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VLUCERNrS^^i/fi^^^/ ■'^'^■••^''^'' THE CATHEDRALS AND CHURCHES OF THE RHINE By FRANCIS MILTOUN AUTHOR OF " THE CATHEDRALS OF NORTHERN FRANCE," " THE CATHEDRALS OF SOUTHERN FRANCE," " dickens' LONDON," ETC., WITH NINETY ILLUSTRA- TIONS, PLANS, AND DIAGRAMS, By BLANCHE McMANUS BOSTON 1, €. pa^z anD Compani? M D C C C C V I Copyright, igos By L. C. Page & Company (incorporated) All rights reserved Published September, 1905 COLONIAL PRESS ElectrotyPed and Printed by C. H. Simonds <5r* Co. Boston, U.S.A. JJl:' 80/ KT4 rA %(. CONTENTS CHAPTER PAGB Apologia ...... V I. Introductory . . . . . I II. The Rhine Cities and Towns 13 III. The Church in Germany . 29 IV. Some Characteristics of Rhenish Archi ecture 40 V. The Accessories of German Churches 56 VI. Constance and SchafFhausen 68 VII. Basel and Colmar 83 VIII. Freiburg ..... 93 IX. Strasburg ..... 97 X. Metz 114 XI. Speyer ..... 127 XII. Carlsruhe, Darmstadt, and Wiesbaden '34 XIII. Heidelberg and Mannheim . 142 XIV. Worms ..... 149 XV. Frankfort ..... 155 XVI. Mayence ..... 161 XVII. Bacharach, Bingen, and Rudesheim 172 XVIII. Limburg ..... 181 XIX. Coblenz and Boppart . 187 XX. Laach and Stolzenfels . 194 XXI. Andernach and Sinzig ■ 199 XXII. Treves . , . . . 202 -J ix 4653G1 LIBRARY Contents CHAPTER XXIII. Bonn .... XXIV. Godesberg and Rolandseck XXV. Cologne and Jts Cathedral XXVI. The Churches of Cologne XXVII. Aix-la-Chapelle XXVIII. Liege .... XXIX. Diisseldorf, Neuss, and Miinchen-Gladbach XXX. Essen and Dortmund XXXI. Emmerich, Cleves, and Xanten XXXII. Arnheim, Utrecht, and Leyden Appendix .... Index ..... PAGB zo8 226 232 264 277 295 304 3'8 326 331 347 363 LIST OF ILLUSTRATIONS Cologne Cathedral . General View of Leyden , General View of Diisseldorf Worms Cathedral Chandelier, Aix-la-Chapelle Font, Limburg Constance Cathedral Coat of Arms, Constance Cathedral Clock, Basel Basel and Its Cathedral . Coat of Arms, Basel Freiburg Cathedral . Coat of Arms, Freiburg . Ancient Church Foundation, Strasburg Cathedral . Coat of Arms, Strasburg . Metz .... Speyer Cathedral Greek Chapel, Wiesbaden Coat of Arms, Darmstadt Heidelberg and Its Castle Frankfort Cathedral . Coat of Arms, Frankfort . Strasburg (diagram) PAGR Frontispiece facing 8 facing 24 facing 60 . 64 . 66 . 71 . 82 85 facing 86 92 facing 94 96 . lOI facing 102 . 113 . 115 . 129 facing 140 141 facing 146 facing 156 160 List of Illustrations PAGE Cenotaph of Drusus, Mayence . 162 Mayence Cathedral .... facing 166 Bacharach . •73 Bishop Hatto's Mouse Tower . 175 Coat of Arms, Bingen . 180 Limburg Cathedral . facing 182 Coblenz and Its Bridge . facing 190 General View of Boppart facing 192 Coat of Arms, Coblenz . 193 Abbey of Laach (restored) 195 Stolzenfels Castle 197 Coat of Arms, Laach 198 General View of Andernach facing 200 Sinzig Church 205 Treves Cathedral facing 214 Pulpit, Treves Cathedral . 216 Coat of Arms, Treves 219 General View of Bonn . facing 220 Apse, Bonn Cathedral 221 Convent of Nonnenwerth 229 General View of Cologne facing 232 Cologne Cathedral in 1820 254 Stone-masons' Marks, Cologne Cathedral . 262 Coat of Arms, Cologne . 263 Font, St. Martin's, Cologne . 267 Gross St. Martin, Cologne 269 St. Gereon's, Cologne facing 272 Coat of Arms, Cologne . 276 Charlemagne .... 279 Aix-la-Chapelle Cathedral in I) Cth Century 283 List of Ilhtstrations Aix-la-Chapelle Cathedral Coat of Arms, Aix-la-Chapelle General View of Liege . Coat of Arms, Liege Neuss Cathedral Coat of Arms, Diisseldorf General View of Essen . Seven-branched Candlestick, Essen Coat of Arms, Essen St. Victor's, Xanten General View of Arnheim General View of Utrecht Round Church in the IXth Century, Aix (diagram) St. Genevieve, Andernach (diagram) Bonn Cathedral (diagram) St. Castor, Coblenz (diagram) . Ancient Cathedral, Cologne (diagram) Present Cathedral, Cologne (diagram) St. Maria in Capitolia, Cologne (diagram) St. Cunibert's, Cologne (diagram) St. Martin's, Cologne (diagram) Church of the Apostles, Cologne (diagram St. Gereon's, Cologne (diagram) Crypt, St. Gereon's, Cologne (diagram) Constance Cathedral (diagram) Freiburg Cathedral (diagram) . Abbey of Laach (diagram) Mayence Cathedral (diagram) , Gothard Chapel, Mayence (diagram) facing facing facing facing facing la-Chapelle 290 294 296 303 309 317 318 321 325 329 332 340 347 348 349 350 351 351 352 352 353 353 353 353 354 355 356 358 358 List of Illustrations Abbey Church, Miinchen-Gladbach (diagram) St. Quirinus, Neuss (diagram) . SchafFhausen Cathedral (diagram) Speyer Cathedral (diagram) Treves Cathedral (diagram) St. Martin, Worms (diagram) . 359 359 360 360 361 362 APOLOGIA The Rhine provinces stand for all that is best and most characteristic of the ecclesias- tical architecture of Germany, as contrasted with that very distinct species known as French pointed or Gothic. For this reason the present volume of the series, which follows the Cathedrals of Northern and Southern France, deals with a class of ecclesiastical architecture entirely different from the light, flamboyant style which has made so many of the great cathe- dral churches of France preeminently fa- mous. Save Cologne, there is no great cathedral, either in Germany or the Low Countries, which in any way rivals the masterpieces of Paris, Reims, or Amiens, or even Lincoln or York in England. Strasburg and Metz are in a way remi- niscent of much that is French, but in the main the cathedrals and churches of the Rhine are of a species distinct and com- plete in itself. Apologia Any consideration of the Rhine cities and towns, and the ecclesiastical monuments ~^J which they contain, must perforce deal largely with the picturesque and romantic elements of the river s legendary past. Not all of these legends deal with mere romance, as the world well knows. The religious element has ever played a most important part in the greater number of the Rhine legends. For demonstration, one has only to recall the legends of " The Architect of Cologne," of "Bishop Hatto and His Mouse Tower on the Rhine," and of many others relating to the devout men and women who in times past lived their lives here. ^^ In the Low Countries also, — at Liege, where we have " The Legend of the Lie- \ geois," and at Antwerp, where we have '" " The Legend of the Blacksmith," — and in- deed throughout the whole Rhine watershed there is abundant material to draw from with respect to the religious legend alone. As for the purely romantic legends, like 1 " The Trumpeter of Sackingen " and " The "^ Lorelei" there is manifestly neither room nor occasion for recounting them in a work such as this, and so, frankly, they are inten- tionally omitted. Apologia In general, this book aims to be an account of the great churches in the Rhine valley, and of that species of architectural style which is known as Rhenish. There is a fund of interesting detail to be gathered in out-of-the-way corners in re- gard to these grand edifices and their pious founders, but not all of it can be even cata- logued here. The most that can be at- tempted is to point out certain obvious facts ^ in connection with these ecclesiastical monu- ments, not neglecting the pictorial represen- tation as well. Tourists have well worn the roads along both banks of the Rhine, from Cologne to ^Mayence, but above and below is a still larger and no less interesting country, which has been comparatively neglected. Not all the interest of the Rhine lies in its castled crags or its vine-clad slopes, and not all the history of the middle ages ema- nated from feudal strongholds. The Church here, as in France, played its part and played it gloriously. In this discussion of the Rhine churches from Constance to Leyden, the reader will be taken on what might, with considerable license, be called an " architectural tour " of Apologia the Rhine, and will be allowed to ramble along the banks of the river, looking in and out of the various religious edifices with which its cities and towns are crowded. The valley of the Rhine is no undiscov- ered land, but it served the purpose of the author and the artist well, for it presents much variety of architectural form, and an abounding and appealing interest by reason of the shadows of the past still lingering over these monuments in stone. The Cathedrals and Churchej of the Rhine INTRODUCTORY There is no topographical division of Europe which more readily defines itself and its limits than the Rhine valley from Schafifhausen to where the river empties into the North Sea. The region has given birth to history and legend of a most fascinating character, and the manners and customs of the people who dwell along its banks are varied and pictur- esque. Under these circumstances it was but to be expected that architectural development should have expressed itself in a decided and unmistakable fashion. One usually makes the Rhine tour as an interlude while on the way to Switzerland I Cathedrals and Churches of the Rhine or the Italian lakes, with little thought of its geographical and historical importance in connection with the development of mod- ern Europe. It was the onward march of civilization, furthered by the Romans, through this great- est of natural highways to the north, that gave the first political and historical signifi- ca/nce to the country of the Rhine watershed. And from that day to this the Rhenish prov- inces and the Low Countries bordering upon the sea have occupied a prominent place in history. There is a distinct and notable architec- ture, confined almost, one may say, to the borders of the Rhine, which the expert knows as Rhenish, if it can be defined at all; and which is distinct from that variety of pre-Gothic architecture known as Roman- esque. It has been developed mainly in the build- ing of ecclesiastical edifices, and the churches and cathedrals of the Rhine valley, through Germany and the Netherlands, are a species which, if they have not the abounding pop- ular interest of the great Gothic churches of France, are quite as lordly and imposing as any of their class elsewhere. The great ca- 2 Cathedrals and Churches of the Rhine thedral at Cologne stands out among its Gothic compeers as the beau-ideal of our imagination, while the cathedral at Tournai, in Belgium — which, while not exactly of the Rhine, is contiguous to it — is the pro- totype of more than one of the lesser and primitive Gothic cathedrals of France, and has even lent its quadruple elevation to Notre Dame at Paris, and was possibly the precursor of the cathedral at Limburg-on- Lahn. From this it will be inferred that the build- ers of the churches of the Rhine country were no mere tyros or experimenters, but rather that they were possessed of the best talents of the time. There is much of interest awaiting the lover of churches who makes even the con- ventional Rhine tour, though mostly the tourist in these parts has heretofore reserved his sentiments and emotions for the admira- tion of its theatrical-looking crags and cas- tles, the memory of its legends of the Lore- lei, etc., a nodding acquaintance with the castle of Heidelberg, and a proper or im- proper appreciation of the waterside beer- gardens of Cologne. For the most part the real romance and history of the Rhine, as it 3 Cathedrals and Churches of the Rhine flows from its source in the Grisons to the North Sea, has been neglected. There are a large number of persons who are content to admire the popular attrac- tions of convention; sometimes they evoke an interest somewhat out of the ordinary, but up to now apparently no one has gone to the Rhine with the sole object of visiting its magnificent gallery of ecclesiastical treas- ures. No one glows with enthusiasm at the men- tion of these Rhenish churches as they do for the Gothic marvels of France. It is, of course, impossible, in spite of Cologne, Speyer, and Strasburg, that they should sup- plant Reims, Amiens, Chartres, or Rouen in the popular fancy, to say nothing of real excellence; for these four French examples represent nearly all that is best in mediaeval church architecture. The Reformation in Germany, with its attendant unrest, accounts for a certain lati- tude and variety in the types of church fit- ments, as well as — in many cases — an un- conventional arrangement or disposition of the fabric itself. One thing is most apparent with regard to German churches in general, — the fit- 4 Cathedrals and Churches of the Rhine tings and paraphernalia, as distinct from the constructive or decorative elements of the fabric, are far more ornate and numerous than in churches of a similar rank elsewhere. It is true that the Revolution played its part of destruction along the Rhine, but in spite of this there is an abundance of sculpture and other ornament still left. Thus one almost always finds elaborate choir-stalls, screens, pulpits, and altar-pieces, of a quantity and excellence that contrast strongly with the severe outlines of the fabric which shelters them. In connection with the architectural forms of the ecclesiastical buildings of a country must invariably be considered such secular and civic establishments as represent the state in its relation to the Church, and along the Rhine, as elsewhere on the continent of Europe, the past forms an inseparable link which still binds the two. Here, not only the public architecture, but the private, do- mestic architecture takes on forms which, varied though they are, belong to no other regions. They are, moreover, only to be judged at their true value when considered as a thing of yesterday, rather than of to- day. 5 Cathedrals and Churches of the Rhine That portion of the Rhine which is best worth knowing, according to the ideas of the conventional tourist, is that which lies between Cologne and Mayence. This is the region \ of the travel-agencies, and of the droves of I sightseers who annually sweep down upon the " legendary Rhine," as they have learned to call it, on foot, on bicycle, and by train, steamboat, and automobile. Above and below these cities is a great world of architectural wealth which has not the benefit of even a nodding acquaintance with most new-century travellers. To them Strasburg is mostly a myth, though even the vague memory of the part it played in the Franco-Prussian war ought to stamp it as something more than that, to say nothing of its awkwardly spired, but very beautiful and most ancient cathedral. Still farther down the river one comes to _^Dusseldorf, that most modern of German cities. At Neuss, a short distance from Diis- seldorf, is the church of St. Quirinus, which will live in the note-books of architectural students as one of the great buildings of the world. It is a singularly ample river-bottom that is drained by the Rhine from its Alpine 6 Cathedrals and Churches of the Rhine source to the sea, and one which ofifers prac- tically an inexhaustible variety of charming environment; and here, as elsewhere, archi- tecture plays no small part in reflecting the manners, customs, and temperaments of the people. Of the value of the artistic pretensions of the people of Holland we have mostly ob- tained our opinions from the pictures of Teniers, or from the illustrated post-cards, which show clean-looking maidens bedecked in garments that look as though they had just been laundered. To these might be added advertisements of chocolate and other articles which show to some extent the quaint wind- mills and dwelling-houses of the towns. Apart from these there is little from which to judge of the wealth of architectural treas- ures of this most fascinating of countries, whose churches, if they are bare and gaunt in many ways, are at least as sympathetic in their appealing interest as many situated in a less austere climate. To realize this one has but to recall the ship-model-hung Kerk at Haarlem; the quaint little minaret which rises above the roof tops of Leyden; or, the grandest of all, the Groote Kerk of Rotterdam, which, on a cloud-riven autumn 7 i Cathedrals and Churches of the Rhine day, composes itself into varying moods and symphonies which would have made Whis- tler himself eager and envious of its beauty and grandeur. In so far as this book deals only with the churches and cathedrals of the Rhine, and follows the course of the Neder Rijn and the Oud Rijn through Holland, there are but three Dutch cities which bring them- selves naturally into line: Arnheim, Utrecht, and Leyden. So far as Americans are concerned, there is a warm spot in their hearts for Old Hol- land, when they remember the brave little band of Pilgrims who gathered at Leyden and set sail from Delfthaven for their new home across the seas. This was but three hundred years ago, which, so far as the an- tiquity of European civilization goes, counts for but little. It is something, however, to realize that the mediaeval architectural mon- uments of these places are the very ones which the Pilgrims themselves knew. It is true, however, that their outlook upon life was too austere to have allowed them to absorb any great amount of the artistic ex- pression of the Dutch, but they must un- questionably have been impressed with the 8 i_E.YJ3e.N G ENERAL VIEW of LEYDEN Cathedrals and Churches of the Rhine general appropriateness of the architecture around them. Below Diisseldorf the topography and ar- chitectural features alike change rapidly, and the true Rhenish architecture of heavy arches, with an occasional sprinkling of fairy-like Gothic, really begins. Neuss, Es- sen, and all the Westphalian group of sol- idly built miinsters speak volumes for Ger- man mediaeval church architecture, while up the Rhine, past Diisseldorf, Cologne, Bonn, Konigswater, Remagen, Sinzig, An- \j dernach, Coblenz, and all the way to Ma- yence, and on past Schafifhausen'io Basel are at least three score of interesting old churches as far different from those else- where as could possibly be imagined, and yet all so like, one to another, that they are of a species by themselves; all except the cathedral at Cologne, which follows the best practice of the French, except that its nave is absurdly short for its great breadth, and that its ponderous towers stand quite alone in their class. In general, then, the cathedrals and churches of the Rhine form a wonderful collection of masterpieces of architectural art with which most well-informed folk in Cathedrals and Churches of the Rhine the world to-day should have a desire for acquaintanceship. These often austere edifices, when seen near by, may not appeal to the popular fancy as do those of France and England, and they may not even have the power to so appeal ; but, such as they are, they are quite as worthy of serious consideration and ardent admira- tion as any structures of their kind in exist- ence, and they have, in addition, an environ- ment which should make a journey among them, along the banks of the Rhine from its source to the sea, one of the most enjoyable experiences of life. The Rhine loses none of its charms by intimate acquaintance; its history and leg- ends stand out with even more prominence; and the quaint architectural forms of its cities are at least characteristically convinc- ing. Remains of every period may be found by the antiquary, from the time when the Roman eagle was triumphant throughout the dominion of the Franks to feudal and war- like times nearer our own day. In addition, there are ever to be found evidences of the frugality and thrift of the lO Cathedrals and Churches of the Rhine Germans which preserve the best traditions of other days. The love of the Rhineland in the breast of the Teuton is an indescribable sentiment; a confusion of the higher and lower emo- tions. It is characteristic of the national genius. We have been told, and rightly: " You cannot paint the Rhine, you cannot even describe it, for picture or poem would leave out half of the whole delicious con- fusion. The Rhine, however, can be set to music," and that apparently is just what has been done. Everywhere one hears the music of the fatherland. Whether it is the songs and madrigals of the Church, or of the German bands in the Volksgarten, it is always the same, a light, irrepressible emotion which does much toward elucidating the complex German character. Nowhere more than at Cologne is this contrast apparent. It is the most delightful of all Rhine cities. Usually tourists go there, or are sent there — which is about what it amounts to in most cases — in order to begin their " Rhine tour." Before they start up-stream, they stroll about the city, pop in and out of its glorious II Cathedrals and Churches of the Rhine cathedral, and perhaps one or another of its magnificent churches, — if they happen to be on their line of march to or from some widely separated points, — make the usual purchase of real eau de Cologne, — though doubtless they are deceived into buying a poor imitation, — and wind up in a river- side concert-garden, with much music and beer-drinking in the open. This is all proper enough, but this book does not aim at recounting a round of these delights. It deals, if not with the Teutonic emotions themselves, at least with the ex- pression of them in the magnificent and pic- turesquely disposed churches of both banks of the Rhine, from its source to the sea. 12 II THE RHINE CITIES AND TOWNS C^SAR, Charlemagne, and Napoleon all played their great parts in the history of the ' Rhine, and, in later days, historians, poets, ., and painters of all shades of ability and opin- ^ ion have done their part to perpetuate its glories. The Rhine valley formed a part of three divisions of the ancient Gaul conquered by the Romans: La Belgica, toward the coast of the North Sea; Germanica I., with Mo- guntiacum (Mayence) as its capital; and Germanica II., with Colonia Agrippina (Cologne) as its chief town. The Rhine was the great barrier between the Romans and the German tribes, and, in the time of Tibe- \^ rius, eight legions guarded the frontier. The political and economic influences which overflowed from the Rhine valley have been most momentous. The Rhine formed one of the great Roman 13 Cathedrals and Churches of the Rhine highways to the north, and it is interesting to note that the first description of it is Caesar's, though he himself had little famil- iarity with it. He wrote of the rapidity of its flow, and built, or caused to be built, a wooden bridge over it, between Coblenz and Ander- nach. In the history of the Rhine we have a history of Europe. A boundary of the em- pire of Caesar, it afterward gave passage to the barbarian hordes who overthrew impe- rial Rome. Charlemagne made it the out- post of his power, and later the Church gained strength in the cities on its banks, while monasteries and feudal strongholds rose up quickly one after another. Orders of chivalry were established at Mayence; and knights of the Teutonic order, of Rhodes, and of the Temple, appeared upon the scene. The minnesinger and the trouba- dour praised its wines, told of its contests, and celebrated its victories. The hills, the caves, the forests, the stream, and the solid rocks themselves were tenanted by supersti- tion, by oreads, mermaids, gnomes. Black Huntsmen, and demons in all imaginable fantastic shapes. Meantime the towns were growing under H Cathedrals and Churches of the Rhine the influence of trade, — the grimy power that destroyed the feudal system. The Re- formed religion found an advocate at Con- stance in John Huss even before Luther ful-' minated against Rome; printing was accom- plished by Gutenberg at Mayence; and now steam and electricity have awakened a new era. Caesar, Attila, Clovis, Charlemagne, Fred- erick Barbarossa, Rudolph of Hapsburg, the Palatine Frederick the First, Gustavus Adol- phus, and Napoleon have been victorious upon its banks. What more could fate do to give the stream an almost immortality of fame? Little by little there were established on the banks of the river populous posts and centres of commerce. The military camps of Drusus had grown into settled communi- ties, until to-day are found along the Rhine the great cities of Basel, Strasburg, Speyer, Worms, Mayence, Coblenz, Cologne, and Diisseldorfj and between them are dotted a series of cities and towns less important only in size, certainly not in the magnitude of their interest for the traveller or student, nor in their storied past. Of the more romantic, though perhaps not 15 \1 Cathedrals and Churches of the Rhine more picturesque, elements of vine-clad slopes — where is produced the celebrated Rheinwein — the rapid flow of Rhine water, and the fabled dwelling-places of sprites and Rhinemaidens, there is quite enough for many an entertaining volume not yet written. After traversing several of the cantons, the Rhine leaves Switzerland at Basel, on its course, through Germany and Holland, to the sea. Its chief tributaries are the Neckar, Murg, Kinzig, Aar, Main, Nahe, Lahn, Moselle, Erft, Ruhr, and Lippe. Its waters furnish capital salmon, which, curiously enough, when taken on their passage up the stream, are called lachse; but, when caught in autumn on their way down to the sea, are known as salmon. It affords also sturgeon, pike, carp, and lampreys. Its enormous rafts of timber have often been described, and should be seen to be appreciated. They often carried half a village of people, and were of great value. To-day these great rafts, however, are seldom seen. In summer, when the tourist visits the river, its course is comparatively calm and orderly; it is only in spring, when the snows melt rapidly in Switzerland, that " Father Rhine" is to be beheld in all his might; i6 Cathedrals and Churches of the Rhine for then the waters often rise a dozen feet above their common level. Its depth from Basel to Strasburg averages ten to twelve feet; at Mayence, twenty-four feet; at Diis- seldorf, fifty feet. To Basel, through the Lake of Constance from Grisons, the Rhine forms a boundary between Switzerland and the German States. From Basel to Mayence it winds its way through the ancient bed of the glaciers; and from Mayence to Bingen it flows through f/ rocky walls to Bonn, where it enters the great alluvial plain through which it makes its way to the ocean. The valley of the Rhine has been called the artery which gives life to all Prussia. The reason is obvious to any who have the slightest acquaintance with the region. The commerce of the Rhine is ceaseless; day and night, up and down stream, the procession of steamboats, canal-boats, floats, and barges is almost constant. From the dawn of history both banks of the Lower Rhine had belonged to Germany, and they are still inhabited by Germans. Ten centuries or more have elapsed since the boundaries of the eastern and western king- dom of the Franks were fixed at Verdun, 17 Cathedrals and Churches of the Rhine and, though the French frontier had fre- quently advanced toward Germany, and at certain points had actually reached the Rhine, no claim was advanced to that por- tion which was yet German until the cry of '* To the Rhine " resounded through the French provinces in 1870-71. Of course the obvious argument of the French was, and is, an apparently justifiable pretension to extend France to its natural frontier, but this is ill-founded on precedent, and monstrous as well. Against it we have in history that a river-bed is not a natural delimitation of territorial domination. The Cisalpine Gauls extended their pow- ers across the river Po, and the United States of America first claimed Oregon by virtue of the interpretation that a boundary at a river should give control of both banks, though how far beyond the other bank they might claim is unestablished. Until the Lake of Constance is reached, with its fine city of the same name at its westerly end, there are no cities, towns, or villages in which one would expect to find ecclesiastical monuments of the first rank; indeed, one may say that there are none. But the whole Rhine watershed, that great 18 Cathedrals and Churches of the Rhme thoroughfare through which Christianizing and civilizing influences made their way northward from Italy, is replete with me- morials of one sort or another of those signif- icant events of history which were made doubly impressive and far-reaching by rea- son of their religious aspect. The three tiny sources of the Rhine are born in the canton of Grisons, and are known as the Vorder-Rhein, the Mittel-Rhein, and the Hinter-Rhein. At Disentis was one of the most ancient Benedictine monasteries of the German Alps. It was founded in 614, and stood high upon the hillside of Mount Vakaraka, at the con- fluence of two of the branches of the Rhine. Its abbots had great political influence and were princes of the Empire. They were the founders of the " Gray Brotherhood," and were the first magistrates of the region. The abbey of Disentis was, in 1799, cap- tured and set on fire by the French, but later on it was reestablished, only to suffer again from fire in 1846, though it was again rebuilt in more modest style. St. Trons was the former seat of the Parliament of Grisons. Its chief ecclesiasti- 19 ^^J" Cathedrals and Churches of the Rhine cal monument is a memorial chapel dedi- cated to St. Anne. On its porch one may read the following inscription: " In libertatem vocat'i estis Ubi spiritus domini^ ibi libertas In te speraverunt patres Speraverunt et liber as ti oes." Coire was the ancient Curia Rhcetiorum. It is the capital of the Canton of Orisons, and was the seat of a bishop as early as 562. The Emperor Constantine made the town his winter quarters in the fourth century. The church of St. Martin, to-day belong- ing to the Reformed Church, is an uncon- vincing and in no way remarkable monu- ment, but in what is known as the Episcopal Court, behind great walls, tower-flanked and with heavily barred gateways, one comes upon evidences of the ecclesiastical impor- tance of the town in other days. The walls of the ancient " ecclesiastical city " enclose a plat nearly triangular in form. On one side are the canons' residences and other domestic establishments, and on 20 Cathedrals and Churches of the Rhine the other the cathedral and the bishop's palace. In the episcopal palace are a number of fine portraits, which are more a record of manners and customs in dress than they are of churchly history. The small cathedral and all the other edi- fices date from an eighth-century foundation, and are in the manifest Romanesque style of a very early period. Within the cathedral are a number of funeral monuments of not much artistic worth and a series of paintings by Holbein and Diirer. As an art centre Coire would appear to rank higher than it does as a city of architectural treasures, for it was also the birthplace of Angelica Kaufifmann, who was born here in 1741. Ragatz is more famous as a " watering- place " — for the baths of Pfeffers are truly celebrated — than as a treasure-house of re- ligious art, though in former days the abbey of Pfefifers was of great renown. Its founda- tion dates from 720, but the building as it exists to-dav was only erected in 1665. The church, in part of marble, contains some good pictures. The abbey was formerly very wealthy, and its abbot bore the title of 21 Cathedrals and Churches of the Rhine prince. The convent is to-day occupied by the Benedictines, to whom also the baths belong. From this point on, as one draws near the Lake of Constance, the Alpine character of the topography somewhat changes. The Lake of Constance was known to the Romans as Brigantinus Lacus or the Lacus Rheni. It has not so imposing a setting as many of the Swiss or Italian lakes, but its eighteen hundred square kilometres give the city of Constance itself an environment that most inland towns of Europe lack. The Lake of Constance, like all of the Alpine lakes, is subject at time§ to violent tempests. It is very plentifully supplied with fish, and I is famous for its pike, trout, and, above all, , its fresh herring. From Basel the Rhine flows westward under the last heights of the Jura, and turns then to the north beneath the shelter of the Vosges, and, as it flows by Strasburg, first begins to take on that majesty which one usually associates with a great river. At the confluence of the Main, after pass- ing Speyer, Worms, and Mannheim, the Rhine first acquires that commercialism 22 Cathedrals and Churches of the Rhine which has made it so important to the latter- day development of Prussia. At the juncture of the Main and Rhine is Mayence, one of the strongest military positions in Europe to-day. Here the Rhine hurls itself against the slopes of the Taunus and turns abruptly again to the west, aggran- dizing itself at the same time, to a width of from five hundred to seven hundred metres. Shortly after it has passed the last foot- hills of the Taunus, it enters that narrow gorge which, for a matter of 150 kilometres, has catalogued its name and fame so bril- liantly among the stock sights of the globe- trotter. No consideration of the economic part played by the Rhine should overlook the two international canals which connect that river with France through the Rhone and the Marne. The first enters the Rhine at Strasburg, a small feeder running to Basel, and the latter, starting at Vitry-le-Frangois, joins the Marne with the Rhine at the same place, Strasburg. On the frontier of the former departement Oi the Haut-Rhin, one may view an immense horizon from the south to the north. From ^2> Cathedrals and Churches of the Rhine one particular spot, where the heights of the Vosges begin to level, it is said that one may see the towers of Strasburg, of Speyer, of Worms, and of Heidelberg. If so, it is a wonderful panorama, and it must have been on a similar site that the Chateau of Trifels (three rocks) was situated, in which Richard Coeur de Lion was imprisoned when delivered up to Henry VI. by Leopold of Austria. To distract himself he sang the songs taught him by his troubadour, to the accom- paniment of the harp, says both history and legend, until one day the faithful Blondel, who was pursuing his way up and down the length of Europe in search of his royal mas- ter, appeared before his window. Some faithful knights, entirely devoted to their prince, had followed in the wake of the troubadour, and were able to rescue Richard by the aid of a young girl, Mathilde by name, who had recognized the songs sung by Blondel as being the same as those of the royal prisoner in the tower of the chateau. When the troubadour was led to the door of the prince's cell, he heard a voice call to him: '' Est-ce toi, mon cher Blondel? " " Qui, c'est moi, mon seigneur," replied the 24 Cathedrals and Churches of the Rhine singer. '' Comptez sur mon zele et sur celui de quelques amis fideles — 7ious vous delive- „ ■'■' rons. The next day the escape was made through an overpowering of the guard; and Richard, in the midst of his faithful chevaliers, ulti- mately arrived in England. Blondel had meanwhile led the willing Mathilde to the altar, and received a rich recompense from the king. As the Rhine enters the plain at Cologne, it comes into its fourth and last phase. Flowing past Diisseldorf and Wesel, it quits German soil just beyond Emmerich, and enters the Low Countries in two branches. The Waal continues its course toward the west by Nymegen, and through its vast estuary, by Dordrecht, to the sea. The Rhine proper takes a more northerly course, and, as the Neder Rijn, passes Arn- heim and Utrecht, and thence, taking the name of Oud Rijn, fills the canals of Leyden and goes onward to the German Ocean. Twelve kilometres from Leyden is Kat- wyck aan Zee, where, between colossal dikes, the Rhine at last finds its way to the open sea. More humble yet at its tomb than in the cradle of its birth, it enters the tempes- 25 Cathedrals and C J lurches of the Rhine tuous waters of the German Ocean through an uncompromising and unbeautiful sluice built by the government of Louis Bonaparte. For more than eleven hundred kilometres it flows between banks redolent of history and legend to so great an extent that it is but natural that the art and architecture of its environment should have been some unique type which, lending its influence to the border countries, left its impress through- out an area which can hardly be restricted by the river's banks themselves. We know how, in Germany, it gave birth to a variety of ecclesiastical architecture which is recognized by the world as a dis- tinct Rhenish type. In Holland the archi- tectural forms partook of a much more simple or primitive character; but they, too, are distinctly Rhenish; at least, they have not the refulgence of the full-blown Gothic of France. Taine, in his " Art in the Netherlands," goes into the character of the land, and the struggle demanded of the people to reclaim it from the sea, and the energy, the vigilance required to secure it from its onslaughts so that they, for themselves and their families, might possess a safe and quiet hearthstone. 26 Cathedrals and CJmrches of the Rhine He draws a picture of the homes thus safe- guarded, and of how this sense of immunity fostered finally a life of material comfort and enjoyment. All this had an effect upon local architec- tural types, and the great part played by the valley of the Rhine in the development of manners and customs is not excelled by any other topographical feature in Europe, if it is even equalled. Coupled to the wonders of art are the wonders of nature, and the Rhine is bounti- fully blessed with the latter as well. The conventional Rhine tour of our fore- fathers is taken, even to-day, by countless thousands to whom its beauties, its legends, and its history appeal. But whether one goes to study churches, for a mere holiday, or as a pleasant way of crossing Europe, he will be struck by the astonishing similarity of tone in the whole colour-scheme of the Rhine. The key-note is the same whether he fol- lows it up from its juncture with salt water at Katwyck or through the gateway of the " lazy Scheldt," via Antwerp, or through Aix-la-Chapelle and Cologne. Sooner or later the true Rhineland is 27 Cathedrals and Churches of the Rhine reached, and the pilgrim, on his way, whether his shrines be religious ones or worldly, will drink his fill of sensations which are as new and different from those which will be met with in France, Italy, and Spain as it is possible to conceive. From the days of Charlemagne, and even before, down through the fervent period of the Crusades, to the romantic middle ages, the Rhine rings its true note in the gamut, and rings it loudly. It has played a great part in history, and to its geographical and political importance is added the always potent charm of natural beauty. The church-builder and his followers, too, were important factors in it all, for one of the glories of all modern European nations will ever be their churches and the memories of their churchmen of the past. 28 Ill THE CHURCH IN GERMANY There have been those who have claimed that the two great blessings bestowed upon the world by Germany are the invention of printing by Gutenberg, which emanated from Mayence in 1436, and the Reformation started by Luther at Wittenberg in 15 17. The statement may be open to criticism, but it is hazarded nevertheless. As to how really religious the Germans have always been, one has but to recall Schiller's " Song of the Bell." Certainly a people who lay such stress upon opening the common every-day life with prayer must always have been de- voted to religion. The question of the religious tenets of Ger- many is studiously avoided in this book, as far as making comparisons between the Cath- olic and Protestant religions is concerned. At the finish of the " Thirty Years' War," North Germany had become almost entirely 29 Cathedrals and Churches of tJie Rhine Protestant, and many of the former bishops' churches had become by force of circum- stances colder and less attractive than for- merly, even though many of the Lutheran churches to-day keep up some semblance of high ceremony and altar decorations. It is curious, however, that many of these churches are quite closed to the public on any day but Sunday or some of the great holidays. In the Rhine provinces the Catholic faith has most strongly endured. In the German Catholic cathedrals the morning service from half-past nine to ten is usually a service of much impressiveness, and at Cologne, be- loved of all stranger tourists, nones, vespers, and compline are sung daily with much devotion. The ecclesiastical foundation in Germany is properly attributable to monkish influ- ences. Between the Rhine and the Baltic there were no cities before the time of Charlemagne, although the settlements es- tablished there by the Church for the con- version of the natives were the origin of the communities from which sprang the great cities of later years. The monkish orders were ever a power- ful body of church-builders, and north of 30 Cathedrals and Churches of the Rhine the Alps in the eleventh and twelfth cen- turies, even though they were the guardians of literature as well as of the arts, the monks were possessed of an energy which took its most active form in church-building. Whatever may have been the origin of the later Romanesque church-building, whether it was indigenous to Lombard Italy or not, it was much the same in Spain, France, England, and Germany, though it took its most hardy form in Germany, per- haps with the cathedral of Speyer (1165- 90), which is one of the latest Romanesque structures, contemporary with the early Gothic of France. In Italy, and elsewhere along the Mediterranean, the pure Roman- esque was somewhat diluted by the Byzan- tine influence; but northward, along the course of the Rhine, the Romanesque influ- ence had come to its own in a purer form than it had in Italy itself. Here it may be well to mention one per- tinent fact of German history, in an attempt to show how, at one time at least. Church and state in Germany were more firmly bound together than at present. The Germanic Empire, founded bv Charlemagne in the year 800, was dissolved 31 Cathedrals and Churches of the Rhine under Francis II., who, in 1806, exchanged the title of Emperor of Germany for that of Emperor of Austria, confining himself to his hereditary dominions. In the olden times the Germanic Empire was in reality a league of barons, counts, and dukes, who, through seven of their number, elected the emperor. These electors were the Archbishops of Mayence (who was also Primate and Arch- chancellor of the Empire), Treves, and Co- logne; the Palatine of the Rhine, Arch- Steward of the Empire; the Margrave of Brandenburg, Arch-Chamberlain; the Duke of Saxony, Arch-Marshal; and the King of Bohemia, Arch-Cupbearer. In no part of the Christian world did the clergy possess greater endowments of power and wealth than did those of the Rhine valley. The Archbishop of Cologne was the Arch- chancellor of the Empire, the second in rank of the electoral princes, and ruler of an im- mense territory extending froni Cologne to Aix-la-Chapelle; while the Archbishops of Mayence and Treves played the role of patriarchs, and were frequently more power- ful even than the Popes. 