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+The Project Gutenberg eBook, Historical Sketch of the Cathedral of
+Strasburg, by Anonymous
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Historical Sketch of the Cathedral of Strasburg
+
+
+Author: Anonymous
+
+
+
+Release Date: October 12, 2007  [eBook #22990]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK HISTORICAL SKETCH OF THE CATHEDRAL
+OF STRASBURG***
+
+
+E-text prepared by Juliet Sutherland, Suzan Flanagan, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
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+      See 22990-h.htm or 22990-h.zip:
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+      o9
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+
+
+Transcriber's notes:
+
+      This booklet appears to end abruptly, but there is no
+      evidence of any missing pages in the original copy.
+
+      The "oe" and "OE" ligatures are represented as "[oe]"
+      and "[OE]" respectively.
+
+      Superscripted text is not displayed as such in the text
+      version. Superscripts are displayed in the HTML version.
+
+      On page 20, a cross symbol, which indicates year of death,
+      is represented as {+}.
+
+      A list of corrections will be found at the end of the
+      e-text.
+
+
+
+
+
+The Cathedral of Strasburg
+
+[Illustration]
+
+Strasburg
+A. Vix & Cie
+Publishers
+
+
+[Illustration: Death of the Virgin Maria.]
+
+
+HISTORICAL SKETCH OF THE CATHEDRAL OF STRASBURG
+
+Twenty fourth Edition
+
+
+
+
+
+
+
+Strasburg
+Published by A. Vix & Cie
+31, Place de la Cathédrale
+1922.
+
+
+
+
+[Illustration: The interior of the Cathedral.]
+
+
+
+
+[Illustration]
+
+I. HISTORY
+
+
+Among the wonderful monuments to which the religious art of the
+middle ages has given rise and which will for ever excite the
+admiration of men, the church of _Notre-Dame_ or Cathedral of
+Strasburg occupies one of the first ranks. By its dimensions, the
+richness of the ornaments and figures that adorn its exterior, by
+the majesty of its nave, and by its light steeple, which towers
+towards Heaven with as much grace as boldness, this house of God
+proclaims afar its destination and leaves a deep and indelible
+impression on the soul of any one who gazes on it.
+
+Exhibiting in all its different parts models of every epoch of
+christian architecture, this Cathedral is for the artist a
+subject of serious study and for the inhabitant of Strasburg a
+venerable monument, which recalls to his mind the principal
+events of the ancient history of our city.
+
+According to some old traditions, the Cathedral is built on a
+spot, which, from the remotest times, had been devoted to
+worship. Originally this spot formed a hill sloping westward into
+a cavity, which was filled up many centuries ago. Around it, the
+Celts, the first inhabitants of our country, built their huts:
+its summit was covered by the sacred wood, in the midst of which
+rose the druidical _dolmen_. It was there that those barbarians
+offered sacrifices to Esus, their God of war, sacrifices which,
+in times of public calamity, were human victims.
+
+After the conquest of Gaul by the Romans, a regular and fortified
+town was very soon founded on the place hitherto occupied by the
+scattered habitations of the Celts. The old name of _Argentorat_
+was alone preserved; it signified a town where the river is
+crossed over. It was there, according to tradition, that a temple
+dedicated to Hercules and Mars succeeded the druidical forest.
+There is nothing unlikely in these traditions; the high ground on
+which the Cathedral stands speaks as much in their favour as the
+pagan statues found in the neighbourhood[1].
+
+  [1] A brass statue of Hercules, called _Krutzmann_, was found
+  among the christian statues that decorated the Cathedral; it was
+  taken down in 1525 and is no longer extant. A Hercules of stone,
+  found no doubt when digging the foundations, is yet seen in a
+  niche of the northward tower, where it juts out into the nave. A
+  small stone figure of Mars, coming also from the Cathedral, was
+  preserved in the town-library, but it appeared to be modern.
