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قراءة كتاب Historical Sketch of the Cathedral of Strasburg

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Historical Sketch of the Cathedral of Strasburg

Historical Sketch of the Cathedral of Strasburg

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دار النشر: Project Gutenberg
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1692 they adorned the interior of the choir with wainscots of wood painted and gilt; in 1732 they widened it to the detriment of a portion of the nave, and ten years later galleries were made for the orchestra. To punish, as it would seem, those who were thus spoiling this wonderful monument, an earthquake shook it in 1728; in 1759 it was struck by lightning and considerably injured; the lead on the roof of the nave was entirely melted, and the fine cupola or arched roof that crowned the dome fell into pieces; the roof was then covered with copper, but the cupola was not rebuilt. New destructions awaited the Cathedral in 1793; in their fury of levelling, the men who then ruled the country caused two hundred and thirty four effigies of saints and kings to be taken down from their niches, of which very few only were saved; the crazy jacobin Teterel even proposed pulling down the spire, because, by its height extending far beyond that of the ordinary houses, it was condemning the principle of equality; the motion not being carried on. Teterel obtained the assurance at least, that a large red cap made of tin should be placed on the top of the Cathedral, and it was to be seen among other curiosities in the town-library, before its destruction.

The year 1870, so full of important events for Strasburg, was also fatal for the Cathedral, and during the seven weeks' cannonading of the town the beautiful building was constantly threatened with ruin. In the first period of the siege of Strasburg, the Germans tried to force the surrender by the bombardment and partial destruction of the inner town. In the night of the 23rd of August began for the frightened inhabitants the real time of terror; however that night the rising conflagrations, for instance in St. Thomas' church, were quickly put out. But in the following night the New-Church, the Library of the town, the Museum of paintings and many of the finest houses became a heap of ruins, and under the hail of shells all efforts to extinguish the fire were useless. For the Cathedral the night from the 25th to 26th of August was the worst. Towards midnight the flames broke out from the roof perforated by shells, and increased by the melting copper, they rose to a fearful height beside the pyramid of the spire. The sight of this grand volume of flames, rising above the town, was indescribable and tinged the whole sky with its glowing reflection. And the guns went on thundering and shattering parts of the stone ornaments which adorned the front and sides of the Cathedral. The whole roof came down and the fire died out only for want of fuel. The following morning the ground in the interior was covered with ruins, and through the holes in the vault of the nave one could see the blue sky. The beautiful Organ built by Silbermann was pierced by a shell and the magnificent painted windows were in great part spoiled. Fortunately the celebrated astronomical Clock had escaped unhurt.

As the Military Command continued for some time to occupy a post of observation on the platform, the Cathedral was unfortunately still longer the aim of German guns which every day surrounded the building with ruins. On the 4th of September two shells hit the crown of the Cathedral and hurled the stonemasses to incredible distances; on the 15th a shot came even into the point below the Cross, which was bent on one side, and had its threatened fall only prevented by the iron bars of the lightning conductor which held it.

After the entrance of the Germans into the reconquered town, the difficult and dangerous work of restauration of the point of the spire was begun at once and happily ended a few months after. They work also constantly to make the other damages disappear, and in a short time the magnificent house of God will be restored to all its ancient splendour.

Click for larger image

Click for larger image The Crypta.

II. DESCRIPTION.

The first aspect of the Cathedral produces on the mind a deep impression. One is seized with admiration and amazed at the first view of this noble edifice whose steeple towers up so gracefully and majestically. No doubt that examined in all its particular parts, one may also be struck with the disproportion that exists between them; the nave is not in harmony with the dimensions of the tower, the chancel and transept still less so: but although this want of uniformity may lessen the symmetry of the monument, the impression it at first produces is no less extraordinary. And besides, have not those different styles a particular interest for those who study the history of architecture? In the Cathedral are, as it were, brought together all the styles or orders of architecture of the middle ages, from the byzantine art with its grave simplicity, down to the last glimmerings of the gothic art, now declining, and its works lined with an excess of superfluous ornaments. The byzantine taste prevails in the first constructions of the chancel and aisles and even somewhat in the lower part of the nave; higher up, the style in which the ogive was built extends to the other constructions and finally succeeds to the former entirely.

The façade of the church, of an imposing magnitude, cannot be sufficiently admired; the massive walls are hidden by clochetoons, arcades, small pillars and innumerable statues; these decorations all wrought to great perfection, give to that part of the edifice a nicety that makes it resemble a work coming from the hands of a chaser. But how to describe, in the short space which the limits of this sketch admit, all the details, all the particular parts of our Cathedral? There is in it such a profusion, such a richness, that to be properly explored, it would require volumes. We must therefore limit ourselves to some brief indications of the most interesting and essential parts1. Moreover a description of all the allegorical statues and figures that adorn particularly the inferior parts of the building, would be here so much the more superfluous, as an intelligent spectator may easily understand them. All these fine ornaments are meant to symbolize the mysteries of Redemption, taken from the principal facts in Scripture and from the fundamental doctrines of the christian faith. In this respect the lower tier is the most remarkable; the middle one has neither the same beauty nor the same religious signification; the third is the least satisfactory both as regards execution and artistical conception.

1 We refer the reader who wishes to study the Cathedral in all its parts, to the following works: Grandidier, Essais historiques et topographiques sur l'église Cathédrale de Strasbourg, Strasb. 1782, in 8o.—H. Schreiber, Das Münster zu Strassburg, Freib. 1828, in

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