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ISBN-13: 978-0-13-427755-4
ISBN-10: 0-13-427755-4
1 17
Table of Contents
TRIBUTE TO EVI
PREFACE
FOREWORD
ACKNOWLEDGMENTS
WE are now in the middle of the Tenth Century and in the city of
Cologne; for several hours a man has been sitting upon the banks of
a river, flowing majestically at the base of those ramparts which sixty
years ago were erected by Philip von Heinsberg, and for several
hours his thoughtful brow has not been lifted. This man was the first
master-workman of his time; three centuries later he was called the
prince of architects. The Archbishop of Cologne had said to him:
“Master, we must build a cathedral here which will surpass all the
buildings of the world in grandeur and magnificence.” The artist
replied: “I will do it;” and now he was pondering over ways of
accomplishing his promise about which he was frightened. At this
moment he was trying to think out a marvellous plan which would
give lustre to his country and immortalize his name; but nothing
came into his mind worthy of the prodigy he was trying to conceive
and could not create.
An unknown old man now approached and sat beside him,
regarding him with a mocking air, as if he rejoiced in his perplexity
and despair; every now and then he gave a little, dry cough, and
when he had attracted the attention of the artist, he rapidly traced on
the sand with a ring some lines which he immediately effaced. These
lines formed exactly that plan which always escaped the artist and
whose fugitive image he could not seize.
“You would like to have this plan?” asked the old man.
“I would give all I possess for it.”
“I exact nothing. The building that you construct will be the envy
and the eternal despair of all your successors, the admiration of
centuries to come, and your brilliant and celebrated name will be
known to the most remote generations. Your life will be long; you will
pass it in glory, wealth, and pleasure. For all that I only ask for your
soul when your life draws to its close.”
“Vade retro Satanas!” cried the agitated artist. “Better the
nothingness of oblivion than eternal damnation.”
“Patience,” said Satan, “reflect: we shall see,” and he vanished.
The master-workman returned to his humble dwelling, sadder and
more dreamful than when he left it; he could not close his eyes all
night. Glory, wealth, and pleasure for many long years, and all that
for one word! In vain he tried to shake himself free from the fatal
temptation; at every moment, at every step he again saw the tempter
showing him his transitory plan; he succumbed.
“To-morrow, at midnight,” said Satan, “go to that spot and I will
bring you the plan and the pact that you must sign.”
The artist returned to the city, divided between remorse and
dreams of pride and ambition. Remorse conquered, and before the
appointed hour he had told everything to his confessor. “It will be a
master-stroke,” said the latter, “to deceive Satan himself and snatch
the famous plan from him without paying the price of your soul,” and
he sketched out the line of conduct that he should follow.
At the appointed hour the two parties stood face to face. “Here,”
said Satan, “are the plan and pact; take it and sign it.” Quick as
lightning the master-workman snatched the plan with one hand and
with the other he brandished a piece of the True Cross, which the
wily confessor had given to him. “I am vanquished,” cried Satan, “but
you will reap little benefit through your treachery. Your name will be
unknown and your work will never be completed.”
Such is the legend of the Cathedral of Cologne. I have told it
here so that the admiration of the Middle Ages for this plan, which
could not be considered the work of any human genius, may be
measured, and for six centuries the sinister prediction of Satan has
4
held good.
At the north-east end of the elevation occupied by the ancient
Colonia Agrippina, in the spot where the choir of the Cathedral raises
its magnificent pinnacles, there existed in very remote ages a
Roman Castellum. At a later period this was replaced by a palace of
the French kings, which Charlemagne gave to his chancellor and
confessor Hildebold....
The Cathedral of Cologne was one of the most ancient seats of
Christianity in Germany; it contained in its jurisdiction the capital of
Charlemagne’s Empire, the city where the Emperors were crowned.
