DOI Page / Citation link:
https://doi.org/10.11588/diglit.29899#0160
140
FRENGH ARCHITECTURE.
Paet II.
complete them. On the intersection of the nave with the transepts
there rose at one time a spire of woocl, probably as high as the
intended spires of the western towers, and one still crowns the ridge of
the chevet, rising to half the height above the roof that the central
one was intended to attain. Were these all complete, we should
have the beau ideal externally of a French cathedral, with one
central and two western spires, and four towers at the ends of the
transepts. All these perhaps never were fully completed in any
instance, though the rudiments of the arrangement are found in
almost all the principal French cathedrals. In some, as for instance
at Rouen, it was carried out in number, though at such different
periods and of such varied design as to destroy that unity of effect
essential to perfect beauty.
The external effect of Aruiens may be taken rather as an example
of the defects of the general design of French cathedrals than as an
illustration of their beauties. The western façade presents the same
general features as those of Paris and Rheims, but the towers are so
small in proportion to the immense building behind as to look mean
and insignificant, while all the parts are so badly put together as to
destroy in a great measure the effect they were designed to produce.
The nort-hern tower is 223 ft. high, the southern 205 ; both therefore
are higher than those at York, but instead of being appropriate and
beautiful adjuncts to the building they are attached to, they only
serve in this instance to exaggerate the gigantic incubus of a roof,
208 ft. in height, which overpowers the building it is meant to
adorn.
The same is the case with the central spire, which, though higher
than that at Salisbury, being 422 ft. high from the pavement, is
reduced from the same cause to comparative insignificance, and is
utterly unequal to the purpose of relieving the heaviness of outline
for which this cathedral is remarkable. The filling up of the spaces
between the buttresses of the nave with chapels prevents the transepts
from having their full value, and gives an unpleasing fulness and
flatness to the entire design.
All French cathedrals are more or less open to these objections,
and are deficient in consequence of that exquisite variety of outline
and play of light and shade for which the English examples are so
remarkable ; but it still remains a question how far the internal
loftiness and the glory of their painted glass compensate for these
external defects. The truth perhaps would be found in a mean be-
tween the two extremes, which has not unfortunately been attained
in any one example ; and this aiûses mainly from the fact that, besides
the effect of mass or beauty of outline, there were many minor con-
siderations of use or beauty that governed the design. We must
consequently look closely at the details, and restore, in imagination
FRENGH ARCHITECTURE.
Paet II.
complete them. On the intersection of the nave with the transepts
there rose at one time a spire of woocl, probably as high as the
intended spires of the western towers, and one still crowns the ridge of
the chevet, rising to half the height above the roof that the central
one was intended to attain. Were these all complete, we should
have the beau ideal externally of a French cathedral, with one
central and two western spires, and four towers at the ends of the
transepts. All these perhaps never were fully completed in any
instance, though the rudiments of the arrangement are found in
almost all the principal French cathedrals. In some, as for instance
at Rouen, it was carried out in number, though at such different
periods and of such varied design as to destroy that unity of effect
essential to perfect beauty.
The external effect of Aruiens may be taken rather as an example
of the defects of the general design of French cathedrals than as an
illustration of their beauties. The western façade presents the same
general features as those of Paris and Rheims, but the towers are so
small in proportion to the immense building behind as to look mean
and insignificant, while all the parts are so badly put together as to
destroy in a great measure the effect they were designed to produce.
The nort-hern tower is 223 ft. high, the southern 205 ; both therefore
are higher than those at York, but instead of being appropriate and
beautiful adjuncts to the building they are attached to, they only
serve in this instance to exaggerate the gigantic incubus of a roof,
208 ft. in height, which overpowers the building it is meant to
adorn.
The same is the case with the central spire, which, though higher
than that at Salisbury, being 422 ft. high from the pavement, is
reduced from the same cause to comparative insignificance, and is
utterly unequal to the purpose of relieving the heaviness of outline
for which this cathedral is remarkable. The filling up of the spaces
between the buttresses of the nave with chapels prevents the transepts
from having their full value, and gives an unpleasing fulness and
flatness to the entire design.
All French cathedrals are more or less open to these objections,
and are deficient in consequence of that exquisite variety of outline
and play of light and shade for which the English examples are so
remarkable ; but it still remains a question how far the internal
loftiness and the glory of their painted glass compensate for these
external defects. The truth perhaps would be found in a mean be-
tween the two extremes, which has not unfortunately been attained
in any one example ; and this aiûses mainly from the fact that, besides
the effect of mass or beauty of outline, there were many minor con-
siderations of use or beauty that governed the design. We must
consequently look closely at the details, and restore, in imagination