the statue of Notre-Dame de Sous-Terre. After
being fifteen years in the crypt the figure was replaced in the
church in its present position on a column which formed part
of the old screen, and twenty-five years later the panelling of
the chapel was erected.
The figure is annually carried in procession round the church
on May 31st.
Of the first window we know that it was given by Geoffroi
Chardonnel, Archdeacon of Dunois, who died in 1210. The
subject is doubtful, but it seems as though the figures repre-
sented French saints, probably S. Germain, S. Ethere of
Chartres, or S. Julian of Le Mans.
The second window, given by Etienne Chardonnel, the father
of the donor of the above window, represents the Life of S.
Nicholas. In the rose are represented Christ and the Four
Beasts.
The next four windows are in grisaille relieved with a small
but varying amount of colour. In two are borders with castles
for the House of Castille. The four windows taken together
have a very fine soft effect, and as little distracting as any
windows could possibly be. The second of the four is slightly
more elaborate than the first, by reason of its coloured bosses
and its quatrefoiled and diamond-shaped interlacing panels.
The fourth, i.e. that to the east, is more enriched with colour
than the others.
The Sacristy (fourteenth century) (G), is reached by a door
near the preceding chapel, and is connected with the main
building by a passage which is lighted by a fine grisaille
window of the foureenth century.
The room measures 37 feet by 28 feet 6 inches and is 50
feet in height. The vaulting is simple, and is supported by
clustered shafts, of which the bases are square, with circular
mouldings, but most of the architectural beauties in this room
are hidden by the array of cupboards.
88 CHARTRES CATHEDRAL
The windows are large, occupying all the space between the
buttresses. They are divided into three main sections of
equal height, the topmost portion containing a large circle or
rose with eight foils, intricately subdivided, and two large
trefoils. Below, the arcading is very interesting work.
The next chapel (H in plan) is now dedicated to S. Joseph,
having formerly been known as that of S. Julien, or as the
Ecce Homo chapel. It has lately been restored. This is the
first of the series of apsidal chapels.
The Chapel of the Sacred Heart of Mary is the next.
It was formerly known as the chapel of S. Stephen, or of the
Martyrs, to whom the windows refer. The decoration is an
attempt to imitate the original plan followed in the church (K).
This chapel contains five windows, of which the subjects are
as follows : —
1. S. Savinien, S. Potentien, S. Modesta. Donors, the Weavers.
2. S. Cheron. Donors, the Sculptors, Masons, and Stone-cutters.
3. S. Stephen, the first martyr. Donors, the Bootmakers.
4. S. Quentin. Donor, Nicolas Lescine.
5. S. Theodore and S. Vincent of Saragossa. Donors, the
Weavers.
The next window eastwards contains the legend of S.
Charlemagne and S. Roland, following the account of Turpin
and Vincent de Beauvais. Donors, the Fur-merchants.
The neighbouring window is dedicated to S. James the
Apostle. The name of the saint, and the names Almogines,
Filetus for ^iA^tos, are inscribed on several of the medallions.
Donors, the Drapers and the Furriers.
The next chapel (M) was formerly that of the Apostles SS.
Simon and Jude, S. Peter and S, Paul, later as the Chevaliers'
Chapel or the Choristers' Chapel. It is now called the
Chapelle de la Communion. At the entrance is a group by
Bridan (Christ appearing to Mary Magdalene), brought from
the Seminary of the Magdalene of Grand-Beaulieu in 1792.
In this chapel there are five windows of which —
1. Is in grisaille, ornamented with the arms of the House of
Castille.
2. Gives the lives of SS. Simon and Jude, the Apostles.
Donor, Henri Noblet.
CHAPELS, SACRISTY, AND WINDOWS 89
3. Gives us scenes in the life of Christ. Nine of the panels
were removed in 1791.
4. and 5. Depict incidents in the lives of S. Peter and S. Paul.
The medallions in these two windows, and the nine panels in
No. 3, are clever restorations of what the original is supposed
to have been.
> The doorway at the top of a few steps is the first which gives
entrance to the Chapel of S. Piat (N). It is a good specimen
of fourteenth-century work, and is in excellent preservation.
The pinnacles on either side, support statues — viz. Christ and
two angels with the instruments of the Passion. In the
tympanum is a statue of the Virgin, and of the Holy Child
flaying with a dove. The hands of the Virgin are in rather a
stiff position, but the rest of the pose is good. Some of the
stonework has been removed to make room for the wood-
panelling on the wall.
At the top of the flight of steps is another door, with a door-
way of several orders recessed, one behind the other, with
graceful columns of small size. There are round the arch
•some good grotesque carvings and some foliage.
The bracket in the tympanum has been spoiled of its
statue, which by right should be that of S. Piat.
The chapel itself is built on to the south side of the central
chapel of the apse, the staircase being of the necessary length
to make the body of the chapel clear of theapsidal chapel.
-, Inside the chapel is more interesting than without, but it has
a neglected appearance. It measures 50! feet by 23 ft. 7 in.
The vaulting is simple, with good bold mouldings springing
from capitals carved with foliage of all kinds and full of detail.
The bosses in the roof are also finely wrought, and show traces
of original colour. In the east wall is a large window with
remains of good glass representing " The Last Judgment." On
''the north and south side are three large windows, in which the
variety of the mullions should be noticed, together with the
floral cusping. The glass is partly fourteenth, and partly fifteenth
century, and in spite of maltreatment (it was heavily stippled
over with oil-colour in the forties) is worth study and com-
parison with the other glass in the building of the same date.
An altar of mean design has been placed in the chapel, to
the right of which is a partly broken piscina.
Over the door which gives access to the chapel of S. Piat is
9o
CHARTRES CATHEDRAL
a fourteenth-century grisaille representing S. Piat in ecclesi-
astical robes.
V -_<
m?t
H.J. L.J. M., Photo.]
ENTRANCE TO CHAPEL OF
PIAT.
The next window, a study in blue, represents the lives of
S. Melchiade and S. Sylvestre.
Passing by the door of communication with the maUrise, the
CHAPELS, SACRISTY, AND WINDOWS 91
next chapel is that of the Sacred Heart formerly dedicated to
S. Nicholas. It contains five windows, of which —
1. Is in grisaille (fifteenth century) representing S. Nicholas
restoring three children to life.
2. Represents S. Remy, Archbishop of Reims. The name of
*he donor is lost.
3. Another window to S. Nicholas, the favourite patron of so
many of the trade guilds and corporations.
4. Represents S. Marguerite the Martyr, and S. Catherine of
Alexandria. Donors Marguerite de Leves with her husband Guerin
de Friaise, and her brother Hugues de Meslay.
5. Represents the life of S. Thomas of Canterbury. This window
was inserted about thirty years after Thomas a Becket's murder,
^by the Tanners and Curriers.
John of Salisbury, who was an eye-witness of the murder, was
secretary to Becket, and in 1 177 became Bishop of Chartres.
The last of the apsidal chapels (Q) is dedicated to All
Saints. Formerly it was the chapel of S. Loup and S. Giles.
It contains three windows, two of which are eighteenth-century
"white glass. The remaining window is thirteenth-century
glass, and is by some thought to be the work of a glass-painter
of Chartres, Clement by name, of whose work signed specimens
are to be seen in the cathedral at Rouen. This window
portrays the life of S. Martin. Donors, the Shoemakers.
Of the remaining windows in the south ambulatory the
^first two are in grisaille of the middle of the fourteenth
century.
1. Represents The Annunciation. 2. Contains two coats of arms.
The rose represents Christ in the act of benediction.
3 and 4. The next two windows, i.e. those in the second bay
from the south transept, were given by Thibaud VI., Count of
jChartres, at the request of Thomas, Count of Perche, who was killed
in 12 1 7 at the Battle of Lincoln. The first window represents the
twelve signs of the zodiac, and the months of the year typified by
the field work appropriate to the various months. The second
gives the life of the Virgin in the main as given in the gospels, but
supplemented by some incidents more or less mythical. In the
rose in the head of the window is Christ crucified.
