Historical Sketch of the Cathedral of Strasburg | Page 6

one may also be struck with the disproportion that exists between them; the nave is not in harmony with the dimensions of the tower, the chancel and transept still less so: but although this want of uniformity may lessen the symmetry of the monument, the impression it at first produces is no less extraordinary. And besides, have not those different styles a particular interest for those who study the history of architecture? In the Cathedral are, as it were, brought together all the styles or orders of architecture of the middle ages, from the byzantine art with its grave simplicity, down to the last glimmerings of the gothic art, now declining, and its works lined with an excess of superfluous ornaments. The byzantine taste prevails in the first constructions of the chancel and aisles and even somewhat in the lower part of the nave; higher up, the style in which the ogive was built extends to the other constructions and finally succeeds to the former entirely.
The fa?ade of the church, of an imposing magnitude, cannot be sufficiently admired; the massive walls are hidden by clochetoons, arcades, small pillars and innumerable statues; these decorations all wrought to great perfection, give to that part of the edifice a nicety that makes it resemble a work coming from the hands of a chaser. But how to describe, in the short space which the limits of this sketch admit, all the details, all the particular parts of our Cathedral? There is in it such a profusion, such a richness, that to be properly explored, it would require volumes. We must therefore limit ourselves to some brief indications of the most interesting and essential parts[1]. Moreover a description of all the allegorical statues and figures that adorn particularly the inferior parts of the building, would be here so much the more superfluous, as an intelligent spectator may easily understand them. All these fine ornaments are meant to symbolize the mysteries of Redemption, taken from the principal facts in Scripture and from the fundamental doctrines of the christian faith. In this respect the lower tier is the most remarkable; the middle one has neither the same beauty nor the same religious signification; the third is the least satisfactory both as regards execution and artistical conception.
[1] We refer the reader who wishes to study the Cathedral in all its parts, to the following works: Grandidier, Essais historiques et topographiques sur l'��glise Cath��drale de Strasbourg, Strasb. 1782, in 8o.--H. Schreiber, Das M��nster zu Strassburg, Freib. 1828, in 8o, avec 11 lithographies gr. in-fol.--Vues pittoresques de la Cath��drale de Strasbourg, dessins par Chapuy et texte par Schweigh?user, 3 livr. in-fol. Strasb. 1827. La Cath��drale de Strasbourg et ses d��tails, par A. Friedrich, 4 liv. gr. in-fol., renfermant 57 planches accompagn��es d'un texte explicatifet historique. We regret to say that but one number of this fine work has been published (in 1839).--Kunst und Alterthum in Elsass-Lothringen, von Prot. F. X. Kraus, I. Band. With numerous wood-engravings. 1877.
[Illustration: Porch of Saint-Lawrence.]
The whole of the fa?ade is formed of the two fore-parts of the northern and southern towers and of the large central porch; these three distinct portions are separated by counterforts or pillars which divide, as it were, the frontispiece into three broad vertical bands, each of which has its portico. These porticos and their frontons are ornamented with a great many statues and bas-reliefs, some of which pulled down during the revolution, have since been replaced. The large figures in the left portico are twelve virgins, wearing diadems and trampling down human forms representing the seven deadly sins. On both sides of the right hand portico are seen the ten virgins of the parable; to the group of the wise virgins on the right is joined the statue of Jesus-Christ; the foolish virgins composing the group on the left side, have among them an allegoric figure expressing the lust of the world: on her head is a wreath, in one hand she holds an apple, the ancient symbol of lust; her back bears hideous vipers, to portray the sad fate which must be the inevitable result of inordinate earthly desires.
All these statues, now blackened by the centuries that have passed over them, have all a stern appearance, like those that deck the magnificent middle porch representing either prophets of the Old Testament, Apostles or fathers of the Church. In the arches of these three porticos are figures of a smaller size, which like the bas-reliefs of the tympans, exhibit either scenes taken from Scripture, or saints and angels. In the tympan on the right hand door, Jesus is seen seated on a rain-bow, and over him is the Resurrection of the dead and the Judgment-day. On the butting pillar that divides both folds of the middle porch[1], is placed a