Burgundy: The Splendid Duchy. Stories and Sketches in South BurgundyAllen, Percy
History
Burgundy: The Splendid Duchy. Stories and Sketches in South Burgundy
Allen, Percy
Burgundy (France) -- Description and travel
At the end of the vestibule was the original gate of the basilica,
of which the impost was the stone that St. Hugues had miraculously
raised. Twenty-three figures were carved upon it in relief, and in the
tympanum above was seated the Heavenly Father, as Teacher, His right
Hand raised in benediction, His left holding the Gospel. Beside Him the
four Evangelists listened to His words, and cloud-borne angels held the
medallions upon which were shown the Throne and Person of Christ.
The interior of the great basilica must have been of the most majestic
and impressive character, with its two transepts[83] and double row
of aisles on each side of the nave. The great pillars supporting the
central vault were seven and a half feet in diameter, with pilasters
on the side of the nave, and engaged columns on the other three sides,
meeting the aisle vaults. At the transept, the columns, together
with the pillars they surmounted, rising in unbroken lines, formed
the ribs of the vaulting. Above each bay was a triforium of two rows
of superposed, romanesque, round-headed, arcaded arches, in threes,
the lower row separated by pilasters, and the upper by colonnettes.
The arches of the bays and the transepts were pointed; a feature,
which, though quite usual in Burgundian work of the period, was more
or less accidental, and was necessitated, or rendered advisable, by
practical considerations, rather than by a deliberate departure from
an architectural style that was still of the purest Romanesque. The
capitals everywhere were ornamented with characteristic sculpture, of
extraordinary freedom and boldness, representing scriptural, and many
other subjects.
At the bottom of the nave, close to the entry of the choir, was placed,
in after years, the tomb of Pope Gélase, and two altars, which, with a
gate at the entrance, screened the monks from the eyes of the laymen.
Here, too, against the pillars of the nave, were four large, painted,
wooden statues, representing St. Hugues, holding the model of the
church in his right hand, St. Mayeul, St. Odon, and St. Odilon.
Public-domain text, read in full here on John Shaqi.
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