+
+With respect to the first erection of a christian church in this
+place, history is destitute of authentic facts. Some old
+chronicles report that about the middle of the fourth century,
+saint Amand built a church on the ruins of a Roman temple, but
+the existence of this supposed first bishop of Strasburg is even
+very doubtful. During the first years of the fifth century, the
+invasion of barbarians filled the provinces of Gaul with terror
+and devastation; the German tribes that crossed the Rhine
+plundered the Roman city of Argentorat and its temples. Nobody
+knows whether from that time new inhabitants settled in the midst
+of these ruins, or whether they served but as temporary abodes to
+the hordes successively coming into Gaul.
+
+It was only after the conquest of that extensive country by the
+Franks that, about 510, Clovis had a church built at Argentorat,
+no doubt on the spot where the Cathedral now stands. The
+architecture of that church was as coarse and barbarous as the
+spirit of those times; it was built of wood and supported by
+earthen walls, extending from East to West; on this latter end
+was the front-gate and before it a portico; besides the principal
+nave it had two aisles; the western side opening into a yard that
+served as a passage to the priest's house.
+
+In proportion as the town, the name of which was by the Franks
+changed into Strasburg, increased in importance and population,
+the Merovegian kings granted greater favours to the church
+founded by one of their predecessors. The valuable donations they
+bestowed on the bishopric of Strasburg, enabled the inhabitants
+to embellish and enlarge the Cathedral. In 675 Dagobert II
+granted to bishop Arbogast the town of Ruffach with the castle of
+Isenburg and a vaste domain that he freed from tax and royal
+jurisdiction and which on that account was called superior
+_Mundat_. A no less important gift was that from Count Rudhart,
+who made over to the church of Strasburg, in 748, Ettenheim with
+several neighbouring villages on the right bank of the Rhine.
+Many other eminent personages of this country increased
+successively by their liberality the wealth of the episcopal see.
+A great advantage was granted by Charlemain in 775, which was to
+exempt the subjects of the bishopric from all tolls and taxes
+imposed upon the traders travelling through the empire. At that
+time considerable sums had already been employed to adorn the
+interior of the Cathedral. In the year 826, the abbot Ermold the
+Black, living in exile at Strasburg, speaks with enthusiasm of
+the _beautiful temple of the Virgin_ and of the other altars that
+decorate it. This ecclesiastic, with great ardour changed the
+metal of the antique statues he could yet find into sacred
+vases; a bronze Hercules, two cubits high, alone escaped the
+pursuit of his pious zeal; after preserving it several centuries
+in the Cathedral, it was at last sold, and is now at Issy near
+Paris.
+
+A fire, which in 873 destroyed a portion of the church and all
+its archives, occasioned, no doubt, important repairs, and this
+event was the cause of a new royal confirmation of all the
+possessions of the church. In 1002 it was plundered, profaned and
+set on fire by the soldiers of Hermann, duke of Suabia and
+Alsacia, who was then contending with Henry of Bavaria for the
+imperial crown, Strasburg and its bishop Wernher having declared
+for the latter. Subdued by Henry II, Hermann was compelled to
+repair the damage caused to the church by placing at bishop
+Wernher's disposal the income of the abbey of Saint-Stephen of
+which he was the patron. With these funds, which the bishop
+increased by means of a new levy of taxes and by indulgences,
+he was preparing to restore his Cathedral, when in 1007 a
+thunderbolt achieved its destruction.
+
+He then formed the project of rebuilding the church on a plan of
+much larger dimensions and after the style of architecture that
+was then making its first appearance. The revenues of the
+bishopric, contributions furnished by the clergy of Alsacia and
+large sums of money granted by the head of the empire, afforded
+Wernher the necessary resources for the execution of his plan.
+This was examined and discussed in the presence of several
+master-architects whom he had sent for. The plan once fixed upon,
+stones were brought from the fine quarries of free-stone in the
+Kronthal. The peasants and bondsmen of the country brought them
+to the town where they were cut in the square then called
+_Frohnhof_, between the Cathedral and the present palace. It was
+during these labours that in 1042 the emperor Henry II came to
+Strasburg; the dignified and austere deportment of the clergy of
+the high chapter, the tranquillity prevailing under the roof of
+the episcopal church, made such an impression on this prince,
+that he for a moment resolved to resign the crown and solicit his
+admittance among the canons of the Cathedral. The bishop appeared
+at first to accede to this wish; but it was only to prescribe to
+Henry, henceforth his subordinate, to resume the imperial
+authority which Providence had bestowed on him; the emperor
+acquiesced and perpetuated the remembrance of his pious wish by
+the foundation of a royal prebend.