^ 5 and 6. Of the next two windows, that in the bay nearest the
south transept, the first is the more famous. The chief figure in it is
that of the Virgin Mary, and from this fact the window has got the
name of Notre-Daine de la belle Verriere (p. 63). It is of thirteenth-
92 CHARTRES CATHEDRAL
century* glass, and for many years was a favourite place for special
devotion before the growth of the cult of the Notre-Dame du Pilier
on the other side of the church. The five upper sections of the
window represent the Virgin enthroned and crowned, with Christ
between her knees, surrounded by angels bearing candlesticks and
censers. In the two lower tiers is represented The Marriage at
ENAMEL TRIPTYCH OF THE THIRTEENTH CENTURY (OPEN).
Cana, and below are the incidents in The Temptation of Our
Lord in the Wilderness, on the Temple roof, and on the Mountain-
top.
The other window gives the lives of S. Antony and S. Paul, the
first hermit. This window was given by the Basketmakers. In the
rose overhead is a Virgin and Child. r
* It may be a reproduction of an earlier window, as in a charter of 1 131
the window is described in terms identical with those given above.
CHAPELS, SACRISTY, AND WINDOWS 93
a very systematic
even to imagine.
The Treasury at Chartres was, as is known from an in-
ventory of 1682 which is still extant, peculiarly rich in relics, art
treasures, jewels and precious stones, and rich fabrics, having
a store which had been accumulating for many centuries. It
was " such a treasure-house of mediaeval jewellery as we have
^to make
effort
The still extant register
of its furniture and sacred
apparel leaves the soul of
the ecclesiologist athirst "
{Pater).
91 Though its riches had
been drawn upon by Francis
I., Charles IX., Henri III.,
and Louis XIV., and a cen-
tury later the Revolution
was the cause of serious loss
^to the Chapter, there was
enough left at the end of
the eighteenth century to
make the treasury still
famous. The goldsmithery
of Saint Eloi, Bishop of
Noyon in the seventh cen-
" tury, the stitchery of Queen
Berthe (1020), the jewels of
our English King Henry
III., and the flagon con-
taining Thomas a Becket's
blood, have long ago dis-
-> appeared, but we can still
see and admire the veil of
the Virgin, the triptych of
S. Aignan, the incense-boat
of Miles d'llliers, the altar of the English, a chalice of Henri III.
There is also a triptych of the thirteenth century in enamel,
, of Limoges work. It was formerly in the church of S. Aignan,
but has been amongst the cathedral treasures since the Revolu-
tion. The foundation of the work is oak, overlaid with copper
which has been richly gilded and adorned with enamels.
Tkiptych (Closed).
94 CHARTRES CATHEDRAL
r
When opened the central panel will be seen to contain a Cruci-
fixion, the present Christ being a later addition, eighteenth
century to all appearance. To the left of the cross are the
Virgin and the Church, represented by a figure with a chalice
in one hand and an unbroken lance in the other, to the right
are S. John and a figure representing the synagogue, with a
broken lance and a bandage round the eyes.
Above the arms of the cross are angels holding in their
hands the sun and the moon, and above the cross itself is a
third angel with extended arms.
On the right-hand panel inside is the scene of S. Thomas
in doubt, on the left is the denial by S. Peter, but it has
suffered from careless restoration. «
Inside the side wings two figures in relief have taken the
place of the original statuettes, which would seem to have been
on the right a Christ with the four beasts, on the left a Virgin
with four angels. In the half-gable of each side-wing are angels
censing. When shut the outside presents to us the twelve
Apostles, seated. In the gable are two hands, showing the,
marks of the nails from which are descending the tongues of
fire. The rest of the triptych is decorated with engraved
ornament representing angels holding the Gospel in their
hands.
The Autel des Anglais is also worth notice. It is a slab of
verd antique, measuring 17J by 9 inches broad and if inches in
thickness, surrounded by a border of silver gilt, very delicately'
chased. At each corner is a small reliquary box. The altar
was given by the English at the time of their occupation of
Chartres in 1420, a date more in keeping with the work-
manship of the metal work, than the date formerly assigned
to it — e.g. 1360, the date of the Peace of Bretigny.
There is also an incense-boat given as the inscription setsr
forth in 1540 by Miles d' Illiers, Bishop of Lucon and Dean of
Chartres, himself the nephew of two bishops of Chartres.
The boat is composed of a large pearl shell, kept in its place
by bands and strips of delicate gold work. The upper part
seems to be of earlier work than the base and the stem, which
are of the Renaissance period, and recall the similar work in ther
choir ambulatory, which had just then been completed. The
boat has suffered from various mishaps. It was stolen at the
Revolution but restored to the cathedral in 1823.
CHAPELS, SACRISTY, AND WINDOWS 95
A chalice given by Henri III. on the eve of Candlemas 1582,
is preserved in the sacristy. It measures 8 J inches in height,
with a diameter of 4 inches for the bowl, and 6 inches for
the base or foot. The upper half of the bowl is plain, the
rest being decorated with wavy rays with flenrs-de-lys between,
^the same decoration being repeated on the foot. The enamels
in the knop are worthy of notice.
The Virgin Mary's Veil— This relic consists of two pieces of
silk, ecru in colour, of very fine texture, and is thought to have
been the head-covering of the
Virgin. Previously to 1712 it
had never been taken out of the
^enth - century coffer of Teudon,
and, as it was originally vaguely
described as a camisia (a gar-
ment), it is easy to account for the
fact that it was at an early date
assumed to be a garment of the
,kind known as chemise. The
measurements, too, of the fabric
when complete, 3J yards long by
6 feet wide, seem to point to the
fact that it was an outer, not an
under garment. When once the
idea took root that it was a
''chemise and not a veil, models*
of what it was supposed to be
were freely made, sold, and worn
by pilgrims ; the garment was to
be seen on lead badges and
tokens, like the S. Thomas
> badges of Canterbury, and the similar tokens of S. Denys,
and S. Michael in PVance. This garment appears on the seal
of the cathedral, and models of it are still sold.
Edward III. of England begged to be allowed to pass under
the coffer containing the relic in 1360, and Henry IV. of France
made the same request in 1591. He wished to inspect it,
Chalice of Henry III
* "4 chemises a la Vierge de Chartres" are found in an inventory
of 1477, and about that time the tunica was adopted as the device for the
seal of the cathedral (see title-page).
96
CHARTRES CATHEDRAL
r '■■ '■/■ --
but the canons prudently could not find the key, as possibly
they doubted his sincerity.
The veil was cut into two pieces, as might be expected, at
the Revolution, and some
portions were lost then ;
others have disappeared
since. One of the por-
tions that remain
measures 6 feet 1 1
inches by i foot jf
inches, and the other
measures less than 10
inches square, and are
guarded in a casket of
cedar overlaid with silver
gilt, and this again\ is
contained in another.
Countless rings, gems,
jewels, and other votive
offerings of value are
suspended to this outer
case, and the authorities
are wise to fit up the re-
ceptacle (V)in which this
tresor is kept after the
manner of a strong-room!
The history of the
veil, as far as Chartres
is concerned, begins with
its presentation by the
Emperor Constantine and the Empress Irene to Charlemagne,
who deposited it at Aix la Chapelle, where to this day are
portions of a piece of silk stuff very like this veil. Charles the
Bald in 876 took it thence and presented it to Chartres.
Besides the actual veil above mentioned, there is in the
shrine a piece of eighth or ninth century Byzantine material,
embroidered with a border of horses next to the fringe, and
various borders, some of grotesque birds, some of ornaments..