32 Cathedrals and Churches of the Rhine All the bishops, indeed, were invested with rights both spiritual and temporal, those of the churchman and those of the grand sei- gneur, which they exercised to the utmost throughout their dioceses. St. Boniface was sent on his mission to Germany in 715, having credentials and in- structions from Pope Gregory II. He was accompanied by a large following of monks versed in the art of building, and of lay brethren who were also architects. This we learn from the letters of Pope Gregory and the " Life of St. Boniface," so the fact is established that church-building in Ger- many, if not actually begun by St. Boniface, was at least healthily and enthusiastically stimulated by him. • Among the bishoprics founded by Boni- face were those of Cologne, Worms, and Speyer, and it may be remarked that all of these cities have ample evidences of the round-arched style which came prior to the Gothic, which followed later. If anything at all is proved with regard to the distinct type known as Rhenish architecture, it is that the Lombard builders preceded by a long time the Gothic builders. Charlemagne's first efforts after subduing 33 Cathedrals and Churches of the Rhine the heathen Saxons was to encourage their conversion to Christianity. For this purpose he created many bishoprics, one being at Paderborn, in 795, a favourite place of resi- dence with the emperor. Great dignity was enjoyed by the Bishop of Paderborn, certain rights of his extending so far as the Councils of Utrecht, Liege, and Munster. The abbess of the monastery at Essen, near Diisseldorf, was under his rule; and the Counts of Oldenberg and the Dukes of Cleves owed to him a certain allegiance; while certain rights were granted him by the cities of Cologne, Verdun, Aix-la-Cha- pelle, and others. These dignities endured, in part, until the aftermath of the French Revolution, which was the real cause of the disrupture of many Charlemagnian traditions. After the Peace of Luneville, in 1801, the electorates of Cologne, Treves, and Mayence were suppressed, together with the princi- palities of Munster, Hildesheim, Paderborn, and Osnabriick, while such abbeys and mon- asteries as had come through the Reforma- tion were dissolved. Besides Charlemagne's bishoprics, others founded by Otho the Great were suppressed. 34 Cathedrals and Churches of the Rhine Upon the restoration of the Rhenish prov- inces to Germany in 1814, the Catholic hier- archy was reestablished and a rearrangement of dioceses took place. A treaty with the Prussian state gave Cologne again an arch- bishopric, with sufifragans at Treves, Miin- ster, and Paderborn, and Count Charles Spiegel zum Desenburg was made arch- bishop. Other provinces aspired to similar concessions, and certain of the suppressed sees were reerected. The Lutherized districts, north and east- ward of the Rhine, were very extensive, but the influence which went forth again from Cologne served to counteract this to a great extent. The Catholic hierarchy in Germany is made up as follows: ARCHBISHOPRICS SUFFRAGANS Posen and Gnesen Kulm and Ermeland Breslau Olmiitz Prague Cologne Hildesheim, Osnabriick, Miin- ster, Paderborn, FuKla. Limburg, Treves, Mayence, Freiburg in Breisgau Wiirtemberg, Augsburg, Munich and Freising Passau and Ratisbon. 35 Cathedrals and Churches of the Rhine ARCHBISHOPRICS SUFFRAGANS Bamberg Wiirzburg, Eichstadt, and Speyer, and the Vicariat of Dresden. Strasburg and Metz The religious population of Germany to- day is divided approximately thus: Protes- tants, 63 per cent.; Catholics, 36 per cent.; Jews, I per cent. The reign of the pure Gothic spirit in church-building, as far as it ever advanced in Germany, was at an end with the wars of the Hussites and the Reformation of Luther. During these religious and political convulsions, the Gothic spirit may be said to have died, so far as the undertaking of any new or great work goes. Just as we find in Germany a different speech and a different manner of living from that of either Rome or Gaul, we find also in Germany, or rather in the Rhenish prov- inces, a marked difference in ecclesiastical art from either of the types which were developing contemporaneously in the neigh- bouring countries. The Rhine proved itself a veritable bor- derland, which neither kept to the strict 36 Cathedrals and Churches of tJie Rhine classicism of the Romanesque manner of building, nor yet adopted, without question, the newly arisen Gothic of the twelfth and thirteenth centuries. Architecture and sculpture in its earliest and most approved ecclesiastical forms un- doubtedly made its way from Italy to France, Spain, Germany, and England, along the natural travel routes over which came the Roman invaders, conquerors, or civilizers — or whatever we please to think them. Under each and every environment it de- veloped, as it were, a new style, the flat roofs and low arches giving way for the most part to more lofty and steeper-angled gables and openings. This may have been caused by climatic influences, or it may not; at any rate, church-building — and other building as well — changed as it w^nt northward, and sharp gables and steep sloping lines became not only frequent, but almost universal. The Comacine Masters, who were the great church-builders of the early days in Italy, went north in the seventh century, still pursuing their mission; to England with St. Augustine, to Germany with Boniface, and Charlemagne himself, as we know, brought Z1 Cathedrals and Churches of the Rhine them to Aix-la-Chapelle for the work at his church there. The distinctly Rhenish variety of Roman- esque ecclesiastical architecture came to its greatest development under the Suabian or Hohenstaufen line of emperors, reaching its zenith during the reign of the great Fred- erick Barbarossa (1152-90). The churches at Neuss, Bonn, Sinzig, and Coblenz all underwent a necessary recon- struction in the early thirteenth century be- cause of ravages during the terrific warfare of the rival claimants to the throne of Bar- barossa. Frederick, one claimant, w^as under the guardianship of Pope Innocent III., and Philip, his brother, was as devotedly cared for by the rival Pope, Gregory VIII. Fi- nally Innocent compromised the matter by securing the election of Otho IV., of Bruns- wick. With that " hotbed of heresies," Holland, this book has little to do, dealing only with three centres of religious movement there. Holland was the storm-centre for a great struggle for religious and political freedom, and for this very reason there grew up here no great Gothic fabrics of a rank to rival 38 Cathedrals and Churches of the Rhine those of France, England, and Germany. Still, there was a distinct and most pictur- esque element which entered into the church- building of Holland in the middle ages, as one notes in the remarkable church of De- venter. In the main, however, if we except the Groote Kerk at Rotterdam, St. Janskerk at Gouda, the archbishop's church , at Utrecht, and the splendid edifice at Dor- drecht, there is nothing in Holland archi tecturally great. 39 IV SOME CHARACTERISTICS OF RHENISH ARCHITECTURE It cannot be claimed that the church- building of one nation was any more thor- ough or any more devoted than that of any n other. All the great church-building powers of the middle ages were, it is to be presumed, possessed of the single idea of glorifying God by the building of houses in his name. " To the rising generation," said the edi- tor of the Architectural Magazine in 1838, " and to it alone do we look forward for the real improvement in architecture as an art of design and taste." " The poetry of architecture " was an early. and famous theme of Ruskin's, and doubtless he was sincere when he wrote the papers that are included under that general title; but the time was not then ripe for an architectural revolution, and the people could not, or would not, revert to the Gothic 40 Cathedrals and Churches of the Rhine or even the pure Renaissance — if there ever was such a thing. We had, as a result, what is sometimes known as early Victorian, and the plush and horsehair effects of contem- porary times. In general, the churches of Germany, or at least of the Rhine provinces, are of a species as distinct from the pure Gothic, Romanesque, or Renaissance as they well can be. Except for the fact that of recent years the art nouveau has invaded Germany, there is little mediocrity of plan or execution in the ecclesiastical architecture of that coun- try, although of late years all classes of archi- tectural forms have taken on, in most lands, the most uncouth shapes, — church edifices in particular, — they becoming, indeed, any- thing but churchly. The Renaissance, which spread from Italy just after the period when the Gothic had flowered its last, came to the north through Germany rather than through France, and so it was but natural that the Romanesque manner of building, which had come long before, had a much firmer footing, and for a much longer period, in Germany, than it had in France. Gothic came, in rudimentary forms at any rate, as early here as it did 41 Cathedrals and Churches of the Rhine to France or England; but, with true Ger- man tenacity of purpose, her builders clung to the round-arched style of openings long after the employment of it had ceased to be the fashion elsewhere. This, then, is the first distinctive feature of the ecclesiastical edifices erected in Ger- many in the twelfth and thirteenth centuries when the new Gothic forms were elsewhere budding into their utmost beauty. One strong constructive note ever rings out, and that is that, while the Gothic was ringing its purest sound in France and even in England, at least three forces were play- ing their gamut in Germany, producing a species quite by itself w^hich was certainly not Gothic any more than it was Moorish, and not Romanesque any more than was the Angevin variety of round-arched forms, which is so much admired in France. One notably pure Gothic example, al- though of the earliest Gothic, is found in Notre Dame at Treves, with perhaps another in the abbey of Altenburg near Cologne; but these are the chief ones that in any way resemble the consistent French pointed ar- chitecture which we best know as Gothic. The Rhenish variety of Romanesque lived 42 Cathedrals and Churches of the Rhine here on the Rhine to a far later period, no- tably at Bonn and Coblenz, than it did in either France or England. German church architecture, in general, is full of local mannerisms, but the one most consistently marked is the tacit avoidance of the true ogival style, until we come to the great cathedral at Cologne, which, in truth, so far as its finished form goes, is quite a modern affair. In journeying through Northeastern France, or through Holland or Belgium, one comes gradually upon this distinct fea- ture of the Rhenish type of church in a manner which shows a spread of its influence. All the Low Country churches are more or less German in their motive; so, too, are many of those of Belgium, particularly the cathedral at Tournai and the two fine churches at Liege (Ste. Croix and the ca- thedral), which are frankly Teutonic; while at Maastricht in Holland is almost a replica of a Rhenish-Romanesque basilica. At Aix-la-Chapelle is the famous " Round Church " of Charlemagne, which is some- thing neither French nor German. It has received some later century additions, but the " octagon " is still there, and it stands 43 Cathedrals and Churches of the Rhine almost alone north of Italy, where its prede- cessor is found at Ravenna, the Templars' Church in London being of quite a different order. Long years ago this Ravenna prototype, or perhaps it was this eighth-century church of Charlemagne's, gave rise to numerous cir- cular and octagonal edifices erected through- out Germany; but all have now disappeared with the exception, it is claimed, of one at Ottmarsheim, a fragment at Essen, and the rebuilt St. Gereon's at Cologne, These round churches — St. Gereon's at Cologne, the Mathias Kapelle at Kobern, and, above all, Charlemagne's Miinster at Aix-la-Chapelle, and others elsewhere, nota- bly in Italy — are doubtless a survival of a pagan influence; certainly the style of build- ing was a favourite with the Romans, and was common even among the Greeks, where the little circular pagan temples were al- ways a most fascinating part of the general ensemble. It would hardly be appropriate in a book such as this to attempt to trace the origin of Gothic, as we have come to know that twelfth and thirteenth century varietv of pointed architecture, which, if anything, is 44 Cathedrals and Churches of the Rhine French pointed. It has been plausibly claimed that, after its introduction into France and England, it developed into the full-blown style of the fourteenth century, which so soon fell before the Renaissance in the century following. In Germany the process, with differences with regard to its chronology, was much the same. It has been the fashion among writers of all weights of opinion to break into an ap- parently irresistible enthusiasm with regard to Gothic architecture in general, and this, so far as it goes, is excusable. Most of us will agree that " the folk of the middle ages had fallen in love with church-building, and loved that their goldsmith's work, and ivo- ries, their seals, and even the pierced patterns of their shoes should be like little buildings, little tabernacles, little ' Paul's windows.' Some of their tombs and shrines must have been conceived as little fairy buildings; and doubtless they would have liked little angels to hop about them all alive and blow fairy trumpets." In the building of the great cathedrals it must certainly be allowed that there is an element that we do not understand. Those 45 Cathedrals and Chiirclies of the Rhine who fashioned them worked wonder into them; they had the ability which children have to call up enchantment. " In these high vaults, and glistening windows, and peering figures, there was magic even to their makers." Gothic art must ever, in a certain degree, be a mystery to us, because we cannot en- tirely put ourselves in the place of the men of those times. " We cannot by taking thought be Egyptian or Japanese, nor can we again be Romanesque or Gothic," nor indeed can we explain entirely the motif of Burmese architecture, which, appearing as a blend of Chinese and Indian, stands out as the exotic of the Eastern, as does the Gothic of the Western, world. Only in these latter two species of archi- tectural art does stone-carving stand out with that supreme excellence which does not ad- mit of rivalry, though one be pagan and the other Christian. Germany, above all other nations of the middle ages in Europe, excelled in the craftsmanship which fashioned warm, live emotions out of cold gray stone, and to-day such examples of this as the overpowering and splendid cathedrals at Cologne, Ratis- 46 Cathedrals and Churches of the Rhine bon, Strasburg, and Munster rank among the greatest and most famous in all the world, in spite of the fact that their con- structive elements were reminiscent of other lands. The distinction between French and Ger- man building cannot better be described than by quoting the following, the first by James Russell Lowell on Notre Dame de Chartres, and the second by Longfellow on the cathe- dral at Strasburg: CHARTRES " Graceful, grotesque, with every new sur- prise of hazardous caprices sure to please, heavy as nightmare, airy, light as fun, imag- ination's very self in stone." STRASBURG " . . .A great master of his craft, Ervin von Steinbach ; but not he alone, For many generations laboured with him, Children that came to see these saints in stone, As day by day out of the blocks they rose. Grew old and died, and still the work went on. And on and on and is not yet completed." 47 Cathedrals and Churches of the Rhine The first is typical of the ingenuity and genius of the French, the second of the pains- taking labour of the Teuton; what more were needed to define the two? " In Germany and throughout all the ter- ritory under the spell of Germanic influence the growth of Gothic was not so readily accomplished as in France," says Gonse. " At best such Gothic as is to be seen at Bacharach, Bonn, Worms, etc., is but a va- riety, so far as the vaulting goes, of super- imposed details on a more or less truthful Romanesque framework. At Mayence, Roer- mond, and Sinzig, too, it is the domical vault which still qualifies the other Gothic essentials, and so depreciates the value of the Gothic of the Rhine valley when com- pared with that of the Royal Domain of France." The range of mediaeval art and architec- ture has been said to run between the fourth century and the fourteenth, or from the peace of the Church to the coming of the Renais- sance. This is perhaps definite enough, but the scope is too wide to limit any special form of art expression, so that one may judge it 48 Cathedrals and Churches of the Rhine comparatively with that which had gone before or was to come after. Mostly, mediaeval art groups itself around the two distinct styles of Byzantine and Gothic, and they are best divided, one from the other, by the two centuries lying between the tenth and the twelfth. In truth, the architecture of Germany, up to the end of the tenth century, was as much Byzantine as it was Romanesque, and the princes and prelates alike drew the in- spiration for their works from imported Italians and Greeks, a procedure which gave the unusual blend that developed the distinct Rhenish architecture. The Popes themselves gave a very mate- rial aid when they sent or allowed colonies of southern craftsmen to undertake the work on these great religious edifices of the Rhine valley. The grander plan of the cathedrals at Speyer, Worms, Mayence, Basel, and even Treves are all due somewhat to this influ- ence, and for that reason they retain even to-day evidences of these foreign and even Eastern methods, though for the most part it is in the crypt and subterranean founda- tions only that this is found. 49 Cathedrals and Churches of the Rhine Carlovingian architecture was perhaps more indigenous to Germany than to any other part of the vast Empire. " This ex- traordinary man," as the historians speak of Charlemagne, did much toward developing the arts. In the southeast, the Grecian Empire was already become decrepit in its influences, and a new building spirit was bound to have sprung up elsewhere. " If Charlemagne," says Gibbon, " had fixed the seat of his em- pire in Italy, his genius would have aspired to restore, rather than violate the works of the Caesars." He confined his predilections to the virgin forests of Germany, however, and he despoiled Lombardy to enrich his northern possessions; as witness the columns which he brought from Ravenna and Rome wherewith to decorate his palace and church at Aix-la-Chapelle. No country has preserved finer or more numerous examples of Romanesque archi- tecture than Germany. The Rhine was so powerfully under Roman sway that it adopted as a matter of course and without question quite all of the tenets and principles of the Romanesque; not only with respect 50 Cathedrals and Churches of the Rhine to ecclesiastical structures, but as regards civil and military works as well. On the Rhine, as in Lorraine, Lyonnaise, and Central France, the Romanesque en- dured with little deviation from Latin tra- ditions till quite the end of the thirteenth century. Later, in the Gothic period, Germany returned the compliment and sent Zamodia of Freiburg and Ulric of Ulm to lend their aid in the construction of the grand fabric at Milan; and John and Simon of Cologne to Spain to erect that astonishingly bizarre cathedral at Burgos. Beginning with the revival of the arts in Italy, the Renaissance German architects, in other countries than Germany, were appar- ently few in number and not of their former rank. Not alone did Italy aid Germany in the erection of ecclesiastical monuments, but France as well, with the Norman variation of the Romanesque and the later developed Gothic, sent many monkish craftsmen to lend their aid and skill. Their work, however, was rather the putting on of finishing touches than of planning the general outlines. German architecture on the Rhine then 51 Cathedrals and Churches of the Rhine was but a development and variation of alien importations, which came in time, to be sure, to be recognized as a special type, but which in reality resembled the Lombardic and the Romanesque in its round-arched forms, and the Gothic of France in its ogival details. German architecture in time, though not so much with respect to churches, even went so far as to imitate the rococo and bizarre ornamentation fathered and named by the Louis of France. Germany was a stranger to the complete development of Gothic architecture long after it had reached its maturity elsewhere; so, too, it was quite well into the fifteenth century before the slightest change was made toward the interpolation of Renaissance de- tails, and even then it was Renaissance art, more than it was Renaissance architecture, which was making itself felt. The Renaissance came to Germany through the natural gateway of the north of Italy; although it spread perhaps to some extent from France into the Rhine district. In truth, German Renaissance has ever been heavy and ugly, though undeniably im- posing. ' In both the ecclesiastical and the secular varieties it lacked the lightness and 52 Cathedrals and Churches of the Rhine grace which in France, so far as domestic architecture went, soon developed into a thing of surprising beauty. What the Renaissance really accomplished in Germany toward developing a new or national style is in grave doubt, beyond hav- ing left a legacy of bizarre groupings and grotesque and superabundant ornament. In France the case was different, and, while in ecclesiastical edifices the result was poor and banal enough, there grew up the great and glorious style of the French Renaissance, which, for civic and private buildings of magnitude, has never been excelled by the modern architecture of any land. In Germany proper, as well as in Switzer- land, one finds house-fronts and walls cov- ered with paintings, which is certainly one phase of Renaissance art. But the brush alone could not popularize the new style,' and in religious edifices, at least, the Renaissance, as contrasted with the earlier Romanesque, never attained that popularity along the Rhine that it did in France or England, or even in Belgium. Civic architecture took on the new style with a certain freedom, but religious archi- tecture almost not at all. Possibly the 53 Cathedrals arid Churches of the Rhine ^'Thirty Years' War" (1618-48) had some- what to do with stunting its growth; cer- tainly no church-building was undertaken in those years, and they were the very ones in which, elsewhere, the Renaissance was mak- ing its greatest headway. Another very apparent reason is that, as the major part of the population became Protestant, the need of a beautiful church edifice itself, as a stimulus to the faith, had grown less and less. There was a steady growth, perhaps one may as well say a great development, in civil architecture through- out Germany at this time, but, to all intents and purposes, from the early seventeenth century onward, the founding and erecting of great churches was at an end. If one would study the Renaissance in Germany he must observe the town halls of such cities as Cologne, Paderborn, or Nu- remberg, or the great chateaux or castles, such as are best represented by ruined Hei- delberg. Of religious architecture Renaissance ex- amples are practically lacking; the most convincing details along the Rhine being seen in the western tower of the cathedral at Mayence. 54 Cathedrals and Churches of the Rhine At Hildesheim, at Nuremberg, and at Prague there are something more than mere " evidences " of the style, and throughout Germany, as elsewhere, there are many six- teenth and seventeenth century accessories, such as altars, baldaquins, tombs, and even entire chapels, which are nothing but Renais- sance in motive and execution. But there are no great Renaissance ground-plans, fa- cades, or clochers, which are in any way rep- resentative of the style which crept in to ring the death-knell of Gothic in France and England. Perhaps it is for this reason alone that the great Gothic cathedral at Cologne was com- pleted at a late day with no base Renaissance interpolation in its fabric. 55 THE ACCESSORIES OF GERMAN CHURCHES Up to the tenth century the German basil- icas were but copies of the Roman variety. Even the great cathedral at Treves, 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 fea- ture of many German churches. On the Rhine curious and most interesting examples are very frequent, those at Bonn, Essen, 56 Cathedrals and Churches of the Rhine Miinchen-Gladbach, Speyer, Cologne (St. Gereon'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 adher- ent of Catholicism, the crypt often performs the function of a place of worship independ- ent 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 par- ticularly noticeable at Neuss, at Miinchen- Gladbach, in St. James at Cologne, and in the old abbeyjof 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 57 Cathedrals and Churches of the RJiine appeared in the Rhine district, and the pil- lars 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 dis- tinguishing feature, though none more prom- inent 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 Ro- manesque church-building, alternate light and heavy piers in the nave. It is on the Rhine, too, that one comes upon occasional examples of rococo archi- tectural decoration, a species which sounds as though it might originally have been Ital- ian, 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 va- riety of Romanesque architecture which had 58 Cathedrals and Chiirches of the Rhine developed, and still endures, in the Rhine valley had arrived at its maturity. The thirteenth century saw the interpola- tion and admixture of Gothic, which else- where, in France in particular, was making such great strides. Towers multiplied and became lighter and more graceful, and great Gothic arched win- dows 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 ex- amples are frequently encountered. The semicircular apsides, with a decora- tive band beneath the cornices of the exterior galleries, are also a distinctly Rhenish detail. They are to be seen in St. Peter's at Bach- arach, at St. Castor's at Coblenz, St. Mar- tin's at Cologne, the cathedral at Bonn, in St. Quirinus at Neuss, and again at Limburg. The Rhenish bell-towers are a variety dis- tinct 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, 59 Cathedrals and Churches of the Rhine 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 outre 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 An- dernach and Coblenz yet another. St. Mar- tin'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 Ma- yence, — indeed, it is perhaps one of the most picturesque, if somewhat theatrical, of all the spired churches of the Rhine, excepting 60 w ORMS CATHEDRAL Cathedrals arid Churches of the Rhine 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 archi- tecture is that species of building known as the Hallenkirch. The variety is found else- where, even in France, but still it is dis- tinctively German in its inception. Usually they are of the triple-naved va- riety, /. 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 hailed churches exist in Westphalia, where there is a fine example in the cathedral at Paderborn, and again there is St. Ludger at Miinster, and many others. In one form or another the type is frequently met with throughout Germany^ and is therefore to be considered as a dis- tinct German architectural expression. In summing up, then, one may well con- clude that German church architecture, in its general plan and outline, is not of the amazing beauty of the French, and is in 6i Cathednils and Churches of the Rhine a way lacking in mass efifect. With respect to details and accessories, however, the Ger- man churches are graced with much that one would gladly find everywhere as an ex- pression 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 acces- sory detail in fitments and furnishings. In France the Revolution made away with much decorative embellishment and furni- ture of all sorts. The Reformation in Ger- many played no such part, and so there is left much really artistic detail which con- tributes a luxuriance that is wanting in con- structive 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. 62 Cathedrals and Churches of the Rhine 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 cruci- fixes, triptychs, and candlesticks so sumptu- ous. 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. Gereon's at Cologne are the most nearly per- fect 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 condi- tion. But, in spite of the Protestant succes- sion 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 63 Cathedrals and Churches of the Rhine the later pure Gothic construction are those at Aix-la-Chapelle and Treves. But little exterior sculpture has been pre- served in all its originality in the Rhenish provinces, revolutionary fury and its after- math having accounted for its disappearance or mutilation. In the Cistercian church at the abbey of Altenburg, there is a plentiful Chandelier^ A ix-la-Chapelle display of foliaged ornament, and there are the noble statues in the choir of the cathedral at Cologne. Mayence has a series of monu- ments to the bishop-nobles attached to the piers of the nave, and in the Liebfrau Kirche at Treves and the cathedral at Strasburg are seen the best and most numerous features of this nature. One of the most unusual of mediaeval church furnishings, a sort of chandelier, is 64 Cathedrals and Churches of the Rhine seen both at Aix-la-Chapelle and Hildes- heim. In each instance it is a vast hoop- like pendant which bears the definition of coronce 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 abun- dant, 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 dis- tinction 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 Roman- esque ligature, is a three-bayed Gothic 65 Cathedrals and ChurcJies of the Rhine church which occupies the site, or was built up from a former chapel dedicated to St. John the Baptist. : / FONT Li AA B U R-Gr Sooner or later the custom became preva- lent of erecting a baptismal font within the precincts of the main church itself, thus do- ing away with a structure especially devoted 66 Cathedrals and Churches of the Rhine 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 val- ley 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. 67 ^ VI CONSTANCE AND SCHAFFHAUSEN Constance There is a sentimental interest attached to Constance and the lake which lies at its door, which has come down to us through the pic- tures of the painters and the verses of the poets. Aside from this, history has played its great part so vividly that one could not forget it if he would. The city was founded about 297 A. D. In after years it fell before the warlike Huns, and all but disappeared, until it became the seat of a bishop in the sixth century, the juris- diction of the bishopric extending for a dozen leagues in all directions. In the tenth century it became a vtlle im- periale, and by the fifteenth it had a popula- tion of more than forty thousand souls, and the bishopric counted eight hundred thousand adherents. To-day the city proper has de- 68 Co>istaiici' Cathedral Cathedrals and Churches of the Rhine creased in numbers to a population which hovers closely about the five thousand mark. The emperors convoked many Diets at Con- y stance, and in 1183 the peace was signed here v between the Emperor Barbarossa and the Lombard towns. r V The cathedral, or miinster, of Constance [^ ^^ is dedicated to " Our Lady," and is for the 1 ^ most part a highly satisfying example of a ' Renaissance church, though here and there may be noticed the Gothic, which was erected on the eleventh-century foundations. The fagade has been restored in recent years, and is flanked by two pseudo-Roman- esque towers or campaniles in the worst of taste. The interior is divided into three naves by columns bearing rounded arches. Above, in the grand nave, are a series of round-headed windows, while those in the aisles are ogival. The choir contains a series of Gothic stalls in stone, which, unless it has very recently been scraped off, are covered with the ordi- nary cheap whitewash. The painted vaulting is atrocious, and, while its hideous colouring lasts, it matters little whether it is of the Romanesque barrel 71 Cathedrals and Churches of the Rhine style or ogival. The nervures are there, so it must belong to the latter variety, but it is all so thickly covered with what looks like enamel paint and gaudy red and blue " lin- ing " that it is painful to contemplate. There is a fine statue of John Huss sup- porting the pulpit. It is an adequate monu- ment to one who made history so vivid that it reads almost like legend. In the pavement is a plaque of copper which indicates the spot where Huss stood when his sentence was read out to him. According to tradition — some have said that it was the ecclesiastical law — Huss was hurled from the church by a coup de pied. The organ-case, of the fifteenth century, which backs up the inside wall of the fagade, is one of the most gorgeous of its kind extant, although there is no very high art expression to be discovered in the overpowering mass of mahogany and lead pipes which, with inade- quate supports, hangs perilously upon a wall. This particular organ-case is richly sculp- tured with foliage and figures of men, de- mons, and what not. If it is symbolic, it is hard to trace the connection between any re- ligious motive and the actual appearance of this ungainly mass of carved wood. 72 Cathedrals and C/mrches of the Rhine There is in the cathedral an elaborate alle- gorical painting by Christopher Storer, a native of Constance, and executed in 1659 by the order of Canon Sigismund Miiller, who died in 1686, and whose tomb is placed near by. An immense retable is placed at the head of the nave. It is of fine marble, and, though a seventeenth-century copy of Renaissance, is far more beautiful than such ornaments usu- ally are outside of Italy. At the head of the left aisle is a chapel which also has an elaborate marble retable of the same period. At the summit is a cruci- fix, and below in niches are statues of St. Thomas, of Constantine, and of his mother, Ste. Helene. In the same chapel is a " Christ in the tomb," in marble, surrounded by the twelve apostles. From the same aisle ascends a charming ogival staircase ornamented wnth statues and bas-reliefs. Separating the chapels from the aisles are tsvo magnificent iron grilles. In a Gothic chapel near the entrance is a fine cul de lampe sculptured to represent the history of Adam and Eve. A cloister exists, in part to-day as it did of yore, to the northeast of the cathedral. It 73 4 Cathedrals and Churches of the Rhine is a highly beautiful example of fifteenth-cen- tury work, with its arcades varying from the firm and dignified early Gothic to the more flamboyant style of later years. The church of St. Stephen is another eccle- siastical treasure of Constance with a rank high among religious shrines. St. Stephen's occupies the site formerly given to a chapel dedicated to St. Nicholas, while not far away there was, in other times, another known under the name of Maria Unter der Linden. The Bishop Salomon III., who occupied the see from 891 to 919, enlarged the first chapel, which was further embellished in 935 by the Bishop Conrad of Altdorf, who added a choir thereto. This in time came to be known as St. Stephen's. It was entirely renovated in 1047- 51 by the Bishop Theodoric, who was in- terred therein upon his death. The church served as the meeting-place of the famous Roman tribunal known as the Sacra Rota Ro- mana. Under the Bishop Otto III., who was Margrave of Hochberg, it was entirely recon- structed in 1428, and to-day it is this fifteenth- century building that one sees. Previously, if the records tell truly, the great windows of the clerestory contained coloured glass of Cathedrals and Churches of the Rhine much beauty, but the remains of to-day are so fragmentary as to only suggest this. From 1522 to 1548 St. Stephen's was con- secrated to the followers of Luther, the first incumbent under this belief being the famous Jacob Windner of Reutlingen. The exterior of St. Stephen's is not in any way remarkable. The bell-tower, which is very high, is a great square tower to the left of the choir, surmounted by a steeple formerly covered with wooden shingles, b&t in recent times coppered. The clock in this tower was the gift of Bishop Otto III. There is also a fine chime of bells, which will remind one of the churches of the Low Countries when he hears its limpid notes ring out upon the still air. The interior has been newly whitened with that peculiar local brand of whitewash, and while bright and cheerful to contemplate, is also very bare, caused perhaps by the vast size of the nave and choir. The aisles are separated from the nave by ogival arches, rising from a series of octagonal pillars, upon which are hung statues of the twelve apostles. The wooden roof of the nave and its aisles is curious and dates from 1600, but it is mostly hidden by a plaster covering 75 Cathedrals a7td Churches of the Rhine which was added in the early nineteenth cen- tury. The gilded and highly decorated organ and its case dates from 1583. In 1819 and 1839 it was " restored," whatever that may mean with regard to an organ, and at some time between the two dates were added two colossal figures of David and St. Cecilia. There are numerous and elaborate paintings in St. Ste- phen's which would make many more popu- lar shrines famous. The most notable are " St. John before King Wenceslas," " The Stoning of St. Stephen," " The Glory of the Lamb," and an " Adoration," the work of Philip Memberger, who painted this last at the time of the reestablishment of the Cath- olic faith at Constance in 1550. A portrait of the artist is preserved in the sacristy. Many other works of art were demolished or carried away in the years of the Reforma- tion. In 1414 three Popes disputed the honour of occupying the Holy See, John XXIII. , Gregory XII., and Benoit XIII. The Em- peror Sigismund, after having met the depu- ties of each of the aspirants at Como and Lodi, assembled a council to put an end, if possible, to the anarchv which had arisen 76 ^ Cathedrals and Churches of the Rhine within the Church. Its place of meeting was Constance, and the emperors, kings, princes, cities, churches, and universities of Germany, Sweden, Denmark, Hungary, Bo- hemia, and Italy all sent their deputations. France was represented by Pierre d'Ailly, Archbishop of Cambrai, and Jean Gerson, the chancellor of the University of Paris. The Council of Constance was the most numerous body which had ever been called together on behalf of the Church. It opened \ , its sessions on the 5th of November, 1414, and continued until the 12th of April, 1418. John XXIII. declared that he would ab- dicate if his two competitors would agree to follow his example. Gregory XII. agreed to this and sent his abdication to the council by an ambassador, Carlo Malatesta; but Benoit XIII. fled to Spain and still clung tenaciously to the title of Pope. Finally, at a conclave composed of thirty-two cardi- nals, Othon Colonna was, in 1417, elected Pope under the name of Martin V. The council held at Constance which / condemned John Huss, who was a Wyclif [/ disciple before he was one of Luther's, took place in 1414. Huss was condemned to be l^ 77 \ s Cathedrals and Churches of the Rhine burned alive in 1415, and "he mounted the pile," says history, " with the courage of a martyr." One may see in the Place Briihl, a kilo- metre from the centre of Constance, the very spot where the " pile " was erected. The present customs warehouse (Kauf- haus) formed Constance's famous council- chamber, and to-day it is one of the most interesting curiosities of the city. The grand council-chamber is situated on the first floor of the building, and was erected in 1388. Its length approximates two hundred feet, and it is perhaps one hundred in width with a height of twenty feet. The ceiling is held aloft by fourteen wooden pillars, and there are twenty-three windows. There are no traces of wall decorations, and the opinion is hazarded that the walls and pillars were, at the time of the council, hung with draperies. From the windows there is a fine view of the Lake of Constance, and but a little dis- tance away is the Franciscan convent, now- transformed into a factory, where was in- carcerated John Huss previous to his martyr- dom. 78 Cathedrals and CJmrches of the Rhine Schaffhausen Of the falls of Schaffhausen, Victor Hugo wrote: " Effroyable tumulte." This is the first impression. The four grand, overflowing channels of the cataract tumble, rise and redescend in an eternal tempest of rage. A musical German once said that the only way to express the tumult of Schaffhausen's fall was to " put it to music." He probably had Wagner in mind, and perhaps there are persons who could conjure up a picture of its foam-decked course by means of the master's harmonies. Montaigne was of a more practical turn of mind. He said: " Cela arrete le cours des bateaux et interrompt la navigation de I adit e riviere." Compared with Niagara, Victoria Ny- anza, or the great cataract at Yosemite, the falls of Schaffhausen depict no great splen- dour of aspect, though they are tumultuous and unqualifiedly picturesque. Furthermore, they form a pretty setting for the little city of some five thousand souls which bears the same name. With Basel, Schaffhausen has preserved its mediaeval character far more than the other 79 Cathedrals and Churches of the Rhine cities of Switzerland. Its streets are narrow and irregular, and most of its houses are of the deep-gabled variety, many of them having their fronts frescoed in truly theatri- cal fashion, the effect, as might be supposed, being highly pleasing. Schaffhausen owes its prominence in the commercial world to its falls, which make it necessary for merchandise making its way between Constance and the Lower Rhine to be transshipped at this point. The traffic is by no means so large as that which goes on in the Lower Rhine, but it does exist in pro- portions so considerable as to justify a cer- tain activity in this old-world town which is noticeable to-day, and which has existed for many centuries. The name Schaff- hausen (Schiffhausen) comes, it is claimed, from the houses of the boatmen, and this seems sufficiently plausible to be accepted without question. The Fortress of Munoth dominates the city, crowning the height of Mont Emmers. It occupies the site of an ancient Roman stronghold, and, like its fellows which crown the heights bordering upon the German Rhine, is formidable in its grimness if not for its actual value in modern warfare. 