+
+When, in 1015, a sufficient quantity of materials was collected,
+they set to work by digging the ground. At the depth of more than
+five fathoms they drove down stakes, filled the space between
+them with clay mixed with lime, fragments of bricks and coal; and
+on this solid base were laid the foundation stones.
+
+Tradition gives an account of a hundred and even two hundred
+thousand men being employed in the construction of this church,
+which work, thanks to the religious enthusiasm of that epoch and
+the labours performed by vassals and workmen _for the salvation
+of their souls_, advanced very rapidly.
+
+In the year 1027 bishop Wernher set out for Constantinople, and
+never returned to his native land. From that time we have but
+imperfect and uncertain accounts touching the progress of the
+building. All we know is, that in 1028 they had built up to the
+roof. It seems likely from that account that this monument, built
+in the byzantine style, at once so elegant and so simple, was
+soon after completed by the erection of a tower, and that it
+remained in the same state till, owing to sundry circumstances
+and, perhaps, to bad construction, it began to need important
+repair. It is impossible to determine the time when repairing the
+church took place; however, this happened probably not before the
+middle of the thirteenth century and in the then new style,
+since called the Gothic order. This opinion is confirmed by the
+ancient seal of our city, which likely enough and according to
+the custom of those times, represents the front of the Cathedral.
+
+That it had a tower in 1130 is a certain fact; for K[oe]nigscoven
+speaks of its destruction by fire in the course of that year;
+successive fires, in 1140, 1150, 1176 also materially injured the
+beautiful edifice; besides, the continual wars and tumultuous
+commotions of the time prevented the bishops from undertaking
+essential repairs. It appears that these causes, by degrees,
+brought on the complete ruin of bishop Wernher's constructions;
+for unquestionably the part included between the nave and the two
+towers dates but from the thirteenth century, and cannot have
+been begun before the middle of it. What remained of the old
+church was pulled down at that time and a new and more spacious
+edifice was erected, built in the style then spreading over all
+Europe. Considering the immense size of this monument, it is easy
+to imagine that the work went on but slowly, and an old chronicle
+mentions that on the 7th September 1275 they finished the middle
+part of the superior arch-roofs, with the exception of the towers
+in front. By whom these labours were directed is altogether
+unknown.
+
+It was bishop Conrad of Lichtenberg who undertook to rebuild the
+parts that were still in a state of ruin and thus at last to
+accomplish this great work of the Cathedral[1].
+
+  [1] «... _Ipsa ecclesia in meliorum statuum reedificetur_ ...»
+  (See a charter of bishop Conrad of Lichtenberg, published by M.
+  L. SPACE 1841, p. 6).
+
+In order to execute this design, he published indulgences all
+over the country; and after collecting large sums of money in the
+town, he applied to the ecclesiastics of his diocese, asking
+their own gifts and offerings as well as those of the faithful
+under their direction; in a synod held in the diocese, the clergy
+agreed to give up, during four years, a fourth part of their
+revenues. Conrad entrusted the direction of this work to Master
+Erwin of Steinbach, who, according to some old documents, was a
+native of Mayence. This great architect began by rebuilding the
+nave, the arch-roofs of which were completed in 1275. Then he
+commenced the façade of the church and its towers from a plan so
+bold and sublime that the conception of it places Erwin for ever
+at the head of the architects of the middle age[1]. In 1276 they
+laid the foundation of the northern tower; to consecrate the
+spot, the bishop walked solemnly round it, then took a trowel in
+his hand and thrust it into the ground, as a sign for beginning
+the work. They relate that a quarrel having occured between two
+workmen who both wished to work with the trowel the bishop had
+held in his hand, one of them was killed. This murder was
+considered as a very bad omen; Conrad ordered their labour to be
+suspended for nine days; they were only resumed after he had
+consecrated the place anew. The following year, on saint Urban's
+day (25th May), Conrad himself laid the first stone of the tower.
