Читать книгу The Cathedrals and Churches of the Rhine - Mansfield Milburg Francisco - Страница 6

Up to the tenth century the German basilicas were but copies of the Roman variety. Even the great cathedral at Trèves, with its ground-plan a great square of forty metres in extent, was but a gross imitation of the Romanesque form of the sixth century.

Later, in the eighth century, came the modified Byzantine form which one sees at Aix-la-Chapelle.

With the eleventh century appeared the double-apsed basilicas, but, from this time on, German ecclesiastical art divorced itself from Latin traditions, and from the simple parallelogram-like basilica developed the choir and transepts which were to remain for ever.

The crypt is a distinct and prominent feature of many German churches. On the Rhine curious and most interesting examples are very frequent, those at Bonn, Essen, München-Gladbach, Speyer, Cologne (St. Gérêon's), Boppart, and Neuss being the chief. All of these are so constructed that the level of the pavement is broken between the nave and choir, producing a singularly impressive interior effect.

Speyer has the longest, and perhaps the largest, crypt in all Germany.

Where the edifice has remained an adherent of Catholicism, the crypt often performs the function of a place of worship independent of the main church, it being fitted up with one or more altars and frequently other accessories.

As the crypt, instead of being only an occasional attribute, became general, squared, or even more rude, capitals replaced the antique and classical forms which Christian Italy herself had adopted from pagan Greece.

These squared or cubic capitals are particularly noticeable at Neuss, at München-Gladbach, in St. James at Cologne, and in the old abbey of Laach.

Towers came to be added to the west fronts, but the naves often remained roofed with visible woodwork, though, by the end of the century, the stone-vaulted nave had appeared in the Rhine district, and the pillars of pagan birth had given way to the columns and colonnettes of Latin growth.

What is known as the German manner of church-building had more than one distinguishing feature, though none more prominent than that of the columns of the nave and aisles. The naves were in general twice the width of their aisles, and the bays of the nave were made twice the width of those of the aisles. Hence it followed that every pier or column carried a shaft to the groin of the aisle vault, and every alternate one a shaft to the nave vault; and so grew the most distinct of all German features of Romanesque church-building, alternate light and heavy piers in the nave.

It is on the Rhine, too, that one comes upon occasional examples of rococo architectural decoration, a species which sounds as though it might originally have been Italian, but which was originally French. At its best it is seldom seen on the exterior, but on inside walls and porticoes, notably at Bruchsal on the Rhine, one sees a frankly theatrical arrangement of ornate details.

By the twelfth century the particular variety of Romanesque architecture which had developed, and still endures, in the Rhine valley had arrived at its maturity.

The thirteenth century saw the interpolation and admixture of Gothic, which elsewhere, in France in particular, was making such great strides.

Towers multiplied and became lighter and more graceful, and great Gothic arched windows gave place to round-headed ones, though scarcely ever to the entire exclusion of the latter variety.

The species of cross-bred style which forms the link between the Romanesque and Gothic abounds along the Rhine, and examples are frequently encountered.

The semicircular apsides, with a decorative band beneath the cornices of the exterior galleries, are also a distinctly Rhenish detail. They are to be seen in St. Peter's at Bacharach, at St. Castor's at Coblenz, St. Martin's at Cologne, the cathedral at Bonn, in St. Quirinus at Neuss, and again at Limburg.

The Rhenish bell-towers are a variety distinct from the towers and spires usually met with, and often terminate suddenly, as if they were unfinished.

Finally, there are a number of churches in this region which offer the singular, though not unique, disposition of a chevet showing a triple apsis. Notable examples of this style are St. Maria in Capitola, St. Andrew and St. Martin at Cologne, and St. Quirinus at Neuss.

The churches of the Rhine valley are abundantly supplied with steeples, often in groups far in excess of symmetry or sense, as for instance the outré group at Mayence, which is really quite indescribable.

The Apostles' Church at Cologne, the cathedrals at Mayence, Speyer, and Worms, and the abbey church of Laach all have wonderfully broken sky-lines; while those with great central towers, such as at Neuss, or the parish church of Sinzig, form another class; and the slim-spired churches at Andernach and Coblenz yet another. St. Martin's at Cologne is another single-spired church, but it rises from its three apses in quite a different manner from that of St. Quirinus at Neuss, and must be considered in a class by itself.

The minster at Bonn, though having three steeples, is not overspired, like that of Mayence, – indeed, it is perhaps one of the most picturesque, if somewhat theatrical, of all the spired churches of the Rhine, excepting always Limburg. The openwork spire of Freiburg is unequalled in grace by even that of Strasburg, whatever may be the actual value of its constructive details.

A marked type of German church architecture is that species of building known as the Hallenkirche. The variety is found elsewhere, even in France, but still it is distinctively German in its inception.