The greater part of the design on the fabric, other than these
borders, consists of stiff-looking birds worked in gold with
very square bold stitches.
^_m--m*#*w^
Covering (ninth-century Byzantine work) in
which the Virgin's Veil is kept.
CHAPTER VI
* THE CRYPT
The crypt is one of the most important features of the
building, and has played a considerable part in the history
of the fabric. As the church was successively built, burned,
and rebuilt, so was the crypt successively enlarged, and it
,is now the largest in France, and the third largest in the
world, being inferior in size only to the crypts of S. Peter's
at Rome, and of Canterbury Cathedral.
As far back as the fourth century the Martyrium or the
vault of S. Lubin was constructed, either as a crypt proper,
or as the apse of a church, but of the size of this first crypt
nothing is known. The masonry in this sombre retreat should
#be examined, as well as the available light will allow.
In 858, after the massacre of the Saints-Forts, windows
were pierced in this apsidal wall, and the two large columns
were built against the fourth - century wall to support the
church overhead. A century later two isolated piers were
added for the same purpose, and the two windows in the
•apse were blocked by the strengthening masonry applied to
it. At the same time, 962, a double transept was added,
to which further additions were made by Fulbert (1020-
1029), who carried out the transepts westwards almost to their
present length, by two long galleries, and extended the crypt
eastwards by making the ambulatory with its three larger
#chapels (D, F, H, in the plan), with round-headed
windows.
In the twelfth century further alterations were made.
Fulbert's long galleries were extended and connected with the
western towers. Four smaller chapels, with Pointed windows
(C, E, G, I, in the plan), were inserted between those of Ful-
bert. Traces of the decoration in colour still remain. After
\he porches of the cathedral were finished, in the thirteenth
century, vaulted passages were made in the crypt — viz. one
to the south, now known as the chapel of S. Nicholas (L, in
G 97
98
CHARTRES CATHEDRAL
the plan), and the other to the north, near the chapel of
Notre-Dame de Sous-Terre. From that time to the present
very few structural alterations have been made. Wall paint-
ings were undertaken in the seventeenth century. At the
Revolution the sanctity of the crypt was violated by scoundrels
whose level of civilization was scarcely superior to that of
the Northmen of a thousand years before. The crypt was
' ■
WINDOWS OF THE APSIDAL CHAPELS OF THE CRYPT.
[Soc. Arch. d'Eure et Loir. *
a cooper's warehouse till 1854. When Pius IX., in 1854,
declared the doctrine of the Immaculate Conception to be
an article of faith for the Roman Catholic Church, it was
decided to restore the crypt to sacred uses, and, after an
appeal to France for funds, the work was entrusted to
Paul Durand. The altar in the chapel of Notre Dame was'
consecrated in 1855, and a statue, sculptured on the lines
of the previous one, was set up two years later. The other
THE CRYPT
99
chapels have been thrown open from i860 onwards, as funds
permitted.
The visitors' entrance to the crypt is by the conciergerie
(where the small fee for entrance is paid), at certain hours.*
Beginning, as in the church above, in the north-west corner,
, almost under the clocher neuf, there is a flight of twenty steps
from the base of the clocher down to the north gallery of the
crypt. The door which bars this staircase is old work, with
a quaint arrangement of locks and gratings. The first bay is
of twelfth-century work, but the rest, beyond the projecting
piece of wall, is Fulbert's .^^^^^^
crypt of the eleventh cen-
* tury, as the vaulting clearly
shows. The windows are,
of course, twelfth-century
alterations. In this part
of the crypt there was from
the early part of the twelfth
• century! a nursing institu-
tion, called Les Sceurs des
Saints - Lieux forts, and
there were rooms for their
patients and for them-
selves.
A crypt not properly
warmed and dried is a
most unsuitable place for
experiments in fresco-
painting, as the mural de-
corations of Paul Durand
so painfully declare. These
l fresco paintings represent events in the history of Chartres, one
of the most interesting being that which shows, approximately,
no doubt, what the ol&jube, or choir-screen, was like.
At the west end of this long vaulted corridor, after passing
Doorway in the Crypt.
[Soc. Arch. d'Eure et Loir.
* Anyone wishing to carefully examine the crypt should get a special
permit, and should be equipped with a supply of candles in the proper
holders, and of matches in case the candles should be blown out by the
draughts in the crypt.
t The well (Puits des Saints-Forts) is supposed by some to have been
outside the Cathedral on the north side, near the Renaissance clock.
ioo CHARTRES CATHEDRAL
the doors on the left which give access to the corridors under
the north transept, is the celebrated chapel of (A) Notre-Dame
de Sous-Terre, the great resort of pilgrims from many parts.
On the north wall are to be seen the outlines of the twelfth-
century windows, which had to be blocked up when the north
porch was built in the next century. On the south wall, the
right-hand side of the chapel, are to be seen traces of the
twelfth-century frescoes, but it is impossible now to identify
the subjects with any certainty. The vaulting wras painted in
1636, by Nicolas Pauvert and Philippe de la Ronce, two local
artists, by the orders of Louis XIII. The other frescoes in
the chapel were done by Paul Durand.
Of the old altar no traces remain ; of the modern one not -
much need be said. The existing statue of the Virgin, dedi-
cated in 1857, replaced, after a lapse of some sixty years, the
historic figure which was certainly at Chartres from the tenth
to the eighteenth century, and was destroyed in 1793. lne
original statue, which was installed in the crypt before Bishop
Fulbert's time, was that bearing the inscription: "Virgini t
Paritur^e."
The ironwork in the chapel is modern, but is above the
average in point of workmanship.
In the recess (B) to the west of this is a chapel, dedicated
to S. Savinien, or the Saints-Forts, who were martyred in the
ninth century and thrown into a well, which, though now lost,
was close to the site of this chapel. The altar was consecrated r
in 1858. Two bead-work belts are to be seen on the wall;
they were offered by the chiefs of the Hurons in 1678, and by
the Abnaqui Indians in 1700, through the medium of some
Jesuit missionaries from Chartres.
Opposite to this chapel is a passage leading to a staircase,
which gives an exit from the crypt on the north side, near the -
sacristy. From this passage to the east is another which,
in the shape of a quadrant, bears round at the back of the
altar of Notre-Dame de Sous-Terre, and leads into the main
gallery of the crypt, the vista of which is broken by the wall
at the back of the altar just mentioned.
Going eastward, after passing the narrowest part of the_
gallery or aisle of the crypt, where the original east wall of the
crypt was till Fulbert's time, there is on the right, a narrow
opening (M) giving entrance to the Martyrium, or chapel of
THE CRYPT 101
S. Lubin, which is exactly under the sanctuary. This martyrium
has been much altered at different times ; but there are still
the evidences of the fourth-century Gallo-Roman work, to-
gether with the ninth and tenth-century alterations. This
martyrium used formerly to communicate directly with the
upper church by means of a staircase, but this was blocked
when the high altar was placed in its present position, and at
the same time the two pillars in the centre were carried up
several feet higher and the chapel was revaulted.
The base of the round column on the right near the stair-
case clearly indicates what was the original floor level in this
part.
Opposite the entrance to the Martyrium (C) is the first
of the seven apsidal chapels of the crypt. It was at one time
dedicated to S. Veronica, but is now used as a sacristy. The
windows in the side walls were originally those in the walls
of the neighbouring channels, and previously to the thirteenth
century were the means of lighting them.
The next chapel, that of S. Joseph (D), was originally dedi-
cated to S. Christopher, and later to S. Charles Borromeo.
Like the two others of the same shape (F and H) in the
plan, it was carried out in the end of the thirteenth century,
and it contains on the left side one of its windows in its original
condition — i.e. not enlarged. The paintings are modern.