+In the midst of his warfares, this bishop always entertained much
+affection for his Cathedral, as he beheld the gradual rising of
+this _glorious work_, as an old inscription terms it[2]; in his
+heartfelt joy he used to compare it to the flowers of May that
+bloom in the sun[3]. To the very end of his life Conrad of
+Lichtenberg neglected nothing to urge on the progress of his work
+of predilection; after his death, in 1299, he received in it a
+sepulchre worthy of him; his statue is still to be seen in saint
+John's chapel. Yet, during the life of Conrad, the Cathedral was
+shaken by several earthquakes in 1279, 1289, 1291; that of 1289
+was so violent that the columns in the interior of the building
+threatened for a moment to fall down. But a very favourable
+circumstance happened in 1292, which was the surrender of the
+_[OE]uvre-Notre-Dame_ to the magistrate of the city, who was
+henceforth charged with the management of the revenues allotted
+to the keeping in repair of the Church and consequently also to
+the completion of it. A few years after, in 1298, a new
+misfortune happened to the Cathedral. A fire, caused by the
+imprudence of a cavalier of Albert I, during the sojourn of that
+prince at Strasburg, consumed all the timberwork and threatened
+even the pillars and walls. However the damage was promptly
+repaired. In 1302 a bloody conflict between two citizens of the
+town, which took place in the very chancel of the church,
+required again a new consecration of it.
+
+  [1] They still preserve in the records of the convent of the
+  _[OE]uvre Notre-Dame_ several old drawings on parchment of the
+  façade and towers; these curious designs belong to different
+  epochs; according to the opinion of the _connaisseurs_, the
+  oldest would most likely be that of Erwin himself.
+
+  [2] _Anno Domini MCCLXXVII in die beati Urbani hoc gloriosum
+  opus inchoavit magister Erwinus de Steinbach._ This inscription
+  was formerly placed in the vault of the northern portal.
+
+  [3] In a letter of indulgence.
+
+After the death of bishop Conrad of Lichtenberg, who in the year
+1299 was killed in a battle near Friburg, his brother and
+successor, Frederic, showed no less ardour for the continuation
+of this building; in 1303 he invited the curates throughout
+Alsacia to exhort those of their faithful parishioners who had
+horses and carts, to convey stones for the edifice; in 1308 the
+magistrate of Strasburg, no doubt at the request of bishop John,
+promised freepasses to all those who would bring stones or wood,
+and he secured wine and wheat for the workmen.
+
+Erwin superintended the works until 1318, when he died on the
+14th of January. All the children of this grand master were
+artists worthy of him: Sabina, his daughter, carved several
+statues for the Cathedral; one of his sons, who died in 1330,
+built the fine church of Haslach; his other son, John, succeeded
+him in directing the works of the Cathedral, and he died in 1339.
+In 1331 bishop Berthold of Bucheck built the chapel of saint
+Catherine, which also contains his tomb. The disturbances and
+calamities that desolated Strasburg during a great part of the
+fourteenth century, the revolution of 1332 that altered the form
+of the government of the town, the ravage caused by the black
+plague in 1349 with the insurrections accompanying it, the
+contest of bishop Berthold with his chapter and with the emperor,
+all this retarded of course the progress of the construction of
+the Cathedral. Nevertheless they terminated in 1365 the northern
+tower; K[oe]nigshoven calls it the new tower, perhaps, because
+they purposed erecting a pyramid on it, which was quite an
+innovation in the architecture of that time. The southern tower,
+which the chronicler calls the ancient one, because it was not
+intended to be raised higher, was finished at the same time. The
+name of the artist who made the plan of the pyramid and spire of
+the northern tower is still unknown; nor is it known who built
+the steeple which formerly rose above the _grande rosace_, or
+rose.
+
+In 1368 the church was again struck by lightning without
+receiving much damage; in 1384 a fire that broke out in the
+organ, burnt all the interior with the exception of the chancel.
+Ever since that time large vats were set in the different parts
+of the building and guardians placed in the interior and in the
+towers. In 1429, John Hültz of Cologne was sent for to complete
+this great work; ten years after, he finished the spire; on
+Midsummer's day 1439, in the presence of a great multitude, he
+laid the last stone, exactly a hundred and sixty two years after
+Conrad of Lichtenberg had placed the first stone of this
+monument; a statue of the Virgin Mary was also erected on the
+knob terminating the spire[1].