80 Cathedrals and Churches of the Rhine In 1052, Count Eberhardt of Nellenburg founded an abbey here, and accorded to the abbot rights and powers without limitation, so far as the count's seigneurial lands were concerned. To-day, however, Schaf^hausen is not rich in ecclesiastical monuments. Its cathedral is a Byzantine edifice of the twelfth century, and is a development from the church of the ancient abbey founded by Count Eberhardt. There are no constructive or decorative details which call for remark, save twelve columns, each cut from a solid block of sand- stone. They measure perhaps twenty feet in height, and are three feet or more in cir- cumference. There is no resemblance between the ar- chitecture of this church and others in the Rhine valley; therefore it cannot be consid- ered as typical of any Rhenish manner of building. St. John's is an ogival edifice also without any great merit, unless it be that of a gran- deur which is contrastingly out of place in its cramped surroundings. Below Schafifhausen is Sackingen, the third forest city of the Rhine. It owes its origin 81 Cathedrals and Churches of the Rhine to a convent of St. Hilaire, founded in the sixth century by St. Fridolin. The " Lives of the Saints " recounts how St. Columba and his disciples left Ireland and came to Constance, where they separated and went their various ways to evangelize the Rhine valley. To St. Fridolin fell that part lying between Basel and Laufenburg. His bones are yet venerated in the church of St. Hilaire. 82 VII BASEL AND COLMAR Basel After traversing several of the Swiss can- tons, the Rhine leaves Switzerland at Basel. After the breaking up of the vast empire of Charlemagne, Basel came first under the authority of the Emperors of Germany, and then under that of the kings of the second house of Burgundy, until 1032, at which time the city became definitely incorporated into the German Empire. Rudolph of Hapsburg besieged the city in 1274, ^^d through the fourteenth and well into the fifteenth century it was the theatre of many struggles between the bishops and the emperors. In 1061 and 143 1 important councils of the Church were held here. In 1489, at the village of Dornach, scarce half a dozen miles from Basel, took place that battle between six thousand Swiss and 83 Cathedrals and Churches of the Rhine fifteen thousand Austrians which made pos- sible the future independence of Switzerland. During the sixteenth century Basel en- joyed a glorious era with respect to science and art. Its university, the oldest in Switzerland, founded by Pius II., shone brilliantly with the reflected light of the philosopher Eras- mus, the alchemist Paracelsus, and many theologians and geographers. Hans Hol- bein was born here in the seventeenth cen- tury. The Rhine divides the city into two un- equal parts, which are connected by a bridge which was originally constructed in 1220. Although Basel bears even yet, in its archi- tecture, the stamp of an imperial city of the middle ages, it must be counted as somewhat modern. Nevertheless, of all the cities of the first rank in Switzerland it resisted the march of innovation the longest. For in- stance, there was a time when all the clocks of the city were an hour behind those of their neighbours. In 1778, however, the Swiss government decreed that on the first of the following January all the clocks of the city must be regulated by solar time. The innovation excited the indignation of 84 Cathedrals and Churches of the Rhine the people exceedingly; but, fifteen days after the date originally set, the city fell in with the new regulation, and took up anew the routine of its life. CLOCK B-5LE. " The most magnificent of the Swiss women," says a gallant French writer, " are those of Basel, but they know too much (at all times and all places)," he continued, some- what dulling the efifect of his praises. 85 Cathedrals and Churches of the Rhine " They have an elegance of carriage and dress, which, added to their naturally agree- able qualities, gives them a preeminence over all other women of Switzerland." All this is as flowery a compliment as the fair sex of any country could receive, and, judging from appearances, as one lingers a few hours or a few days in Basel, it is all true. The most remarkable of all the edifices of Basel is its cathedral, or miinster, dedicated to the Virgin. In certain of its features one finds a dis- tinct Lombard influence, — in its sculptures and carvings, notably the two carved lions in the crypt, which are the counterparts of others at Modena and Verona in Italy, — though in general it is a Gothic structure. The cathedral was founded by the Em- peror Henry II. of Bavaria in loio, and was dedicated in 1019. It is constructed of red sandstone, as are the chief of the architectural monuments along the Rhine, and is an imposing example of the Gothic of that time. The great portal on the west is richly dec- orated in the archivolt. It is flanked on either side by an arcade whose buttress pil- 86 Cathedrals and Churches of the Rhine lars are each surmounted by a statue in a canopied niche or baldaquin. At the foot of the north tower is an eques- trian statue of St. George and the Dragon, and at the angle of the southern tower is another of St. Martin. Two small doorways, each entering the side aisles, flank the arcade of the portal. Above the principal doorway of this fagade is a balcon a jour before the great window which lights the main nave. The towers rise beside this great window, and are of themselves perhaps the most re- markable features of the church. They are not exactly alike, but they reflect more than any other part of the edifice the characteristics of the Gothic of these parts. The northern tower was completed in 1500, and is sixty-six metres in height. The south- ern tower is perhaps more ornate, and re- sembles, if somewhat faintly, Texier's beau- tiful spire at Chartres. The ogival windows of the side walls are strong and of ample proportions. At the extremity of the north transept is a doorway known as the Porte de St. Gall, decorated with statues of the four evangelists. Above is a great round window of the vari- ^1 Cathedrals and Churches of the Rhine ety so commonly seen in France. It is here known as the " Wheel of Fortune." It is not a particularly graceful design, the rays or spokes being formed of tiny colonnettes, but is interesting nevertheless and quite un- usual along the Rhine. The coping of the roof of the nave is formed of party-coloured tiles, which give it a singular bizarre effect when viewed from near by. The interior divides itself in the conven- tional manner into three naves, which are bare and with no ornamentation whatever. The pulpit is a real work of art, and there are some sculptured capitals in the choir which are quite excellent. The baptismal fonts are elaborately carved. One of these, bearing the date of 1465, is shaped something like a gigantic egg-cup. Its bowl springs from the stem in eight facets, sculptured to illustrate the baptism of Christ in the waters of the Jordan, with figures of St. Lawrence, St. Jacques, St. Paul, St. Pierre, and St. Martin. Holbein once made a series of decorations for the organ-case of this church, but they exist no longer. Beneath the edifice, with its entrance from 88 Cathedrals and Churches of the Rhine the choir, is a crypt nearly as large as the nave itself, with a series of massive pillars supporting its vault and the pavement of the church proper. There are numerous monuments w^ithin the church, including one to Erasmus, the illus- trious Hollander who had made Basel his second home. A stairway leads from the church to the chamber where was held, from 1431 to 1444, the famous Council of Basel. It is a vast, bare room, with no furniture whatever, ex- cept the benches upon which sat the prelates assembled at the council. The cloister attached to the cathedral is daintily planned and contains a number of tombs of celebrated persons. Behind the church is a magnificent terrace known as the Pfalz. It is planted with chest- nut-trees, and its elevation, high above the level of the Rhine waters, makes it a mag- nificent promenade. The Hotel of the Three Kings — though it is to-day a modern structure that one sees — was, in the ninth century, the meeting- place of Conrad III., Henry III., and Ru- dolph III., the last King of Burgundy. Fol- lowing another tradition, the house derived Cathedrals and Churches of the Rhine its nomenclature from the reliques of " the Three Magi," which were lodged here when on their journey, in 1161, from Milan to Cologne. In the museum at Basel are two of Hol- bein's sketches made from statues in the Sainte Chapelle at Bourges in France. They represent the Duke Jean de Berry and his wife, Jeanne de Boulogne. It seems rather curious that a great draughtsman like Hol- bein should deliberately have set himself to copying from a cast, which is practically what it amounted to in this case, charming though these drawings be. Colmar Colmar, the chief town of the " circle of Colmar," was once strongly fortified. It still has something more than fragments left of its seven towered and turreted gates. Formerly it was the capital of Upper Al- sace, and later it was the capital of the De- partement du Haut Rhin. As a result of the war of 1871 it became a German city. To Americans and Frenchmen it will per- haps be most revered as being the birthplace of Auguste Bartholdi, the designer of the 90 Cathedrals and Churches of the Rhine celebrated Statue of Liberty at New York. (There is a smaller counterpart at Paris, on the He des Cygnes in the Seine, which is often overlooked by visitors to the capital.) The church of St. Martin is a thirteenth- century Gothic church of more than usual splendour. Its fine foundations date from 1237, and its choir from 1315. It is of the conventional Latin cross form, with two imposing towers and a really grand portal. It is built of red sandstone, and is sur- mounted with a wonderfully massive steeple, which looks more like an adjunct to a for- tification than a dependency of a Christian edifice. There is a counterpart of this fea- ture in the cathedral at Dol in Brittany, but there it has the added detail of a crenelated parapet, which gives it a still more military air. In other days this great tower on St. Mar- tin's at Colmar served the purposes of a civic belfry as well as that of a Christian cam- panile. In the sacristy of this rather grim church is an admirable fifteenth-century work of art, a Virgin surrounded by garlands of roses, executed by Schongauer, a native of Colmar 91 Cathedrals and Churches of the Rhine (1450-88) and one of the greatest painters and sculptors of the fifteenth century. There is the restored fabric of the famous convent of the Dominicans, known as Unter- linden, which is to be considered as one of the chief curiosities of the town. It was built in 1232, before even the church of St. Martin, and its history was exceedingly prominent in the records of mysticism in Germany. The conventual establishment was sup- pressed at the time of the Revolution, but in the mid-nineteenth century it was rebuilt with a great deal of thought for the repro- duction of the Gothic architecture of the era of its inception. 92 VIII FREIBURG The steeple of Freiburg is quite the rival of that of Strasburg; some even may think it more beautiful. It has braved with impunity the winds and tempests of many centuries, and stands to-day as beautiful a work of its kind, when one is away from Strasburg, Chartres, Ant- werp, or Malines, as one can well conceive. Its appearance is indeed magnificent, with a richness of ornament which has not been carried to the excess that would make it tawdry, and an outline which in every pro- portion is just and true. Each day brings new admirers to this shrine, and one and all, antiquarians and cursory travellers alike, go away with an enthusiastic regard for its charms. Freiburg itself does not go very far back into antiquity. It owes its origin to Berthold III., Duke of Zahringen, who founded it 93 Cathedrals and ChtircJics of the Rhine in 1118 and made it the capital of Breisgau, one of the most fertile districts of the ancient German duchy. The cathedral at Freiburg marks the open- ing of a new era in the Christian architecture of Germany. It was founded in 1122 by the Duke of Zahringen, soon after he took over the guardianship of the city, but it was only in 1513' that it was entirely completed. Nothing now remains of the primitive church except the transept and the base of the lateral portals. The nave dates from the middle of the thirteenth century, and the choir was mostly rebuilt at the same time. The dedication did not take place until a century and a half later. The structure is in the conventional form of a Latin cross, with the usual nave and aisles and a series of chapels surrounding the apside. The fagade is remarkable for the porch, which is highly ornamented with sculpture and forms the lowest story of the tower. The pediment above the entrance is gar- nished with statuary representing the crown- ing of the Holy Virgin, while just below, at the sides, are two kneeling figures, with crowns on their heads, bent in prayer. 94 -•*fwry*«^^ p>^ REIBURG CATHEDRAL Cathedrals and ChitycJies of the Rhine Besides this gallery of saintly figures, there are also sculptured symbols which, in such a company, might well be thought profane: iigures representing Geometry, Music, Arith- metic, and the Arts. In the tower, above the porch, is a chapel dedicated to St. Michael, lighted by three ogival windows. It is now a bare, uninter- esting chamber, its altar and decorations hav- ing disappeared. The third story of the tower forms the belfry, from which springs the gently taper- ing and beautiful spire which rises to a height only forty feet less than that of Stras- burg. The dwindling spire has a dozen facets which in some mysterious way unite with the octagon of the belfry in a manner that leaves nothing to criticize. Within the cathedral there are some ac- ceptable mural decorations in the wall space above the western arch of the transept cross- ing. There are also a number of funeral monuments, finely sculptured and quite re- markable of their kind. One, a " Christ in the Sepulchre," is admirably executed in the sixteenth-century style of Koempf, who is responsible also for the elaborate pulpit. 95 Cathedrals and Chttrches of the Rhine There are two other churches in Freiburg of more than usual interest; the parish church with a fine fourteenth-century clois- ter, and the Protestant temple, a modern structure in the Byzantine style, which has been built up on the remains of the church belonging to the ancient Benedictine convent of Tonnenbach, which existed in the twelfth century. In the chapel of the university are a num- ber of paintings by Holbein. 96 IX STRASBURG The greatest curiosity of Strasburg is the Rhine; after that, its cathedral. Uusually, on entering Strasburg, the first landmark that greets one's eye is the slim, lone spire of the cathedral. Years ago an itinerant showman travelled about with a model of the celebrated Stras- burg clock, and the writer got his first ideas of a great Continental cathedral from the rather crude representation of the Gothic beauties of that at Strasburg, which graced the canvas which hung before the showman's tent. The clock is still there, in all its mystical incongruity, but one's interest centres in the grace and elegance of the dwindling spir^. and its substructure of nave, transept, "and choir, which dominates all else round about. Of many eras, the structure of this great Latin-cross cathedral is not harmonious; but, 97 Cathedrals and Churches 0/ the Rhine for all that, it is a great Gothic triumph, and one which might well lend most of its details of construction and decoration to any great church, and still add a charm which was hitherto absent. Strasburg has in all fifteen churches, but the cathedral is possessed of more and greater glories than all the others combined. From the days when Strasburg was the Ar- gentoratum of the Romans, the city has ever been the scene of an activity which has made its importance known through all the world. It w^as sacked by Attila and his Huns in 451, and was completely abandoned up to the sev- enth century, when one of the sons of Clovis built it up anew and gave to it the name of Strateburgum. Ptolemy is said to be the first writer who mentions Argentoratum, the ancient Stras- burg. What a bitter blow the loss of Alsace-Lor- raine, of w^hich Strasburg was the gem, was to France can only be realized by a contem- plation of the sentiment which even yet at- taches to the event. That the allied provinces were French in spirit as well as Catholic in religion is dem- onstrated by the fact that, at the time of the 98 Cathedrals and Churches of the Rhine German occupation, there was a population of over a million and a half of souls, of which quite a million and a quarter were of the Roman Catholic faith. About a million and a quarter were natives of Alsace-Lorraine, one hundred thousand were Germans, and thirty odd thousand were foreigners. The present cathedral was erected on a site that had been consecrated to religion in very early times. It had been a sacred place in the time of the Romans, though the deities worshipped were pagan, a temple to Her- cules and Mars having been erected here. The first Christian church was built, it is believed, in the fifth century, by St. Amand, then Bishop of Strasburg. This first church of Strasburg, which was a wooden structure, was probably founded by Clovis, 504, and reconstructed by Pepin- le-Bref and Charlemagne. It was mostly des- troyed by fire in 873, and in 1002 was pillaged and fired anew by the soldiers of Duke Her- mann, who was condemned himself to repair the damage. Lightning destroyed it again in 1007, ^^^) by the time the new structure was thought of, nothing but the crypt of Charle- magne's edifice was visible. From the proceeds received from Duke 99 Cathedrals and Churches of the Rhine Hermann, and contributions from all Chris- tianity, Bishop Werner conceived a vast scheme of a new church which in time was completed and consecrated. This in turn fell before the ravages of fire, and nothing but a mass of debris remained, from which the present structure was begun in 1277. The ancient church foundation of Stras- burg was peculiarly arranged, after a manner most unusual in a cathedral church. The ground-plan of the ecclesiastical establishment was not unlike those of the monkish com- munities which were so plentifully scattered over Europe, but it was built for use as a church, and for the bishop and his clerics, instead of being merely a secular monas- tery. The following diagram explains this un- usual arrangement. The masonic theory with regard to the con- struction of these mediaeval ecclesiastical monuments is of much interest in connection with Strasburg. The lodge at Strasburg was the earliest in the north of which we have any knowledge, and Ervin von Steinbach himself seems to have been at the head of it, which fact proves that he was one of the first of 100 Cathedrals and Churches of the Rhine secular architects engaged upon a great relig- ious work. Great opportunities and privileges were conferred upon him by Rudolph of Haps- A 73 9 y3 S 9 1 I 1 1 1 1 1 i 9 S 5 1 1 c Jl Ji / s 1 1 I f \ 1 ^ II II Ancient Church Foundation, Strasburg A — Habitation of bishops and clerics B — Cour commune C — Part assigned to women D — Part assigned to men E — For preaching F — For penitents G — Doors H — Altars I — Pulpits K — Choir for clergy burg, and the masonic lodge of which he was the head had the power, over a wide extent of territory, to maintain order and obedience among the workmen under its jurisdiction. lOI Cathedrals and CJiurches of the Rhine In 1278 Pope Nicholas III. issued a bull, giving the body absolution, and this was re- newed by his successors up to the time of Benedict XII. lodoque Dotzinger, master of the works at Strasburg in 1452, formed an alliance bet^veen the different lodges of Germany. It was an appreciative Frenchman — and all Frenchmen are appreciative and fond of Strasburg, because of what it once was to them — that said: " L,a cathedrale est un mer- veille unique au monde." Continuing, he said: " Those who have not seen it know not the gaiete lumineuse of a Gothic church." All of this is of course quite true from some points of view. There is, however, something pitiful about the general aspect of this great Gothic church. Its lone spire, standing grim and gaunt against a background of sky, makes only the more apparent the incompleteness of the struc- ture. Its fagade is certainly marvellous, quite rivalling those of Reims and Toul, not so very far away across the French border. The triple porch of the facade is rich in sculpture, the most remarkable groups being " The Wise and Foolish Virgins," " The 102 Cathedrals and Churches of the Rhine Prophets," " The Last Judgment," and " Christ and the Twelve Apostles." A great rose window, a reminiscence of the masterpieces so frequently seen in France, also decorates this elaborate fagade. The south portal is in the form of two round-arched doorways, and is a survival, evidently, of one of the earliest epochs of this style of construction. It is ornamented with bas-reliefs and statues symbolical of the tri- umph of Christian religion. There has re- cently been erected before this portal a statue of the great architect of the fabric, Ervin, and another of his son. The spire, one of the most elevated in Europe, is 440 feet, while that of Cologne is 482 feet, Rouen is 458 feet, and Notre Dame at Paris but 200 feet in height. Usually church edifices are grim and gray; but Strasburg presents, in its sandstone of the Vosges, a beautiful tone, which in the wester- ing sun of a summer's day can only be de- scribed as a rose-pink, and is like no other church edifice in Europe, unless it be the cathedral at Rodez in Mid-France, which Henry James called mouse-coloured, but which in reality is a sort of warm, deep rose. A fine lacework of colonnettes covers the 10^ Cathedrals and Churches of the Rhine entire facade, which six centuries have turned to the colour of iridescent copper organ- pipes. But the real grandeur and dignity of the architecture stands out boldly in spite of the ornate turrets and the mass of sculptured de- tail, in a way which stamps the fabric impe- rially as a giant among its kind. Of the spire, Victor Hugo wrote thus (Strasburg was yet French, and not German as it is to-day) : " The truly adorable achieve- ment of the builders of this cathedral is its spire. It is a tiara of stone crowned with a cross. It is prodigious, gigantic, but of great delicacy. I have seen Chartres; I have seen Antwerp. Four escaliers a jour ascend spi- rally the four towerlets at the angles. The steps are very high and narrow. . . . To mount to the lantern one would have to follow the workmen, who appear to be continually engaged on the fabric. The stairways are no more, simply bars of iron set ladderlike in the masonry. " From the spire one sees three mountain ranges: the group of the Black Forest to the north; the Vosges to the west; and the Alps to the south. " One stands so high that the country-side 104 Cathedrals and Churches of the Rhine appears no longer as the country-side; but, like the view from the castle at Heidelberg, a mere geographical map. " At the time of my visit a great cloud rose up from the valley of the Rhine, and framed the panorama for a dozen leagues in truly eerie fashion. As I went from one tower to another, I saw about me la France, la Suisse, and I'AUemagne." It was in 1277 that the celebrated architect, Ervin von Steinbach, began the construction / V^ of the portal of the cathedral at Strasburg, ' and above its great doorway one may yet read, if he be keen of eyesight and knows where to look for it, this inscription: ANNO. DOMINI. MCCLXXVII. IN. DIE. BEATI. URBANI. HOC. GLORIOSUM. OPUS. INCOHAVIT MAGISTER. ERVINUS DE STEINBACH Ervin died in 13 18, and his son continued the work up to the first landing, or platform, of the towers. In the archives of the cathedral are still to be seen the designs on which father and son worked in achieving the portal and tow- 105 Cathedrals and Churches of tJie Rhine ers, as well as those of the spire, the north porch, the pulpit, and the organ-buffet. Not all of these are contemporary, but the first, at least, are the very drawings which were handled by Maitre Ervin and his son in the latter years of the thirteenth century. The following lines of Longfellow describe the religious fervour of the great architect perhaps more truthfully than could prose. "... A great master of his craft, Ervin von Steinbach ; but not he alone. For many generations laboured with him, Children that came to see these saints in stone, As day by day out of the blocks they rose. Grew old and died, and still the work went on, And on and on and is not yet completed. "... The architect Built his great heart into these sculptured stones. And with him toiled his children, and their lives Were builded with his own into the walls As offerings to God." It is perhaps not possible to write of Stras- burg's cathedral without giving its great clock more than a passing thought. The legendary history of the clock at Stras- burg is as follows: 1 06 Cathedrals and Churches of the Rhine The cathedral being terminated, the mag- istrates of the city desired to ornament its tower with a great clock which should be unique in all the world. No one came forth to undertake the com- mission, until a workman, much advanced in years, agreed for a certain sum to produce a clock which should be superior to all others then existing. After some years of incessant work, he pro- duced the first of Strasburg's wonderful me- chanical clocks full of moving figures and symbols. In lieu of recompense, the magistrates, de- siring that their city should be the sole pos- sessor of such a work, accused the old man of having had resource to the aid of the devil in producing so weird a timepiece, and con- demned him to torture and the loss of his eyesight. Upon a pretext of making some further arrangement of the works before the execu- tion of his sentence, the old man was allowed once more to mount the tower. Instead of adjusting the clock, he deranged it in some way so that its chimes never rang out as in- tended, and thus the magistrates and the citi- zens of Strasburg were, in a way, avenged for 107 Cathedrals and Churches of the Rhine the injustice done the inventor. This famous clock of Strasburg's tower is now only a mem- ory. The more recent works of a similar nature have a history less sordid and unpleasant. The first clock of the cathedral, placed inside the church at the crossing, dated from 1352, and of course was a remarkable work for its time. Two hundred years later it was intended to replace it with another, but the work was never achieved, so a third was begun with an eiTfort to outdo the ingenuity which had made possible the fourteenth-century astronomical wonder. It was planned in 1571, under the direction of Conrad Dasypodius, of Strasburg, and his friend Daniel Volkenstein, an astronomer of Augsburg. It was completed in 1574, re- stored in 1669 and 1732, and ceased its labours through the stress of time in 1790. The present great clock, certainly an un- seemly and incongruous adjunct of a great church, was commenced on the 24th of June, 1838, and installed on the 31st of December, 1842. Its construction is supposed to have reflected great credit upon its designer, one Schwilgu, a clock-maker of Strasburg. Noth- 108 Cathedrals and Churches of the Rhine ing was preserved of the more ancient time- piece, except its elaborate case, which was restored and further embellished. At the base of the tower, on the summit of which is placed the crowing cock, is a por- trait of the designer. " This great man," say the local patriots, died an octogenarian in 1856. In 1723 a subterranean tremor sent the tower of Strasburg's cathedral a foot out of plumb. It speaks well for the solidity of the construction that no ill effects resulted, and to-day there are no evidences, to the casual observer, of this deflection. The beauty of Strasburg's cathedral was in so great repute in the middle ages that Jean Galeaz Marie, Visconti Sforza, in 1481, de- manded of the magistrates of the city the name of an architect capable of completing his cathedral at Milan. In a vaulted chamber attached to the cathe- dral proper are two strangely curious memo- rials. They are nothing more or less than two mummies which, for their better pres- ervation, have been varnished, and the cos- tumes which they anciently wore have from time to time been renewed. One is the mummy of the Count of Nassau- 109 Cathedrals and Churches of the Rhine Saarbruck, who died in the sixteenth century, and the other is that of a young girl of per- haps twenty years, supposed to have been his daughter. The ancient church of St. Bartholomew is another of Strasburg's ecclesiastical shrines which ranks high among great churches. It dates from the second half of the thir- teenth century, but frequent additions have been made in more recent times. It possesses a remarkable monument which shows a painted " Danse des Morts," with figures of nearly life size. It is a fresco on the inner walls of the overhanging canopy of a tomb. The painting dates from the fifteenth century, but was only discovered in 1824, on the occasion of a general renovation of the church. The choir was begun in 1308 and com- pleted in 1345. Its height and its general airiness, and the lightness of its vaulting and arches, unite in making it quite unusual and most worthy of note. This ancient church to-day is occupied by the Protestants, and the edifice has been di- vided up in a somewhat sacrilegious manner in order to provide within its walls for a library and a museum. no Cathedrals and Churches of the Rhine Strasburg has another great church in St. Thomas, a vast ogival edifice which has some good glass, but which is remarkable above all else for the number of its sepulchral monu- ments, both ancient and modern. At the end of the choir is found one of those wonders of French sculpture, an alle- gorical grouping of figures on the tomb of Marechal de Saxe. It was erected in 1777 by Pigalle by the order of Louis XV. For a background it has a pyramid of gray marble, at the base of which is the following inscription: MAVRITIO SAXONI CVRLANDIAE ET SEMIGALLIAE DVCI SVMMO REGIORVM EXERCITVVM PRAEFECTO SEMPER VICTORI LVDOVICVS XV VICTORIARVM AVCTOR ET IPSE DVX PONI IVSSIT OBIIT XXX NOV. ANNO MDCCL. AETATIS LV. Standing in the centre of the pyramid is a figure of the marechal descending toward the sarcophagus below.