The small chapel (E) next to the last is polygonal in form,
and is dedicated to S. Fulbert, the great Bishop of Chartres,
who was the architect of the crypt. It was built in 1194. In
the centre of the vault is a good boss.
The apsidal chapel (F) of the eleventh century, is now dedi-
cated to S. John the Baptist; it was formerly that of the
Annunciation. A curious feature in the chapel is the series of
paintings of churches which were contemporary with Chartres.
The chapel of S. Ive (G), a former Bishop of Chartres,
was formerly dedicated to S. Catherine. Like the chapels of
S. Fulbert and S. Magdalene, it was added in 1194. There
is a fine boss in the roof, in low relief. The chapel was
restored by Monseigneur Regnault, Bishop of Chartres,
whose arms, together with those of Pius IX., are blazoned
in the window.
The next chapel (H) was formerly that of S. Peter ad
vinculo, but is now dedicated to S. Anne, who is represented
io2 CHARTRES CATHEDRAL
c
in the window. The chapel, like the others of the same
shape, dates from 1020.
The chapel of S. Mary Magdalene ( I ) is the last of the
seven apsidal chapels of the crypt, and was added in 1194.
The side window on the right is original, but the glass is
modern, by Lobin of Tours, 1860-1861, and represents: 1.
The Immaculate Conception. 2. Mary Magdalene at the c
foot of the Cross. 3. S. Francis of Assisi between S. Eliza-
beth and S. Louis.
From this point to the chapel of S. Clement (K), and that of
S. Nicholas (L), which is opposite, we have the original south
transept of the crypt, not altered as was that on the north side
by the ritual requirements of the celebrated altar of Notre- 1
Dame de Sous-Terre, and, in fact, showing a very large and
interesting portion of the work of the tenth and eleventh
century. At the narrow neck in the passage, where the
apsidal portion begins, and in the window in the chapel of
S. Mary Magdalene which faces on the staircase, the masonry
indicates the earlier date, and the paving is of about the same
period.
The chapel of S. Martin (J), formerly that of S. Paul, and in
the seventeenth century that of Notre-Dame de Bon-Secours,
corresponds to the cellar on the north marked N in the plan.
Originally it was not a chapel, and hence was in the twelfth
century converted into an entrance to the crypt with the stair-
case shown in the plan. It was altered in the seventeenth '
century, and was in the nineteenth century converted into a
chapel. Inside the chapel are some of the interesting but
fragmentary remains of the original choir-screen or jube. Up
to 1849 they had been used as paving stones in the ambulatory,
and after a temporary stay in the Chapter-house were placed in
this chapel. They are placed principally round the altar, and ,
amongst them will be noted the Wise Men before Herod,
the Annunciation, a very quaint Nativity, the Angels appear-
ing to the Shepherds, the Presentation in the Temple, the Adora-
tion of the Magi. Above these, affixed to the wall, are various
keystones of the vaulting with inimitable carvings, represent-
ing the Virgin crowned, the Virgin with four angels, Christ
with the four Evangelists, and some good bas-reliefs contain-
ing the signs of the Zodiac with representations of the labour
and occupation suited for the various months.
THE CRYPT 103
These reliefs show traces of their original colour decora-
tion. Opposite the screen is a carved stone, removed from
the destroyed church of S. Martin le Viandier, representing :
1. S. Eustace hunting, then on his knees before Christ; at
the side, the wife and children of the saint. 2. S. Martin
giving his cloak to a poor man. 3. In the middle, the Virgin
* and Child surrounded by angels, with S. Louis on one side
and S. John on the other. Below this is a fine stoup of early
work, removed from the upper church, and, in the corner, the
sarcophagus of Bishop Caletricus (died 557), brought in from
the chapel of S. Nicholas, at the entrance to the Bishop's
Palace, which was destroyed in 1702. The inscription is
fc HIC REQUIESCIT CHALETRICUS EP(lSCOPu)s CUJUS DULCIS
MEMORIA : NONAS OCTOBRIS . VITAM TRANSPORTAVIT IN CCELIS.
The date has been changed by a later hand to suit the
date of his translation and his festival ; it ran originally
pridie nonas septembris, which is the date given in the
Chartulary.
The chapel of S. Nicholas (L), formerly that of the
I * Holy Ghost, was formed in 1681 by Canon Leclerc, in the
twelfth - century slype or passage intervening between the
preceding chapel and the thirteenth-century transept. The
restoration of the chapel was carried out by Paul Durand.
The next and last chapel (K) is dedicated to S. Clement.
It contains some twelfth-century frescoes representing saints,
f « amongst whom are S. Nicholas, S. James, and S. Giles, and
a king, who is kneeling.
The wooden screen across the crypt here dates from 1687.
Immediately behind it on the left is a thirteenth-century
piscina, and over it traces of a painting of the Nativity,
. presumably of early thirteenth-century work. In passing
down to the west the long passages under the south transept
will be seen to occupy similar positions to those under the
opposite transept, and the blocked arches show the extent of
transept: the smaller of them is one of Fulbert's original
windows.
At the end of the gallery is a huge font, designed for total
immersion, of very early twelfth-century work. The capitals
• on the little columns are most interesting.
As in the north gallery, the last bay was added in the
twelfth century, when the south-west or old belfry was built.
104 CHARTRES CATHEDRAL
The plinths and abaci of the columns here will show the
difference in date as compared with the rest, just as in the
corresponding place in the north gallery.
The walls are frescoed with representations of the Saints
connected with the enormous diocese of Chartres.
PLAN OF CRYPT OF CHARTRES CATHEDRAL
he
A. Chapel of Notre-Dame de
Sous-Terre.
,, S. Savinien.
,, S. Veronica.
,, S. Toseph.
S. Fulbert.
S. John
Baptist.
S. Ive.
,, S. Anne.
,, S. Mary Mag-
dalen.
,, S. Martin.
,, S. Clement.
,, S. Nicholas.
,, S. Lubin (Mar-
tyrium).
Cellar.
P. P. P. Passages under
the transepts, with stair-
cases.
Staircase for entrance to
A.
R. Staircases.
Staircases leading to
western towers.
T. Font, twelfth-century.
CHAPTER VII
BISHOPS OF CHARTRES
Aventin I. (a.d. 200). He is
supposed by the Vieille
Chrotiique to have been
enthroned by S. Altin and
S. Eodald.
Optatus.
Valentin.
Martin, surnamed Le Blanc.
S. Aignan (Anianus).
Severus.
Castor.
Africanus.
Possessor, who was alive in
419.
Polychronius.
Arboastus, 481.
Flavius.
S. Solen (Solemnis), mentioned
in 490 in the chronicles of
Sigebert and Alberic.
S. Aventin II. was bishop of
Chartres in 511.
Etherius was certainly bishop
in 533 and 53.8-541- ,
S. Lubin was bishop in 549-
55i.
S. Caletricus was bishop
in 557. Died Sept. 4,
567.
Pappolus, 573-585- .
S. Boh ' oetharius), 600.
A/r O gobertus,
oldus).
Sigoald.
Mainulf.
Thibaut I.
Bertegisile, 625.
S. Malard, 644-653.
Gausbert(Goubertus,Godeber-
tus, Gaudebertus), 658-666.
Deodat.
Dromo, or Promus.
Berthegran.
Haynius.
Airard (Agirardus), 689.
Agatheus.
Leobert, 723.
Hado.
Flavien.
Godessald.
Bernoin, 829-836.
Helie, 840-849.
Burchard, 853-4.
Frotbold, 855-857.
Gislebertus (Gilbert), 859,
878.
Aymon.
Gerard.
Aymery I., 890.
Gantelme, 898-911.
Aganon, 930-941.
Ragenfroy, 942-955-
Hardouin. Died 962.
Vulfaldus, or Wulphard, 962-
967.
Odo or Eudes, 968-1004.
106
BISHOPS OF CHARTRES
107
Raoul. 1004-1007.