Usually they are of the triple-naved variety, i. e., a nave with its flanking aisles, with the aisles nearly always of the same height as the principal nave.

There are two great churches of this order – though lacking aisles – in France, the cathedrals at Rodez and Albi in the south.

Mostly these great halled churches exist in Westphalia, where there is a fine example in the cathedral at Paderborn, and again there is St. Ludger at Münster, and many others. In one form or another the type is frequently met with throughout Germany, and is therefore to be considered as a distinct German architectural expression.

In summing up, then, one may well conclude that German church architecture, in its general plan and outline, is not of the amazing beauty of the French, and is in a way lacking in mass effect. With respect to details and accessories, however, the German churches are graced with much that one would gladly find everywhere as an expression of the artistic embellishment of a great religious edifice.

In spite of the austerity of many of these German churches in the fabric itself, there is frequently an abounding wealth of accessory detail in fitments and furnishings.

In France the Revolution made away with much decorative embellishment and furniture of all sorts. The Reformation in Germany played no such part, and so there is left much really artistic detail which contributes a luxuriance that is wanting in constructive details.

The universally elaborate carven pulpits and choir-stalls are wonders of their kind. It is true they are usually of wood instead of stone, but it must be remembered that the Germans were ever great wood-workers.

The pulpits of Freiburg and Strasburg are thoroughly representative of the best work of this kind. They may be said, moreover, to be of the Gothic species only, whereas similar works elsewhere are most frequently of the Renaissance period.

In no other European country are the altars so rich in detail, the sacristies so full to overflowing with jewelled and precious metal cups, vases, and chalices, or the crucifixes, triptychs, and candlesticks so sumptuous.

In the cathedral at Aix-la-Chapelle the congregation seats itself upon chairs; but most frequently in Germany one finds sturdy, though movable, oaken benches.

Of the carved choir-stalls, those at St. Gérêon's at Cologne are the most nearly perfect of their kind on the Rhine; those at Mayence, while elaborately produced, being of a classic order which is manifestly pagan and out of keeping in a Christian church.

German churches in general made much of the cloister, though not all of the examples that formerly existed have come down to us undisturbed or even in fragmentary condition. But, in spite of the Protestant succession to many of the noble minsters, many of these cloisters have endured in a fair state of preservation. Attached to the western end of St. Maria in Capitola at Cologne is an admirable example, while the Romanesque types at Bonn, at the abbey of Laach, and at Essen are truly beautiful. Examples of the later pure Gothic construction are those at Aix-la-Chapelle and Trèves.

But little exterior sculpture has been preserved in all its originality in the Rhenish provinces, revolutionary fury and its aftermath having accounted for its disappearance or mutilation. In the Cistercian church at the abbey of Altenburg, there is a plentiful display of foliaged ornament, and there are the noble statues in the choir of the cathedral at Cologne. Mayence has a series of monuments to the bishop-nobles attached to the piers of the nave, and in the Liebfrau Kirche at Trèves and the cathedral at Strasburg are seen the best and most numerous features of this nature.

One of the most unusual of mediæval church furnishings, a sort of chandelier, is seen both at Aix-la-Chapelle and Hildesheim. In each instance it is a vast hoop-like pendant which bears the definition of coronæ lucis. Others are found elsewhere in Germany, but not of the great size of these two.

Organ-cases here as elsewhere are mostly abominations. The makers of sweet music evidently thought that any heavy baroque combination of wood-carving and leaden pipes was good enough so long as the flow of melody was uninterrupted.

The stained glass throughout the Rhine valley is mostly good and unusually abundant, and the freedom of this accessory from fanatical desecration is most apparent. The same is true of such paintings as are found hung in the churches, though seldom have they great names attached to them; at least, not so great as would mark them for distinction were they hung in any of the leading picture galleries of Europe.

At Essen the baptistery is separated from the main church, like that at Ravenna, or at Aix-en-Provence, the two foremost examples of their kind. A little to the westward of this minster, and joined to it by a Romanesque ligature, is a three-bayed Gothic church which occupies the site, or was built up from a former chapel dedicated to St. John the Baptist.

Sooner or later the custom became prevalent of erecting a baptismal font within the precincts of the main church itself, thus doing away with a structure especially devoted to the purpose. This change came in the ninth century, hence no separate baptisteries are found dating from a later epoch only, except as an avowed copy of the earlier custom.

At this time, too, immersion had given way to sprinkling merely, though in many cases the German name still applied is that of taufstein, meaning dipping-stone.

Late examples of fonts were frequently in metal, the most remarkable in the Rhine valley being in St. Reinhold's at Dortmund, in St. Maria in Capitola, and St. Peter's at Cologne, and in St. Mary's and St. James's at Mayence.

One of the most elaborate, and certainly the most beautiful and remarkable of all, is the stone font of the cathedral at Limburg.