^ A figure represent- ing Death is lifting the lid, and another, rep- III Cathedrals and Churches of the Rhine resenting France, is endeavouring to stay his hand. Flags, a reversed torch, and other symbols, with another figure representing the genius of war, complete the details of this elaborate monument. There is little of anything but Gothic, more or less pure, visible at Strasburg; but, in spite of this, it is alleged that, from Carlovingian times onward, there was here a colony of arti- sans who had been sent from Lombardy on account of the increased interest in the north in church-building. If this is so, they must have pushed onward down the Rhine, as they left but little impression here, and, while Rhenish church-building was manifestly not Gothic in its inception, here at Strasburg there are certainly no evidences of the Comacine builders of Charlemagne's time. Strasburg's ancient episcopal palace was built in 1731 -41 by Cardinal de Rohan. It was bought by the city before the Revolution and transformed into a chateau imperial, and became later the home of the local univer- sity. The edifice known in early days as the " Maison de I'Oeuvre Notre Dame," and more recently as " Stift zu unser lieben Frauen," was built in 1581, numerous Gothic sculptures 1 12 Cathedrals and Churches of the RJiine from the cathedral being used in its construc- tion. There is here a remarkable spiral stair- case in the light and delicate flowered Gothic of its time. 113 METZ From across the Moselle, on the height just to the south of the city of Metz, is to be had one of those widely spread panoramas which defy the artist or the photographer to repro- duce. There is an old French saying that the Rhine had power; the Rhone impetuosity; the Loire nobility; and the Moselle elegance and grace. This last is well shown in the charming river-bottom which spreads itself about the ancient Mediomatricorum, as Metz was known to the Romans. The enormously tall nave and transepts of the cathedral of Metz dominate every other structure in the city, in a fashion quite in keep- ing with the strategic importance of the place from a military point of view. Time was when ecclesiastical affairs and military matters were much more closely al- lied than now, and certainly if there was any 114 e^ Met2 Cathedrals and Churches of the Rhine inspiration to be got from a highly impressive religious monument in their midst, the war- riors of another day, at Metz, must have felt that they were doubly blessed. Since the Franco-Prussian war, Metz, with Strasburg, has become transformed; but its ancient monuments still exist to charm and gratify the antiquarian. Indeed, it was as recently as 1900 that the Tour des Lennyers, a wonderful structure of Roman times, was discovered. Metz was fortified as early as in the third century, and to-day its walls and moats, though modern, — the work of Vauban, — are still wonders of their kind. In the Roman period the city was of great importance. In the fifth century it was at- tacked, taken, and destroyed by the Huns; but, when it was rebuilt and became the cap- ital of Austrasia, its prosperity grew rapidly. In 1552 the Due de Montmorenci made him- self master of the city, and some months later Henri II. made his entree. During the win- ter of the same year it successfully resisted Charles V., thanks to Frangois de Lorraine and the Due de Guise. The great abbey of St. Arnulphe disap- peared at this time. It stood on the site of 117 Cathedrals and Churches of the Rhine the present railroad station, where, in 1902, were found many fragments of religious sculptures, coming presumably from the old abbey. In 1556-62 the citadel was constructed by Marechal Vielleville. Within the citadel was the old church of St. Pierre, one of those minor works of great beauty which are often overlooked when summing up the treasures of a cathedral town. The old church dated originally from the seventh century, though reconstructed anew in the tenth, and again in the fifteenth century. The walls of the surrounding fortifications are of incontestable antiquity. Beneath the pavement of the chapel have recently been found fragments of sculptured stone dating from Merovingian times. It was during a dangerous illness at Metz that Louis XV. is said to have made the vow which led to the erection of that pagan-look- ing structure, the church of Sainte Genevieve, more commonly known as the Pantheon, at Paris. It is the largest modern church in France, if, indeed, one can really consider it to-day as a church. Metz, before its annexation by Germany, was as French as Reims or Troyes. Many 118 Cathedrals and Churches of the Rhine of the natives of the city have since left, but they have been replaced by Germans, so the population has not suffered in numbers. Of a population of forty-five thousand, there are twenty-four thousand soldiers. Ho- tels, shops, and cafes have become German- ized, but, curiously enough, many, if not nearly all, of the cab-drivers speak French, and French money passes current every- where. Certain restaurants preserve what they call the traditions de la cuisine franqaise, and in the municipal theatre a company of French players come from Nancy three times a week in the winter season. Metz, one of the three ancient bishoprics of imperial Lorraine, now forms a part of Elsass-Lothringen, where the German Em- peror reigns as emperor and not merely as King of Prussia. The churches of Metz show very little of Romanesque influences, though it is indeed strong in churches dating from the thirteenth century onward. Early Gothic in nearly every shade of excellence is to be found in the churches of Metz, from the cathedral church of St. Stephen downwards, and, be- cause of this, it is the Continental city where 119 Catliedvals mid Churches of the Rhine the development of the style can be most thor- oughly studied and appreciated. In many cases there are only fragments, at least, that which is to be admired is more or less fragmentary; but, in spite of that, they are none the less precious and valuable as a record. Besides its churches, Metz has, in its ancient donjon or castle-keep, a singularly impressive monument of its past greatness, which stands in the Geishergstrasse, or the ^ue de Chevre- mont, as the street is called by the French, for Metz, like Strasburg and the other cities and towns of poor rent Alsace and Lorraine, is even yet a muddle of French and German proper names. This great pile was doubtless the formier royal shelter of Theodoric and others of his line. To-day Metz is mostly a city of strategic fortifications; but this is but one aspect, and the seat of the renowned bishopric of Lor- raine has in its cathedral church an ecclesi- astical monument of almost supreme rank. St. Stephen's Cathedral is a vast structure of quaint and almost grotesque outline, when seen from across the Moselle. Its chief dis- tinction, at first glance, is its height, which 1 20 Cathedrals and Churches of the Rhine seems to dwarf all its other proportions; but in reality it is attenuated in none of its dimen- sions, and its clerestory is hugely impressive, where one so often finds this feature a mere range of shallow windows. Among the great churches of Northern Europe, the cathedral of St. Stephen stands third, it being surpassed only by the cathedrals of Beauvais and Cologne. This fact is frequently overlooked, and or- dinarily Metz would be classed with that sec- ondary group which includes Reims, Bourges, and Narbonne; but so accurate an authority as Professor Freeman vouches for the state- ment. The clerestory, of a prodigious height, is borne aloft by a series of rather squat-looking pillars, but again figures demonstrate that the cathedral at Metz is truly one of the wonders of its kind. There is a north tower which is, or was, a part of the civic establishment as well, in that it contained an alarm-bell, similar to those employed in the Netherlands, known as La Mutte. Twin towerlets straddle the nave of the cathedral in a quite unexplainable man- ner. Altogether the building has a most remark- 121 Cathedrals and Churches of the Rhine able and not wholly beautiful sky-line, to which one must become accustomed before it is wholly loved. Decidedly the least likable portion of the exterior of St. Stephen's is the west front, which is decidedly incongruous, whereas in most places it is the west front that shines and is truly brilliant. Certainly, in this respect Metz does not follow that French tradition which, in its Gothic churches, it otherwise obeys. St. Stephen's really rises to almost a su- preme height. It has been said to exceed that of Amiens and Beauvais, but this is manifestly not so, for, if the figures are correct, it is some seven feet lower than Amiens and twenty lower than Beauvais. Still, it rises to a dar- ing height, and its " walls of glass," with their enormously tall clerestory windows, only ac- centuate its airiness and grace. This last quality is remarkable in Gothic architecture of so early a period, the thir- teenth century. At St. Guen at Rouen, to which its openness may be compared, and perhaps to Gloucester in England, the work is of a much later date. The interior of St. Stephen's presents an equally marked efifect of height and bril- 122 Cathedrals and Churches of tJie Rhine liancy, with perhaps an exaggeration of the ample clerestory at the expense of the tri- forium. There is a remarkable symmetry in the nave and its aisles; and its strong columns, with their shafting rising to the roof groins, show a method of construction so daring that mod- ern builders certainly would not care to copy it. The glass of the great clerestory windows in the choir dates only from the sixteenth cen- tury, and was designed by one Bousch of Strasburg. The windows of the north and south tran- septs are exceedingly brilliant specimens of the mediaeval glass-workers' art. There are some fragmentary remains, in the clerestory of the nave, of glass of a much earlier period than that in the choir, possibly contemporary with the fabric itself (thirteenth century). If this is so, it is of the utmost value, worthy to be admired with the gold and jewelled treasures of the cathedral's sacristy. In the sacristy there used to be the ring of Arnulphe and the mantle of Charles the Great, but doubts have been cast upon the latter, and the former has disappeared. There is, somewhere about the precincts of 123 Cathedrals and Churches of the Rhine the cathedral, a weird effigy of a monster known as the Grau/y, which, like the Ta- rasque at Tarascon aad the dragon of St. Ber- trand de Comminges, is a made-up, theatrical property which even in its symbolism is ludi- crous in its false sentiment. Besides Metz's cathedral, there is the church of St. Vincent on an island in the river, which lacks orientation and faces al- most due south. It is as distinctly a German type of church as the cathedral is French; but this is more as regards its outline than anything else, for its Gothic is very, very good. Its interior is dignified, but graceful, though it lacks a triforium. St. Martin's is a smaller church, but is con- temporary with St. Stephen's and St. Vin- cent's (thirteenth century) . St. Maximin's is a still smaller edifice, and would be called Romanesque if German did not suit it better. It resembles somew^hat the parish churches seen in the country-side in England, and is in no way remarkable or highly interesting, if we except the tall cen- tral tower. St. Eucharius's and St. Sagelone's complete the list of the unattached churches of Metz; 124 Cathedrals and Churches of the Rhine St. Clement's being but an attribute of the Jesuit college. St. Eucharius's stands near what we would call the German Gate, — locally known as Deutsches Thor, or the Porte des Allemands, — a mediaeval gateway built into, or built around, rather, by the modern fortifications with which the city is protected. The church is most lofty for its size. Its pier arches are of great proportions, and its clerestory, like St. Stephen's itself, is of more than ordinarily ample dimensions. There is no triforium. St. Sagelone's remains practically a pure Gothic example of its time, rather later than the rest of its kind in Metz. It has some fine coloured glass, in spite of the fact that its antiquity cannot be very great. St. Clement's is a dependency of the Jesuit installation, which reflects more credit upon that order than has usually been accorded them in the arts of church-building. It is a more or less incongruous combina- tion of the Italian and Gothic styles, but blended with such a consummate skill that the effect can but be admired. In form St. Clement's is frankly a Hallen- kirche, with the three naves of equal height. 125 Cathedrals and Churches of the Rhine In general the nave is late Gothic, with the marked tracery of its time in its fenestration. "rhe capitals of the piers, supporting the arches between the nave and its aisles, are stately but heavy, according to Gothic stand- ards, and appear misplaced, luxurious though they undeniably are. St. Clement's is sup- posed to resemble the variety of Gothic which has been employed in Sicily, where Gothic of the best was known, but was used in con- junction with other details, which really added nothing to its value or beaut)^ as a dis- tinct style. One leaves Metz with the memory full of visions of many churches and much soldiery of the conventional German type. There is plenty, in all of these towns, to remind one of both France and Germany. In the geography of other times, Metz was Lotharingian; but French was very early the language of the city, and its prelates and churchmen, when they diH not use Latin, spoke only the French tongue, and fell under French influences. Therefore it was but nat- ural that the type of Metz's principal church should have favoured the French style, even though it developed German tendencies. 126 !/ XI SPEYER When Christianity penetrated into the vast and populous provinces of Germany, the Prankish kings favoured its progress and founded upon the banks of the Rhine many religious establishments. Dagobert I., King of Austrasia, built the first church at Speyer, upon the ruins of a temple which the Romans had consecrated to Diana. When, at the beginning of the elev- i / enth century, this early structure fell in ruins, V thanks to the bounty of Conrad II., another of far greater and more beautiful proportions was erected. The idea of a new edifice was proposed to Walthour, then bishop, who, like many of his fellow prelates of the time, was himself an architect of no mean attainments. The difficult art of church-building had no secrets from the bishop, and he set about the work forthwith, and with ardour. He worked 127 Cathedrals and ChurcJies of the Rhine three years upon the plans, and on the 12th of July, 1030, in the presence of the vassals and seigneurs of the court, the emperor laid the foundation-stone of the present cathedral, and declared that the church should serve as the sepulchre of the princes of his race. Twelve tombs were prepared beneath the choir, which itself is known as " the Choir of the Kings," in the same way as the cathedral itself has come to be known as the " Cathedral of the Emperors." Eight emperors and three empresses have been placed within these tombs: Conrad II., Henry III., Henry IV., Henry V., Philip of Suabia, Rudolph of Hapsburg, Albert of Austria, Adolph of Nassau, the wife of Con- rad II., Bertha, the unfortunate companion of Henry IV., and Beatrice, the wife of the great Barbarossa. Above the tombs of the emperors one may read the following Latin inscription: '' Filius hie — Pater Hie — Avus Hie — Proavus jacet istic — Hie proavi eonjux — Hie Henriei Senior is." The cathedral of Speyer was far from being completed at this time, but the new bishop, Siegfried, was a no less able architect than 128 Cathedrals and Churches of the Rhine his predecessor, and he directed the work with zeal and talent. Already the principal body of the church < •B-T/lcT/tanus "^V h, -^ ,S. > was rearing itself skyward, and in 1060 the edifice was practically complete, after thirty years of persevering effort. It is a bizarre sort of a church as seen to- 129 Cathedrals and Churches of the RJiine day, and must always have had much the same character; still it is of a style which gave birth to a new and distinct movement in cathedral building, and the authorities have declared that the three edifices founded by the Emperor Conrad, the cathedral of Speyer, the collegiate church of St. Guidon, and the monastery of Limburg, were the foundations of a new school of ecclesiastical architecture, and the envy of all the other provinces of the Empire. The cathedral was consecrated under Bishop Eginhard, and immediately all church-building Europe went into raptures over it, its proportions and dimensions, its fine plan, its six spires, and the magnificently spacious arrangement of its transept and ap- side. In 1 1 59 the fabric suffered much from fire, but before a decade had passed it was re- stored in such a manner that the church again stood complete. Another fire followed in 1189, and in 1450 yet another of still greater extent, and only the holy vessels, the reliquaries, and the altar ornaments wxre saved from the flames. Bishop Reinhold, of Helmstadt, and the chapter, set about forthwith to rebuild the cathedral, and, while its ashes were still smoul- 130 Cathedrals and Churches of the Rhine dering, they took a vow to make it more beau- tiful than before. The bishop wrote a letter to Pope Boniface VIII., on the occasion of his jubilee in the same year, and obtained a pontifical decree that all who gave financial help toward the erection of the new cathedral should be blessed with the same indulgence as those who visited the tombs of the apostles at Rome. The bishop lost no time, and his agents went forth into all Germany to get funds to reerect the sepulchral church of the emperors. They were received favourably, and twenty-one thousand golden florins furnished Bishop Reinhold the means of carrying out his proj- ect- After the wars of the sixteenth century, when Speyer was sacked, pillaged, and burned, the sturdy walls of the cathedral again fell, and only in the eighteenth century was it restored. For a long time, only the choir was rebuilt, the nave being neglected up to 1772, when Bishop August of Limburg under- took to restore the entire edifice, which, con- sidering that he did it in the eighteenth cen- tury, he did comparatively well. The choir and nave reflect, considerably, the spirit of the middle ages. The fagade Cathedrals and Churches of the Rhine alone indicates the false taste of the period in which it was restored. In general the exterior decoration is simple and remarkable for its interest. The interior was wisely restored in 1823, and shows a series of mural decorations of more than usual excellence, and the statue of Rudolph of Hapsburg, a modern work by a pupil of Thorwaldsen's, is less offensive than might be supposed. In Speyer's cathedral are an elaborate series of frescoes by Schraudolph, forming a part of the extensive renovation undertaken by Maximilian II. of Bavaria. The cloister, built in 1437, exists no more. The baptistery is a curious octagonal edifice ornamented witTi eight columns and sur- mounted by a dome. It is lighted by eight narrow windows. The origin of the baptis- tery is in dispute; but, while doubts are likely enough to be cast upon the assertion, it is re- peated here, on the strength of the opinion of many authorities, that it may have descended from the time of Dagobert. There are numerous grotesque carvings, which ornament the cathedral in its various parts, and which have ever been the despair of antiquarians as to their meaning. 1 ^2 Cathedrals and Churches of the Rhine In one place on the exterior of the apside is a queerly represented melee between gnom- ish figures of men and beasts with human heads. And again, in the nave, there is a figure of a dwarf with a long beard, with a sort of helmet on his head, and a sword at his side. If he is supposed in any way to rep- resent the Church militant, the symbolism is badly expressed. St. Bernard preached the Crusades here in the presence of Conrad III., of Hohenstaufen, who was so inspired by the enthusiasm of the holy man that he took the cross himself. It was in the cathedral of Speyer, too, that St. Bernard added to the canticle of "" Salva Regina " these words, '' O Clemens! O Pia! O Dulcis Virgo Maria," which have since been sung in all the Roman churches of the universe. An ancient legend recounts how one day St. Bernard had come late to the church, when the statue of the Virgin cried out to him : ^' O Bernharde, cur turn tarde? " and that the saint, with very little respect on this occasion, re- plied: " Mulier taceat in ecclesia." "Since that time," says the legend, " the Madonna has never spoken." T33 XII CARLSRUHE, DARMSTADT, AND WIESBADEN Carlsruhe Carlsruhe is modern, very modern, and is a favourite resting-place with those who would study the language and customs of Germany. In fact, there is not much else to attract one, except a certain conventional society air, which seems to pervade all of its two score thousand inhabitants. The architectural treasures of the city mostly bear eighteenth-century dates, from the great monumental gateway, by which one enters the city, and on which one reads, ^^ Regnante Carolo Frederico, M. B., S. R. I. P. E.," to the Academy of Fine Arts, really the most beautiful structure of the city, which dates only from 1845, though reproducing the Byzantine style of the early ages. The great palace designed by Weinbrunner branches out like the leaves of a fan, and, if not the equal of Versailles or Fontaine- 134 Cathedrals and Churches of the RJiine bleau, suggests them not a little in general effect. The two chief churches of Carlsruhe are in no way great ecclesiastical edifices, or of any intrinsic artistic worth whatever. Both the principal Protestant place of worship and the Catholic edifice are from the designs of Weinbrunner, and are a confused mixture of pretty much all the well recognized details of style, with no convincing features of any. They are pretentious, gaudy, and quite out of keeping with religious feeling. The Catholic edifice is a poor, ungainly imitation of the Pantheon at Rome, which reflects no dignity upon its author or the re- ligion which it houses. The Protestant church has its fagade orna- mented with six Corinthian columns — a weakly pseudo-classic style — which lead up to a tower which would be suitable enough to a country-side German parish church, but which, in a prosperous and gay little metrop- olis of pleasure, like Carlsruhe, is unappro- priate and unfeeling, particularly when one recalls that it is a modern building which one contemplates. The window openings, too, re- call rather those of a dwelling-house than of a religious edifice. So, when all is said and 135 Cathedrals and Churches of the Rhine done, there is not much in favour of Carls- ruhe's churches. One link binds Carlsruhe with the traditions of ecclesiastical art in Germany, and that is a most acceptable statue of Ervin von Stein- bach, the master-builder of Strasburg's cathedral. It flanks the principal portal of the Polytechnic School. Darmstadt Though more ancient than Carlsruhe, Darmstadt has a prosperous modern appear- ance, and consequently lacks those lovable qualities of a tumble-down mediaeval town which usually surround architectural treasures of the first rank. The Stadthaus, or Hotel de Ville, dates from the fifteenth century, and the Palace from 1605 (in its reconstructed form) ; but there is nothing of sufficient interest about the churches to warrant the devotee of ecclesi- astical architecture ever setting foot within their doors. As delightful little cities, with tree-bordered promenades and a general air of prosperity and modernity, Carlsruhe and Darmstadt are well enough; but, as the setting for religious shrines, they are of no importance. 136 Cathedrals and Churches of the Rhine Behind the Stadthaus, in the old town, will be found the Protestant place of worship. It is in unconvincing Gothic, with nothing re- markable about its constructive elements, and little or nothing with respect to its details. One feature might perhaps arrest the atten- tion. This is a retable of the conventional orthodox form which occupies the usual place — even in this Protestant church — at the end of the choir. The Catholic church is situated on a great rectangular open place, known as the Wil- helminen Platz. It is a recent construction, and accordingly atrocious. In form it is an enormous rotunda, one hun- dred and thirty-four feet in circumference, lighted by a shaft in the centre of its immense cupola. The porch by which one enters this rather pagan-looking structure is simple, and by far the most gracious feature of the edifice. On the frieze one reads, in great golden let- ters, the single word " Deo." In the lunette which surmounts this porch is a sculptured figure of the Virgin between two adoring angels, and on a marble tablet is engraved: LUDOVICO HASSIiE ET AD RHENUM MAGNO DUCI PATRI PATRIAE 137 Cathedrals and Churches of the Rhine The interior, more even than that of the church at Carlsruhe, is a weak imitation of the Pantheon at Rome. The great dome is upheld by twenty-eight enormous Corinthian columns, but the walls are bare and w^ithout ornament of any sort. The only accessory with any pretence at artistic expression is the altar. It is either remarkably fine, or else it looks so in compari- son with its bare surroundings. Wiesbaden A conventional account of Wiesbaden would read something as follows : " Wiesbaden, the capital of the Duchy of Nassau, is about an hour's drive by road from Mayence and three from Frankfort. It lies in a valley, encircled by low hills, behind which, on the north and northwest, rises the range of the Taunus Mountains, whose dark foliage forms an agreeable contrast to the brighter green of the meadows and the w^hite buildings of the town. Within the last few years several new streets have been erected; the Wilhelmstrasse, fronting the promenades, would bear a comparison with some of the finest streets in Europe." 138 Cathedrals and Churches of the Rhine Such, in fact, is the description which usu- ally opens the accounts one reads in the books of travel of a half or three-quarters of a cen- tury ago. To-day Wiesbaden, as a " watering-place," doubtless retains all the virtues that it formerly possessed; but fashionable invalids have de- serted Wiesbaden for Homburg. All this is of course quite apart from the consideration of great churches; but great churches, for that matter, were quite apart from the considerations of most of the visitors to Wiesbaden. The city possesses, however, a very satis- factory modern Catholic church, the work of the architect Hoffmann. It will not take rank with the mediaeval masterpieces of many other places, but it demonstrates, as has only seldom been demonstrated, that it is possible to make a very satisfactory church building of to-day by copying pleasing details of other times. Were it not that it is built in the red sand- stone of the country, this fine edifice would be even more effective. It is not a thoroughly consistent style that one sees. There is Byzantine, Romanesque, and avowedly Gothic details superimposed one upon another; but this is often seen in 139 Cathedrals and Churches of tlie Rhine the masterpieces of other times, and, so long as the varieties are not put into quarrelling relationship with each other, it is perhaps allowable. There is a triangular pediment above the grand portal which is certainly most singular, and may have been a product of the author's fancy alone. Nothing exactly similar is re- membered elsewhere. In the main, however, the whole structure is reminiscent of much that, drawn from various sources, is the best of its kind. The interior is divided into three naves by numerous great and small pillars of a polyg- onal form, the capitals only bearing any traces of modelling. The high altar is decorated with some good sculptures, and there are a series of paintings, which might be modern, or might be ancient, so far as their unconvincing merits go. Of the attraction of the waters and the pleasures of the society found at Wiesbaden during the season, nothing shall have place here, save to remark that the springs were famous even in the times of the Romans. There is a " Greek chapel," built in 1855, at two kilometres from Wiesbaden. In the style of the sacred edifices of Moscow, this 140 7S y(^ m J -^ cy O ^^ Cathedrals and Churches of the Rhine same characteristics as its brother at Mayence, though by no means is it so celebrated. Above Coblenz the Rhine narrows consid- erably, and the mountains and hilltops draw in until one's progress, by water, is almost as if it were through a canon. Niederlahnstein has a fine ruined church in St. John's, whence it is but a short distance to Boppart. Boppart Boppart was the ancient Bandobriga of the Romans, and, like many another place along the Rhine, is closely linked with the memory of Drusus. Boppart was made an imperial city, and many Diets were held within its walls. The Hauptkirche, with its twin-jointed spires, was built about the year 1200. It is thoroughly Romanesque, if we except the spires which are linked together by a sort of galleried vestibule, after a manner that is neither Romanesque nor anything else. The inside galleries over the aisles (man- nerchore) are interesting, though by no means a unique feature in RTiine churches. There is a queer intermixture of pointed and round-headed arches in both the nave and 191 Cathedrals and Churches of the Rhine choir, but nothing to indicate that it was any- thing but a Romanesque influence that in- spired the builders of this not very appealing church. The vestibule which joins the spires, and the most unusual groining of the vaulting of the body of the church, are two features which the expert will linger over and marvel at, but they have not much interest for the lay observer who will prefer to stroll along the river-bank and pick out charming vistas for his camera. The convent of Marienburg, which rises high on the hillside back of the town, has an ancient history and was a vast foundation to which references are continually met with in history. To-day it is a hydropathic estab- lishment for semi-invalids and devotees of bridge and tea parties. The Carmelite church contains some richly carved sixteenth-century monuments, now somewhat mutilated, but very beautiful. The Templehof perpetuates the fact that it was the Knights Templars of Boppart who first mounted the breach at the storming of Ptolemais in the third crusade. This completes the list of Boppart's ecclesi- astical monuments. 192 G ENERAL VIE^^ of BOPPART Cathedrals and CJiurches of the Rhine In the fourteenth century the town was a "free imperial city"; but, following upon political dissension with its neighbours, it was returned to the guardianship of the Arch- bishop of Treves. Previously it would appear that the inhab- itants had not been very religious, but the archbishop was able to induce them to build him a chateau here as a place of temporary residence; " the first service," says the chron- icle of the time, " which we have rendered our gracious master." 193 XX LAACH AND STOLZENFELS Laach Back of Coblcnz is the charming little lake of Laach, at the other end of which is the picturesque but deserted abbey of Laach, one of the most celebrated, architecturally and historically, of all the religious edifices along the Rhine. Once a Benedictine convent, it was pillaged and its inmates dispersed during the overflow of the French Revolution, and is now naught but a ruin, though in many respects a grandly preserved one. The abbey was founded in 1093 by Henry IL of Laach, Count Palatine of Lower Lorraine, and the first Count Palatine of the Rhine. Its magnificent church, built in the most acceptable Gothic, contains the remains of its founder and many nobles. The monks of the abbey were, in the mid- 194 Cathedrals and Churches of the Rhine die ages, greatly celebrated for their knowl- edge of the sciences and their hospitality. Their library was richly stored with biblio- graphical treasures, and they possessed a fine collection of paintings. To-day the abbey and its dependencies is but a shadow of its former self; its library and its picture-gallery .^^3" have disappeared, and, early in the nineteenth century, the establishment was sold for a price so small that it would be a sacrilege to men- tion it. Stolzenfels The mention of the castle of Stolzenfels hardly suggests anything churchly or devout, ^95 Cathedrals and Churches of the Rhine though those who know the history of this most picturesque of all Rhine castles (restored though it be) know also that it was an early foundation of Archbishop Arnold of Treves in the thirteenth century, and was, during the century following, the residence of his suc- cessors. Placed high upon its " proud rock'' the restored fabric to-day wonderfully resembles the castled-crag of one's imagination. Archbishop Werner of Strasburg also made it his residence in turn, and later the English princess betrothed to the Emperor Freder- ick II. of the Hohenstaufen dynasty was enter- tained there. The castle was nearly destroyed by the French in 1688, and in 1825 the ruin was made over to the then prince royal, afterward King of Prussia. Within the reconstructed walls, topped with a series of crenelated battlements, after the true mediaeval manner, one finds an ample courtyard, from which lead the entrances to the various parts of the vast fortress. Innumerable apartments open out one from the other, all forming a great museum filled with all manner of curios and relics. In a corner of one great room was long iq6 Cathedrals and Churches of the Rhine kept (they may or may not be there yet; the writer does not know) the Austrian and Swiss standards taken in the Thirty Years' War. c ^ 3TOLZEMFEL5 There was also a cabinet containing the sabre of Murat, taken at Waterloo; the sabres of Blucher, of Poniatowski, and Sobieski ; and 197 Cathedrals and Churches of the Rhine the swords of the Due d'Albe and De Tilly; and, incongruously enough, a knife and fork said to have belonged to Andreas Hofer, the hero of the Tyrol. In the chamber of the king is a magnificent piece of ecclesiastical furniture in the form of a processional cross said to date from the eighth century. The fine Gothic chapel is decidedly the gem of the whole fabric and its accessories, and, though only finished in its completeness, during the present day, it is a master copy of the best style of the Gothic era. 198 XXI ANDERNACH AND SINZIG Andernach Andernach is one of the oldest cities in the Rhine valley, and grew up out of one of Drusus's camps, which was built here when the town was known as Antonacum. This was its early history, as given by Am- mien Marcellin; and a later authority men- tions it as the second city of the electorate of Treves {Die Andre Darnach). In the records of Drusus's time, there is a reference to a chateau here, which was the fiftieth he had built upon the banks of the Rhine. The kings of Austrasia had their palace here as well, so the place became a political and strategic city of very nearly the first rank. In the middle ages Andernach shone bril- liantly among the centres of commerce in the Rhine valley. Charles V. was responsible for a battle be- 199 Cathedrals and Churches of the Rhine tween the inhabitants of Linz and those of Rhieneck and Andernach, in which nearly all the latter were massacred. To soften any hard feeling that might still exist, a sermon was always preached, up to the last century, in the market-place, on St. Bartholomew's Day, urging the people to for- give their enemies. The records tell, how- ever, that on one occasion an unfortunate in- habitant of Linz was discovered in Ander- nach, and that he was forthwith put to death in most unchristianlike fashion. The Gate of Coblenz at Andernach is gen- erally regarded as an ancient Roman work, though not of the monumental order usual in works of its kind. The present fortifications date from the fifteenth century, as does the picturesque watch-tower by the waterside. With Andernach is identified the tradition of a Count Palatine, who, returning from the Holy Wars, was persuaded by a false friend that his lady had proved faithless; and, with- out listening to excuse, drove her forth to the woods. In the forest she found shelter with her youthful son, lodging in caves and living on fruits and herbs for many years. One day her husband, having lost his companions in 200 G ENERAL VIEW of ANDERNACH Cathedrals and Churches of the Rhine the chase, came by accident upon her place of concealment. The wife of his bosom, care- fully nurtured in her youth, but now living unattended in the wilds, and his son, now grown into a fine youth, excited his pity. Lis- tening to the truth, he took home the innocent victims of perfidy, and retaliated upon the tra- ducer by hanging him from the highest tower of his castle. After her death, the countess be- came St. Genofeva, and is the patroness of the parish church of St. Genevieve, which is a lofty structure with four towers which rise high above the surrounding buildings in a fashion which would be truly imposing were the church less overornamented in all its parts. The actual foundation of the church dates from Carlovingian times, and a tenth-century church is visibly incorporated into the present fabric, but in the main the present structure is of the thirteenth century. The facade, as is the case with most of the Romano-Byzantine churches on the Rhine, is flanked by two fine towers, showing some slight traces of the incoming ogival style. Flanking the apside are two other towers, somewhat heavier and thoroughly Roman- esque in motive. The southern doorway is surrounded by a 20I Cathedrals and Churches of the Rhine series of remarkably elaborate and excellent sculptures, showing delicate foliage, birds, and human figures disposed after the best manner of the Romanesque. The northern doorway is decorated in a similar manner, with an elaborate grouping of two angels and the paschal lamb in the tympanum. To the right of this portal is a curious coloured bas- relief set in the wall. It represents the death of the Virgin, and dates from the early six- teenth century. The interior is divided into three naves by two ranges of pillars, square and very short. The arcades between the aisles and the nave are rounded, but the vaulting is ogival. The second range of pillars forms an arcade quite similar to the lower one, but the pillars are of black marble. A modern balustrade, which has been added, is frightful in its con- trast with the more ancient constructive de- tails. Above all are six windows on a side, which in plan and proportions resemble those of the side aisles. The choir is in effect a cul-de-four, and is lighted by five windows placed rather high up. Below are a series of niches, in which are placed modern statues, about as bad as 202 Cathedrals and Churches of the Rhine can be imagined, even in these degenerate architectural times. The gallery behind the second tier of col- umns is known as the mannshaus, being in- tended for the male portion of the congrega- tion, the women sitting below. The pulpit came from the old abbey of Laach. On the left of the grand nave is the tomb of a knight of Lahnstein, who died in 1541. There is another legend connected with Andernach which may well be recounted here. One day, during the minority of the Em- peror Henry IV., the tutors of the prince, the proud Archbishop Annon of Cologne and the Palatine, Henry the Furious, held a meeting with certain other seigneurs at Andernach. The same day the inhabitants of Giils, a vil- lage near Coblenz, lodged a complaint before the Palatine concerning the exactions of the provost of their village. This last, himself, followed the deputies, magnificently clothed and mounted upon a richly caparisoned horse, counting upon his presence to counteract the impression they might make. Among the collection of wHd beasts which had been gath- ered together for the amusement of the princes 203 Cathedrals ajtd Churches of tJie Rhine was a ferocious bear. When the provost passed near him, the animal sprang upon him and tore him to pieces, whereupon it was sup- posed that the venerable archbishop had exer- cised a divine power, and delivered up the oppressor to the fury of a wild beast. Like most of the Rhine legends, it is astonishingly simple in plot, and likewise has a religious turn to it, which shows the great respect of the ancient people of these regions toward their creed. Sinzig Between Andernach and Bonn is the tiny city of Sinzig, famous for two things, — its charmingly disposed parish church and the wines of Assmanhaus. The town was the ancient Sentiacum of the Romans, constructed in all probability by Sentius, one of the generals of Augustus. The church at Sinzig, in company with St. Quirinus at Neuss, has some of the best medi- aeval glass in Germany. This small, but typically Rhenish, parish church has also a series of polychromatic decorations which completely cover its avail- able wall space. There is a vividness about them which may 204 J- X II 'li^ 1 /i^ ^ ./ :m Shicis; Cathedrals and Churches of the RJiine be pleasing to some, but which will strike many as being distinctly unchurchly. As a Christian edifice, the church at Sinzig, with its central tower and spire, is only re- markable as typifying the style of Romano- ogival architecture which developed so broadly in the Rhine valley at the expense of the purer Gothic. 207 XXII TREVES Southwesterly from Coblenz, between the Rhine and Metz, is Treves, known by the Germans as Trier. Situated at the south- ern end of a charming valley, which more or less closely follows the banks of the Mo- selle, it has the appearance of being a vast park with innumerable houses and edifices scattered here and there through the foliage. The city contains many churches, of which the cathedral of St. Pierre et Ste. Helene is the chief. At one time the Augusta Trevirorum of the Romans was " the richest, the most for- tunate, the most glorious, and the most emi- nent of all the cities north of the Alps," said an enthusiastic local historian. The claim may be disputed by another whose civic pride lies elsewhere, but all know that Treves, as the flourishing capital of the Gaulois beiges, actually rivalled Rome itself. 208 Cathedrals and Churches of the Rhine Augustus established a Roman colony here with its own Senate, and many of the Roman emperors of the long line which followed made it their residence during their sojourn in the north. From the Augusta Trevirorum of the Ro- mans, the city became in time, under the later Empire, Treviri, from which the present nomenclature of Treves and Trier comes. It was one of the sixty great towns which were taken from the Romans by the Franks and the Alemanni. The Roman bridge over the Moselle, built probably by Agrippa, existed until the wars of Louis XIV., in 1669, when it was blown up; and all that now remains of the original work are the foundations of the piers, which were built upon anew in the eighteenth cen- tury. As a bishopric, and later as an archbishop- ric, the see is the most ancient in Germany, having been founded in 327 by the Empress Helene. In the twelfth century it became an arch- bishopric and an electorate, but during the fourteenth century, because of continual struggles between the municipality and the Churchy the archbishops removed to Coblenz. 