S. Fulbert. 1007-1029, buried
at St. Pierre.
Thierry (Theodoricus), 1029-
1048. Also buried at St.
Pierre.
Agobert, 105 2-1059.
Hugo. Deposed in 1063.
Robert I., 1063-1069.
Arrald (Adrald), 1069-107 5.
Robertus II., 1075-1077.
Geoffroi I. Deposed 1077 ;
s reinstated, apparently, and
deposed in 1089 ; and again
in 1091.
S. Yves, 1090-1115.
Geoffroi II., 1116-1148.
Goslein, nephew of the last
bishop, 1148-1155.
"Robert III., 1155-1164.
Guillaume I. (surnamed aux
blanches mains), 1166. He
was not consecrated till
1 1 68, and was Archbishop
of Sens from n 68-1 176, in
* which year he was trans-
lated to Reims, n 76-1 202.
He was made a cardinal in
1 1 80 by Alexander III.
John of Salisbury, n 77-1 180,
a favourite pupil of Thomas
a Becket, Archbishop of
Canterbury.
Pierre I., 1181-1183.
Renaud (de Moucon), 1183-
12 1 7. In 1 190 he took
part in the 3rd Crusade.
Gauthier, 12 19-1234.
'Hugues, j 235-1 236.
Aubry. Died 1244.
Henri (de Grez), 1 245-1 246.
Mathieu (des Champs), 1247-
1259.
Pierre II. (de Minci). Died
1276. (These three bishops
were all interred in the
church of the Preaching
Friars at Chartres, and their
epitaphs, given in the Char-
tulary, are interesting.)
Simon I. (de Perruchay), 1280.
Died 1297.
Jean II. (de Garlande), 1304.
Died 1315.
Robert IV., 1316-1326.
Pierre III., 1326-1328. Chan-
cellor of France from 1316-
1320, then Bishop of Arras.
Made a cardinal by Pope
John XXII. in 1328. He
was then succeeded by
Jean III. (Paste), 1329-1332.
Aymery II. (de Chastellux),
1 332-1 342. Papal nuncio,
Archbishop of Ravenna
from 1322 -1332. Being
made a cardinal in 1342, he
retired in favour of
Guillaume II. (Amy), who in
1343 was chosen for the
office of Patriarch of Jeru-
salem and Bishop of Frejus.
Louis I. (de Vaucemain).
Died 1357.
Simon II. (le Maye). Trans-
lated from Dol ; 1357-1360.
Jean IV. (d'Anguerant), 1360-
1368. Translated to Beau-
vais.
Guillaume III. (de Chanac).
Soon after his appointment
he was translated to Mende,
io8
CHARTRES CATHEDRAL
and in 137 1 became a car-
dinal.
Guerin (d'Arcy). 1 371-1376.
Ebles (du Puy). 1 376-1 380.
Jean V. (Lefevre). 1380-
1390.
Jean VI. (de Montaigu).
Translated to Sens, 1406.
Martin. Translated to Cler-
mont-Ferrand, 141 5.
Philippe (de Boisgiloud).
1415-1418.
Jean VIII. (de Fretigny).
Killed at the taking of
Chartres by the French in
1432, and succeeded by his
rival,
Robert V. (Dauphin), who
was made Archbishop of
Alby in 1434.
Thibaut II. (Le Moine). 1434-
1441.
Pierre de Comborn. (?) Trans-
lated to Evreux, 1443.
Pierre IV. (Bechebien). Died
1459-
Miles (d'llliers), 1460. Re-
signed 1492.
Rene (d'llliers). Died 1507.
Erard (de la Mark), Bishop of
Liege. He was made a
cardinal in 1521, at the
request of Charles V.
Francis appropriated the
revenues of the bishopric of
Chartres in 1523. Erard
was succeeded by
Louis II. (Guillard) in 1525.
Previously Bishop of Tour-
nay, 1513-1525, he was
translated to Chalon-sur-
Saone in 1553, and to
Senlis in 1560.
Charles (Guillard), who died
.in 1573-
Nicholas (de Thou). He
consecrated Henry IV. at
Chartres in 1594. Died
1598.
Philippe II. (Hurault de
Cheverny). 1598-1620.
Leonor (d'Estampes de Val-
engay). Translated to Reims,
1 641, he resigned Chartres
in 1642.
Jacques (Lescot). 1642- 1656.
Ferdinand (de Neuville de
Villeroy), 1656-1690,
Bishop of Saint-Malo, 1644-
1656. ,
Paul (Godet des Marais).
1656-1709.
Charles Francois (des Mon-
stiers de Merinville). 1709-
1746.
Pierre Augustin Bernardin (de
Rosset de Fleury). 1746-*'
1780.
Jean - Baptiste - Joseph (de
Lubersac), 1 780-1 789. Pre-
viously Bishop of Tregnier,
1 775-1 780. He refused to
take, the oath prescribed by*-
the Constitution Civile du
Clerge in 1790, and was
superseded by Nicholas
Bonnet, of the church of
S. Michel, at Chartres. In
1793 the cathedral was
declared to be a Temple
of Reason, and for the
years
BISHOPS OF CHARTRES
109
1793-1824, Chartres remained
without a bishop. The see
was joined to that of Ver-
sailles in 1802, was theo-
retically re-established in
18 1 7, but no appointment
* of a bishop was made till
that of
Jean Baptiste Marie Anne
Antoine (de Latil) in 182 1.
He was translated to Reims
in
by
1824, and succeeded
Claude Hippolyte (Clausel de
•Montals), 1824-1853, who,
on resigning, was succeeded
by
Louis Eugene (Regnault),
1853-1889.
Francois (Lagrange), 1890-
1895.
Bon Gabriel (Mollien), 1896.
CHAPTER VIII
OTHER CHURCHES IN CHARTRES
Of the other churches in the town, that of S. Pierre is the
most interesting, both from its architecture and from its
stained glass, which ranges from the fourteenth to the sixteenth
century. The church is nearly all that remains of the once
large and famous Abbey of S. Pierre (locally called Saint-3
Pere), the other portions having been converted into a cavalry
barracks. From the " Chartulary " it appears that the existing
choir aisles were begun in 1150, that owing to want of money
the work was delayed and was not finished till 121 0-1255.
The choir was rebuilt between 1 225-1 270, and the apse
finished towards 13 10.
The " Chartulary " of S. Pierre was written by a monk named
Paul, apparently the treasurer of that foundation from 1066-
1088, or possibly later. It was taken from the monastery in
March 1795, ari(^> minus its binding enriched with silver,
enamel, and precious stones, was finally deposited in the then
Bibliotheque du Roi in 1800.
Since the Revolution, when the adjacent church of S.*
Hilaire was destroyed, and S. Pierre stripped of all its altars,
choir-screen, and stalls, the old abbey church has, like
Chartres itself, had an uneventful history. The abbacy of
S. Pierre was merged in the bishopric of Chartres in 1778.
The interior is admirable in its proportions, and graceful in
all its variety of detail, though the latter is much hidden under t
many coats of whitewash. It is more pleasing in many
respects than the more famous cathedral ; the proportions
of the nave are better, and, though scheduled by the govern-
ment as a " monument historique," it has not so far been
treated to a similar course of restoration. This, however, may
be yet in store. The church is historic, and it sadly needs r
structural repairs ; what has been spent on " furnishing,"
for want of a better word, might have been laid out far more
wisely.
OTHER CHURCHES IN CHARTRES
in
The dimensions of the fabric are —
Length, exterior, 270 ft., including tower; interior, 256 ft.
Width of the choir and ambulatory, 69 ft. ; width of the choir proper, 36 ft.
Width of the nave, 36 ft.
Length of the choir, 91^ ft.
Height of the choir vault, 74! ft.
k Length of the nave, 92 ft. ; height of the nave, 66 ft. ; width of the
nave, 354 ft.
