Cathédrale de Chartres; Civilization, Medieval; Mont-Saint-Michel (Abbey : France)
There they still stand! unchanged, unfaded, as alive and complete as
when they represented the real world, and the people below were the
unreal and ephemeral pageant! Then the reality was the Queen of
Heaven on her throne in the sanctuary, and her court in the glass;
not the queens or princes who were prostrating themselves, with the
crowd, at her feet. These people knew the Virgin as well as they
knew their own mothers; every jewel in her crown, every stitch of
gold-embroidery in her many robes; every colour; every fold; every
expression on the perfectly familiar features of her grave, imperial
face; every care that lurked in the silent sadness of her power;
repeated over and over again, in stone, glass, ivory, enamel, wood;
in every room, at the head of every bed, hanging on every neck,
standing at every street-corner, the Virgin was as familiar to every
one of them as the sun or the seasons; far more familiar than their
own earthly queen or countess, although these were no strangers in
their daily life; familiar from the earliest childhood to the last
agony; in every joy and every sorrow and every danger; in every act
and almost in every thought of life, the Virgin was present with a
reality that never belonged to her Son or to the Trinity, and hardly
to any earthly being, prelate, king, or kaiser; her daily life was
as real to them as their own loyalty which brought to her the best
they had to offer as the return for her boundless sympathy; but
while they knew the Virgin as though she were one of themselves, and
because she had been one of themselves, they were not so familiar
with all the officers of her court at Chartres; and pilgrims from
abroad, like us, must always have looked with curious interest at
the pageant.
Far down the nave, next the western towers, the rank began with
saints, prophets, and martyrs, of all ages and countries; local,
like Saint Lubin; national, like Saint Martin of Tours and Saint
Hilary of Poitiers; popular like Saint Nicholas; militant like Saint
George; without order; symbols like Abraham and Isaac; the Virgin
herself, holding on her lap the Seven Gifts of the Holy Ghost;
Christ with the Alpha and Omega; Moses and Saint Augustine; Saint
Peter; Saint Mary the Egyptian; Saint Jerome; a whole throne-room of
heavenly powers, repeating, within, the pageant carved on the
porches and on the portals without. From the croisee in the centre,
where the crowd is most dense, one sees the whole almost better than
Mary sees it from her high altar, for there all the great rose
windows flash in turn, and the three twelfth-century lancets glow on
the western sun. When the eyes of the throng are directed to the
north, the Rose of France strikes them almost with a physical shock
of colour, and, from the south, the Rose of Dreux challenges the
Rose of France.
Public-domain text, read in full here on John Shaqi.
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