209 Cathedrals and Churches of the Rhine In the cathedral rests the Holy Coat of Treves, one of the most sacred relics of the Saviour extant, and supposedly the veritable garment worn by him at the crucifixion, — the seamless garment for which the soldiers cast lots (John xix. 23, 24). When exposed to public view, which cere- mony used to take place only once in thirty years, the holy robe is placed upon the high altar, which has previously been dressed for the occasion. The altar is approached by many steps on each side, and there are several steps at intervals in the aisles, so that the appear- ance of the long line of pilgrims on their way down the side aisles and up to the altar is most picturesque. As many as t^venty thou- sand pilgrims are said to have paid their de- votions to this relic in a single day. They come in processions of hundreds, and some- times thousands; and are of all classes, but mostly peasants. The lame, the blind, and the sick are included in their ranks, and it is noticeable that the majority are women. They are constantly arriving, pouring in at several gates of the city in an almost continual stream, accompanied by priests, banners, and crosses, and alternately singing and praying. There are many of them heavily laden, their 210 Cathedrals and Churches of the Rhine packs on their backs, their bright brass pans, pitchers, and kettles of all shapes in their hands, or slung on their arms, while their fingers are busily employed with their beads. Wayworn and footsore, fatigued and hungry, they yet pursue their toilsome march, intent upon the attainment of the one object of their pilgrimage. It is curious and picturesque to see their long lines of processions in the open country, wending their slow way over the hills, and to hear their hymns, mellowed by distance into a pleasant sound across the broad Rhine. From Germany, Belgium, Holland, France, Hungary, and even Switzerland and Italy they come, and during the whole of their journeys the pilgrims sing and pray almost continually. The accomplishment of their pilgrimages entitles them, by payment of a small offering, to certain absolutions and indulgences. The pure-minded peasant girl seeks remission of sins, the foodless peasant a liberty to eat what the expenses of this pil- grimage will perhaps deprive him of the means of obtaining. The city is literally packed with pilgrims, and the scene in the market-place at nightfall is in the highest degree interesting and picturesque. " The Holy Coat of Treves " is a simple 21 1 Cathedrals and Churches of the Rhine tunic, apparently of linen or cotton, of a fabric similar to the closely woven mummy-cloth of the Egyptians. Undoubtedly it is of great antiquity, which many sacred reliques may or may not be, judging from their appear- ances. In appearance it is precisely the same as is that worn by the modern Arab. This form of tunic, then, has come down from the ages with but little change in the fashions, and seems to be worn by all classes in the East. In colour the relic may orig- inally have been blue, though now of course it is much faded; in fact, is a rusty brown. The history of this holy robe, according to a Professor Marx, who wrote an account of it which had the approval of the Archbishop of Treves, is authenticated as far back as 1 157 by written testimony, it having been men- tioned as then existing in the cathedral of Treves by Frederick I. in a letter addressed to Hillen, Archbishop of Treves in that year. Its earliest history depends wholly on tradi- tion, which says that it was obtained by the Empress Helene in the year 326, while in the Holy Land, whither she went for the express purpose of obtaining relics of our Saviour and his followers; that she gave it to the see of Treves, and that it was deposited 212 Cathedrals and Churches of the Rhine in the cathedral of that city; that it was after- ward lost, having been hidden in disturbed times within the walls of the cathedral, and rediscovered under the i\rchbishop John I., in 1 1 96 ; that it was again hidden for the same reason, brought to light, and exposed to the wondering multitude in 15 12, on the occasion of the famous Diet of Treves, under the Em- peror Maximilian. " Since this last epoch," says the author of the work already quoted, " the history of the Holy Robe has been often discussed, written, and sung, because it has been often publicly exposed, and at short in- tervals, whenever political troubles have not prevented." At Treves is an ancient tomb to Cardinal Ivo, with heavily sculptured capitals sur- mounting four small columns, whose pedestals are crouching lions. But for the crudity of the sculpture, and the weird beasts at its base, one might almost think the tomb a Renais- sance work. The cardinal died in 1142, and the work is unquestionably of the Romanesque period. It is reminiscent, moreover, of the southern portal of the Cathedral of Notre Dame of Embrun in the south of France; indeed, a drawing of one might well pass for the other 213 Cathedrals and Churches of the Rhine were it not labelled, though to be sure there is a distinct difference in detail. Among the treasures of Treves is a censer, one of the most elaborate ever devised. It is in the form of an ample bowl, with its cover worked in silver in the form of a church on the lines of a Greek cross. The device is most unusual, but rather clumsily ornate. There are two curious statues in the portal of Notre Dame; one representing the Church and the other the synagogue; the one with a clear, straightforward look in her eyes, the other blindfolded and with the crown falling from her head. The symbol is frequently met with, but the method of indicating the opposition of the new religious law to that of the old is, in these life-size statues, at Treves, perhaps unique. The figures are somewhat mutilated, each lacking the arms, but in other respects they stand as originally conceived. The cathedral of St. Pierre et Ste. Helene is situated in the most elevated portion of the city, and, like the cathedral at Bonn, above Cologne, presents that curious pyramidal ef- fect so often remarked in Rhenish churches. There is no very great beauty in the out- lines of this church, which is a curious jumble 214 -^ 'T^REVLb L/v i wLDRAL Cathedrals and Churches of the Rhine of towers and turrets ; but there are some very good architectural details, quite worthy of a more splendid edifice. Ste. Helene, the mother of Constantine, herself placed the first stone in the easterly portion of the pres- ent church, a fact which was only discovered in the seventeenth century, when the founda- tions were being repaired. It is supposed originally to have been a part of the palace of the Empress Helene, afterward converted into a house of God. One notes in the interior a remarkably beautiful series of Corinthian columns with elaborately carved capitals of the eleventh century. In later years these have been flanked by supporting pillars which detract exceedingly from the beauty of the earlier forms. In parts the edifice is frankly French Gothic, Byzantine, and what we know else- where as Norman, — a species of the Roman- esque. In 1717 the church suffered considerably by fire, but it was repaired forthwith, and to-day gives the effect of a fairly well cared for building of three naves and a double choir. There are sixteen altars, some of which are 215 Cathedrals and Churches of the Rhine modern, and two organs, cased as usual in hideous mahogany. • PULPIT TRLVE5 The high altar and the pulpit are excel- lently sculptured, and there are some notable monuments to former archbishops and elect- ors. 216 Cathedrals and Churches of the Rhine Beneath the church are vast subterranean passages, and a great vault where repose the ancient regents of the province. Architecturally, Treves's other remarkable church (Notre Dame) quite rivals the cathe- dral itself in interest. It is one of the best examples of German mediaeval architecture extant. In the year 1227 when St. Gereon's at Co- logne, one of the earliest examples of ogival vaulting in Germany, was just finished, there was commenced the church of Notre Dame at Treves. It was the first church edifice in Germany to consistently carry out the Gothic motive from the foundation stones upward. For fifty years the well-defined Gothic had been knocking at the gateway which led from France into Germany, and at last it was to enter at a period when the cathedrals at Sois- sons and Laon had already established them- selves as well-nigh perfect examples of the new style. The first foundation stone was laid in 1227, and the work was completed in less than twenty years. The general plan is grandiose and it has a central cupola — replacing a tower which was in danger of subsiding — held aloft by twelve hardy columns, on which 217 Cathedrals and Churches of the Rhine are ranged in symmetrical order statues of the apostles. The plan is unusual and resembles no Gothic structure elsewhere, hence may be considered as a type standing by itself. The exterior shows little or nothing of the highly developed Gothic which awaits one when viewing the interior. There are no flying buttresses, the walls seemingly support- ing themselves, and yet they are not clumsy. The piers of the chapel somewhat perform the functions of buttresses, and that perhaps makes possible the unusual arrangement. The church of St. Gangolphe, on the market-place, has a singularly beautiful and very lofty tower, which gives to whoever has the courage to make its rather perilous ascent one of the most charming prospects of the valley of the Moselle possible to imagine. The chief of Treves's other churches are: the church of the Jesuits, since ceded to the Protestants; St. Gervais, which has a tomb to Bishop Hontheim, a most learned man and a great benefactor of Treves in days gone by; St. Antoine; and St. Paul. The country around Treves, on the Moselle, — the famous Treves Circle, — ranks high as a wine-growing region, though your true Ger- 218 Cathedrals and Churches of the Rhine man wine-drinker calls all Moselle wine " Unnosel Wein." These wines of the Moselle are, to be sure, secondary to those of the vineyards of the Rhine and the Main, but the varieties are very numerous. A Dutch burgomaster once bought of the Abbey of Maximinus — a famous wine-grow- ing establishment as well as a religious com- munity — a variety known as Gruenhaiiser, in 1793, for eleven hundred and forty-four florins a vat of something less than three hun- dred gallons. It was known as the nectar of Moselle, and " made men cheerful, and did good the next day, leaving the bosom and head without disorder." Such was the old- time monkish estimate and endorsement of its virtues. 219 XXIII BONN Bonn in the popular mind is noteworthy chiefly for its famous university, and for being the birthplace of Beethoven. The city was one of the fifty fortresses built by Drusus on the Rhine, and the only Rhenish city, with the exception of Cologne, which has kept its Roman appellation. It is mentioned by Tacitus both as Bonna and Boneiisia castra. The cathedral is as famous as the univer- sity. It was founded by the mother of Con- stantine the Great, who, according to tradi- tion, consecrated the primitive church here in 319. Really, it is not a very stupendous pile, the present cathedral, but it looks far more impos- ing than it really is by reason of its massive central tower and steeple. It is one of the most ancient and most re- markable of the cathedrals on the banks of the Rhine. 220 Cathedrals and Churches of the Rhine The effect of its five towers is that of a great pyramid rising skyward from a broad base. In the main, it is a construction of the twelfth and thirteenth centuries, but it is known beyond doubt that the choir and the crypt were built in r r 157. To-day there are visible no traces of even the foundations of the primitive church. There are two polygonal apsides, more no- ticeable from without than within. 221 Cathedrals and Churches of the Rhine The main portal, or the most elaborate at least, is that of the north fagade. The interior is not as sombre and sad as is often the case with a very early church. To enter, one ascends eight steps to the pave- ment, when the rather shallow vista of the nave and choir opens out broadly. There are a series of white marble statues representing the birth and baptism of Christ, and some paintings of notable merit, including an " Adoration." In the crypt, already mentioned, are the bones of the martyrs, Cassius, Florentinus, and Malusius. The chief interest of the interior, outside of the constructive elements of the fabric, cen- tres in a great statue of St. Helene in bronze, which is placed in the middle of the grand nave. It is a fine monument, and was cast in the seventeenth century as a somewhat tardy recognition of the founder of the church at Bonn. At the western extremity of the nave is the Gothic tomb of Archbishop Englebert, and another of Archbishop Robert. The choir is somewhat raised above the pavement of the nave, being placed upon the vaulting of the crypt. The walls of the choir 222 Cathedrals and Churches of the Rhine are hung with gilded Cordovan leather, which is certainly rich and beautiful, though it has been criticized as being more suitable to a boudoir than a great church. At the foot of the choir, to the right, is a tabernacle, a feature frequently met with in German churches. It is of Renaissance design and workmanship, and is ungainly and not in the best of taste. Behind the great pillars of the choir are found, back to back, two imposing altars, to which access is had by mounting a dozen more steps, far above the pavement of the nave. They are most peculiarly disposed, and are again a Renaissance interpolation which might well have been omitted. In this dimly lighted cathedral, as well as in many other churches of Germany, you may at times hear that hymn known as " Ratisbon," the words of which begin: " Jesus meine Zuversicht Lebt^ und ich soil mit ihm leben.^* There is a legend — or it may be a true tale - — connecting these verses with a German sol- dier who died at the fateful battle of Jena. Fleeing from the French, he had fallen into 223 Cathedrals and Churches of the Rhine the waters of the Saale. Recovering himself, he crawled out, only to find his pursuers on the bank, their firearms levelled at his head. His first thought was to thank God for his safety from the flood, and, kneeling, he played upon his bugle the familiar air to which the hymn, ''Jesus meine Zuversicht," is sung. Deeply moved, his pursuers dropped their guns, but, just as the last notes of the tune were dying away, another detachment came up, and one of its members fired a shot which ended the life of the devout Prussian. There is heard here also a legend, of the time of the Crusades, concerning the Sieben- gebergen, — the Seven Mountains, — which lie just back of Bonn. Stimulated by religious fervour, the over- lord of a castle perched upon one of the Seven Mountains, enlisted in the army of the Cru- saders, and fought gallantly in the very fore- front of those who sought to plant the Cross upon the walls of the Holy City. After a prolonged absence, he returned to find that a rival had won the love of his lady, who, to escape his wrath, had fled to a convent. The usurper of afifections escaped, but the injured husband met near Godesberg, in his old age, a youth in whom he thought he recog- 224 Cathedrals and Churches of the Rltine nized the likeness of his wife. Questioning the boy, he visited the sin of the mother upon the child, and slew him on the highroad, on the spot where the Hoch Kreuz now stands, — a monument which tradition says was erected to warn weak wives and faithless friends. Drachenfels, whose fame to English ears has mostly been made by Byron's verses, lies not far south of Bonn. Byron's " peasant girls with deep blue eyes " are mostly engaged in husbandry to-day, instead of poetically and leisurely gathering " early flowers." "The castled crag of Drachenfels Frowns o'er the wide and winding Rhine," and is still one of the tourist sights of the Rhine, and as such it must be accorded its place. Bonn was formerly the residence of the Electors of Cologne, after their removal from that city in 1268, at which time it was also the shelter of Archbishop Englebert, who had fled from Cologne. 225 XXIV GODESBERG AND ROLANDSECK Godesberg Within full view of the Seven Mountains, on the opposite bank of the Rhine, is Godes- berg, — "a cheerful village with a castle which is a splendid ruin," say the guide-books. They might go a bit further and recount something of its political and religious his- tory, although usually they do not, but rush the tourist up-river to Coblenz, giving him only a sort of panoramic view of this portion of the Rhine. Originally a castellum romain, the " cheer- ful village," known to the ancients as Ara Ubiorum, came under the control, in 1210, of the Archbishop Theodoric of Cologne, who built a chapel to St. Michael on the ancient ruins, which, according to tradition, had en- dured from the times of Julian the Apostate. 226 Cathedrals and Churches of the Rhine For many centuries there was a chateau here which served as the country-house of many of the archbishop-electors of the Empire, un- til destroyed by a thunderbolt. In 1593 it was pillaged by the troops of the Archbishop Ernest, and to-day only a great, lone, round tower remains intact. For the rest it is a fine ruin and a pictur- esque one. Rolandseck But a short distance above Godesberg is Ro- landseck; opposite which is the island of Nonnenwerth, with which it is associated in a famous legend. The chivalrous Roland sought the love of , some fair being, whose beauty and whose vir- (/ tues should deserve and retain the heart of so brave and gallant a young knight. Nor did he look about in vain, for Hilda, the daughter of the lord of the Drachenfels, was all that dreams had pictured to his youthful fancy as worthy of an ardent soul's devotion, and soon he was made happy by a confession from the maiden that his passion was returned. Lost in a dream of first love, the knight for- got the world and its struggles, and, in the expectation of an early day for his wedding 227 / Cathedrals and Churches of the Rhine with his mistress, he lived a life of perfect joy, — now gazing with Hilda upon the wind- ings of the Rhine; now watching her as she stooped gracefully to tend the flowers which peace allowed to flourish under the walls of her father's stronghold. But Roland lived in times when love was but the bright, transient episode of a life of war. The laws of chivalry forbade a true knight's neglect of duty, and, in the very week in which he was to be wedded, the summons came for him to take the field. The war was long, and it was three years before Roland left the camp. When he reached the home of his mistress, he received a frightful welcome. The castle was in ruins ; its lord was slain; and Hilda, deceived by reports of Roland's death, had taken the veil in the neighbouring convent of Nonnenwerth! Over the bright path of the young knight a dark and lasting shadow was cast. His early hopes were shattered; the joy of his existence had fled; his spirit bent beneath the weight of his evil fortune. But his faith and constancy were beyond the control of Fate. Retiring to his castle of Rolandseck, he made himself a seat within a window^, from which he could look down upon the island of Non- 228 ./..■/.fe*' WONAIErjWERTff ' Cathedrals and Churches of the Rhine nenwerth and the convent that held his be- loved Hilda. Whether she heard of his re- turn tradition does not say; but the rumour of such constancy was perhaps wafted through the nunnery walls. Be that as it may, it is chronicled that, after Roland's watch had been for three years prolonged, he heard one eve- ning the tones of the bell that tolled for a passing soul, and next day the white figures of the nuns were seen bearing a sister to her last home. It was the funeral of Hilda. The isle of Nonnenwerth and its convent are still there opposite the grim, gaunt, ruined gateway of Rolandseck, a brilliant jewel in an antique setting; and, while neither the con- ventual buildings nor the ruined chateau show any unusual architectural features, they are characteristic of the feudal and religious ar- chitecture of the middle ages. Architects of to-day do not build with the same simplicity and grace that they did of old, and these little out-of-the-way gems of architecture are far more satisfying than are similar erections of to-day. 231 XXV COLOGNE AND ITS CATHEDRAL No Stranger ever yet entered Cologne with- out going straight to see its mighty Gothic cathedraL Three things come to him forcibly, — the fact that it was only completed in recent years, the great and undecided question as to who may have been its architect, and the " Legend of the Builder," as the story is known. There are two legends of the cathedral and its builders which no visitor will ever forget. The Architect of Cologne Mighty was Archbishop Conrad de Hoch- steden, for he was lord over the chief city of the Rhine, the city of Cologne; but his thoughts were troubled, and his heart was heavy, for, though his churches were rich beyond compare in relics, yet other towns not half so large or powerful as his had cathedrals whose fame extended over Europe, and whose 232 Cathedrals and Churches of the Rhine beauty brought pilgrims to their shrines, profit to the ecclesiastics, and business to the towns- people. After many sleepless nights, there- fore, he determined to add to his city the only thing wanting to complete it, and, sending for the most famous architect of the time, he com- missioned him to draw the plans for a cathe- dral of Cologne. Now the architect was a clever man, but he was more vain than clever. He had a vague idea of the magnificence which he de- sired to achieve without a clear conception of how he was to do it, or without the will to make the necessary sacrifices of labour, care, and perseverance. He received the commis- sion with great gladness, and gloat^ed for some days upon the fame which would be his as the builder of the structure which the arch- bishop desired; but when, after this vision jf glory, he took his crayons to sketch out the design, he was thrown into the deepest de- spondency. He drew and drew, and added, and erased, and corrected, and began again, but still did not succeed. Not a plan could he complete. Some were too mean, others too extravagant, and others, when done and examined, were found to be good, but not original. Efforts of memory instead of imagi- 233 Cathedrals and Churches of the Rhine nation, their points of excellence were but copies of other cathedrals, — a tower from one, a spire from another, an aisle from a third, and an altar from a fourth; and one after another they were cast aside as imperfect and useless, until the draughtsman, more than half-crazed, felt inclined to end his troubles and perplexities by a plunge into the Rhine. In this mood of more than half-despair, he wandered down to the river's edge, and, seat- ing himself upon a stone, began to draw in the sand with a measuring rod, which served as a walking-stick, the outlines of various parts of a church. Ground-plans, towers, finials, brackets, windows, columns, appeared one after another, traced by the point of his wand ; but all, one after another, were erased as un- equal and insufficient for the purpose, and Y unworthy to form a part of the design for a cathedral of Cologne. Turning around, the ■"\ architect was aware that another person was \ ... beside him, and, with surprise, the disap- pointed draughtsman saw that the stranger also was busily making a design. Rapidly on the sand he sketched the details of a most magnificent building, its towers rising to the clouds, its long aisles and lofty choir stretch- ing away before the eye of the startled archi- 234 Cathedrals and Churches of the Rhine tect, who mentally confessed that it was indeed a temple worthy of the Most High. The win- dows were enriched by tracery such as artist never had before conceived, and the lofty col- umns reared their tall length toward a roof which seemed to claim kindred with the clouds, and to equal the firmament in expanse and beauty. But each section of this long- sought plan vanished the moment it was seen, and, with a complete conviction of its excel- lence, the architect was unable to remember a single line. " Your sketch is excellent," said he to the unknown ; " it is what I have thought and dreamed of, — what I have sought for and wished for, and have not been able to find. Give it to me on paper, and I will pay you twenty gold pieces." "Twenty pieces! ha! ha! twenty gold pieces ! " laughed the stranger. " Look here ! " and from a doublet that did not seem big enough to hold half the money, he drew forth a purse that certainly held a thousand. The night had closed in, and the architect was desperate. " If money cannot tempt you, fear shall force you; " and, springing toward the stranger, he plucked a dagger from his girdle, and held its point close to the breast 235 Cathedrals and Churches of the Rhine of the mysterious draughtsman. Jn a moment his wrists were pinioned, as with the grasp of a vise, and squeezed until he dropped his weapon and shrieked in agony. Falling on the sands, he writhed like an eel upon the fisherman's hook; but plunged and struggled in vain. When nearly fainting, he felt him- self thrown helpless upon the very brink of the stream. "There! revive, and be reasonable. Learn that gold and steel have no power over me. You want my cathedral, for it would bring you honour, fame, and profit; and you can have it if you choose." "How? — tell me how?" " By signing this parchment with your blood." " Avaunt, fiend!" shrieked the architect; " in the name of the Saviour I bid thee be- gone." And so saying, he made the sign of the cross; and the Evil One (for it was he) was forced to vanish before the holy symbol. He had time, however, to mutter: "You'll come for the plan at midnight to-morrow." The architect staggered home, half-dead with contending passions, and muttering: " Sell my soul," " To-morrow at midnight," " Honour and fame," and other words which 236 Cathedrals and Churches of the Rhine told the struggle going on within his soul. When he reached his lodgings, he met the only servant he had going out wrapped in her cloak. "And where are you going so late?" sa^id her surprised master. " To a mass for a soul in purgatory," was the reply. "Oh, horror! horror! no mass will avail me. To everlasting torments shall I be doomed; " and, hurrying to his room, he cast himself down with tears of remorse, irreso- lution, and despair. In this state his old housekeeper discovered him on her return from her holy errand, and, her soul being full of charity and kindly religion, she begged to know what had caused such grief; and spoke of patience in suffering, and pardon by repentance. Her words fell upon the disor- dered ear of the architect with a heavenly comfort; and he told her what had passed. "Mercy me!" was her exclamation. " Tempted by the fiend himself !— so strongly, too!" and, so saying, she left the chamber without another word, and hurried oflp to her confessor. Now the confessor of Dame Elfrida was the friend of the abbot, and the abbot was the Cathedrals and Churches of tlie Rhine constant counsellor of the archbishop, and so soon as the housekeeper spoke of the wonder- ful plan, he told her he would soon see her master, and went at once to his superior. This dignitary immediately pictured to himself the host of pilgrims that would seek a cathedral built with skill from such wonderful sketches, and (hoping himself one day to be arch- bishop) he hurried ofif to the bewildered ar- chitect. He found him still in bed, and listened with surprise to the glowing account of the demon's plan. " And would it be equal to all this? " " It would." " Could you build it? " " I could." " Would not pilgrims come to worship in such a cathedral? " " By thousands." "Listen, my son! Go at midnight to the appointed spot; take this relic with you;" and, so saying, the abbot gave him a bone of one of the Eleven Thousand Virgins. " Agree to the terms for the design you have so long desired, and when you have got it, and the Evil One presents the parchment for your signature, show this sacred bone." 238 Cathedrals and Churches of the Rhme After long pondering, the priest's advice was taken; and, in the gloom of night, the architect hurried tremblingly to the place of meeting. True to his time, the fiend was there, and, with a smile, complimented the architect on his punctuality. Drawing from his doublet two parchments, he opened one, on which was traced the outline of the cathedral, and then another written in some mysterious character, and having a space left for a signature. " Let me examine what I am to pay so dearly for." " Most certainly," said the demon, with a smile, and a bow that would have done honour to the court of the emperor. Pressing it with one hand to his breast, the architect with the other held up the holy bone, and exclaimed : " Avaunt, fiend ! In the name of the Father, and the Son, and the Holy Vir- gins of Cologne, I hold thee, Satan, in defi- ance; " and he described the sign of the cross directly against the devil's face. In an instant the smile and the graceful civility were gone. With a hideous grin, Satan approached the sacred miracle as though he would have strangled the possessor; and, yelling with a sound that woke half the sleepers in Cologne, he skipped round and 239 Cathedrals and Churches of the Rhine round the architect. Still, however, the plan was held tightly with one hand, and the relic held forward like a swordsman's rapier with the other. As the fiend turned, so turned the architect; until, bethinking himself that an- other prayer would help him, he called loudly on St. Ursula. The demon could keep up the fight no longer; the leader of the Eleven Thousand Virgins was too much for him. " None but a confessor could have told you how to cheat me," he shrieked in a most ter- rible voice; "but I will be revenged. You have a more wonderful and perfect design than ever entered the brain of man. You want fame, — the priest wants a church and pilgrims. Listen! That cathedral shall never be finished, and your name shall be forgot- ten! " As the dreadful words broke upon the ar- chitect's ear, the cloak of the Tempter stretched out into huge black wings, which flapped over the spot like two dark thunder- clouds, and with such violence that the winds were raised from their slumber, and a storm rose upon the waters of the Rhine. Hurrying homewards, the relic raised at arm's length over his head, the frightened man reached the abbot's house in safety. But the ominous sen- 2-10 Cathedrals and Churches of the Rhine tence still rang in his ears, — " Unfinished and forgotten." Days, months, years passed by, and the ca- thedral, commenced with vigour, was growing into form. The architect had long before determined that an inscription should be en- graved upon a plate of brass shaped like a cross, and be fastened upon the front of the first tower that reached a good elevation. His vanity already anticipated a triumph over the Fiend whom he had defrauded. He was author of a building which the world could not equal, and, in the pride of his heart, de- fied all evil chances to deprive him of fame. Going to the top of the building to see where his name should be placed, he looked over the edge of the building to decide if it was lofty enough to deserve the honour of the inscrip- tion, when the workmen were aware of a black cloud which suddenly enveloped them, and burst in thunder and hail. Looking around, when the cloud had passed away, their master was gone! and one of them declared that amidst the noise of the explosion he heard a wail of agony which seemed to say, '' Unfin- ished and forgotten." When they descended the tower, the body of the architect lay crushed upon the pave- 241 Cathedrals and Churches of the Rhine ment. The traveller who beholds the building knows of the difficulties which beset its com- pletion, and thousands have since then sought in vain to learn the name of " The Architect of Cologne," although of late years — though with some doubt it is stated — his name and fame appear to have been established. The P faff en Thor When Archbishop Conrad of Hochsteden, the founder of the cathedral, had been gath- ered to his fathers, Engelbrecht of Falkenberg reigned over Cologne in his stead; and a fear- ful tyrant he became. As in the case of the spiritual lords who ruled over Liege, the crozier of the arch- bishop became a rod of iron to the citizens, until at length they were goaded to open re- bellion. In their contests for liberty, they were led by Hermann Grynn, a townsman who had put aside the peaceful pursuit of his trade to do battle in the good cause of his na- tive city, and to maintain the privileges which his fathers had purchased, not only with their gold, but with their blood. After numerous contests between the burgh- ers and their oppressors, the cause of the 242 Cathedrals and Churches of the Rhine many was triumphant, and the archbishop was glad to agree to terms which he before had spurned. But the truce he sought was hollow and unfaithful, and he was heard to say that, if Hermann Grynn were removed, he would be able to take away the privileges he had surrendered to the townsmen. This treacherous speech was greedily re- ceived by two priests, who determined to ad- vance their own welfare by the downfall of the citizen-patriot. Making the acquaintance of Hermann, whose honest nature suspected no treachery, they wormed themselves into his confidence, and at a fitting opportunity invited him to the cathedral to see its hidden beauties and great store of riches. Leading him from chapel to cloister, and through chamber after chamber, they came at length to a door which they said contained the rich- est sight of all; and one of them, unlocking the door, invited the citizen to enter. No sooner had he crossed the threshold than the thick portal was closed suddenly upon him, and, at the same moment, he heard the roar of some wild animal, and saw fixed upon him two fierce eyes gleaming with hunger and savage rage. Hermann Grynn was a man for emergen- 243 Cathedrals and Churches of the Rhine cies. Rapidly twisting his cloak around his left arm, and drawing his short sword, he prepared for the attack; nor had he long to wait. With a growl of triumph, a huge ani- mal sprang upon him with open jaws; but with admirable coolness the hero received his assailant upon the guarded arm, and, whilst the brute ground its teeth into the cloak, he thrust his sword into its heart. Searching around the chamber, he was aware of a win- dow concealed by a shutter, and, opening this, he looked forth into the streets, where a great crowd was collected around a priest, who went along telling some tale which seemed to move the people to deep grief. As the throng drew nearer, he listened eagerly, and heard with surprise " how the good burgess Hermann Grynn, the friend of the people, and the well- beloved ally of the Church, had without ad- vice sought a chamber where a lion was in durance, and had fallen a sacrifice to his un- happy curiosity." Burning with rage and a determination to expose the treachery of the priests, he waited till the crowd came beneath the window from which he looked; and then, dashing the glass into a thousand pieces, he attracted attention to the spot, and, leaning half out of the opening, displayed his well- 244 Cathedrals and Churches of the Rhine known cap in one hand and his bloody sword in the other. He was ahnost too high to be heard, but the faint echo of his war-cry was enough to convince the people of his identity, and with one voice they shouted : " To the rescue!" Forcing their way into the cathe- dral, they quickly released their leader, and, learning from him the story of cruel treachery, the two priests were ferreted from their hid- ing-places, and hanged by the neck in the room over the body of the dead lion. To this day the portal they slammed on Hermann Grynn is know^n as the Pfaffen Tlior,-- the priest's door, — whilst over the gate of the venerable town hall of Cologne may yet be seen, graven in stone, the fight of the citizen- patriot with the hungry lion of the cathedral. These two legends refer solely to the cathe- -^ dral. There is, in addition, the rather more familiar one of " St. Ursula and the Eleven Thousand Virgins." And, besides legends, there is much real symbolism that peeps out wherever one turns. The skulls of the " Three Kings " still grin from under their crowns in the cathedral, as they did when Frederick Barbarossa stormed Milan and brought back these relics of the 245 V/ CatJiedrals and Churches of the Rhine three Magi. Beneath the pavement of the cathedral lies buried the heart of Marie de Medici, who, in her fallen fortunes, died at Sternen-Gasse lo, in the house where Peter Paul Rubens was born. In a rather roundabout way the name of one great in letters is associated with Cologne. Petrarch came here on his way from Avignon to Paris in 1331, and the superb beginnings of the new cathedral inspired him with the most profound admiration. In a letter which he addressed to his friend and protector, Jean Colonna, he said: " I have seen in this city the most beautiful temple ; yet incomplete, but which is truly, entitled to rank as a supreme work." It was a fortunate day for the history of the church at Cologne when the Evangelist first preached the gospel in the city of Colonia Agrippina. In those days the primitive church sheltered itself modestly under the shadow of the Roman fortress, whereas to-day the great cathedral rises, stately and proud, high above the fortification of the warlike Teuton — if he really be warlike, as the states- men of other nations proclaim. When Charlemagne fixed his official resi- dence at Aix-la-Chapelle, he placed his impe- 246 Cathedrals and Churches of the RJiine rial palace in the diocese of Cologne; the two cities together, by reason of their power and importance, standing as a symbol of mighti- ness which did much to make the great, un- wieldy dominion of the Carlovingian Em- peror hang together. It has been claimed, and there certainly seems some justification for it, that the general plan of the cathedral at Cologne is similar to that of Notre Dame d'Amiens; there is some- thing about the general scale and proportions that makes them quite akin. Perhaps this is due to the particularly daring combination of its lines and the general hardiness of its plan and outline. These features are certainly common to both in a far greater degree than are usually found between two such widely separated examples. At any rate, it is per- haps as safe a conjecture as any, since the hand that traced the plan of Cologne is lost in doubtful obscurity, to consider that there is something more than an imaginary bond be- tween the cathedrals of Amiens and Cologne. A resemblance still more to be remarked is the great height of the choir and nave. This is most marked at Amiens and still more so at Beauvais. Cologne, as to these dimensions, ranks between the two. 247 Cathedrals and Churches of the Rhine There was once a Romanesque cathedral at Cologne, but a fire made way with it in 1248. Certain facts have come down to us regard- ing this earlier building, but they appear decidedly contradictory, though undoubtedly it was an edifice of the conventional Rhenish variety. It is supposed that this original cathedral had at least a " family resemblance " to those at Mayence, Worms, and Speyer. These three great ecclesiastical works in the Rhine valley mark the Hohenstaufen dynasty as one of the most prolific in German church- building. Although they are not as beautiful as one pictures the perfect cathedral of his imagination, — at least no more beautiful than many other hybrid structures, — they show an individuality that is peculiarly Rhen- ish, far more so than the present cathedral at Cologne or any of the smaller churches of the region. After the fire in 1248 a new cathedral was planned as a commensurate shrine in which to shelter the relics of the " Three Wise Men of . the East," which henceforth were to be known Xj as " The Three Kings of Cologne." From this period on, Cologne began to acquire such wealth and prominence as to mark the era 248 Cathedrals and Churches of the Rhine as the " Golden Age " in the civic and ecclesi- astical affairs of the city. Abandoning the basilica plan entirely, a great Gothic church was undertaken. In its way it was to rival those Gothic masterpieces of France. The origin of the plan of the cathedral in fact, as well as in legend, is vague. Some have considered Archbishop Engelbert, Count of Altona and Berg, who was murdered in 1225, as the author, but this can hardly have been so, unless it were conceived before the basilica was burned. Assiduous research has been made from time to time in an effort to discover the iden- tity of the actual designer of the present cathe- dral: Archbishops Engelbert and Conrad, Albertus Magnus, Meister Gerard, and others have all had the honour somewhat doubtfully awarded to them and again withdrawn. There is a great painting exhibited at Frankfort called " Religion Glorified by the Arts," by Overbeck, wherein is an ideal por- trait of the '' Great Unknown of Cologne " pictured as the genius of architecture. A comparatively recent discovery seems to award the honour to Gerard de St. Trond. A charter of 12157 makes mention of the fact 249 Cathedrals a^td Churches of the Rhine that the chapter of the cathedral had given a house, for services rendered, to one Gerard, " a stone-cutter," who had directed the work of construction ; this gift being made some years after the foundations were first laid. The same architect figures among the bene- factors of the hospital of St. Ursula as " the master of the works at the cathedral." Per- haps, then, the name of Gerard de St. Trond deserves to be placed with that of Libergier, the designer of Reims, the greatest Gothic splendour of France. Engelbert's successor, Conrad of Hoch- steden, furthered the plans, whoever may have been their creator, and work on the new edi- fice was begun a few months after the destruc- tion of the older one. On August 14, 1248, the foundation-stone of the new