H.J.L.J.M.,Photo.\
DOORWAY— S. PIERRE.
The triforium of the nave is very fine, and there are traces
in the wall behind its slender piers of earlier walled-up arches.
The triforium of the choir is of later work, and the delicate
masonry is thrown into strong relief by the colour in the glass
in the background.
ii2 CHARTRES CATHEDRAL
At the west end of the nave hangs a large oil painting of
the "Wedding at Cana " ; it is a copy, of which the original is
now in Venice.
In the south aisle of the nave is a tomb-stone with an
inscription to Robert, a son of Richard, Duke of Normandy.
Of the tombs of the many ecclesiastics of note buried in
the building— £.£■. Ragenfredus, Fulbert, de Thierry, Aganon — l
nothing now remains. This is much to be regretted, for, as
no interments were ever allowed in the cathedral, S. Pierre
and its precincts became a particularly favourite resting-place
for ecclesiastics of renown.
The apsidal chapel (dedicated to the Conception) has been
neatly poly chromed by Durand, but the chief feature in the
chapel are the Limoges enamels of Leonard Limosin, 1547,*
after designs by Michel Rochetel. The enamels, which depict
the Apostles with their respective emblems, are of large size,
24" x 1 of", and are in perfect preservation. They are spoiled,
however, by the frames being too small. Originally they came
from the Chateau d'Anet, and were given by Henri II. to the
famous Diane de Poitiers.
In this same chapel is the flat incised stone bearing an
epitaph and the portrait of Simon de Berou, a canon of
Chartres in the twelfth century. The stone had long been
buried, hence its good preservation.
The statue of the Virgin, which was formerly in the Bishop's
Palace, is by Bridan.
In the sacristy, which is modern, are some copies of Flemish
masters, and a crucifix which was deposited here in 1583,
having been brought in a solemn procession by Henri III.
The old windows of S. Pierre are fourteenth century — that
is, a century later than those in the cathedral — and they are
extremely interesting from the point of view of the connoisseur ,
or of the student of early glass.
In the windows in the north side of the church, beginning at
the west end, we have, first, the Apostles and the gospel narra-
tive : — 1. S. James the Less and S. Matthias. 2. S. Jude and
S. Barnabas. 3. and 4. S. John the Baptist. 5. S. Andrew
and S. John. 6. S. Bartholomew and S. James. 7. and 8.
S. Peter. 9. S. Thomas and S. Philip. 10. S. Matthew and '
S. James. 11. and 12. Scenes in the life of Christ.
* The initial letters F.F. are for Francois I.
OTHER CHURCHES IN CHARTRES 113
On the opposite or south side, beginning again at the west
end, we have the salient points in Church history presented — e.g.
1. S. Benedict and S. Maur. 2. S. Avit and S. Laumer.
3. S. Agnes. 4. S. Catherine. 5. SS. Malard and Solenne,
Bishops of Chartres. 6. S. Lubin, Bishop of Chartres, and
S. Martin. 7. S. Denis. 8. S. Clement (these two in very
bad condition). 9. S. Gregory and S. Sylvester. 10. The
Virgin and Child, with the donor below, n. The parents of
the Virgin. 12. Scenes in the life of the Virgin.
In the choir the windows, with the exception of those in
the apse, are thirteenth-century glass, and contain chiefly the
patriarchs, prophets, and celebrities of the Old Testament. The
windows in the triforium of the choir date from 1527, and were
painted by Robert Pinaigrier for the church of S. Hilaire, which
stood near S. Pierre up to the time of the Revolution. They
were removed to their present place early in the nineteenth
century, but, owing to carelessness in arranging, their good effect
is sadly marred. The subjects are easily recognised, with the
exception of the window which represents the allegory of Christ
as the true Vine, with the Apostles gathering the grapes and
treading the press, and the Evangelists putting the wine in casks.
The lower series of windows, with the exception of those in
the chapel of the Sacred Heart, which are fifteenth century, and
in a very pitiable plight, are modern, having been produced
in Chartres by the glass-painter Lorin. They are chiefly
scenes from the gospel story of the life of Christ, with some
of the Old Testament types introduced.
The exterior, like the cathedral, as its chief feature besides
its graceful proportions, presents an interesting series of flying
buttresses, thirty in all, which support the vaulting and the
roof.
Fourteen buttresses, with flying buttresses composed of two
arches, one above the other, support the thrust of the
vaulting of the nave, and sixteen, later in date and lighter in
style, support that of the choir.
The north door, by which entrance is gained usually to the
inside, is thirteenth-century work.
The tower is much earlier, and by some is ascribed to
Bishop Aganon, 940, but it is probably a century later, The
belfry is worthy of careful inspection, and so, too, is the timber-
work which carries the tiled roof of the church.
ii4 CHARTRES CATHEDRAL
i
Saint Aignan.
This church should certainly not be missed by the
tourist or the student. It takes its name from Bishop,
afterwards Saint, Aignan, who is buried here, but was in
the fifth century dedicated to SS. Peter and Paul, or to S.
Denis. Like the cathedral, it was burned down several times,
the most serious damage having been done in September
1 134, when the whole town suffered; again in 1262, and early
in the fifteenth century.
The architecture of the upper church is therefore chiefly
Renaissance, with the exception of the main entrance, which is
fourteenth century. In plan, the church is oblong, with sides
nearly twice as long as the width of the building, and with an
apsidal east end. The nave roof was carried up to the same
height as the choir in 1625, when the triforium was added.
Desecrated and looted in the Revolution, the church, after
serving as a hospital, then a prison (18 14), was by private
generosity handed back for religious uses in 1822, since which
time the church authorities have in a piecemeal way, as funds
allowed, done much to the interior in the way of decoration.
Mons. Boeswilwald carried out the polychrome work, which
is rather bizarre in its effect. A very heavy-looking altar of
stone, with gilded bronze enrichments of very little merit,
dates from 1893.
The chief interest in the church lies in the sixteenth-century
windows and in the crypt.
Of the windows, beginning in the north-west corner, the
first (sixteenth century) is in confusion, having been rearranged
without any attention to the subject. S. Catharine is recognis-
able (the chapel is dedicated to her and to S. Blaise), and so
are the donor and his family.
The second^ in the Chapel of S. Etienne, dates from 1566,
having been given by Jean Vacher. It is a composite window,
containing Adam and Eve driven from Eden, with the Virgin
above. There are also S. Denis, Bishop of Paris, S. Rustique
and S. Eleuthere, Sainte Barbe pursued by her father. The arms
in the window are those of the Symon and Lebeau families.
The third (sixteenth century), is called the Bishops' window,
as it shows us S. Martin of Tours, S. Denis, S. Nicholas, S.
Aignan (Saint Ygnen), with the Trinity above.
OTHER CHURCHES IN CHARTRES 115
The fourth (sixteenth century), a fine window representing
the Death of the Virgin, showing the actual entombment ; and
the Coronation in the head of the window.
In the chapel of S. Anne is the fifth window, 1893, by Lorin
of Chartres, with portions of a sixteenth-century window.
The sixth and seventh windows are earlier specimens, 1887-
1888, by the same artist, and they represent scenes from the
Old Testament.
The eighth and ninth windows date from 1857, afe in the
chapel of the Blessed Virgin, and represent in the one, the
Annunciation, the Visitation, the Birth of Christ, the Presenta-
tion and the Purification, and Christ amidst the Doctors ;
in the other, the Agony in the Garden, and incidents in the
Trial before Pilate, and the Crucifixion.
The statue of the Virgin, on the altar, is a copy, modelled
after work by Bridan. In the choir the vaulting is sixteenth
century, by Jehan de Beauce ; the screen-work round the
choir in wrought-iron (1750) is superior to the later work of
the same kind, erected when the choir was enlarged (1893).