In the Twelfth Century, Frederick Barbarossa enriched it with one of
those sacred treasures which in a time of faith attracted entire
populations and gave birth to the gigantic enterprises which seem so
incredible in our positive and sceptical age. All eyes were turned to
the Holy Land, and the pilgrims of Germany, as well as of other
countries, before undertaking this perilous voyage came by the
thousands to the tomb of the Magi, to pray to God that the same star
which guided the Three Wise Men to Christ’s cradle might lead them
to his tomb. The celebrity and wealth of the Cologne Cathedral was
greatly due to the custom of the Emperors visiting it after their
coronation. Thus, from the moment it was in possession of the
sacred relics, everything combined to augment its splendour;
princes, emperors, and people of all classes were eager to add to its
treasures. Therefore, it was only a natural consequence to erect on
the site of the old Cathedral of St. Peter a building more vast and
magnificent, and which would accord better with its important
destiny. The Archbishop Angebert, Count of Altena and Berg, upon
whom Frederick II. conferred the dignity of vicar of the empire,
conceived the first idea; but at about the age of forty he was
assassinated by his cousin, the Count of Ysembourg, in 1225, and
the enterprise was abandoned. Finally, a great fire devoured the
Cathedral in 1248 and its immediate reconstruction was
indispensable....
THE CATHEDRAL OF COLOGNE.
Finally, above the reliquary placed to the right and left between
the columns one reads: “Et apertis thesauris suis obtulerunt
munera.”
In 1794 the relics were carried to the treasury of Arnsberg, then
to Prague, where the three crowns of diamonds were sold, and
finally to Frankfort-on-the-Main. When they were brought back in
1804, the reliquary was repaired and put in its old place. This
reliquary, a chef d’œuvre of Twelfth Century orfèvrerie, is of gilded
copper with the exception of the front, which is of pure gold; its form
is that of a tomb; its length 1 m. 85, its breadth 1 m. at the base, its
height 1 m. 50; on the side turned to the west you see represented
the Adoration of the Magi and the baptism of Jesus Christ. Above the
sculpture is a kind of lid which may be raised, permitting you to see
the skulls of the Three Kings ornamented with golden crowns
garnished with Bohemian stones,—a kind of garnet; in the pediment
is the image of the Divine Judge sitting between two angels who hold
the attributes of the Passion; the two busts above represent Gabriel
and Raphael; and, finally, an enormous topaz occupies the summit
of the pediment. The right side of the reliquary is ornamented with
images of the prophets, Moses, Jonah, David, Daniel, Amos, and
Obadiah. The apostles Paul, Philip, Simon, Thomas, and Judas
Thaddeus are placed in six niches above. In the left side you see the
prophets Ezekiel, Jeremiah, Nahum, Solomon, Joel, and Aaron, and
the apostles Bartholomew, Matthew, John the Lesser, Andrew, Peter,
and John the Great. The back of the monument presents the
flagellation of Jesus Christ, the Virgin Mary, Saint John, the Saviour
on the Cross, Saint Felix, Saint Nabor, the Archbishop Reinald and
eight busts of angels. The monument is surmounted by an open-
work ridge of copper lace. This magnificent reliquary is covered with
more than 1,500 precious stones and antique cameos representing
subjects which are not exactly Christian such as the apotheosis of an
Emperor, two heads of Medusa, a head of Hercules, one of
Alexander, etc. Behind the reliquary is a bas-relief in marble 1 m. 33
in height and 1 m. 40 in length, representing the solemn removal of
the relics. The bas-reliefs of richly-gilt bronze, placed below the
windows which occupy the back of the chapel, represent the
Adoration of the Magi: these were the gift of Jacques de Croy, Duke
of Cambrai in 1516. This window is ornamented with beautiful panes
of the Thirteenth Century, representing various subjects of sacred
history.
The immense works which Louis XIV. undertook here, and which
were carried out by the architect Mansart, were begun in 1661, and
in 1682 the residence of the Court was definitely fixed at Versailles,
connected by new roads with the capital. Colbert made a last effort
to keep the king at Paris, and to divert the immense sums which
were being swallowed up in Versailles to the completion of the
Louvre. The very dulness of the site of Versailles, leaving everything
to be created, was an extra attraction in the eyes of Louis XIV. The
great difficulty to be contended with in the creation of Versailles was
the want of water, and this, after various other attempts had failed, it
was hoped to overcome by a canal which was to bring the waters of
the Eure to the royal residence. In 1681 22,000 soldiers and 6,000
horses were employed in this work, with such results of sickness that
the troops encamped at Maintenon, where the chief part of the work
was, became unfit for any service. On October 12, 1678, Mme. de
Sévigné writes to Bussy-Rabutin:—
“The king wishes to go to Versailles; but it seems that God
does not, to judge from the difficulty of getting the buildings
ready for occupation and the dreadful mortality of the workmen
who are carried away every night in waggons filled with the
dead. This terrible occurrence is kept secret so as not to create
alarm and not to decry the air of this favori sans mérite. You
know this bon mot of Versailles.”
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