+
+  [1] It was taken down in 1488.
+
+At the time of the reformation the Cathedral passed over to the
+protestants; it is true that on account of their worship, they
+caused several chapels to be closed and some altars to be
+removed, but they made no material change, nor spoiled any thing;
+on the contrary, they watched with care over the magnificent
+building and even caused important repairs to be made in it.
+Several times it was very much injured by fire and by lightning,
+particularly in the years 1540, 1555, 1568, 1624 and 1625. In
+1654 the spire was destroyed by lightning; the skilful architect
+Heckler was obliged to rebuild it sixty five feet high. By
+the capitulation of 1681 the Cathedral was restored to the
+catholics, who immediately began to repair it, but unfortunately
+in that wretched style then prevailing, and when not the least
+intelligence of christian art existed any longer, they pulled
+down the lobby made by Erwin, so much admired in the middle age
+as a masterpiece of elegance; in 1692 they adorned the interior
+of the choir with wainscots of wood painted and gilt; in 1732
+they widened it to the detriment of a portion of the nave, and
+ten years later galleries were made for the orchestra. To punish,
+as it would seem, those who were thus spoiling this wonderful
+monument, an earthquake shook it in 1728; in 1759 it was struck
+by lightning and considerably injured; the lead on the roof of
+the nave was entirely melted, and the fine cupola or arched roof
+that crowned the dome fell into pieces; the roof was then covered
+with copper, but the cupola was not rebuilt. New destructions
+awaited the Cathedral in 1793; in their fury of levelling, the
+men who then ruled the country caused two hundred and thirty four
+effigies of saints and kings to be taken down from their niches,
+of which very few only were saved; the crazy jacobin Teterel even
+proposed pulling down the spire, because, by its height extending
+far beyond that of the ordinary houses, it was condemning the
+principle of equality; the motion not being carried on. Teterel
+obtained the assurance at least, that a large red cap made of tin
+should be placed on the top of the Cathedral, and it was to be
+seen among other curiosities in the town-library, before its
+destruction.
+
+The year 1870, so full of important events for Strasburg, was
+also fatal for the Cathedral, and during the seven weeks'
+cannonading of the town the beautiful building was constantly
+threatened with ruin. In the first period of the siege of
+Strasburg, the Germans tried to force the surrender by the
+bombardment and partial destruction of the inner town. In
+the night of the 23rd of August began for the frightened
+inhabitants the real time of terror; however that night the rising
+conflagrations, for instance in St. Thomas' church, were quickly
+put out. But in the following night the New-Church, the Library
+of the town, the Museum of paintings and many of the finest
+houses became a heap of ruins, and under the hail of shells all
+efforts to extinguish the fire were useless. For the Cathedral
+the night from the 25th to 26th of August was the worst. Towards
+midnight the flames broke out from the roof perforated by shells,
+and increased by the melting copper, they rose to a fearful
+height beside the pyramid of the spire. The sight of this grand
+volume of flames, rising above the town, was indescribable and
+tinged the whole sky with its glowing reflection. And the guns
+went on thundering and shattering parts of the stone ornaments
+which adorned the front and sides of the Cathedral. The whole
+roof came down and the fire died out only for want of fuel. The
+following morning the ground in the interior was covered with
+ruins, and through the holes in the vault of the nave one could
+see the blue sky. The beautiful Organ built by Silbermann was
+pierced by a shell and the magnificent painted windows were in
+great part spoiled. Fortunately the celebrated astronomical Clock
+had escaped unhurt.
+
+As the Military Command continued for some time to occupy a post
+of observation on the platform, the Cathedral was unfortunately
+still longer the aim of German guns which every day surrounded
+the building with ruins. On the 4th of September two shells hit
+the crown of the Cathedral and hurled the stonemasses to
+incredible distances; on the 15th a shot came even into the point
+below the Cross, which was bent on one side, and had its
+threatened fall only prevented by the iron bars of the lightning
+conductor which held it.