structure was laid, forty-four feet below the surface of the ground. The portion first erected was the choir, and for ages it stood, as it stands in its completed form to-day, as perfect an example of the style of its period as is extant. For seventy years this choir was taking form, until it was consecrated on September 27, 1322. The occasion was a great one for Cologne 250 Cathedrals and Churches of the Rhine and for the church. The ceremony was at- tended by much glitter and pomp, both ecclesi- astical and civil. No sooner was the choir completed than it was embellished as befitted the shrine of the three kings. Coloured glass, stone, and wood-carving, and the art of the gold and jewel smith all blended to give a magnificence to the whole which was perhaps unapproachable elsewhere at the time. Then, for a time, enthusiasm and labour languished. For nearly two centuries the work was pursued by the prelates and archi- tects in a most desultory and intermittent fashion. The choir had been completed, and to the westward considerable progress had been made, but there was a gaunt ugly gap between. It would seem as though there were no inten- tion of ever joining the scattered parts, which were linked only by the foundation-stones, for the nave and aisles were left merely cov- ered with temporary roofs. Then the Reformation came, and that boded no good for the cathedral. The people looked askance at the symbol of such great power in the hands of Rome. 251 Cathedrals and Churches of the Rhine The seventeenth century saw some abortive efforts toward completing the structure, but in the end all came to nought. In the eighteenth century the choir received its baptism of the Renaissance, and certain incongruous Italian details were added. The stone screens which surrounded the choir proper were demolished and the painted glass of the triforium mysteriously disappeared. During the French Revolution, Republican troops bivouacked within the walls of Co- logne's cathedral, and the chapter fled to Westphalia, leaving behind valuable archives which were destroyed. The very fact of its profanation may have been the cause which hastened the restoration of the edifice. Napoleon himself was deeply moved by the state of the *' mine pittoresque," and, upon the advice of an agent of his government, made a somewhat fitful attempt toward putting it in order. Thus the impetus for the work of res- toration and completion was given. After Napoleon had restored the churches of Cologne to their rightful guardians, he transferred the archbishopric to Aix-la-Cha- pelle, and Bertholet, the new bishop, con- temptuously told the people of Cologne to 252 Cathedrals and Churches of the Rhine beautify their ruin by planting trees on its site. The neglect to which the choir had fallen was shocking, and it took an immediate ex- penditure on the part of the citizens of over thirty thousand marks to merely repair the leaks in its roof. Tom Hood, a supposed humourist, but in reality a sad soul, wailed over Cologne's cathedral when he saw it in the early years of the nineteenth century, and called it "a broken promise to God"; and Wordsworth wrote of it thus: " Oh ! for the help of angels to complete This temple — Angels governed by a plan Thus far pursued (how gloriously!) by man." A rearrangement of the Catholic sees of Germany took place in 1821, and the arch- bishopric of Cologne was refounded and Count Charles Spiegel zum Desenburg was appointed archbishop. At this time, also, was undertaken the repair and completion of the cathedral, and thus what had long been a ruin and an unfinished thing was in a fair way to be speedily com- pleted. The rebuilding of the choir stimulated the 253 Cathedrals and Churches of the Rhine desire to carry the entire work to a finish, and a sort of second foundation-stone was laid by Frederick William IV. of Prussia on Septem- ber 4, 1842, when the newly restored choir was also reopened. In 1848 the nave had sufficiently progressed to allow^ of its being consecrated ; which cere- mony took place at seven o'clock in the morn- ing of August 14th, six hundred years after the commencement of the choir. High mass w^as celebrated by the archbishop, in the pres- 254 Cathedrals and Churches of the RJiine ence of Archduke John, King Frederick Will- iam of Prussia, and a host of other nota- bles. Within the next twenty years much progress was made in the work of completing the south- ern nave, the west front — with those enor- mous pretentious towers — the transepts, and the triforium and clerestory of the nave and transepts. In 1863 the wall between the fragmentary nave and the choir was removed and the struc- ture opened from end to end. Before 1870 the western towers were spired, though the final touches were not given to them until quite 1880. Now that they are fin- ished, there is an undeniable elegance and symmetry which cannot be gainsaid, though they were certainly heavily massed in the early views one sees of the cathedral in its unfinished state. One still remarks the apparent — and real — stubbiness of the edifice which, as Fer- gusson said, would have been alleviated if the overhanging transepts had been omitted. Why they should have been omitted it is hard to conceive, and the criticism does not seem a reasonable one, in spite of the fact that a cer- tain sense of length is wanting. The nave is undoubtedly very broad, but 255 Cathedrals and Churches of the Rhine it has double aisles which satisfactorily ac- counts for this. Professor Freeman draws a significant con- trast between the outline of the cathedrals at Cologne and Amiens. "Amiens has no outline," says he; mean- ing that there is a paucity of the picturesque- ness of irregularity in its sky-line. " Only at Cologne," he continues, " is this outline seen in its perfect state, and Cologne is a French church on German soil, just as Westminster is a French church on English soil." Indeed, among all the great cathedrals it is only at Cologne that we find a pair of west- ern towers with any kind of dignity and pro- portion. The west front of Cologne is pretty much all tower, with the nave rather rudely crowded between the two. These towers are in reality of such vast bulk that they outflank the nave considerably, as do their smaller counterparts at Wells, though here at Cologne the great transepts overflow the width even of these great towers of the facade. There is a noble simplicity and yet a wealth of warmth and feeling in this church, which runs the whole gamut of Gothic, from the thirteenth to the sixteenth centuries. From 256 Cathedrals and Churches of the Rhine this latter date, however, the style did not change, but was carried out with that devotion to the original plan which should have in- spired the imitators of Gothic in our own time to have done better than they have. The clerestoried choir of Cologne more nearly follows the French variety than does any other in Germany; indeed no other in Germany in any w^ay approaches the dignity and harmony of those magnificent clievets which the French builders, for a hundred years before Cologne, had so proudly reared. Metz in a way also reflects the same mo- tive, though that cathedral in many other respects is French. The apside is supported by twenty-eight flying buttresses, which again are an echo from France; this time of Beauvais; and certainly, if they do not excel the French type, they at least quite rival it in beauty and grace. One enters through a magnificently planned vestibule and comes at once, not into darkness, but into a subdued and religious atmosphere which is quite in keeping with the spirit of devotion. There are numerous monuments scattered about, and there arc eight fifteenth-century tapestries from the Gobelins' factory. 257 Cathedrals and Churches of the Rhine The organ-case is unusually ornate and dates from 1572. The pulpit is not perhaps so elaborate as one might expect from the general splendour surrounding it, but its sculpture is distinctly good. In the choir, on the screens above the stalls, is a series of restored frescoes which came to light after a coating of whitewash had been removed. They were admirably restored by Steinle in the mid-nineteenth century and are very beautiful. The decorations depict scenes from the life of the Virgin and are also repro- duced in part in the glass of the lady-chapel. A modern altar, in the mediaeval style, has replaced the seventeenth-century Renaissance work, which is manifestly for the better, judg- ing from the old engravings that one sees of the former unlovely altar. The glass throughout is hardly of the ex- cellence that one might expect, but the effect is undeniably good. A portion of that in the Chapel of the Three Kings is a relic of the old Romanesque cathedral, while that of the north aisle of the nave dates from the time of Diirer. That of the windows of the Chapel of the Three Kings has been called one of the most 258 Cathedrals and Churches of the Rhine beautiful pages out of the book of the fifteenth- century glass-worker. The subject referred to is, of course, " The Adoration of the Magi." The capitals of the columns of the nave and choir are superbly foliaged, and add much to the general sumptuous appearance of the interior. Before the Chapel of the Three Kings are many tombs; the most remarkable being that which covered the remains of Marie de Med- ici, who died in exile at Cologne in 1642. One knows that after the death of the crafty Riche- lieu the body of the queen was transported to St. Denis, there to rest with others of the long line of kings and queens there buried, but the heart remained at Cologne, and, next to the relics of the Three Kings, it is the chief " sight " of interest to inquisitive tourists. The casket in which repose the relics of the Three Magi is a masterwork of the gold- smith's art of the twelfth century. Incrusted on its surface were more than fifteen hundred precious jewels, although some have disap- peared in the course of the ages. Among them is a topaz of monstrous size, which excites the admiration of all who set eyes upon it. In 1794 the canons transported the casket to Arnsberg, to Prague, and to Prankfort, 259 Cathedrals and Churches of the Rhine their financial difficulties of the time forcing them to sell the crowns with which the skulls were adorned. Since then other coronets have replaced the first, set with gems and stones brought from Bohemia. On the 23d July, 1 164, these relics were first deposited in the ancient cathedral, from which they were subsequently transferred to the new edifice amid much ceremony. In their first resting-place they were guarded only by a simple iron grille up to the time when the archbishop Maximilian Henry constructed the cedicule which encloses them to-day. On the pediment of this screen is sculptured an " Adoration of the Magi," by Michel Van der Voorst of Antwerp. There are also fig- ures of St. Felix and St. Nabor, and two female figures bearing the arms of the Metro- politan Chapter. On the frieze is the following inscription: TRIBUS AB ORIENTE REGIBUS DEVICTO IN AGNITIONE VERI NUMINIS MUNDO CAPITULUM METROPOL EREXIT. And above the great window, whose grille is opened on ceremonial occasions to allow the 260 Cathedrals and Churches of the Rhine public a better view of the relics, is graven the following: CORPORA SANCTORUM RECUBANT HIC TERNA MAGORUM EX HIS SUBLATUM NIHIL EST ALIBIVE LOCATUM. Finally one reads the following single line placed between the columns at the right and left of the relics: " Kt apertis thesauris suis, obtulerunt munera." Behind the reliquary which encloses the skulls is a bas-relief in marble representing the solemn journey by which the relics were first brought from Milan. A bas-relief in bronze, richly gilded, represents an " Adora- tion." It was the gift of Jacques de Croy, Due de Cambrai, in 1516. The window above contains some fine glass of the thirteenth cen- tury. Before the high altar are four great can- delabra of reddish copper, cast at Liege in 1770. The sculptured stalls of wood, which range themselves in a double row in the choir, are 261 Cathedrals and Churches of the Rhine notable for the profusion of figures of men and animals which they show in their carving. They are perhaps not comparable with the stalls at Amiens and at Antwerp, nor with those in Ste. Cecile at Albi in France; but they merit, nevertheless, a very high rank for excellence, and are very extensive as to size and number. \lf^T^ Stone-masons' marks, Cologne Cathedral To sum up, the cathedral at Cologne has had the good fortune to have been carried out in a pure and distinct German form of Gothic without the interpolation of any outre disfig- urements. It is a sumptuous edifice, perhaps the grandest, in general effect, of any church in Europe, not even forgetting the splendid cathedrals at Reims, Amiens, or Chartres, all of which stand out from among their sur- roundings in much the same imposing manner as does Cologne. One recognizes even to-day on the stones of Cologne's cathedral certain cryptogramic marks which are supposed to be merely the 262 Cathedrals and Churches of the RJiine identifying marks of some particular stone- mason's labour, and are not, as has been doubt- fully advanced from time to time, of any other significance whatever. 263 XXVI THE CHURCHES OF COLOGNE The popular interest in Cologne, the an- cient Colonia Agrippina of the Romans, and the romantic incidents connected with it, are so great that one might devote a large volume to the city, and then the half of its legend and history would not have been told. Cologne is one of the most ancient cities of Germany. It takes its place beside Treves and Mayence as one of the earliest seats of Christianity; but the actual date of the estab- lishment of the church in Cologne is lost in obscurity. There were undoubtedly persons professing the Christian faith in the colony in the third century, and toward the year 312 the Emperor Constantine, having embraced the faith him- self, gave his protection to its adherents throughout his colonies. The church of St. Peter at Cologne con- tains a painting presented to it by Rubens in memory of the fact that he was baptized before 264 Cathedrals and Churches of the Rhine the altar of this church. Of this picture, a " Crucifixion of St. Peter," Sir Joshua Reyn- olds wrote: " It was painted a little time before Ru- bens's death. The body and head of the saint are the only good parts in this picture, which, however, is finely coloured and well drawn; but the figure bends too suddenly from the thighs, which are ill drawn, or, rather, in a bad taste of drawing; as is likewise his arm, which has a short interrupted outline. The action of the malefactors has not that energy which he usually gave to his figures. Rubens, in his letters to Gildorp, expresses his own approbation of this picture, which he says was the best he ever painted ; he likewise expresses his content and happiness in the subject, as being picturesque; this is likewise natural to such a mind as that of Rubens, who was per- haps too much looking about him for the pic- turesque, or something uncommon. A man with his head downwards is certainly a more extraordinary object than if the head were in its natural place. Many parts of this picture are so feebly drawn, and with so tame a pencil, that I cannot help suspecting that Rubens died before he had completed it, and that it was finished by some of his scholars." 265 Cathedrals and Churches of the Rhine St. Maria in Capitola, one of Cologne's famous churches, stands on the site of the ancient capital of the Romans. It is one of the most perfect examples extant of a triapsed church, though the three apses themselves are supposed to have been an afterthought added in the twelfth century, whereas the nave dates from the century before. The nave, too, has an interpolation or addition to its original form in that a Gothic roof was added some three hundred years after it had first been covered with a plain wooden ceiling. The three apses unfold grandly, with the high altar in the most easterly or middle ter- mination. The general eflfect of the interior is decid- edly high coloured, with much polychromatic decoration and painted glass. In the Harden- rath chapel are found the most striking of these mural decorations, which are interesting as illustrating a certain phase of art, if not for their supreme excellence. St. Pantaleon's claims to be the most an- cient church in the city, dating as far back as A. D. 980, when it was reared from the stones of the Roman bridge which before that time stretched across to Deutz. The chapel of the Minorites contains the tomb of Duns Scotus, 266 Cathedrals ajtd Churches of the Rhine and a horrible tale is told of his entombment alive, of his revival in his coffin, his struggle to escape, and his body being found afterward at the closed door of the sepulchre, with the hand eaten ofif by himself ere he died of hunger. A peculiarity of Cologne's churches — for ■>■■■ ■:'■ r. ^c^j ^^,'(»i}^Ly'^\ (/■■■■■ **-. FONT. 5.MflRTIA).C0L0&AIE. it is possessed by the Apostles' Church, St. Cunibert's, and St. Andrew's — is the western apse. Such a member is not unique to Cologne, for it exists in the cathedral at Nevers, in France, and there are yet other examples in Germany; but its use is sufficiently uncommon to warrant speculation as to its purpose. 267 Cathedrals and Churches of the Rhine The Apostles' Church has this feature most highly developed. The edifice is a noble pile dating from early in the eleventh century, but reconstructed two centuries later, to which period it really belongs so far as its general characteristics are concerned. Not all the church architecture of Cologne is Gothic; indeed the churches of the Apostles and St. Martin each show the Lombard influ- ence to a marked degree. The three apses, and their round arches and galleries, are like a bit of Italy transported northward. St. Maria in Capitola, founded by the wife of Pepin, has the same characteristics, while St. Martin has the outline of quite the ideal Romanesque church. Its great tower, which fills the square between the apses, is certainly one of the most beautiful to be seen on a long round of European travel. This tower must date from the latter years of the twelfth cen- tury, and yet, although of a period contem- porary with the Gothic of Notre Dame de Paris, it is so thoroughly Romanesque that one wonders that, in Cologne at least, the style ever died out as it did when the great Gothic cathedral was conceived. St. Andrews is another triapsed church, and is considered one of the best and most 268 GROSS 5t./V\/\FJ-\N ■ COIOGNL Cathedrals and CJmrches of the Rhine elaborately designed fabrics of the Roman- esque type on the Rhine, particularly in re- spect to its central tower, the nave, and the west transept. There has been much late Gothic rebuild- ing, but the chief characteristics of the earlier period distinctly predominated. The apses are polygonal, but it is thought that they may, in earlier times, have been semicircular like St. Martin's, St. Mary's, and the Apostles' Churches. St. Gereon's is an octagonal church similar to that of Charlemagne at Aix-la-Chapelle. Even more than the latter it has been altered, rebuilt, and added to, but the original outline is still readily traced in spite of the fact that its foundations may have come down from the fifth century. It is more difficult, how- ever, to follow its evolution in detail than it is in the case of Charlemagne's shrine at Aix- la-Chapelle. The style is distinctly Rhenish, though not alone in Germany do such round churches exist; one recalls the Templars' Church in London and the famous example at Ravenna in Italy. The great decagon of St. Gereon's is covered with a domed roof, also divided into ten sec- 271 Cathedrals and Churches of the Rhine tions by groins or ribs, which rise gracefully from the slender shafts at the angles, meeting at the apex in a boss. The ancient collegiate buildings which for- merly surrounded St. Gereon's have disap- peared, but there is yet an extensive structure of a more modern date which enfolds the cen- tral pile. The easterly apse is low and rec- tangular, while the fagade of the west is flanked by two Romanesque unspired towers. St. Gereon's is one of the most curiously constructed churches of the middle ages. It was founded by the Empress Helene in honour of the Theban martyrs, who, to the number of three hundred and ninety-five, died for their faith, with their captains, Gereon and Gregory, toward the end of the third century, in the reign of the Emperor Diocletian. One enters by a rectangular porch, where are disposed some fragments of Roman re- mains. The rotunda, or decagon, so reminis- cent of Aix-la-Chapelle, dates from a period contemporary therewith, so far as its lower walls are concerned, but the upper portions are of the twelfth century, at least. Below the arches are the chapels which sur- round the decagon in symmetrical fashion. Above is the organ and the adjoining choir 272 -If!-. r^iVr«^T3f. :fi^p^^ ff ■, .fee ;!--'J . ■i?o^~^ ^iA.CInu^ IT. GEREON'S, COLOGNE Cathedrals and Churches of the Rhine walls. In the latter are walled up innumer- able skulls of the companions of St. Gereon, and in each of the chapels is a great sarcoph- agus, also containing the bones of the martyrs. Altogether the thought which arises is not a pleasant one, no matter how worthy the object of preserving such a vast quantity of human remains. The high altar is quite isolated, and the pavement of the choir itself, which is aisleless, rises behind it to a height of a dozen or more steps, — a frequent occurrence in the Rhine churches. The apse has an insertion of Gothic win- dows, but the eleventh-century Romanesque features are still prominent. In the choir are a series of flamboyant Gothic stalls, above which are monumental tablets let into the wall. At the entrance of the choir are two colossal statues of the martyred saints, then seven oth- ers, behind which, at the base of the apside, is another altar. The tapestries which surround the choir are of the "" haut-lisse " weaving, and represent the life history of Joseph. Beneath the choir is a vast, antique crypt, which contains yet other sarcophagi filled, 273 Cathedrals and Churches of the Rhine presumably, with human bones. The pave- ment is composed of fragments of antique mosaic. The Jesuit church at Cologne is one of the few Renaissance examples on the Rhine. It is, however, most unchurchly, when judged by French standards. Certainly this German example is highly beautiful both in design and execution; but it is not churchly, and its great cylindrical col- umns, strung together by a gallery, give the appearance of a foyer in an opera-house or of a modern railway-station, rather than that of a place of worship. It is all nave; there are no transepts, and there is no choir properly speaking, but merely a chancel, not very deep and again very un- churchly, with two ugly lights on either side, and a sort of pagoda-like screen which is de- cidedly theatrical. The carving of the pulpit and the disposition of all the decoration is extremely bizarre, but undeniably excellent in execution. Cologne is an archbishopric which has for sufifragan sees, Treves, Miinster, and Pader- born. The abbeys and churches which were erected in Cologne, when the archbishop first 274 Cathedrals and Churches of tJie Rhine took up his residence there in the latter part of the eighth century, were numerous and ex- ceedingly rich in endowment. So much was this so that Cologne was given the name of the " Holy City of the north." The Jews of Cologne were a numerous body, but a decree of 1425 drove them all from the city. In 16 18 a new decree likewise ex- pelled the Protestants. Time regulated all this, but in those days Cologne clung proudly to the position which she had attained as a champion of the orthodox religion. In all, there were two abbeys, two collegiate churches, the cathedral, forty-nine chapels, thirty-nine monasteries, two convents for women, and many commanderies of the Teu- tonic order and the Order of Malta. Near Cologne is the fine old Cistercian abbey of Altenburg. It contains some very ancient coloured glass, perhaps the most beau- tiful of its era extant, for it is thought to date from between 1270 and 1300, when the art first attained any great excellence. That which remains to-day shows foliage and diaper in great variety, with no figures whatever, this being a distinct tenet of the Cis- tercian builders, who, in the severity of their 275 Cathedrals and Churches of the Rhine rule, frowned down all decorative effects that bordered upon the frivolous. These windows at Altenburg, being the best examples of their kind, are the distinct artistic attraction of the great abbey, which is a dozen or more miles distant from Cologne. The choir was commenced in 1 255 and com- pleted almost immediately; but the entire main fabric was not finished until well on in the century following. 276 XXVII AIX - LA - CHAPELLE As Rouen in Normandy was known as " the city of the Conqueror," so Aix-la-Chapelle became known, at a much earlier date, as " the city of Charlemagne." Charlemagne was more than a conqueror; he was a statesman, with a boundless ambition. He founded the German Empire, and changed tribes of lawless barbarians into a civilized people. At Aix-la-Chapelle he re- ceived the embassies of the Caliph of Baghdad and of the Saxon Kings of England, and there he endeavoured to advance the enlightenment of his people by the founding of monasteries and by giving very material aid to the monks and priests. Aix therefore became the scene of some of the most interesting episodes in the life and career of Charlemagne. At the death of his consort, Frastrade, Char- lemagne was inconsolable. Even when she i had been dead for three weeks, the monarch / 277 Cathedrals and CJmrches of the Rhine would not hear her death spoken of. " She did but sleep," he said; and the Emperor clung to the chamber of his beloved, and would not abate his watchfulness " till Fras- trade woke." Meantime the afifairs of the Empire were falling into confusion. Provinces were all but revolting, and foreign foes were mustering their forces. The Emperor's chief counsellor was the Archbishop of Reims. One night — though this is more legendary than historical — the archbishop was walking by himself when he came upon a shape in the moonlight which proclaimed itself as follows : " I am the good genius of Charlemagne. I came to teach you how to remove the shadow from his spirit. Dig, where I stand, a grave and let the festering body of Frastrade lie in it. But, mark you! Ere you move her body, search beneath her tongue and take out what you find there." The archbishop hurried toward a gro- tesquely carved cottage door where lived a gravedigger. " No silken sleeper so calm as thev Who seek a couch in the churchyard clay," sang a voice from within. 278 Cathedrals and Churches of the Rhine In half an hour the grave was begun, and in another half-hour the churchman was in the chamber of Frastrade, where the Emperor, exhausted by his vigil, slept kneeling at the bedside. The archbishop approached, and, peering into the mouth of the corpse, saw beneath the \ tongue a glittering jewel. With hasty fingers he seized the token, and, as he removed it, a loud wail startled the silence of the death-chamber and aroused the king. The spell was broken. Throwing but a single glance at the corpse of his wife, Charlemagne left the chamber, and, even as he went, agreed to the archbish- op's arrangements for her burial. The grave so secretly made ready was un- necessary, however, for the body was borne to Mayence, where a tomb raised to the memory of Frastrade is still to be seen. At the archbishop's desire Charlemagne once more took his seat in the Council of State, and once more the Empire was put in order. The courtiers resented the advent of the churchman into the favour of the Emperor, who at length, when the court was sitting at Aix-la-Chapelle, determined to rid himself of the mystic jewel. Choosing a dark night, he 281 Cathedrals and Churches of the Rhine sought a deep pool near the centre of a morass as being suitable for concealing the gem, which he had determined no man should ever see. Coming upon the spot, and holding the bauble in his hand above the waters, he dropped it and saw it sink, as though the pit were bottomless. But the brilliancy of the gem was inextinguishable. Next morning the court was pleased to note that the archbishop's influence over the Em- peror was quite gone. As the Emperor was strolling about the city, he fell upon the pool which held the gem. There he would sit by the hour, gazing upon the still waters, near which he afterward built himself a home, known to-day, though in ruins, as the castle of Frankenberg. A few years after the death of his wife, Charlemagne built La Chapelle, that great octagonal church which gives the city its French name. The tomb of Charlemagne is there, inscribed only Carolo Magno. He died at Aix-la-Chapelle in 814, and was buried with great pomp. Victor Hugo gives Aix- la-Chapelle as the place of his birth, which is manifestly an error. Charlemagne's body was placed in the tomb —Jin a sitting posture, and three centuries later 282 Cathedrals and Churches of the Rhine was exhumed by Frederick Barbarossa that he might sit in the same place, and afterward [ the German Emperors used the seat as a sort of throne of state at their coronations. The sword and sceptre and all that was mortal of the great Charlemagne are gone, but his memory still lives in an enduring mon- ument in the cathedral. The cathedral is wonderful for its antiquary and charming to all who come within its spell ; furthermore it forms a shrine for hero-wor- shippers which should not be neglected. Cathedrals and Churches of the Rhme At one of the entrances is a bronze wolf. placed there to keep in memory a monkish legend which passes current at Aix-la-Cha- pelle to this day. It runs as follows: " In former times the zealous and devout inhabitants of Aix-la-Chapelle determined to build a cathedral. For six months the clang of the hammer and axe resounded with won- derful activity, but alas ! the money which had been supplied by pious Christians for this holy work became exhausted, the wages of the masons were suspended, and with them their desire to hew and hammer, for, after all, men w^ere not so very religious in those days as to build a temple on credit. " Thus it stood, half-finished, resembling a falling ruin. Moss, grass, and wild parsley flourished in the cracks of the walls, screech- owls already discovered convenient places for their nests, and amorous sparrows hopped lovingly about where holy priests should have been teaching lessons of chastity. "The builders were confounded; they en- deavoured to borrow^ here and there, but no rich man could be induced to advance so large a sum. The collection from house to house fell short. When the magistracy received this 284 Cathedrals and Churches of the Rhine report, they were out of humour, and looked with desponding countenances toward the cathedral walls, as fathers look upon the re- mains of favourite children. " At this moment a stranger of commanding figure and something of pride in his voice and bearing entered and exclaimed: 'Bon Dieu! they say that you are out of spirits. Hem! if nothing but money is wanting, you may console yourselves, gentlemen. I possess mines of gold and silver, and both can and will most willingly supply you with a ton of it.' " The astounded Senators sat like a row of pillars, measuring the stranger from head to foot. The burgomaster first found his tongue. ' Who are you, noble lord,' said he, ' that thus, entirely unknown, speak of tons of gold as though they were sacks of beans? Tell us your name, your rank in this world, and whether you are sent from the regions above to assist us.' " ' I have not the honour to reside there,' replied the stranger, ' and, between ourselves, I beg most particularly to be no longer trou- bled with questions concerning who and what I am. Suffice it to say I have gold plentiful as summer hay!' Then, drawing forth a leathern pouch, he proceeded: 'This little 285 Cathedrals and Churches of the Rhine purse contains the tenth of what I'll give. The rest shall soon be forthcoming. Now listen, my masters,' continued he, clinking the coin, ' all this trumpery is and shall remain yours if you promise to give me the first little soul that enters the door of the new temple when it is consecrated.' " The astonished Senators now sprang from their seats as if they had been shot up by an earthquake, and then rushed pell-mell, and fell all of a lump into the farthest corner of the room, where they rolled and clung to each other like lambs frightened at flashes of light- \ ning. Only one of the party, who had not J entirely lost his wits, collected his remaining senses, and, drawing his head out of the heap, uttered boldly, ' Avaunt, thou wicked spirit! ' " But the stranger, who was no less a person than Master Urian, laughed at them. ' What's all this outcry about? ' said he at length; ' is my offence so heinous that you are all become like children? It is I that may suffer from this business, not you. With my hundreds and thousands I have not far to run to buy a score of souls. From you I ask but one in exchange for all my money. What are you picking at straws for? One may plainly see you are a mere set of humbugs! For the good of the 286 Cathedrals and Chiirches of tJie Rhine commonwealth (which high-sounding name is often borrowed for all sorts of purposes), many a prince would instantly conduct a whole army to be butchered, and you refuse one single man for that purpose! Fie! I am ashamed, O overwise counsellors, to hear you reason thus absurdly and citizen-like. What! do you think to deprive yourselves of the kernel of your people by granting my wish? Oh, no, there your wisdom is quite at fault, for, depend on it, hypocrites are always the earliest church-birds.' " By degrees, as the cunning fiend thus spoke, the Senators took courage and whis- pered in each other's ear: * What is the use of our resisting? The grim lion will only show his teeth once; if we don't assent, we shall infallibly be packed ofif ourselves. It is better, therefore, to quiet him directly.' " Scarcely was this sanguinary contract con- cluded when a swarm of purses flew into the room through the doors and windows, and Urian, more civil than before, took leave with- out leaving any smell behind. He stopped, however, at the door, and called out with a grim leer: ' Count it over again, for fear that I may have cheated you.' " The hellish gold was piously expended in 287 Cathedrals and Churches of the Rhine finishing the cathedral, but, nevertheless, when the building shone forth in all its splendour, the whole town was filled with fear and alarm at the sight of it. The fact was that, although the Senators had promised by bond and oath not to trust the secret to anybody, one of them had prated to his wife, and she had made it a market-place tale, so that all declared they would never set foot within the temple. The terrified council now consulted the clergy, but the good priests all hung down their heads. At last a monk cried out: ' A thought strikes me. The wolf which has so long ravaged the neighbourhood of our town was this morning caught alive. This will be a well-merited punishment for the destroyer of our flocks; let him be cast to the devil in the fiery gulf. 'Tis possible the arch hell-hound may not rel- ish this breakfast, yet nolens volens he must swallow it. You promised him certainly a soul, but whose was not decidedly specified.' " The monk's plan was plausible, and the Senate determined to put the cunning trick into execution. At length the day of conse- cration arrived, and orders were given to bring the wolf to the principal entrance of the cathedral. So, just as the bells began to ring, the trap-door of the cage was pulled 288 Cathedrals and Churches of the Rhine open, and the savage beast darted out into the nave of the empty church. Master Urian, from his lurking-place, beheld this consecra- tion offering with the utmost fury. Burning with choler at being thus deceived, he raged like a tempest and then rushed forth, slam- ming the brass gate so violently after him that the rings split in two. " This crack, which serves to commemorate the priest's victory over the tricks of the devil, is still exhibited to the gaping travellers who visit the cathedral." So much for the legend. But the devil, dis- appointed at the turn of affairs in respect to the cathedral, had his revenge when Aix, fifty years or more ago, first became the centre of public gaming-tables, which only lately have been deserted by what is known as smart so- ciety for other resorts of a similar nature else- where. There can be no question but that Charle- magne's church at Aix, while it is itself a rather vivid memory of Ravenna, is the pro- totype of much church-building elsewhere. The round churches of Germany followed in due course, while, in respect to some details, the cathedral has been claimed to be the fore- runner of the true Gothic. At any rate, there 289 Cathedrals and Churches of the Rhine is a reflection of its dome in that which termi- nates the centre of the cross of St. Fedele at Como. The similarity goes to prove that Charlemagne's industry in church-building in Italy was as great as his desire of conquest. The church at Aix-la-Chapelle was frankly designed as the tomb of Charlemagne, and that perhaps accounts for the combining of the rotunda of a ceremonial edifice with that of a basilica intended solely for worship. Part of it was undoubtedly the work of the Coma- cine builders whom Charlemagne brought from Italy, and part is nothing more than an importation or adaptation of classical and Byzantine adornments. Charlemagne's architects studied geography and climate well when they erected this link between the Romanesque-Lombardic style of the south and the Gothic of the north. That portion of the present cathedral at Aix-la-Chapelle which was built by Charle- magne is the octagonal projection toward the east. It forms a truly regal mausoleum, and for twelve hundred years has well stood the march of time. It is supposed to have been the most mag- nificent church edifice of Charlemagne's era throughout all Europe, though it was seriously 290 A IX-LA-CHAPELLE CATHEDRAL Cathedrals and Churches of the Rhine injured by an earthquake a few years after its completion. Later it was plundered by the Normans, and it suffered disastrous fires in 1146, 1234, 1236, and 1656, having in consequence under- gone many material changes. Its external features have heen considerably added to, but the prototype of the round and octagonal churches, subsequently erected in Germany, is here visible to-day in all its com- parative novelty. The granite and porphyry columns which support the arches giving upon the interior of the octagon were once taken and carried to Paris, but fortunately they were returned and again put into position. The choir of the church, as it now is, was not begun until 1353, and was finished in the century following. It is pure Gothic of the most approved variety, whereas the octagon church is as pure Romanesque; and the two components do not blend or mingle in the least. In the roof of the octagon is a remarkable specimen of modern wall and roof decoration, which might better have been omitted. There is a cloister leading from the north- west chapel which has recently been restored. 