The tenth and eleventh windows are also by Lorin, and
represent scenes in the life of Christ. In the chapel of the
Sacred Heart the tivelfth window deals with that subject
exclusively.
The thirteenth window, by Lorin, 1890, has for its subject
Mary Magdalene.
The fourteenth window (sixteenth century) has for subject
the triumphal fight of S. Michael (to whom the chapel is
dedicated) with Lucifer and his hosts of demons. This chapel
is dated 1543.
The fifteenth window (sixteenth century), in the chapel of
the de Gives and Bouvart families, represents S. Paul at
Athens, S. Michael weighing men in the scales, SS. James and
John, and various scenes in the life of the infant Christ.
The sixteenth window (Lorin, 1865) represents scenes con-
nected with the life and death of S. Joseph.
The seventeenth window (sixteenth century) comprises the
subjects of Domine, quo vadis ? and the Conversion of S.
Paul, the backgrounds being respectively Rome and Damascus.
The eighteenth window (Lorin, 1894) represents S. Andrew,
S. Saturnin, S. Paul, S. Bartholomew ; above are some sixteenth-
century fragments representing the Crucifixion of S. Peter.
n6 CHARTRES CATHEDRAL
The Crypt. — Traditionally, this part of the church is said
to contain the bodies of S. Aignan and his three sisters,
Donde, Monde, and Ermenonde. His tomb used to bear
the inscription in an elegiac couplet :
Corpus in his cryptis Aniani prassulis olim
Carnutum recubat, spiritus astra colit.
(The body of Anianus (Aignan), formerly Bishop of the Carnutes
(Chartres), lies in this crypt, his soul is in heaven.)
The crypt is nearly a perfect square, measuring 62 ft. 8 in.
by 61 ft., with a height of 14 feet. It is lighted by five
windows, and is used for catechisings, and occasionally for
other services. Owing to the sloping nature of the ground
here, and the ground itself, continual landslips made a certain
amount of reconstruction necessary in the sixteenth century,
before the choir was taken in hand and vaulted by Jehan la
Beauce.
The upper tier of windows, thirteen in number, are chiefly
seventeenth century, for the most part heraldic in character,
and commemorate the benefactors of the church.
The chief dimensions of the church are :
Total length, 156^ feet, exterior; width, 98 feet, exterior.
Length of nave, 74! feet.
,, ., choir, 47£ feet.
Width of nave, 33 feet, from pier to pier.
Height of vaulting, 65^ feet.
Sainte-Foi. — A church with this dedication was in existence
in Fulbert's day, 1006 to 1028. It was made parochial in
1 150, and after being much enlarged and restored at different
times, is now mainly flamboyant in style. Desecrated with
the profanest possible desecration by the Revolutionists, it
remained a secular building for nearly seventy years. In 1857
it again passed by purchase into clerical hands, and in 1862
was specially reconsecrated.
Saint -Andre. — This church was built in 1108 by Saint
Ive, Bishop of Chartres, and was a large and important
collegiate and parochial foundation, having a dean, twelve
canons, a vicar, and a sacristan. It was the largest and most
important parish in the town and in the fifteenth century
was enlarged in a curious way by the addition of a choir,
supported by a bridge over the river, with a span of 45 feet.
OTHER CHURCHES IN CHARTRES 117
>
Besides a choir, a sanctuary and a tower were added. Later, in
161 2, a Lady Chapel was added, also supported upon an arch.
Much of the church was destroyed in 1793, and what re-
mained was desecrated and finally was much damaged by fire
in 1865. It was then an army forage store.
What is left is worth seeing, as from the remains one can
^picture the original church. The ruined church measures
131 feet in length by 72 feet in width; and the nave was 65 J
feet in height. There are two very early square crypts, one
under each transept.
The west front contains three round-headed arches, of
which the soffits are ornamented with coarse round mould-
ings and zigzag work, rising from columns with capitals
formed of acanthus leaves interspersed with grotesque little
heads. Above are three windows supported on a simple
cornice which is carried by corbels, also grotesque. The
mouldings in the soffits of the windows for the most part
are directly continuations of those in the side piers. The
rose was damaged by fire, and demolished for the sake of
^the general safety.
The interior is severely simple, consisting of a nave and
aisles. The round piers have very simple capitals, and the
bases are equally simple, ornamented with claws. Above
the arches a large round moulding runs all round the building,
and above this is the clerestory, consisting of plain unadorned
•lancet windows. In the aisles the windows are narrow and
irregular, those in the choir aisles were much wider, but of
them and the glass nothing now remains.
The choir screen, of sixteenth-century work (J. de Beauce
and P. Courtier), was destroyed at the Revolution in 1793.
S. Martin au Val. — This church, sometimes known as
L' hopital S. Brice, is known from the " Chartulary " of Notre
Dame to have been the burial-place of the bishops of Chartres
as early as the sixth century. It was as certainly destroyed
by Norman invaders in 911, and by Richard the Fearless,
Duke of Normandy, who burned the whole town of Chartres
in 962. Rebuilt, however, very soon after, as its architecture
proves, and enlarged, it has come down, after much restoration
from 1650 to 1865, to our time as a building full of interest,*
* It is scheduled as a monument historique.
118 CHARTRES CATHEDRAL
containing work as early as the sixth century, though, un-
fortunately, more or less in fragmentary condition. . The west
end, portions of the transept walls, the vaulting, and the choir
windows, are of late sixteenth- or early seventeenth-century work.
The front is very simple, with the three little turrets, and
the rest of the exterior of the building is very plain. The
interior, too, is plain and simple, but spotlessly clean and. bright*
The plan of the church is unusual for the date at which
it was built — viz. a Latin cross with a circular apse.
In the nave and transepts the piers (tenth century) have
no capitals, but very bold abaci.
The choir arcade consists of round-headed arches very
narrow and elongated. Of the eight capitals, two only are€
original, the others being rough and ready approximations of
tenth-century work. The bases of the piers have corner-pro-
jections suggesting rudimentary paws or claws, and so far
anticipating an architectural feature of the next two centuries.
The level of the choir pavement is raised considerably
above that of the nave and the transepts, owing to the crypt,
which is underneath.
The Crypt. — This part of the church contains more of
interest than the upper portion. Taken as a whole, it is a
specimen of tenth-century work, with remains of caivings and
masonry of the sixth century. Eight detached piers support
the vaulting, and their capitals will repay examination. Rudely
and roughly wrought as they are, they show a kind of«
clever ignorance mingled with barbaric vigour of expression.
Two in particular, wrought in grey marble, one on either side
of the tablet to Bishop Lescot, may be notd. One of these
represents a man carried off by a wild beast while his com-
panion appeals for help, the other represents four doves.
There are several memorial stones here to distinguished eccle-
siastics, and the tomb of Bishop de Lubersac, who died in 1823.
This crypt is now the usual last resting-place for the bishops
of Chartres, as the other churches in which their predecessors
were interred, have either been demolished, or converted
into parish churches, as in the case of S. Aignan and S. Pierre.
The north transept contains a fine marble tomb with the
effigy of Monsigneur Clausel de Montal (Bishop of Chartres •
till his resignation in 1853), which was placed here after the
restoration in 1865.
PLAN
OF
CHARTRES
CATHEDRAL
A. Renaissance Clock-
Chamber.
B. Chapel of Notre Dame
des Sept Douleurs and
Baptistery.
The Labyrinth or Lieu.
Door for access to north
belfry, roof, etc.
Chapel of the Transfigura-
tion.
Chapel of Not re-Dame du
Pilier, or de la Vierge
Noire.
G. Sacristies.
H. Chapel of S. Joseph
(formerly the Chapel of
Ecce Homo).
K. Chapel of the Blessed
Heart of Mary.
L. Formerly a Chapel to S.
John the Baptist.
