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Strange that Lubke could not realize that the sculptor produced these
contrasts with design, so that the ugly and grotesque of some might make
the grace and beauty of the others the more telling; but such is the
quality of the Teutonic mind.
But he has written so appreciatively of the beauties of the figures,
that we can overlook his shortcomings. He further says, "That different
hands were employed on the same portal (the North Transept) may be seen
in the forty-two small seated figures of bishops, saints and kings,
which in three rows fill the hollows of the archi-volts. They are one
and all of enchanting beauty, grace, and dignity; the little heads
delightful; the attitudes most varied; the drapery nobly arranged, and
so varied in conception that it would be impossible to conceive more
ingenious variations."
Of the smaller portal which contained the beautiful figure of Christ in
benediction, known as the "_Beau Dieu_," he says: "This is a work of such
beauty that it may be considered _the most solemn plastic creation of
its time_. It shows perfect understanding and admirable execution of
the whole form in its faultless proportions, and moreover there is such
majesty in the mild, calm expression of the head, over which the hair
falls in soft waves, that the divine seriousness of the sublime Teacher
seems glorified by the truest grace. The right hand is uplifted, and the
three forefingers stretched out; the left hand holds the orb, and, at
the same time the mantle, which is drawn across the figure, and the
noble folds of which are produced by the advancing position of the right
foot. The following of nature in this masterly figure is in all its
details so perfect that not merely the nails of the fingers, but the
structure of the joints is characterized in the finest manner."
Two years ago it was ablaze with all this sculptural splendor. Now the
picture is replaced by a gray monotone of fire-swept portals empty of
tracery; of gaping, blackened lancet window-panes destitute of glass;
its perfectly designed Gothic arches laced with fantastically bent iron
bars, and its nave buried in pulverized calcined heaps of ashes from
which protrude here and there blackened, charred beams, while scattered
about are the broken fragments of the great bronze bells which once
pealed out pæons of sound in celebration of imperial coronations.
Although many have attempted the task, it is difficult if not impossible
to analyze Rheims, or even adequately to describe its vital exquisite
quality, its stimulating originality, or to explain clearly the well
nigh incredible competence, beauty and delicacy of even its minor
details. One may dwell upon the glory of its sculpture in pages of
description, which fail to picture it. Rheims Cathedral was what may
be styled a great consistency, that placed it quite in a category by
itself.
It was quite completely without a fault.
All other cathedrals of France form a chronicle of splendor. They
record changing epochs, times, and architectural impulse. The varying
personalities of their great designers were wrought out in their
details; they present the thoughts of many men, each expressing his
highest thought and ideals, and the result is magnificent agglomeration,
covering many years of work. With Rheims however, which was begun
in 1211, the case is different. For it was finished within the same
century, to be exact, in fifty years, and in perfect accordance with the
original plan and conception. To say that its sculpture ranked with
that of ancient Greece does not magnify its importance. To urge that the
splendor and artistry of its painteld glass was unrivaled, means little
now, for its disappearance is too recent, too grievous and painful.
Its eulogy must be written by an abler pen than mine--and in a day far
hence, when time has softened the blow.
(Paris, Jan. 10, 1917.) "Albert Dalimier, Under Secretary of Fine Arts,
made a statement to-day regarding Rheims Cathedral, which, it has been
reported, the Pope is anxious to have restored, having asked permission
to this end from the German authorities."
"Orders were given by the French Government for provisional repairs to
the roofs of the Cathedral in autumn of 1914," said M. Dalimier, "but
we were unable to begin work without an agreement with the military
authorities, and they begged us to do nothing. They pointed out that the
Cathedral was _still under German fire_, that from Nogent to La Bassée,
where the batteries firing on the town were installed, everything that
passed could be distinctly seen by the Germans, and that workmen on the
Cathedral would therefore be sure to be observed and fired upon."
The great interior was four hundred and sixty-six feet long and one
hundred and twenty-one feet high. Both nave and transepts have aisles.
Eight bays were in the nave, and each transept projected to the depth
of a single bay. A triforium was above the aisles, and eight exquisite
chapels radiated from the choir.