291 Cathedrals and Churches of the Rhine It is a delightful retreat, and has the " stations of the cross " displayed upon its inner wall. There are numerous rare and valuable relics in the cathedral; the chief of which is the flagstone, which, bearing the simple words, Carolo Magna, is supposed to cover the actual burial-place of Charlemagne. Above this is a magnificent chandelier, reminiscent of an- other in the church at Hildesheim, the gift of the Emperor Frederick Barbarossa. Eight chapels surround the octagon, and in the Chapel of the Holy Cross is a magnifi- cent altar-piece consisting of a crucifix carved in wood. Most of the kings and queens who were crowned at Aix-la-Chapelle presented articles of value to the sacristy. The most magnificent of these is a sarcophagus in Parian marble representing the Rape of Proserpine. The marble chair on which Charlemagne was found sitting in his tomb, and upon which the German emperors were crowned, is yet to be seen. The relics in the cathedral are divided into two classes. In the first class are those which are the most sacred; in the second class are those of lesser importance. The latter are vis- ible at all times ; the former only once in seven 292 Cathedrals and Churches of the Rhine years, when they are exposed for a fort- night. The choir-stalls are set against the walls in a curious fashion, and there are chairs instead of the usual German benches for the congrega- tion. The appearance of this celebrated cathedral from the outside is most curious, since the erections and additions of later centuries have not been symmetrical. There is a tall, modern spire which is not a beautiful addition, and the magnificent oc- tagon has had a slate roof added, which like- wise is a detraction. St. Adelbert's was another ancient church of Aix-la-Chapelle, but it has given way to a modern edifice bearing the same name, though it is in good taste and most pleasing in its interior arrangement. The Minoriten Kirche is a monkish foun- dation of the fourteenth or fifteenth century. Its nave and aisles all come under one canopy vault, and its aisleless choir is squared off abruptly with an enormous carved and painted altar-piece of no great excellence. It is pleasant to recall here that the council of Aix-la-Chapelle made laws, which Charle- magne himself encouraged, referring to the 293 Cathedrals and Churches of the Rhine treatment of pilgrims by the hospices which were so generally established throughout Charlemagne's realm in Carlovingian times. To the ordinary fine for murder there was added sixty soldi more if the person killed were a pilgrim to or from a hospice. Any who denied food and shelter to a pilgrim was fined three soldi. These were the regulations put into effect through Charlemagne's dominions at the suggestion of Pepin II. 294 XXVIII LIEGE The natural highway from Antwerp and Brussels to the Rhine lies through Liege and Aix-la-Chapelle, or Aachen, as the Germans call the latter. Wordsworth, in his wonderful travel poem, wrote of the Meuse, which flows by Liege on its way to the Royal Ardennes, in a way which should induce many sated travellers to follow in his footsteps, and know something of the fascinating charm of this most fertile and per- haps the most picturesque of all the rivers of Europe. " What lovelier home could gentle fancy choose ? In this the stream, whose cities, heights and plains. War's favourite playground, are with crimson stains Familiar, as the morn with pearly dews. " How sweet the prospect of yon watery glade, With its gray locks clustering in pensive shade. That, shap'd like old monastic turrets, rise, From the smooth meadow ground serene and still." 295 Cathedrals and Churches of the Rhine As one journeys on to Liege, Roman influ- ences have left many and visible remains. Crossing the plain of Neervinden, one en- ters the province of the Liegeois, where the French were defeated by the Austrians in 1793, thus releasing Belgium from the Gallic yoke. At Landen one recalls that it is the town of the inception of the family of Charlemagne which gave to France her second race of kings. Liege has been called the Birmingham of Continental Europe. It might better be called one of the foremost industrial centres of the world, for such it is to-day. It is beautifully placed in an amphitheatre- like valley, and its tall chimneys, its smoke, and its grind of wheels bespeak an activity and unrest of which the former ages knew not. Formerly the Liegeois were a turbulent and truculent folk, if one is to believe history. If, however, one does not care to go back to history, he might turn to the pages of " Quentin Durward " and read of the spirit of romance which once surrounded Liege and its people. The famous " Legend of the Liegeois " re- 296 Cathedrals and Churches of the Rhine counts how a working blacksmith found an inexhaustible supply of coals for his forge through the aid of a gnomish old man. Previously the smith's fires had burned low, and only the old man's song inspired him to forage on the hillside, with the result that the future prosperity of the city grew up from the accessibility of this inexhaustible coal sup- ply. The old man's story ran thus: "Wine's good in wintry weather. Up the hillside near the heather, Go and gather the black earth, It shall give your fire birth. Ill fares the hide when the buckler wants mending, 111 fares the plough when the coulter wants tending." When Liege, through its prosperity, had grown to good proportions, its government was assigned to a sort of prelate-proprietor. These princely prelates were often but lads of eighteen or twenty, who became identified with the Church, frequently enough, simply because of the power it gave them. The craftsmen and artisans of the city bought many rights from time to time from the bishops, and finally wrested the power from out of the hands of the Church, much 297 Cathedrals and Churches of the Rhine as did the burghers of other cities from their feudal lords. Then followed the struggle, which in Flan- ders raged perhaps more bitterly than else- where in Europe; the rising, where the many fought against the privileged few, and much riot and bloodshed was caused on all sides. Then came first the burgher heroes of Liege, who, like their confreres in Ghent and Bruges, found in many instances the martyr- dom of the patriot. In the Place St. Lambert formerly stood — until 1801, when it was removed after hav- ing been damaged by a mob — the former cathedral of St. Lambert, which took its name from the first bishop of Liege. This ancient cathedral was of much grandeur and magnif- icence, attributes which the present cathedral of St. Paul decidedly lacks. It was in this venerable cathedral of St. Lambert that Quentin Durward went to hear mass, as we learn from Scott's novel, and here also, after the famous siege of Liege by Louis XI. and Charles the Bold, the two princes themselves repaired for the same pur- pose. St. Lambert of Liege and the three Kings of Cologne were, it would appear, the 298 Cathedrals and Chttrches of the Rhine chief patrons to whom Quentin and his early followers made their vows. The bishopric was founded by Heraclius in 968, and a church, of which the present choir is a part, was built upon the site of the present St. Paul's in the thirteenth century. The see was formerly a suffragan of Cologne, and the only bishopric in the Low Countries except Tournai and Utrecht. The present cathedral is consistently enough a Gothic church, but it is not a satisfactory example, in spite of its magnificent propor- tions. Of a cruciform plan, and with a nave which was only completed in 1528, it is a poor apol- ogy for a great Gothic church, such as we know at Metz, Nancy, or even at Brussels. Its western tower, satisfactory enough in itself, is crowned with a ludicrous spire, which dates only from 1812. Since St. Lambert's has disappeared, and the present St. Paul's dates only from the ante-Revolutionary days, the chief ecclesias- tical treasure of the city is the Eglise St. Jacques. It was founded in 1014 by the Bishop Baudry II., but the Romanesque tower to the west is of the century following, and the 299 Cathedrals and Churches of the Rhine whole fabric was very much modified in 1513-38. It is a magnificent flamboyant Gothic church of quite the first rank, when compared with others of its kind elsewhere. It has an ample nave and aisles with a polygonal choir and a series of radiating chap- els which are singularly beautiful. The magnificent north portal is an addition of the sixteenth century. The interior has been called Spanish in its motive. Certainly it is not quite like any other Gothic forms we know in these parts, and does bear some resemblance to that pecul- iar variety of Gothic which belongs to Spain. The choir has some fine glass showing the armorial bearings of former patrons of the church. There is a beautiful carved stone staircase and much sculptured stonework in the choir. The organ-bufifet is ornate, even of its kind, — a masterpiece of cabinet-making, — and was the work of Andre Severin of Maestricht in 1673. The left transept, which is some thirty feet longer than the right, has a fine painting of a " Mater Dolorosa," while, opposite, is a ^00 Cathedrals and Churches of the Rhine stone monument to the founder of the church, Baudry 11. , of Renaissance workmanship. St. Jean is another pre-tenth-century foun- dation of the Bishop Notger, somewhat after the plan of the " round church " at Aix-la- Chapelle. It was entirely rebuilt, however, in the eighteenth century, though the original octagon was kept intact. At some distance from the city, on a height which may be truly called dominating, is the church of St. Martin, founded in 962, and reconstructed, after the Gothic manner of the time, contemporary with St. Jacques. Of recent times it has been restored. If any sep- aration or division of its parts can be made, one concludes that the choir is German, and its nave French. In 1246 there was held in this church a Fete Dieu following upon a vision of Ste. Julienne, the abbess of Cornillon near Liege. The fete was ordained by Pope Urbain IV., who himself had been a canon of the cathedral of Liege. Ste. Croix was another of Notger's founda- tions, in 979, on the site of an ancient cha- teau. The choir was built toward 1175, and has an octagonal tower with a gallery of small 301 Cathedrals and C/utrches of the Rhine columns just under the roof, after the manner known as distinctly Rhenish. The church exhibits thoroughly that Rhine manner of building which made combined use of the Gothic and Romanesque, — in bewil- dering fashion, to one who has previously known only the comparatively pure types of France. The nave and its aisles rise to the same height, but the apsidal choir is aisleless. The general effect of the interior is light and graceful, with circular columns in a blue- gray stone, which is very beautiful. A series of fourteenth or fifteenth century " Stations of the Cross " fill the arches of the transepts; quite an unusual arrangement of this feature, and one which seems wtU con- sidered. St. Barthelemy's is Liege's other great church. It is a basilica of five naves and two Romanesque towers. It dates in reality from the twelfth century, but has been greatly mod- ernized. St. Barthelemy's might have been a highly interesting example of a Romanesque church had it not been desecrated by late Italian de- tails. St. Barthelemy's has a twelfth-century art 302 Cathedrals and Churches of the Rhine treasure in a brazen font, cast in 1 112 by Pa- tras, a brass-founder of Dinant on the Meuse. Its bowl depicts five baptismal scenes in high relief, each accompanied by a descriptive legend. Upon the rim of the bowl is the fol- lowing legend: '' Bissenis bobus pastorum forma notatur^ ^uos et apostolice commendat gratia vite, Officiiq ; gradus quo Jiu minis impetus hujus Letificat sanctam purgatis civibus urbem." 303 XXIX DUSSELDORF, NEUSS, AND MUNCHEN- GLADBACH Dusseldorf Among aesthetic people in general, Diissel- dorf is revered — or was revered, though the time has long since passed — for that style of pictorial art known to the world as the Dusseldorf School. A remarkably good collection of pictures remains in its art gallery to remind us of the fame of Dusseldorf as an art centre, but to-day its art has become " old-fashioned," and the gay little metropolis has many, if more worldly, counter attractions. Dusseldorf takes its name from the little river Diissel which joins the Rhine at this point. The French guide-books call Dusseldorf the ^^ plus coquettes des bords du Rhin " ; and so it really is, for few tourists go there for its 304 Cathedrals and Churches of tJie Rhine churches alone, though they are by no means squalid or inferior. The city was the residence of the Counts, afterward the Dukes, of Berg — for it was made a duchy by the Emperor Wenceslaus — from the end of the thirteenth century to the beginning of the nineteenth. In 1806 Napoleon made it the capital of a new^ Grand Duchy of Berg in favour of Joachim Murat. By the treaty of 18 15 Dus- seldorf fell to Prussia, and became the chief town of the regency of Diisseldorf, and the seat of a superior court of justice. Occupying the site that it does, on the banks of a great waterway, the city naturally became the centre of an important commerce. Diisseldorf is the birthplace of many who have borne great names; of the philosopher Jacobi and his poet brother; the Baron de Hompesch, the last grand master of the Order of Malta; Von Ense, the eminent litterateur; the poet Heinrich Heine (who died at Paris in 1855), and the painters Cornelius, Lenzen, and Achembach. The principal church edifice is that dedi- cated to St. Lambert, the Hofkirche. It has a strong and hardy tower, very tall, and sur- mounted by a slate-covered spire. The ogival 305 Cathedrals and Churches of the Rhine style predominates, and the fabric dates mostly from the fourteenth century. Its chief feature is its choir, which is far more ample and beau- tiful than the nave. The rest of the edifice fails to express any very high ideals of church- building. At the foot of the apside, behind the choir, is a mausoleum erected in the seventeenth century for the elector, John Wilhelm, who died in 1690. In the ambulatory of the choir is, on the left, a florid Gothic tabernacle, and by the second pillar of the nave is a colossal statue of St. Christopher. There are many tombs of Jacobeans, and of the Dukes of Berg. There are also a number of paintings by Diisseldorf artists scattered about the church, but they have not the qualities exhibited by the old Flemish masters, and are hardly worthy of remark. On the exterior of the southern wall is af- fixed an immense Calvary, which is theatrical in the extreme, and is not dignified nor churchly. The Jesuit church Is not remarkable archi- tecturally, but there are a number of tombs therein of the princes of the house of Neu- bourg. 306 Cathedrals and Churches of the R J line The ruins of the ancient chateau of Diissel- dorf suggest but faintly its former glories before it was destroyed by the French bom- bardment of the city in the eighteenth century. It has been restored, in a way, but with little regard for historical traditions, and a part of the edifice was made the home of the famous Diisseldorf academy of painting, founded in 1777 by Charles Theodore and reestablished in 1822. It gave birth to a cele- brated school of painting, now all but dead. Among the famous and well-known names connected therewith are: Cornelius, Schadow, Lessing, Schirmer, Hildebrand, and Koehler; the American, Lentzen; the Norwegians, Tiedemann and Gude; the landscape paint- ers, Weber and Fay; and the historical paint- ers, Knaus, Hubner, and Scheuren; and finally the celebrated engraver, Keller. The museum and the gallery of paintings are still superb, and form a contribution to the history of the art of all ages which would be quite incomplete without it. There are ten churches in Diisseldorf, and a synagogue, but in truth there is not much of interest in them all, and the " handsomest city of Germany " must rest its fame on something more than its appeal to the lover of churches. 307 Cathedrals and Churches of the Rhine Neuss There is not much about the compact, though rather ungainly, little city of Neuss to interest any but the lover of churches, though its history is very ancient, and the develop- ment of its patronymic through Novesium, Niusa, and Nova Castra bespeaks volumes for the part it has played in the past. Its origin dates back to the time of Drusus, and it is mentioned by Tacitus as the winter quarters of the Roman Army. The city was ravaged by Attila in 451, and by the Normans in the ninth century. Emperor Philip of Suabia captured it in 1206, and gave it to the Archbishop of Cologne. A chapter of nobles was founded here in 825, and Count Evrard of Cleves and Bertha, his wife, erected, in the first years of the thirteenth century, its principal church dedicated to St. Quirinus. This church stands to-day, with its great square tower looming bulkily over the house- tops, and is reckoned as the prototype of many similar structures elsewhere. It has the al- most perfect disposition and development of the double apse so frequently met with in German churches. 308 Cathedrals and Churches of the Rhine In general, its architecture is of a heavy order, and the whole structure is grim, though by no means gaunt nor cold. ,^^ St. Quirinus is of the epoch when the Ro- manesque was being replaced nearly every- where by the new-coming Gothic. 309 Cathedrals and Churches of the Rhine In spite of this, its style is, curiously enough, neither one nor the other, nor is it transition, though the pointed arch has crept in and often eliminated the Romanesque attributes of the round-arch style round about. It is manifestly not transition, because there was no transition here from Romanesque to Gothic. It re- mained palpably Romanesque in spite of Gothic interpolations. In the windows one can but remark the indecision which prompted the builders to fashion them in such extraordinary squat shapes, and they certainly serve their purpose of lighting the interior very badly. The nave and aisles of St. Quirinus are ample, and its spacious mdnnerchore in the triforium is like all its fellows in the German churches, an adjunct which adds to the general effect of size. The church dates from 1209, the period when the Gothic influence was not only mak- ing itself felt over the border, in the domain of France and Burgundy, but was already ex- tending its influence elsewhere. But here, westward even of the borders of the Rhine, the round arch lingered on, to the exclusion of any very marked Gothic tendency. There is an inscription in stone on the south 310 Cathedrals and Churches of the Rhine wall of the church which places the date of its erection beyond all doubt. It reads thus : ANNO . INCARNA. DNI . MC.C.V.I.I.I.I. PMO . IPERII . AN NO . OTTONIS . A DOLFO . COLON EPO . SOPHIA . A BBA . MAGISTER WOLBERO . PO SUIT . PMU . LAP IDE . FUNDAME NTI . HUI . TEM PLI . I . DIE . SCI . DI *ONISlI . MAR. When a former Count of Cleves founded the primitive church here in the ninth century, it was a collegiate church attached to the abbey of which the mother superior was the Abbess Sophia, presumably the same referred to in the above inscription. The abbey itself was destroyed in 1199 during a civil warfare. Though not really a massive structure, the church of St. Quirinus is, in every particular, of a strength and solidity which rank it as a masterwork of its age. There is nothing 311 Cathedrals and Chtirches of the Rhine weak and attenuated about it, and its transepts and apses make up in general effect what it lacks in actual area. The facade is imposing, though decidedly bizarre when compared with the simple flow- ing lines of Gothic; but, on the whole, the effect is one of a certain grandeur. The aisles are astonishingly tall when com- pared with the nave. There are various meetings of round-arched windows and arcades with those of a pointed nature, but there is not the slightest evidence of a development or transition from one to the other, hence the Gothic strain may be said not to exist. The general effect of the exterior is poly- chromatic, which is not according to the best conceptions of ecclesiastical decorations in ar- chitecture. A twilight or a moonlight view, however, tones it all down in a manner that makes the fabric appear quite the most im- posing church of its size that one may find in these parts. The great central tower, reminiscent enough of the parish church in England, but not so frequent in Germany, and still less so in France, forms a great lantern which rises over the crossing in a marvellous and exceedingly 312 Cathedrals and Churches of the Rhine practical manner, in that it affords about the only adequate means of admitting light into the interior. The triforium of the nave is the chief in- terior feature to be remarked, and is most spaciously planned. It forms the manner- chore before mentioned. The clerestory windows are decidedly Rhenish in character, resembling, says one antiquary, who is a humourist if nothing else, an ace of clubs. At any rate, it is a most un- usual and inefficient manner of lighting a great church-. These windows are practically trefoils of most unsymmetrical proportions, and are in every way unlovely. The choir is raised on a platform, beneath which is the crypt. Three flights of steps lead to this platform, which gives it a far more grand appearance than its actual dimensions would otherwise allow. The choir-stalls are of the fourteenth cen- tury, and are the only mediaeval furnishings to be seen in the church to-day. The apses contain only moderately effective glass. The frescoes in the cupola of St. Quirinus, which are the work of Cornelius of Diisseldorf (about 1811), are most interesting, and are, 313 Cathedrals and Churches of the Rhine among the most successful of the great num- ber of modern works of their kind to be seen in Germany. Munchen-Gladbach Miinchen-Gladbach is one of those " snug " little German towns that one comes across now and then when wandering along off the beaten track. Its streets are trim and clean, and its houses likewise, with a brilliancy of fresh paint which is consistently and proverbially Dutch. Beneath one's foot is a sea of cobble- stones all worn to a smoothness which argues the tramp of countless hordes of feet over cen- turies of time, if paving-stones have really been invented so long. With all its air of prosperity and providence, Miinchen-Glad- bach is not a highly interesting town in which to linger. Its name is compounded of its prefix, mean- ing monk's, with its original patronymic, Gladbach. The monks of Gladbach were a part of the establishment which founded the minster church of Gladbach, an old abbey or monastic edifice which stands to-day, a great transeptless thirteenth-century structure with an elevated choir reached from the nave by two flights of ten or a dozen steps. 314 Cathedrals and Churches of the Rhine The crypt is entered from between these two flights of steps, and forms all that is left to mark the primitive church. The round-arched style and Gothic, of a sort, intermingle in the nave in bewildering fashion until one wonders in what classifica- tion it really belongs. The openings from the aisles to the nave are pointed, while above is an unpierced triforium with a clerestory of round-headed arches. In the aisles are what Jacobean architects called fanlights, a series of peculiarly shaped openings like an oddly shaped fan. They are distinctly Rhenish; indeed they are not ac- knowledged to be found elsewhere, and hence may be considered as one of the chief points of distinction of this otherwise not remarkably appealing church. There are no aisles in the choir, which dates from the thirteenth century and terminates with a multi-sided apse pierced by long lancet windows. The Stadt Kirche of Gladbach, or the par- ish church as it properly takes rank, is still a Catholic edifice and shows the advantage of having been kept in active use. There is noth- ing musty or moss-grown about it, but in every 315 Cathedrals and Churches of the Rhine way it is as warmly appealing as the monks' church is coldly unattractive. There is no marked choir termination, its great aisles extending completely to the rear with just a suspicion of a rudimentary pentag- onal apse to suggest the easterly end. This is a common enough arrangement in German churches, which more frequently than not, in the fourteenth century, the date of this struc- ture, possessed nothing but a squared-off east end, after the English manner of building. At the westerly end is a well-planned tower distinctly Rhenish — if it were not it would be thought heavy — and where the choir is supposed to join the nave the roof is sur- mounted by a tiny spire, which, in truth, is no addition of beauty. The interior shows great height, and, if of no great architectural splendour, has enough mural embellishment and attractive glass to stamp it as a livable and lovable edifice for religious worship, which is a good deal more than most modern church buildings ever ac- quire. The six bays of the nave show pointed arches springing from rounded columns. There is an arcaded triforium, and an elab- orate series of clerestory windows which show 316 Cathedrals and Churches of the Rhine the geometrical and flamboyant Gothic in its perfection. The apse is lighted with five windows of great height. The glass is a mixture of colour and monotone, but the effect is undeniably good. The chancel is so shallow that the choir flows over, as it were, into one bay of the nave, while the choir-stalls themselves are placed in the aisles. Certainly a most unusual, and perhaps a unique, arrangement. An altar fronts the west end of either range of stalls, and back, at the easterly end of the aisles, is found another altar. The high altar has a handsome modern screen in the form of a gilt triptych, which is singularly effective and imposing. Beneath the tower, at the westerly end, is the baptistery, entrance to which from the body of the church is gained through a low, pointed arch. XXX ESSEN AND DORTMUND Essen Lying just to the eastward of the Rhine are Essen and Dortmund. The former was once the site of a powerful abbey of Benedictine nuns, which was dis- solved in 1803. The abbess of Essen was al- ways a titled person, and was a member of the Westphalian circle of the Imperial Es- tates, in which capacity she held a governing right over a large tract of country immediately surrounding the abbey. There are the spires of five churches hidden away in the forest of chimneys of the manu- factories of Essen which rise skyward from the Rhineland plain. It is not a very beautiful picture that one sees from across the railway viaduct, but a remarkable one, and one that has undeniable elements of the picturesque. The cathedral at Essen is a conglomerate group of buildings of many epochs. The Cathedrals and Churches of the Rhine church proper consists of a three-aisled nave, with the usual choir appendage in what must pass for acceptable Gothic. There are Romanesque features which date back as far as 874, when the original edifice was built by Bishop Alfred of Hildesheim. The crypt, the transept, and possibly a part of the choir foundation, are of the eleventh century, and are of Romanesque motive; but the Gothic fabric superimposes itself upon these early works in the style in vogue in the fourteenth century. There are evidences of a central octagon, like that at Aix-la-Chapelle, and St. Gereon's at Cologne, but the fourteenth-century re- building has practically covered this up, though three of the original faces are left, and bear aloft a series of tall Corinthian col- umns. , The nave, for some reason, inexplicable on first sight, is low and unimpressive, caused doubtless by the grandeur of the supporting pillars of the roof and the shallowness of the groining above. The pillars are single cylinders with curi- ously plain capitals. The choir rises a few steps above the nave pavement, in order to give height to the crypt 319 Cathedrals and Churches of the Rhine ambulatory, as is frequently the custom in German churches. The windows of the south aisle are good in their design and glass, which, though mod- ern, reflects the Gothic mediaeval spirit far better than is usual. There is an elevated gallery along the aisle walls, which forms a sort of tribune or mdn- nerchore. In one of the recesses beneath the gallery is a highly coloured sculpture group of an " Entombment." The easterly portion of the cathedral is by far the most pleasing, and partakes of the best Gothic features, and indeed is far superior to the nave. The supporting columns of the vaulting have foliaged capitals, while the vaulting itself is even more elaborate. The aisles, as they approach the choir, are rectangular-ended, and extend quite to the end of the choir termination, showing a very sin- gular cross-section of this portion of the church. The screen is a modern stone work after the Gothic manner. It sits beneath a not unbeau- tiful Gothic window, rather richly traceried with four lights. The glass of this window is modern, but, like that in the nave aisles, is excellent. -^20 Cathedrals and Churches of tJie Rhme The crypt is entered from the south tran- sept, and also from the nave by an entrance which passes between the steps which rise to the choir pavement. ;si2iS^ There is an elaborate seven-branched can- dlestick at the juncture of the nave and choir, modelled on one known to have existed in the Temple at Jerusalem. It is of the con- ventional form, but is a rare piece of church 321 Cathedrals and Churches of the Rhine furniture in that it dates from 1003, when it was presented by the Abbess Matilda, sister of the Emperor Otho II. Since it stands six or eight feet in height, this candlestick is a notable and conspicuous object. Before the steps leading to the crypt is the tomb of Bishop Alfred of Hildesheim. The crypt is all that a crypt should be, — a dim- lighted, solemn chamber of five aisles, the pavement of the church above being supported on stubby square pillars. It is used also for devotional purposes, the altar at the easterly end of the central aisle bearing the inscription, " Heilige Maria, Trosterin der Betrubten, bitt fur uns." The cloisters of this interesting edifice are, in part, of the primitive style of early Gothic, while the southern and western sides are an approach to the full-blown Gothic of a later epoch, with foliaged capitals. Dortmund Dortmund is the largest town of the prov- ince of Westphalia, and possesses four medi- aeval churches of more than usual interest. St. Reinhold's is the chief, and is a cruci- form edifice of more than ordinary propor- 322 Cathedrals and Churches of the Rhine tions. It is a picturesque melange of many- parts. Its western tower is of no style in particular, and is hideous, but most curious considering its environment. The nave and transepts are supposedly of the thirteenth cen- tury, but they are certainly not good Gothic as we know it elsewhere. The choir is of the early fifteenth century, and is much more gracefully conceived than is any other portion of this nondescript edifice. The transepts are square boxlike protuber- ances, which link the choir with the nave in most unappealing fashion. In the interior the most astonishing features are the low truncated nave of three bays, the grimness of the walls of the entire fabric, — excepting the well-lighted and aspiring choir, — and the straight-backed pews. The clerestory windows of the nave are semicircular, but the aisles are lighted by Gothic openings. There are two altars, one at the choir en- trance and the other in the apse, each sur- mounted by a triptych. The windows of the choir-apse, tall, ample, and of admirable framing, are the chief glory of this not very beautiful, though interesting, church. 323 Cathedrals and Churches of the Rhine St. Mary's is a late twelfth-century Roman- esque structure, without transepts, but pos- sessed of a towering apsidal choir. The nave is an attenuated afifair with no triforium, leaving a vast blank wall space, as though it were intended to have been dec- orated. Dortmund's " Pfarr Kirche " was a former Dominican foundation. Its general propor- tions are far greater than those of any other of the city's churches. The nave is ample, and the great choir of four bays, with spacious, lofty windows, is of the same generous pro- portions. The church dates only from the mid-four- teenth century, and its three-bayed nave is even later. The aisles of the nave are curi- ous in that they are not of similar dimensions. That on the street side is separated from the nave proper by square piers, with a slender shaft running to the vaulting. The other aisle is more ample, and has its arched openings to the nave composed of four shafts super- imposed upon a central cylinder. The nave lighting is amply provided for by a series of four light windows, bare, how- ever, of any glass worthy of remark. The south wall, which has no windows, has 3^4 Cathedrals and Churches of the Rhine two large frescoes, a " Descent of the Holy Ghost " and an " Assumption." There is also a series of paintings by two native artists, Heinrich and Victor Dunwege. 325 XXXI EMMERICH, CLEVES, AND XANTEN Emmerich and Cleves Just below Emmerich, which is the last of the German Rhenish cities, the Rhine divides itself, and, branching to the north, takes the Dutch name of Oud Rijn, which name, with the variation Neder Rijn, it retains until it reaches the sea. The branch to the west takes the name of the Waal and passes on through Nymegen, bounding Brabant on the north, and enters the sea beyond Dordrecht. Emmerich has, in its church of St. Martin, a tenth-century church of no great architec- tural worth, but charming to contemplate, nevertheless. Four kilometres away is Cleves, which, under the Romans, was known as Clivia and attained considerable prominence and pros- perity. The Normans sacked it in the ninth century, but it was shortly rebuilt, and became 326 Cathedrals and Churches of tJie Rhine the chief town of the County, afterward the Duchy, of Cleves. Under the Empire the city belonged to France. The town's principal church is quite attractive, but, beyond the distinction which it has in its twin spires, terminating a singu- larly long line of roof-top of nave and choir, there are no architectural features of note. Xanten At a little distance from the Rhine, just before the frontier of Holland is reached, is Xanten, the ancient Ulpia Castra. Near by, in the neighbouring village of Mirten, one sees the remains of an ancient amphitheatre, which denotes a considerable importance for the neighbourhood in Roman times. If more proof were needed, it will be found in the museum at Bonn, where are many Roman an- tiquities coming from the neighbourhood. Xanten is celebrated for having given birth to St. Norbert, the founder of the order of Premonstratension monks, and for having been the cradle of Siegfried, the hero of the " Nibelungen Lied." The city was captured by the French in 1672. 327 Cathedrals and Churches of the Rhine The collegiate church of Xanten is known as St. Victor's, and is truly celebrated for the grace and beauty of its early twelfth-century Gothic. Without transepts or clerestory, it shows in its one ample chamber, comprising both nave and choir, an exemplification of the art of combining the accessories of the Latin-cross structures of France with the hall-church idea so frequently met with in Germany, and so well recognized as a distinct German type. This arrangement does not give the church the appearance of being in any way confined or limited; quite the reverse is the case, and the double range of windows in the apse in- dicates, at least, a loftiness and hardiness of construction which is highly commendable. There are, moreover, double aisles to both nave and choir which give an ampleness to the interior which even its abundance of fur- nishings does not overcrowd. There are few five-aisled churches such as this in Germany, or indeed elsewhere, Co- logne being Germany's chief example in this style. In general, the Gothic of this highly inter- esting church is of the best, though it dates from various periods. The primitive church, 328 Cathedrals and Churches of the Rhine we know, was a Romanesque structure; but, beyond the foundations of the western towers, and possibly other fragmentary works yet hid- den, there is nothing but the most acceptable Gothic in evidence. S-UICT0R.'5 A distinctly curious feature is the apse-sided termination to the aisles, radiating from the main apse at an angle of forty-five degrees. It is a distinct innovation in the easterly ter- mination of a church ; a sort of a compromise between the French, English, and German styles, and wholly a successful one. 329 Cathedrals and Churches of the Rhine In the chancel is a sort of screen before the high altar, worked in brass at Maastricht in 1501. The windows contain a great deal of beau- tiful old glass, and some other that is by no means as good. The clerestory windows are elaborately traceried, and there is much detail of church furnishings, a choir screen, some elaborate stalls, a little tapestry, — which looks well and is certainly old, — and a modern tiled floor which is not ofifensive. As is frequently seen in Germany, the pil- lars and shafts have a series of statues super- imposed upon them; always a daring thing to do, but in this case of far better execution and design than is frequently encountered. Before the church is a monument in honour of Cornelius de Pauw, the friend of the great Frederick, a canon of the church and a famous spiritual writer. He was born at Amsterdam in 1739 and died at Xanten in 1799. 