M. Chapel of the Blessed
Sacrament.
N. Chapel of S. Piat.
O. Formerly a chapel.
P. Chapel of the Sacred
Heart of Jesus.
Q. Chapel of All Saints.
S. Lazare.
Vendome Chapel.
Calvary Chapel.
The Treasure.
The choir organ (con-
cealed).
Doors to the staircases
leading to unfinished
towers.
[T.O.
120
CHARTRES CATHEDRAL
DIMENSIONS
Total length, exterior
Total length, interior (not including the Chapel of S Piat)
Width of West Front .
Width of Nave ....
Length of Nave ....
Height of the Vaulting in Nave .
Height of the Vaulting in Aisles .
Choir and Sanctuary ....
Height of the Vaulting in Choir and Sanctuary
Transept, North to South .
Height of the Vaulting [
North Tower
South Tower
Diameter of the large Rose-Windows
Diameter of the small Rose-WTindows
Total length of the Crypt . .
Width of the Crypt '
507 feet
427 „
156 „
45i „
241 ,,
I22| ,, :
45i „
120
211
120
378
350
44
20£
366
W. H. WHITE AND CO. LTD., RIVERSIDE PRESS, EDINBURGH
Bell's Cathedral Series.
Profusely Illustrated. Cloth, crown 8vo, is. 6d. each.
NOW READY.
CANTERBURY. By Hartley Withers. 3rd Edition, revised.
CARLISLE. By C. K. Eley.
CHESTER. By Charles Hiatt. 2nd Edition, revised.
DURHAM. By J. E. Bygate, A.R.C.A. 2nd Edition.
EXETER. By Percy Addleshaw, B.A. 2nd Edition.
GLOUCESTER. By H. J. L. J. Masse, M.A. 2nd Edition.
HEREFORD. By A. Hugh Fisher, A.R.E.
LICHFIELD. By A. B. Clifton. 2nd Edition, revised.
LINCOLN. By A. F. Kendrick, B.A. 2nd Edition, revised.
NORWICH. By C. H. B. Quennell. 2nd Edition.
OXFORD. By Rev. Percy Dearmer, M.A. 2nd Edition, revised.
PETERBOROUGH. By Rev. W. D. Sweeting, M.A. 2nd Edition.
ROCHESTER. By G. H. Palmer, B.A. 2nd Edition.
ST. PAUL'S. By Rev. Arthur Dimock, M.A. 2nd Edition.
SALISBURY. By Gleeson White. 2nd Edition, revised.
SOUTHWELL. By Rev. Arthur Dimock, M.A.
WELLS. By Rev. Percy Dearmer, M.A. 2nd Edition, revised.
WINCHESTER. By P. W. Sergeant. 2nd Edition, revised.
YORK. By A. Clutton Brock. 2nd Edition, revised.
Preparing.
ST. DAVID'S. By Philip Robson, A. R. I. B.A.
CHICHESTER. By H. C. Corlette, A. R.I. B.A.
WORCESTER. By E. F. Strange.
RIPON. By Cecil Hallet, B.A.
ELY. By Rev. W. D. Sweeting, M.A.
ST. ALBANS. By Rev. W. D. Sweeting, M.A.
BRISTOL. By H. J. L. J. Masse, M.A.
ST. ASAPH'S and BANGOR. By P. B. Ironside Bax.
GLASGOW. By P. Macgkegor Chalmers, I. A., F.S.A. (Scot).
Uniform with above Series.
ST. MARTIN'S CHURCH, CANTERBURY. By Rev. Canon
Routledge, M.A., F.S.A. 24 Illustrations.
BEVERLEY MINSTER. By Charles Hiatt. 47 Illustrations.
WIMBORNE MINSTER AND CHRISTCHURCH PRIORY. By
Rev. T. Perkins, M.A., F.R.A.S. 65 Illustrations.
TEWKESBURY ABBEY AND DEERHURST PRIORY. By H.
J. L. J. Masse, M.A. 44 Illustrations.
WESTMINSTER ABBEY. By Charles Hiatt. [Preparing.
Bell's Handbooks to Continental Churches.
Profusely Illustrated. Crown 8vo, cloth, 2S. 6d. each.
CHARTRES : The Cathedral and Other Churches. By H. J. L. J.
Masse, M.A. [Ready.
ROUEN: The Cathedral and Other Churches. By the Rev. T.
Perkins, M.A. [In the Press.
PARIS (NOTRE-DAME). By Charles Hiatt. [Preparing.
LONDON: GEORGE BELL AND SONS,
YORK STREET, COVENT GARDEN, W.C.
Opinions of the Press.
" For the purpose at which they aim they are admirably done, and
there are few visitants to any of our noble shrines who will not enjoy their
visit the better for being furnished with one of these delightful books,
which can be slipped into the pocket and carried with ease, and is yet
distinct and legible. ... A volume such as that on Canterbury is exactly
what we want, and on our next visit we hope to have it with us. It is
thoroughly helpful, and the views of the fair city and its noble cathedral
are beautiful. Both volumes, moreover, will serve more than a temporary
purpose, and are trustworthy as well as delightful." — Notes and Queries.
"We have so frequently in these columns urged the want of cheap,
well -illustrated, and well -written handbooks to our cathedrals, to take
the place of the out-of-date publications of local booksellers, that we are
glad to hear that they have been taken in hand by Messrs George Bell
& Sons." — St. James's Gazette.
" The volumes are handy in size, moderate in price, well illustrated, and
written in a scholarly spirit. The history of cathedral and city is in-
telligently set forth and accompanied by a descriptive survey of the
building in all its detail. The illustrations are copious and well selected,
and the series bids fair to become an indispensable companion to the
cathedral tourist in England." — Times.
"They are nicely produced in good type, on good paper, and contain
numerous illustrations, are well written, and very cheap. We should
imagine architects and students of architecture will be sure to buy the
series as they appear, for they contain in brief much valuable information. "
— British Architect.
" Bell's. ' Cathedral Series,' so admirably edited, is more than a descrip-
tion of the various English cathedrals. It will be a valuable historical
record, and a work of much service also to the architect. The illustrations
are well selected, and in many cases not mere bald architectural drawings
but reproductions of exquisite stone fancies, touched in their treatment by
fancy and guided by art." — Star.
"Each of them contains exactly that amount of information which the
intelligent visitor, who is not a specialist, will wish to have. The dis-
position of the various parts is judiciously proportioned, and the Style is
very readable. The illustrations supply a further important feature ; they
are both numerous and good. A series which cannot fail to be welcomed
by all who are interested in the ecclesiastical buildings of England." —
Glasgow Herald.
"Those who, either for purposes of professional study or for a cultured
recreation, find it expedient to ' do ' the English cathedrals will welcome
the beginning of Bell's • Cathedral Series.' This set of books is an
attempt to consult, more closely, and in greater detail than the usual
guide-books do, the needs of visitors to the cathedral towns. The series
cannot but prove markedly successful. In each book a business-like
description is given of the fabric of the church to which the volume
relates, and an interesting history of the relative diocese. The books are
plentifully illustrated, and are thus made attractive as well as instructive.
They cannot but prove welcome to all classes of readers interested either
in English Church history or in ecclesiastical architecture. " — Scotsman.
"They have nothing in common with the almost invariably wretched
local guides save portability, and their only competitors in the quality and
quantity of their contents are very expensive and mostly rare works, each
of a size that suggests a packing-case rather than a coat-pocket. The
' Cathedral Series ' are important compilations concerning history, archi-
tecture, and biography, and quite popular enough for such as take any
sincere interest in their subjects." — Sketch.
LONDON: GEORGE BELL AND SONS
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
UNIVERSITY OF TORONTO LIBRARY
/
DC
gQl Masse, H.J. L.J.
CM8M37 The city of dartres
1900
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