Notre Dame de Paris: A Short History & Description of the Cathedral, With Some Account of the Churches Which Preceded It — John Shaqi
Notre Dame de Paris: A Short History & Description of the Cathedral, With Some Account of the Churches Which Preceded ItHiatt, Charles
History
Notre Dame de Paris: A Short History & Description of the Cathedral, With Some Account of the Churches Which Preceded It
Hiatt, Charles
Notre-Dame de Paris (Cathedral)
“Assuredly there are few finer pages of architecture than this façade,
in which, successively and at once, the three receding pointed portals;
the decorated and lace-like band of twenty-eight royal niches; the
vast central rose window flanked by the two lateral ones, like the
priest by the deacon and sub-deacon; the lofty yet slender gallery of
trefoiled arcading, which supports a heavy platform upon its light
and delicate columns; and lastly the two dark and massive towers with
their eaves of slate,[9]--harmonious parts of an entirely magnificent
whole,--rising one above another in five gigantic stories,--unfolding
themselves to the eye combined and unconfused, with innumerable details
of statuary and sculpture which powerfully emphasise the grandeur
of the _ensemble_: a vast symphony in stone, if one may say so--the
colossal work of a man and of a nation ... on each stone of which one
sees, in a hundred varieties, the fancy of the craftsman disciplined
by the artist: a kind of human creation, mighty and prolific as the
Divine Creation itself of which it seems to have caught the double
characteristics--variety, eternity.” In the last few phrases Victor
Hugo has, perhaps, been guilty of the licence readily granted to so
great a master of rhetoric; but the west front of Notre Dame was a
monument certain to appeal to a writer to whom none deny the gift
of eloquence. Even a specialist who scrupulously avoids rhapsody is
compelled to use superlatives in his description of this façade: “This
vast and superb design is not only the most elaborate that had been
produced up to its time, but in point of architectural grandeur it has
hardly ever been equalled.” Mr. C. H. Moore, in the book alluded to in
a former chapter, rightly insists that the component elements of the
front are so treated as to manifest the Gothic spirit not merely in the
portals, the arcades, and the apertures, but even in so comparatively
small a matter as the profiles of the mouldings.
[Footnote 9: These have been removed.]
[Illustration: STRING-COURSE ON THE WEST FRONT.
[_From Viollet-le-Duc._]]
Public-domain text, read in full here on John Shaqi.
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