330 XXXII ARNHEIM, UTRECHT, AND LEYDEN Arnheim The Rhine in Holland is a mighty river. It divides itself into many branches, all of which make their way to the sea through that country which Butler in the " Hudibras " calls: " A land that draws fifty feet of water, In which men live as in the very hold of nature. And when the sea does in upon them break, And drowns a province, does but spring a leak." The Rhine proper, the Oud Rijn and the Neder Rijn, enfolds three great ecclesiastical centres of other days, Arnheim, Utrecht, and Leyden. Arnheim is the chief town of the Guelder- land, and seats itself proudly on the banks of the Neder Rijn just above its juncture with the Yssel. Of its fifty-five thousand inhabit- Cathedrals and Churches of the Rhine ants, twenty-five thousand are Roman Catho- lics, which fact makes it one of the most strongly Catholic cities, if not the strongest, in the Netherlands. Formerly the city was known as the Arena- cum of the Romans, and served as the resi- dence of the Dukes of the Guelderland up to 1538. In 1579 it gave adherence to the "Union of Utrecht," and in 1672 was taken by the French, when it became one of the principal fortresses of Holland. To-day the fortifications serve the purpose to which they are so frequently devoted in the cities and towns of Continental Europe, and form a fine series of promenades. In 1813 the town was taken by the Prussians, but in spite of all this changing of hands, it remains to-day as distinctly Dutch as any of the Low Country cities and towns. Its houses are well built of brick and equally well kept, and its sidewalks are as cleanly and well cared for as the courtyard of a palace. To-day the aspect of Arnheim is that of a quaint though modern-looking Dutch city. It is a favourite place of residence for ^^mes- sieurs du Sucre'' — rich Hollanders and Ori- entals from the Dutch East Indies. Alto- gether the atmosphere of its streets and cafes o ^ Cathedrals and Churches of the Rhine is decidedly cosmopolitan and most interest- ing. The Groote Kerk, built in 1452, rises from the market-place with a considerable purity of Gothic style. The church was formerly dedicated to St. Eusebe. Its tower is a land- mark for miles around, and rises to a height approximating three hundred feet. It is built of brick and is square for the first two tiers, flanked with sustaining buttresses, then it tapers off into an octagon. It contains a fine set of chimes, so frequently an adjunct to the churches and municipal belfries of the Low Countries. The interior presents a great ogival example of the best of fourteenth and fifteenth century church-building. To-day, since the church belongs to the Protestants, much that stood for symbolism in the Roman Church is wanting, and the pulpit, which is an admirable work of art in itself, is placed in the middle of the choir surrounded by numerous tribunes, or seats in tiers, in quite a parliamentary and non-churchly fashion. Behind the choir is a monument to Charles d'Egmont, Duke of Guelderland, who died in 1538, and whose tomb is at Utrecht. As a work of art this monument in the Groote 333 Cathedrals and Churches of. the Rhine Kerk at Arnheim is much more worthy than such monuments usually are. The duke is represented clothed in armour and reclining between six lions, which hold aloft his escutcheon. The pedestal is ornamented with bas-reliefs representing the Holy Family, the twelve apostles, St. Christopher, and two other saints. On a pillar at the left of the tomb is suspended, in a sort of wooden cage, another figure of the same prince. The effigy is of painted wood and is amazingly lifelike, though smacking decidedly of the figures in a waxworks exhi- bition. The chevet of this great church is quite worthy of consideration, though by no means as amply endowed as the French variety by which one comes to judge all others. Altogether, except for the poverty of deeply religious symbolism in the interior, of which it has doubtless been despoiled since the Cath- olic religion has waned in its power here, the church is a lovely and lovable example of the appealing church edifices which one now and then comes across in Continental cities of the third rank. The Catholic cult occupy the church of St. Walburge, a Gothic edifice in brick of the 334 Cathedrals and Churches of the Rhine fourteenth century. At the portal are two great symmetrical towers which are worthy of a far more important edifice. The interior is entirely modern as to its furnishings and fitments. On four pillars of the nave are placed, back to back, statues of the evangelists, — a species of decorative embellishment which, at all times since the fifteenth century, has been greatly favoured throughout Germany and the Low Countries. In France it is a feature but seldom seen, and, among the smaller parish churches, has almost its only examples at Vetheuil on the Seine below Paris, and at Louviers. The high altar is modern, as are also the black and white marble baptismal fonts. The pulpit is quite a grand affair, though modern also. Its sounding-board shows a figure of Moses holding aloft the tables of the law. It is admirably conceived and exe- cuted, and is of much artistic merit. Arnheim possesses several other religious edifices; but, as satisfactory expressions of ecclesiastical art or architecture, they are quite unworthy. The only one worthy of remark — and that only for its unseemliness — is a modern Protestant place of worship in the 335 Cathedrals and Churches of the Rhine form of a vast rotunda, which in all respects resembles a great building enclosing a pan- orama. Behind the chevet of the Groote Kerk, the ancient cathedral, is a fine old-time house of the sixteenth century. It is known, somewhat sacrilegiously one thinks, as the Maison du Diable, and was formerly the residence of a famous brigand or highwayman, — if there be any subtle distinction between the two. This brigand was moreover of the nobility, and was known as Martens van Rosum, Duke of the Guelderland. In front of the house is a min- iature terrace, and, on the walls above, to the right, are three monstrous effigies of devils, as well as one of a woman. In the centre, upon a pillar, is a bust of Van Rosum, and an inscription to the efifect that the house was restored in 1830. To-day it is occupied by certain municipal offices. Utrecht In many respects Utrecht was, in the past, the most important city in Holland, not com- mercially, but politically. To-dav it is simply the capital of the prov- ince of Utrecht, the seat of a Catholic arch- ^^6 Cathedrals and Churches of the Rhine bishop, and of a Jansenist archbishop as well. Of its population of quite a hundred thou- sand souls, one-third, at least, are of the Cath- olic profession, which is an astonishing pro- portion for a city of Holland. For this rea- son, perhaps, the city remains the metropolis of the Catholic religion in the Netherlands. The environs of the city are exceedingly picturesque. The Rhine again divides into two branches, the Oud Rijn continuing to the North Sea, through Leyden, and the other branch, known thenceforth as the Vecht, flow- ing into the Zuyder Zee. Utrecht is one of the most ancient cities of the Netherlands, having been founded under Nero by a Roman Senator named An- tony, hence it is frequently referred to by his- torians as Antonia Civitas. Its name in time evolved itself into Tra- jectum inferius or vetus, and in the Latin nomenclature of the early middle ages, it be- came Ultrajectum, or Trajectum Ultricen- sium. Under the Franks it was called Wil- trecht, which was but a short step to the name it now bears. King Dagobert here founded the first church in Fricsland, with St. Willibrod as 337 Cathedrals and Churches of the Rhine bishop, and St. Boniface, before he was called to Rome, here preached evangelization. The city was ruined and devastated in the seventh century, but its rebuilding was begun in 718 by Clothaire IV. Toward 934 it was surrounded by protecting walls by Bishop Baldric of Cleves. Utrecht was frequently made the residence of the emperors, and Charles V. there built the chateau of Vree- burg, a species of fortress-chateau that was demolished by the burghers of the city at the beginning of the war of independence, 1577. Adrien Florizoon, the preceptor of Charles v., who, at the death of Leo X., occupied the pontifical throne in 1522-23 as Adrien VI., was born at Utrecht. His house (Paushui- zen) on the banks of the canal Nieuwe Gracht, now a government building, contains many pictures relative to his life and times. For a long time the city was only a bishop's seat, but in 1559 it was made an archbish- opric. When, in 630, Dagobert, King of Austrasia, founded a chapel here, the religious founda- tion of the city began, and as early as in 696 it became the seat of a bishop. In the ninth century the Normans sacked the town, but thenceforth the bishops, who were then suf- 338 Cathedrals and Churches of the Rhine fragans of Liege, acquired a strength and power which assured the city freedom from molestation for a long time. In the sixteenth century political and relig- ious dissension combined to promote a state of unrest which was most acute. In 1577 the party which had allied itself with the Prince of Orange introduced religious reform, and in 1579 the seven provinces of Holland formed their compact of federation, and the States General held their sittings here. The Domkerk, or cathedral, originally ded- icated to St. Martin, is to-day a Protestant church. It was an outgrowth of the primitive church founded in 630 by Dagobert I., and of an abbey established by St. Willibrod. The cathedral of St. Martin was rebuilt, after a fire in 1024, by Bishop Adebolde, " in the presence of the Emperor Henry II. and many other great personages," as the old chroniclers have it. In 1257 it was nearly entirely rebuilt by the bishop then holding the see, Henri of Vianden, but a great storm crushed in its nave in 1674, since which time the faulty juncture of the various parts has been sadly apparent. After the destruction of the nave, the choir and the transepts formed practically the en- 339 Cathedrals and Chitrclies of the Rhine tire building, with the tower existing merely as a dismembered and orphaned feature. The tower was commenced in 1331 and completed in 1382. It rises from a magnifi- cently vaulted base. The lower portion is rectangular, but the octagon which forms the upper stages and " pierced to the light of day," as the French have it, foUow^s the best accepted style of its era. In its w^ay it is, al- though quite different, the rival of St. Ouen's " Crown of Normandy " at Rouen. There are 453 steps to be mounted if one cares to ascend to the platform, 103 metres from the ground. One gets the usual bird's- eye view, with this difiference, that the glance of the eye seems to reach out into an inter- minable distance, by reason of the general flatness of the country. One sees, at any rate, quite all of the provinces of South Holland, with the Zuyder Zee to the north, and a part of Guelderland and North Brabant. The tower possesses also a fine set of chimes of forty-two bells which is reminiscent of Bel- gium; but, unlike those in the famous old belfry at Bruges, the chimes on the Domkerk at Utrecht do not ring out popular marches or the airs of popular songs. The interior is so crowded with benches, 340 1(1 ; r^ '1\ , ■< »"i^ ,;■ 'f' . ? 1 ,; UTKECNT UTRECHT nnd Its CATHEDRAL Cathedrals and Churches of the Rhine similar to what English churchgoing people know as pews, that its original aspect is some- what changed. Eighteen great pillars hold aloft the vaulting of the choir and transepts. A notable tomb in black and white marble is that of Admiral van Gent (1676), and an- other is that of Bishop Georges d'Egmont (1549) . In the vault beneath the edifice were buried the viscera of Conrad II. and Henry V., who died at Utrecht, and whose remains, with this exception, were transported to Speyer. A fine Gothic cloister connects the cathedral with the university. This has, in recent years, undergone restoration of a most practical and devoted kind. It is a marvel of modern archi- tectural work. St. Peter's is another ancient Roman Catho- lic church now devoted to Protestant uses. St. John's also comes under this category. It is a fine example of a small Gothic church of the variety which was best known only in Holland and Belgium; much more severe than the French species, but interesting withal. Within the walls of this last are two tombs quite worthy of attention and remark. The one against the western wall is that of a cardi- nal who died in the fifteenth century, and the 341 Cathedrals and Churches of the Rhine other is that of Balthazar Frederick of Stoech. The latter, though dating only from the eight- eenth century, is charmingly sculptured, and has two superb figures of weeping children done in marble. The Roman Catholic church of St. Cath- erine is a Gothic edifice of the third ogival period, and was restored in 1880 at the expense of a devout Catholic of the city, named Van den Brink. The walls are decorated in a polychromatic scheme, which is not beautiful, though unde- niably striking. The jube, by Mengelberg of Utrecht, is distinctly good. Utrecht possesses in the Aartsbisschoppelyk Museum an establishment unique among the museums of the world. Particularly it shows all branches of religious art, and is of great importance to all who study the art and archi- tecture of the Netherlands. Of the secular establishments one remarks the university which adjoins the cathedral. It dates from 1636, and has to-day five fac- ulties. In the palace, constructed for Louis Bona- parte during the Napoleonic overflow, is a magnificent library of 110,000 volumes and 1,500 MSS. 342 Cathedrals and Churches of the Rhine The ancient academy, the archepiscopal palace, the Palais de Justice, the Stadt Huis, the Paushuizen (Prefecture), the mint, with a rich numismatic collection, and the Asso- ciation of Arts and Sciences complete the list of the city's notable monuments. heyden With Leyden the Rhine may be said to take its leave of ancient civilization, though it only joins the briny waters of the North Sea at Katwyck, a dozen kilometres distant, after having formed a natural frontier for nearly eleven hundred kilometres, from its Alpine cradle in the canton of Grisons. Anciently Leyden was the Lugdunum Bata- vorum of the Romans, and, according to the old-time historians, was the most ancient city of Holland. Later its name became Leithen, from which its present nomenclature is evolved. Its great importance came with the thir- teenth century and endured until the Spanish wars. The city was besieged by the Spaniards in 1574, and delivered therefrom by the Prince of Orange in the year following. 343 Cathedrals and Churches of the Rhine To-day the plan of Leyden forms a regular pentagon, with long streets and boulevards, all characteristically Dutch, with old-time and modern houses alike built with queer gabled roofs, giving quite a mediaeval aspect to an otherwise lively and up-to-date little city. The city is traversed from east to west by the Oud Rijn, which throws out many arms and branches and gives to the place a most Venetian appearance. One distinctive feature of the topographical aspect of Leyden, and one which is universal in most of the cities of Holland, are the canals which cross and recross the principal streets. All is plus propres, as the French have it, and the tree-bordered, cobblestoned quays are not the least of the town's attractions for the stranger. Unquestionably the chief architectural treasure of Leyden is the Stadt Huis. It is of the style which may best be called Dutch, and is a reconstruction of 1597. In front of the Stadt Huis are a pair of gaudily coloured stone lions, which have looked down for a matter of three hundred years on the Pilgrim Fathers, some of whom had gathered and settled here previous to go- 344 Cathedrals and Churches of the Rhine ing to the New World, on Oliver Goldsmith, on Boswell, on Evelyn, and on many other Englishmen who attended the famous uni- versity here. One learns that these lions were once prop- erly coloured beasts, — at least of the conven- tional tone of stone sculptured animals, and that they were only recently painted a gaudy vermilion, which apparently is not a very durable colour, as in these days they seem to shed and don their coats with surprising fre- quency. The chief ecclesiastical monuments of Ley- den are the church of St. Peter, of the thir- teenth to sixteenth century, a vast Latin cross of not very good Gothic; and St. Pancras, of the thirteenth century, built, curiously enough, on the ground-plan of a St. Andrew's cross. St. Peter's was built in 1221, but in 1512 its great tower fell and was replaced by the present one, which rises high above the rest of the fabric. In truth, there is not much of interest to be derived from a contemplation of the church except the memory of the great names of those interred therein, which form a veritable cate- gory of those who became famous in matters 345 Cathedrals and Churches of the Rhine ecclesiastic, artistic, and scientific, in Hol- land's roll of fame. Near St. Peter's is a thirteenth-century edi- fice now used as a prison. In olden times it served as the residence of the Counts of Hol- land, the name " Gravenstein " on the ancient structure signifying " the house of the count." The church of St. Pancras is an ogival edi- fice built in 1280. It has no remarkably artis- tic attributes, and its chief interest consists in the fact that it contains the tomb of Van der Werf, the courageous burgomaster, who, in 1574, so heroically defended the city. He was born at Leyden in 1529 and died in 1604. Leyden may be called the learned city of Holland. In recognition of having withstood a siege by the Spaniards of 131 days, the city was given the choice between exemption from taxation or the foundation of a university, and chose the latter. The city is the birthplace of many men famous in Dutch art, among them Lucas de Leyde, Rembrandt, Gerard Dow, G. Metsu, J. van Goyen. Here also was born the celebrated anabap- tist known as John of Leyden. THE END. 346 Appendix Chronological Tables and Diagrams AIX-LA-CHAPELLE Round Chinch in the IXth Century, Aix-la-Chapelle Charlemagne died at Aix-la-Chapelle, 814 Charlemagne's original chapel founded, Vlllth century Damaged by fire, 1146, 1234, 1236, 1656 Choir begun, 1353 Choir completed, XlVth century Minorite church, XlVth to XVth century 347 Appendix ANDERNACH Foundation of primitive church, Xth century St. Genevieve, Xlllth century Coloured bas-relief oi portal, XVIth century Lahnstein tomb, 1541 ARNHEIM City gave adherence to " Union of Utrecht," 1579 Taken by the French, 1672 Taken by the Prussians, 1813 Groote Kerk founded, 1452 Main portions of Groote Kevk, XlVth and XVth centuries St. Walburge, XlVth century Monument of Duke of Guelderland, XVIth century Maison du Diable (restored 1830), XVIth century BACHARACH AND BINGEN Protestant temple, Bacharach, Xllth century Chateau of Archbishops of Mayence at Asmanhausen, Xlllth century "Mouse Tower," Xlllth century Appendix BASEL Councils of the Church held here, 1061 and 1431 Cathedral founded by Henry II., loio Cathedral dedicated, 1019 Bridge crossing the Rhine, 1220 Council-chamber, 1431-44 Baptismal font, 1465 North tower (66 metres), 1500 University founded by bull of Pius II., XVIth century BONN C D Primitive church founded by the mother of Constantine, 319 Present cathedral choir and crypt, 11 57 Main fabric, Xllth and Xlllth centuries The Electors of Cologne came to reside at Bonn, 1268 BOPPART Hauptkirche built, 1200 (?) Carmeliterkirche built. XVIth century Boppart made a ville imperiale, XlVth century CLEVES Sacked by the Normans, IXth century 349 Appendix COBLENZ r^ r V_r St. Castor founded by Louis the Pious, 836 Lower ranges of towers, Xlth century Reconciliation of Henry IV. with his sons, 1105 St. Bernard preached Crusades here, Xllth century Bridge crossing the Moselle, 1344 COLMAR St. Martin's foundations, Xlllth century St Martin's choir, 131 5 Virgin of the Roses, XVth century Dominican Convent of Unterlinden, 1232 350 Appendix COLOGNE Ancient Cathedral Romanesque cathedral destroyed by fire, 1 248 Foundation-stone of new cathedral laid, 1248 Charter mentioning St. Trond, 1257 Choir consecrated. 1322 Work stagnated. XVth and XVIth centuries Work again undertaken, XVIIth century Renaissance details added to choir, XVII Ith century Present Cathedral Napoleon transferred archbishopric to Aix, XlXth century See reestablished at Cologne, 1821 Restoration begun and choir reopened, 1842 Appendix COLOGNE [Continued) Reliques of the " Three Kings " first brought from Milan, 1 164 Tapestries in choir, XVth century Glass in Chapel of the Three Kings, XVth century Organ-case, i 572 Candelabra of choir, 1770 Nave consecrated, 1848 Wall between nave and choir broken out, 1863 Spires of towers added, 1870 Spires completed, 1880 Petrarch visited Cologne, 1331 Marie de Medici died at Cologne, 1642 L, St. Maria in Capitolia St. Citniberfs St. Maria in Capitolia (nave), Xlth century St. Maria in Capitolia (apses), Xllth century St. Pantaleon, 980 Apostles' Church, Xlth century St. Gereon's (primitive church), Vth century Jews driven from Cologne, 1425 Protestants driven from Cologne, 1618 Abbey of Altenburg (glass), 1270-1300 Abbey of Altenburg (choir), 1255 Appendix St. Martin's Church of the Apostles St. Gdreoti's Crypt, St. Gereon's 353 Appendix CONSTANCE City founded by Emperor Constance, 297 Ville imperiale, Xth century Peace between Barbarossa and Lombardy, 1183 Cathedral founded, Xlth century Bishop Salomon occupied the see, 891-919 St. Stephen's enlarged by Bishop Salomon, 900 Further embellished by Bishop Conrad of Altdorf, 935 Renovated by Bishop Theodoric, 1047-51 Council-chamber built, 1388 Roof of nave and aisles (in wood), 1600 Council concerning the three popes, 141 4-18 Council condemning John Huss, 1414 John Huss burned alive, 141 5 Reconstructed by Bishop Otto III., 1428 Consecrated to the Lutherites, 1522-48 Organ and case (restored 1819 and 1839), 1583 Catholicism reestablished at Constance, 1550 DORTMUND St. Mary's, Xllth century St. Reinhold's nave and transepts, Xlllth century St. Reinhold's choir, XVth century Pfarrkirche, XlVth century 354 Appendix EMMERICH St. Martin's, Xth century ESSEN Romanesque details of cathedral, 874 Crypt, transept, and choir foundation, Xlth century Seven-branched candlestick, 1003 Gothic additions, XlVth century FRANKFORT First historical mention, 794 Juden Gasse, 1662 Cathedral completed, XlVth cen- tury Tomb of Emperor Gunther of Schwarz- burg, 1349 Tomb of Knight of Sachsenhausen, 137 1 Late Gothic western tower (163 feet), 1415-1509 Tomb of Consul Hirde, 1518 St. Leonard's, Xlllth century St. Catherine's, XVIIth century St. Paul's, 1833 FREIBURG City founded by Berthold IIL, 11 18 Cathedral founded by the same, 1122 Nave and restored choir, Xlllth cen- tury Cathedral finally completed, 1513 Benedictine Convent of Taennenbach, Xllth century Cloister of parish church, XlVth cen- tury IT Cathedral, Freiburg 355 Appendix GODESBERG Given to Archbishop of Cologne, 1210 Chapel of St. Michal, Xlllth century Ch3.teau of archbishops pillaged, 1593 HEIDELBERG Conrad of Hohenstaufen, first Count Palatinate, 1148 Heidelberg made capital of the Palatinate, 1228 St. Esprit's, XlVth to XVth century House of the Chevalier zum Ritter, 1492 University of Heidelberg founded, 1386 Luther at the University, 151 5 Heidelberg invaded by Tilly, 1622 Library of University given to Pope Leo Xlth, 1622 St. Peter's sacked by Melac, 1693 Library of the Palatine sent from Rome to Paris, 1795 Library returned to Heidelberg, 181 5 Castle built by the Elector, Robert L, XlVth century Additions by Otto Henry, 1556-59 Later additions by Frederick IV., XVIth century Castle ravaged by Spaniards, 1622 Again rebuilt and dismembered by light- ning, 1764 Great tuns, 1535, 1728, 1751 jJV c Abbey of Laach LAACH Abbey founded by Henry II., 1093 Pillaged by revolutionists, XVIIIth cen- tury 356 Appendix LEYDEN St. Pancras, 1280 St. Peter's, Xlllth to XVIth century St. Peter's tower fell, 1512 Old Palace of Counts of Holland (1280), Xlllth century Tomb of Van der Werf in St. Pancras, XVIth century City besieged by Spaniards, 1574 Stadt Huis, 1597 LIEGE St. Jean, Xth century St. Jean, choir added, Xlllth century St. Jean, tower added, Xlllth century St. Jean, cloister, XlVth century St. Martin founded, 962 Bishopric founded by Heraclius, 968 Ste. Croix founded by Bishop Notger, 979 Ste. Croix, choir added, 1175 Ste. Croix, Stations of the Cross, XVth century St. Jacques's founded by Bishop Baudry II., ior4 St. Jacques's Romanesque tower, Xllth century St. Jacques's rebuilt, 1513-38 St. Jacques's organ buffet, 1673 St. Barthelemy's font, 11 12 Fete Dieu ordained by Urbain IV., 1246 St. Lambert's destroyed, 1801 LIMBURG Primitive church, 909 Cathedral of St. George, Xllth century Baptismal fonts, Xllth century Baldaquin of Pyx, XVth century Tomb of Daniel of Mutersbach, 1475 MANNHEIM City founded, 765 Elector Frederick built his chateau, XVIIth century City walls built, 1606 MAYENCE Bishops of the Frankish kingdom convoked by Dagobert, 636 Bishop Sigibert built the city walls, 718 Council met here on order of Charlemagne, 813 Archbishop Willigis built the cathedral and St. Stephen's, 975-101 1 357 Appendix Cathedral completed under Archbishop Bardon, 1037 Pope Leo IX. held a council here, 1049 Cathedral burned, 1087 Philip of Suabia crowned here, 1198 Transept and western choir rebuilt, Xllth century Chapter-house, Xllth century cr~n~D L rf\ xr Cathedral, Mayence Gothard Chapel, Mayence Cathedral newly consecrated, 1239 Cloisters, Xlllth century Chapels, Xlllth and XlVth centuries Western end of roof took fire, 1793 Napoleon ordered it restored, 1803 Remains of Frastrada (d. 794) removed thither, 1552 Fountain in Speise-Markt, XVIth century METZ c Origi ity attacked by the Huns, Vth century •riginal foundation of Eglise St. Pierre, Vllth century Reconstructed, Xth and XVth centuries St. Stephen's (cathedral), Xlllth century Glass of clerestory of St. Stephen's, XVIth century St. Martin's, Xlllth century St. Vincent's, Xlllth century Montmorenci captured the city, 1552 Abbey of St. Arnulphe destroyed, XVIth century Citadel built, 1556-62 358, Appendix MtJNCHEN - GLADBACH Abbey church, Xlllth century Stadt Kirche,iXIVth century NEUSS City ravaged by Attila, 451 Chapter of Nobles founded, 825 By the Normans, IXth century Primitive church founded, IXth century Collegiate church destroyed, 1199 Under patronage of Archbishop of Cologne, 1206 St. Quirinus founded, 1209 Choir-stalls, St. Quirinus, XlVth cen- tury Cupola frescoes, St. Quirinus, XlXth century 359 Appendix SCHAFFHAUSEN Abbey founded by Count Nellenburg, 1052 Cathedral, Xllth century Convent of St. Hilaire at Sackingen, Vlth century Schaffhausen Speyer SPEYER Foundation of cathedral laid, 1030 Practically completed, 1060 Destroyed by fire, 11 59 Rebuilt, 1 170 Other fires, 1189-1450 Cloister built, 1437 Burned in the religious wars, XVIth century Restored, XVIIIth century Nave restored by Bishop August, 1772 Later restorations, 1823 360 Appendix STOLZENFELS Castle founded by Arnold of Treves, Xlllth century Nearly destroyed by the French, 1688 Given to the Prince Royal of Prussia, 1825 STRASBURG Primitive church founded by Clovis, 504 Destroyed by fire, 873 Pillaged and fired anew by Duke Hermann, 1002 Present cathedral begun, 1277 Great portal begun by Ervin von Steinbach, 1277 Ervin von Steinbach died, 1318 First Strasburg clock, 1352 Second Strasburg clock, 1571-74 Second Strasburg clock restored, 1669 and 1732 Second Strasburg clock ceased its functions, 1790 Present Strasburg clock inaugurated, Choir, St. Bartholomew's, 1308-45 " Danse des Morts " (St. Bartholo- mew's), XVth century Maison de I'Oeuvre Notre Dame, 1581 Episcopal palace built by Cardinal de Rohan, f74i Height of spire of cathedrals : Stras- burg, 440 feet; Cologne, 482 feet; Rouen, 458 feet ; Paris, 200 feet TREVES Primitive church founded, 327 See became an archbishopric, Xllth century Archbishops removed to Coblenz, XlVth century Holy robe of Treves brought from 1 Holy Land, IVth century Tomb of Cardinal Ivo, Xllth century Notre Dame built, 1227-43 Treves 361 Appendix UTRECHT Primitive church founded by Dagobert, 630 City devastated, Vllth century City rebuilt by Clothaire IV^, 718 Enlarged by Bishop Baldric of Cleves, 934 Adrian Florizoon of Utrecht became Pope Adrien VI., 1522 See made an archbishopric, 1559 Religious reform advocated by Prince of Orange, 1577 States General sat at Utrecht, 1579 Cathedral of St. Martin rebuilt from primitive church, 1024 Cathedral of St. Martin again rebuilt, 1257 Tower, 1331-82 Nave damaged, 1674 WORMS Concordat between Pope Calixtus II. and Henry V., 1122 Diet of Worms declared Luther a heretic, 132 1 Cathedral begun by Bishop Bouchard, 996 Later additions and rebuilding since, 1185 City besieged but cathedral unharmed, 1689 St. Martin, Xllth century Notre Dame, Xlllth to XlVth century Synagogue, Xlth century Jewish colony at Worms, 550 B.C. Abbey of Lorsch founded, 767-774 Primitive church founded at Lorsch, 285 Lorsch incorporated with Archbishopric of Mayence, 1232 Abbey rebuilt, 1100 St. Alaj'tin, I Forms XANTEN Captured by the French, 1672 Collegiate church of St. Victor, Xllth century Chancel screen, 1501 Monument to Cornelius de Pauw, XVIIIth century 362 INDEX Abbey of Altenburg, 42, 64, 275-276. Abbey of Laach, 63, I93-I94. 355- Abbey of Lorsch, 1 53-154- Abbey of Pfeffers, Ragatz, 21. Abbey of St. Arnulphe, Metz, 117. Academy of Painting, Diis- seldorf, 307. Aix-la-Chapelle, 32, 38, 277- 294. Aix-la-Chapelle, Cathedral of, 43, 44, 50, 56, 62, 65, 289- 293, 347- Aix-la-Chapelle, Church of St. Adelbert, 293. Aix-la-Chapelle, Minoriten Kirche, 293. Altenburg, Abbey of, 42, 64, 275-276. Amiens, Cathedral of, v., 4, 256, 262. Andernach, 9, 14, 199-204. Andernach, Church of St. Genevieve, 201-204, 348. A;-chbishop Bardon, 164. Arnheini, 8, 25, 2>3^-2,?,(^- Arnheim, Groote Kerk, t,^^,- 334, . 348. Arnheim, Church of St. Wal- burge, 334-335- Arnheim, Maison du Diable, 336. Attila, 15, 98, 149. Bacharach, 172-174. Bacharach, Church of St. Werner, 172. Bacharach, Protestant Tem- pi t^, ^72,, 348. Bacharach, Church of St Peter, 59, 173. Barbarossa, 15, 38, 69, 245, 283. Basel, 9, 15, 16, 17, 22, 83- 90. Basel, University of, 82. Basel, Cathedral of, 86-80, 348. Basel, the Pfalz, 89. Basel, Museum at, 90. Bingen, 17, 177. Bingen, " Mouse Tower," 177, 179, 348. Bishop Alfred of Hildes- heim, 319, 322. Bishop August of Limburg, .131- Bishop Baudry II., 299, 301. Bishop Hatto, 177. Bishop Otto III., 74, 75. Bishop Reinhold, 130-131. Bishop Salomon III., 74. Bishop Siegfried, 128. Bishop Theodoric, 74. Blonde], 24, 25. Bonn, 9, 17, 220-225. Bonn, Cathedral of, 59, 150, 220-223, 349- Boppart, 191-193. 15oppart, Hauptkirche, 191- 192, 340. Boi)parl, Convent of Marien- burg. 192. Boppart, Carmelite Church, 192. Boppart, Templehof, 192. 2>^2> Index Bridge at Coblenz, 190. Bromser, Hans, 179-180. Bninhilda, 149, 151. Caesar, 13, 14, 15. Carlsruhe, 134, 136. Carlsruhe, Churches of, 135. Carmelite Church, Boppart, 192. Castle of Heidelberg, 3, 142, 144-145- Cathedral of Charlemagne, Aix-la-Chapelle, 43, 44, 50, 56, 63, 65, 289-293, 347. Cathedral of Amiens, v., 4, 256-262. Cathedral of Basel, 86-89, 349- Cathedral of Bonn, 59, 150, 220-223, 349. Cathedral of Cologne, v., 3, 4, 9, 43, 46, 64, 232-263, 351. Cathedral of Constance, 69, 74. 354- Cathedral of Essen, 63, 65, 319-322, 355. Cathedral of Frankfort, 156- 158, 355- Cathedral of Freiburg, 93-95, 355- Cathedral of St. Lambert, Liege, 298, 357. Cathedral of St. Paul, Liege, 299, 357- Cathedral of Limburg, 3, 67, 182-186, 357. Cathedral of Lincoln, v. Cathedral of Mayence, 48, 49, 54, 60, 64, 150, 162, 164- 170, 357- Cathedral of St. Stephen, Metz, v., 114, 120-124, 358. Cathedral at Paderborn, 61. Cathedral of Paris, v., 3. Cathedral of Reims, v., 4. Cathedral of Rouen, 4. Cathedral of Schaffhausen, 81, 360. Cathedral of Speyer, 4, 31, 57, 60, 128-133, 360. Cathedral of Strasburg, v., 47, 64, 97, 99-109, 361. Cathedral of Tournai, 3, 43. Cathedral of Treves, 56, 208, 214-217, 361. Cathedral of St. Martin, Utrecht, 339-341, 362. Cathedral of Worms, 60, 150- 151, 362. Cathedral of York, v. Catholic Church of Wies- baden, 139-141. Chapel of the Three Kings, Cologne Cathedral, 258- 261. Charlemagne, 13, 14, 15, 30, 33, n, 50, 99, 149, 153, 155, 178, 246, 247, 277-283, 289, 293, 294. Charles V., 149, 199. Chateau of Mannheim, 147. Churches of Carlsruhe, 135. Church of Cleves, 327, 349. Churches of Darmstadt, 137- 138. Church of Deventer, 39. Church of Mannheim, 148, 357. Church of Notre Dame, Treves, 214, 217-218, 361. Church of Notre Dame, Worms, 151. Church of Rudesheim, 178. Church of the Apostles, Cologne, 267. Church of the Jesuits, Co- logne, 274. Church of the Jesuits, Diis- seldorf, 306. Church of the Jesuits, Treves, 218. Church of St. Adelbert, Aix- la-Chapelle, 293. Church of St. Andrew, Cologne, 267, 268. Church of St. Antoine, Treves, 218. 364 V Index Church of St. Barthelemy, Liege, 302-303, 357. Church of St. Bartholomew, Strasburg, no. Church of St. Castor, Coblenz, 38, 59, 189-190, 350. Church of St. Catherine, Frankfort, 159, 355. Church of St. Clement, Metz, 125-126. Church of Ste. Croix, Liege, 301-302, 357. Church of St. Esprit, Heidel- berg, 144, 356. Church of St. Eucharius, Metz, 125. Church of St. Gangolphe, Treves, 218. Church of St. Genevieve, Andernach, 201-204, 348. Church of St. Gereon, Co- logne, 44, 57, 63, 217, 271- 274, 352. Church of St. Gervais, Treves, 218. Church of St. Jean, Liege, 301, 357- Church of St. John, Nieder- lahnstein, 191. Church of St. John, Schaff- hausen, 81, 360. Church of St. John, Utrecht, 341-342, 362. Church of St. Leonard, Frankfort, 159, 355. Church of St. Maria in Capi- tola, Cologne, 60, 63, 266, 268, 352. Church of St. Martin, Coire, 20-21. Church of St. Martin, Col- mar, 91-92, 350. Church of St. Martin, Cologne, 59, 60, 268. Church of St. Martin, Em- merich, 326, 355. Church of St. Martin, Liege, 301, 357- Church of St. Martin, Metz, 124, 358. . Church of St. Martin, Worms, 151, 362. Church of St. iMary, Dort- mund, 324, 354. Church of St. Maximin, Metz, 124. Church of St. Nicholas, Frankfort, 158. Church of St. Pancras, Ley- den, 345, 346, 457. Church of St. Pantheon, Cologne, 266. Church of St. Paul, Frank- fort, 159, 355. Church of St. Paul, Treves, 218. Church of St. Peter, Bach- arach, 59, 173, 348. Church of St. Peter, Cologne, 264. Church of St Peter, Heidel- berg, 143. Church of St. Peter, Leyden, 345, 346, 337. Church of St. Pierre, Metz, 118. Church of St. Quirinus, Neuss, 6, 38, 56, 59, 60, 204, 308-313, 359- Church of St. Reinhold, Dortmund, Z22-Z2J,, 354. Church of St. Sagelone, Metz, 125. Church of St. Stephen, Con- stance, 74-77, 354. Church of St. Thomas, Stras- burg, III. Church of St. Victor, Xantcn, 328-330, 362. Church of St. Vincent, Metz, 124. 358. Church of St. Walburge, .\rnheim, 334-335- 348. Church of St. Werner, Bach- arach, 172. Cleves, 326. 327. Cleves, Church of, 327, 349. 365 Index Clock of Strasburg, 105-108, 361. Clevis, 15, 99, 149. Coblenz, 9, 14, 187-191. Coblenz, Church of St. Cas- tor, 38, 59, 189-190, 350. Coblenz, Bridge at, 190. Coire, 20. Coire, Church of St. Mar- tin, 20-21. Colmar, 90, 92. Colmar, Church of St. Mar- tin, 91-92, 350. Colmar, Unterlinden, 92. Cologne, vii., 3, 6, 9, 11- 12, 13, 15, 25, 32, 2>z, 34, 232-276. Cologne, Cathedral of, v., 3. 4, 9, 43, 46, 64, 232-263, 351. Cologne, Church of St. Peter, 264. Cologne, Church of St. An- drew, 3, 267, 268. Cologne, Church of St. Ge- reon, 44, 57, 63, 217, 271- 274, 352. Cologne, Church of St. Mar- tin, 59, 60, 268. Cologne, Church of St. Maria in Capitola, iii., 60, 63, 266, 268, 352. Cologne, Church of St. Pan- taleon, 266, 352. Cologne, Church of the Apos- tles, 267. Cologne, Church of the Jesuits, 274. Comacine Masters, 2)7- Conrad 11., 127. Conrad III., 133. Constance, vii., 15, 68-78. Constance, Cathedral of, 69- 74, 354- Constance, Church of St. Stephen, 74, 77, 354. Constance, Council of, "]"]. Constance, Lake of, 17, 18, 22, -j-j, 78. Convent of Marienburg, Bop- part, 192. Cornelius of Diisseldorf, 313. Council of Constance, TJ. Dagobert I., 127, 149, 337, 338. Darmstadt, 136-138. Darmstadt, Churches of, 137- 138. Dasypodius, Conrad, 108. D'Egmont, Charles, ZZZ, 334- De Pauw, Cornelius, 330. Deventer, Church of, 39. Diet of Worms, 149. Disentis, Abbey of, 19. Dortmund, 322-325. Dortmund, Church of St. Reinhold, ■^2.2-12?,, 354. Dortmund, Church of St. Mary, 324, 354. Dortmund, Pfarr Kirche, 324- 325- Dow, Gerard, 346. Drachenfels, 225. Drusus, 162, 199, 220. Dunwege, Heinrich and Vic- tor, 325. Diisseldorf, 6, 9, 15, 17, 25, 304-307. Diisseldorf, Academy of Painting, 307. Diisseldorf, Church of the Jesuits, 306. Diisseldorf, the Hofkirche, 305-306. 6glise St. Jacques, Liege, 299-301. Ehrenfels, 174. Emmerich, 326. Emmerich, Church of St. Martin, 326, 355- Emperor Sigismund, 76, yT. Empress Helene, 208, 212. Episcopal Palace, Strasburg, 112. Erasmus. 84, 89. Essen. 318, ^22. Essen, Cathedral of, 63, 65, 319-322, 355. 366 Index Falls of Schaflfhausen, 79-80. Frankfort, 155-160. Frankfort, Cathedral of, 156- 158, 355. Frankfort, Church of St. Nicholas, 158. Frankfort, Church of St. Leonard, 159, 355. Frankfort, Church of St. Catherine, 159, 355. Frankfort, Church of St. Paul, 159, 355. Frankfort, Liebfrauenkirche, 160. Frastrada, 168, 277-282. Freeman, Professor, 256. Freiburg, 93-96. Freiburg, Cathedral of, 93- 95, 355- Freiburg, Parish Church, 96, 355- Freiburg, Protestant Temple, 96. French Revolution, 156, 165. Gibbon, 50. Godesberg, 226-227, 356. Gonse, 47. Great Tun of Heidelberg, 145. Greek Chapel, Wiesbaden, 141. Grisons, 17, 19-20. Groote Kerk, Arnheim, 333- 334, 348. Groote Kerk, Rotterdam, 7- 8,39. Grynn, Hermann, 242-245. Gustavus Adolphus, 15. Gutenberg, 26. Haarlem, 7. Haarlem, Kerk at, 7. Hauptkirche, Boppart, 191- 192, 349- Heidelberg, 142. 146. Heidelberg, Castle of, 3, 142, 144-145. 355. Heidelberg, Church of St. Peter, 143. Heidelberg, Church of St. Esprit, 143, 355. Heidelberg, University of, 144. Heidelberg, Great Tun of, 145- Henry VI. of Germany, 24. Hildesheim, 55. Hoffmann, 140, 141. Hofkirche, Diisseldorf, 305- 306. Holbein, Hans, 84, 88, 90, 96. Holy Coat of Treves, 210-213, Hugo, Victor, 104. Huss, John, 15, 70, Tj, 78. Jerome of Prague, 144. John of Ettingen, 156. John of Leyden, 346. Katwyck, 25, 27. Kauffmann, Angelica, 21. Kerk at Haarlem, 7. Koempf, 95. Konigswater, 9. Laach, 193. Laach, Abbey of, 6^, 193-194, 355- Lake of Constance, 17, 18, 22, 68, 78. Leopold of Austria, 24. Leyden, v., 7, 8, 25, 343-346- Leyden. Stadt Huis, 344-345, 357. Leyden, Church of St. Peter, 345, 346. 357- Leyden, Church of St. Pan- eras, 345, _ 346, 357. Liebfrauenkirche. Frankfort, 160. Liege, 295-303. Liege, Cathedral of St. Lam- bert, 298. Liege. Cathedral of St. Paul, .^99- Liege, figlisc St. Jacques. 299- 301. 367 Index Liege, Church of St. Jean, .301, 357- Liege, Church of St. Martin, 301, 357- Liege, Church of Ste. Croix, 301-302, 357. Liege, Church of St. Barthe- lemy, 30-2-303, 357. Limburg, 59, 61, 181-186. Limburg, Cathedral of, 3, 67, 182-186, 357. Lincoln, Cathedral of, v. Longfellow, 47. Lorsch, Abbey of, 153-154. Louis XV., 118. Lowell, James Russell, 47. Luther, 15, 29, 36, 75, 145, 149- Maastricht, 43. Maison du Diable, Arnheim, 336. Mannheim, 146, 148. Mannheim, Chateau of, 147, 355- Mannheim, Church of, 148. Marechal de Saxe, Monu- ment of, III. Mayence, vii., 6, 13, 14, 15, 17, 22, 2Z, 29, 32, 34, 161 -171. Mayence, Cathedral of, 48, 49, 54, 60, 64, 162, 164-170, 358. Metz, 1 14-126. Metz, Cathedral of St. Stephen, v., 114, 120-124, 358. Metz, Abbey of St. Arnulphe, 117. Metz, Tour des Lennyers, 117. Metz, Church of St. Pierre. 118. Metz, Church of St. Martin, 124, 358. Metz, Church of St. Vincent, 124. 358. Metz, Church of St. ]\Iaxi- min, 124. Metz, Church of St. Clement, 125-126. Metz, Church of St. Eucha- rius, 125. Metz, Church of St. Sage- lone, 125. Minoriten Kirche, Aix-la- Chapelle, 293. Minsie, Henry (von Frauen- lob), 170-171. Minster Church, Miinchen- Gladbach, 314-315. Moselle Valley, 188-189. " Mouse Tower," Bingen, 177, 179, 348. Miinchen-Gladbach, 57, 314- 317- Miinchen-Gladbach. Minster Church, 314-315. M ii n c h e n-Gladbach, Stadt Kirche, 315-317, 355- Munoth, Fortress of, Schaff- hausen, 80. Museum, Basel, 90. Museum, Utrecht, 342. Napoleon, 13, 15, 156, 163, 252, 305. Neuss, 6, 9, 308-313. Neuss, Church of St. Quiri- nus. 6, 38, 56, 59, 60, 204, 308-313, 359. Nonnenwerth, Convent of, 231. Nuremberg, 55. Paderborn, 34. Paderborn, Cathedral at, 61. Paris, Cathedral of, v., 3. Parish Church, Freiburg, 93- 96, 355- Parish Church, Sinzig, 38, 204-207. Petrarch, 246. Pfalz, Basel, 89. Pfarr Kirche, Dortmund, 324- 325. Pope Adrien VL, 338. Pope Benoit XIIL, 76-77. 168 Index Pope Boniface III., 131. Pope Gregory II., 33. Pope Gregory XII., 76-77. Pope John XXIII., 76-77. Pope Leo IX., 164. Pope Urbain IV., 301. Prague, 55. Protestant Temple, Bacha- rach, 173, 348. Protestant Temple, Freiburg, 96. Ragatz, 21. Ragatz, Abbey of PfeflFers, 21. Ratisbon, Cathedral at, 47. Ravenna, 44, 50. Reims, Cathedral of, v., 4. Remagen, 9. Rembrandt, 346. Reynolds, Sir Joshua, 265. Richard I. of England, 24- 25- Robert I., 145. Rohan, Cardinal de, 112. Rolandseck, 227-231. Rotterdam, Groote Kerk of, 7-8, 39- Rouen, Cathedral of, 4. Rubens, 264-265. Rudesheim, 178-180. Rudesheim, Church of, 178. Rudolph of Hapsburg, 83, lOI. Ruskin, 40. Sackingen, 81. St. Bernard, 133, 190. St. Boniface, 33. 37, 163, 338. St. Fridolin, 82. St. Helene, 215, 220, 222. St. Hilaire, 82. St. Janskerk, Gouda, 39. Ste. Julienne, 301. St. Norbert, 327. St. Thomas, "j^. St. Trons, 19-20. St. Ursula, 245. St. Willibrod, -ill- 339- Schafifhausen, i, 9, 79-81. Schaffhausen, Falls of, 79-80. Schaffhausen, Cathedral of, 81-360. Schaffhausen, St. John's Church, 81. Schaffhausen, Munoth, For- tress of, 80. Schiller, 29. Schongauer, 91, 92. Schwilgu, 108, 109. Sinzig, 204-207. Sinzig, Parish Church, 38, 204-207. Southey, 177. ^ Speyer, 15, I27-I33.*'''^ Speyer, Cathedral of, 4, 31, 57, 60, 128, 133, 360. Stadt Huis, Leyden, 344, 345, 357- Stadt Kirche, Miinchen- Gladbach, 315-317, 359- Stolzenfels, 195-198. 355. Strasburg, 6, 15, 16, 22, 24, 97-113- Strasburg, Cathedral of, v., 47, 64, 97, 99-109, 361. Strasburg, Clock of, 105-108, 361. Strasburg, Church of St. Bartholomew, no, 361. Strasburg, Church of St. Thomas, in, 361. Strasburg, Episcopal Palace, 112. Synagogue, Worms, 152, 362. Taine, 26. Taunus, Hills of, 23. Templehof, Boppart, 192. Teniers, 7. Thirty Years' War, 150, 154, 156, 163, 172, 197. Tilly, 145. Tour des Lennyers, Metz, n7. Tournai, Cathedral of, 3, 43. Treves, 208-219. Treves, Cathedral of, 56, 208, 214-217. 369 Index Treves, Holy Coat of, 210- 213. Treves, Church of Notre Dame, 42, 64, 214, 217-218, 361. Treves, Church of St. Gan- golphe, 218. Treves, Church of the Jesuits, 218. Treves, Church of St. Ger- vais, 218. Treves, Church of St. An- toine, 218. Treves, Church of St. Paul, 218. Trifels, Chateau of, 24. University of Basel, 82. University of Heidelberg, 144. University of Utrecht, 342. Unterlinden, Colmar, 92. Utrecht, 8. 25, 333, 336-343- Utrecht, Cathedral of St. Martin, 339-341, 362. Utrecht, Church of St. John, 341-342, 362. Utrecht, Museum at, 342. Utrecht, University of, 342. Van der Werf, 346. Van Rosum, Martens, 336. Vauban, 117. Verdun, 17. Volkenstein, Daniel, 108. Von Steinbach, Ervin, 47, 100, loi, 103, 105, 106, 136. Weinbrunner, 134, 135. Wiesbaden, 138- 141. Wiesbaden, Catholic Church of, 139, 141. Wiesbaden, Greek Chapel, 141. Windner, Jacob, 75. Wittenberg. 29. Wordsworth, 253, 295. Worms, IS, 149-154. Worms, Diet of, 149. Worms, Cathedral of, 150- 151, Z^2- Worms, Church of St. Mar- tin, 151, 362. Worms, Church of Notre Dame, 151, 362. Worms, Synagogue, 152, 362. Xanten, 327-330. Xanten, Church of St. Vic- tor, 328-330, 362. York, Cathedral of, v. 37Q UNlVltRSriY OF CALIFORNIA, LOS ANGF.LF.S THE U^J^"^'^"' ""^ ' ^3$'^ 6 § 1 ir" S ^^l•UBIlARYar § 1 ir^ ^ ^^ ^^ojiivjjo^ ^lOS^ 3 U J "^ ^OFCAUFOff^ ^.OFCAllFOftji^ % - >&AHVaaiH^ <^m^mo/^^ ^OFCAllFOff,(^ "<^3KVS0^-'^ 2 it. UC SOUTHERN REGIONAL LIBRARY FACILITY ^WEUNIVElt S2 =1 1 &Aaviian-i'^^ awfunp :r =3 )JI1VDJ0>^ ^.KOJIIVOJO"^ •CAllFOft^ ^OFCAIIFOft^^ AWEl)NIVERjy/i I S ^NNiUBRARYQ^^ ^>MUBRARY(9/;^ H i i m