+
+After the entrance of the Germans into the reconquered town, the
+difficult and dangerous work of restauration of the point of the
+spire was begun at once and happily ended a few months after.
+They work also constantly to make the other damages disappear,
+and in a short time the magnificent house of God will be restored
+to all its ancient splendour.
+
+[Illustration]
+
+
+
+
+[Illustration: The Crypta.]
+
+II. DESCRIPTION.
+
+
+The first aspect of the Cathedral produces on the mind a deep
+impression. One is seized with admiration and amazed at the first
+view of this noble edifice whose steeple towers up so gracefully
+and majestically. No doubt that examined in all its particular
+parts, 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 _façade_ 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'église Cathédrale de
+  Strasbourg_, Strasb. 1782, in 8o.--H. Schreiber, _Das Münster
+  zu Strassburg_, Freib. 1828, in 8o, avec 11 lithographies gr.
+  in-fol.--_Vues pittoresques de la Cathédrale de Strasbourg_,
+  dessins par Chapuy et texte par Schweighäuser, 3 livr. in-fol.
+  Strasb. 1827. _La Cathédrale de Strasbourg et ses détails_, par
+  A. Friedrich, 4 liv. gr. in-fol., renfermant 57 planches
+  accompagnées 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 façade 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 blessed Virgin holding an infant Christ in her arms. The
+fronton of this portal is formed by two triangles and adorned
+with many figures; that on the summit of the interior triangle,
+which first strikes the eye, is king Solomon seated under a
+canopy; on both sides of him are fourteen lions raised on steps
+or benches that draw near towards the top and join near a Virgin
+Mary sitting with the infant Christ on one arm and holding a
+globe in her other hand; she is the Patroness of the church.
+Above her a radiated head, representing God the Father, forms the
+point of the triangle that encircles the inside fronton, which is
+decked with figures playing on different musical instruments. On
+the sides facing the North and South, the two towers have each a
+large window with most beautiful _rosaces_. Over the window on
+the South side is seen a very old sculpture, the grotesque
+figures of which represent the night revelling of sorcerers. The
+frontons of the other porticos are also adorned with _rosaces_.
+
+  [1] The beautiful folds of the middle door, mounted with artful
+  bronze ornaments which were executed in Paris after the designs
+  of the architect of our cathedral, Mr. Klotz, were hung up in
+  1879.
+
+On the second tier of the middle porch is a large rose-window
+that occupies the whole width of it. It is surrounded by a
+detached arch, which as much on account of the elegance of its
+workmanship, as of the boldness of its construction, is one of
+the most admirable parts of the Cathedral. The large painted
+windows have been repaired by skilful artists, Mr. Ritter and Mr.
+Müller. Where the second tier begins, at the bottom of the
+rose-window, are four equestrian statues, placed in niches in the
+counterforts, three of which, those of Clovis, Dagobert and
+Rodolphe of Habsburg, were erected in 1291, the fourth, that of
+Louis XIV, was placed only in 1828. Clovis and Dagobert were the
+benefactors of the church of Strasburg. Rodolphe stands there,
+less on account of his liberalities to the Cathedral, than for
+having been to the last the valiant friend of the Republic of
+Strasburg. King Louis XIV accompanies the three others, rather
+from adulation than any other cause. On the upper tier of the
+façade are placed the equestrian statues of king Pepin the Short,
+of Charlemain, Otho the Great and Henry I the Fowler. On the
+south-side are seen in the first tier the emperors Otho II, Otho
+III and Henry II; in the upper tier of the same side, the
+equestrian statues of Conrad II, Henry III and the statue of
+Henry IV. On the north-side of the façade are the equestrian
+statues of Charles Martel, the Franconian majordomo; of Louis the
+Debonair and Lotharius, the son of Louis the Debonair; at last
+in the upper tier, the statues of Charles the Bald, king of the
+West-Franconians and the equestrian statues of Lotharius II and
+Louis the German ({+}876).
+
+Over the rose-window, but still in the compartment of the second
+tier, is a gallery furnished with the figures of the Apostles,
+and above them is placed Jesus-Christ holding in his hands a
+cross and banner. In the lateral towers, the same tier is taken
+up on each side by a high broad window in the shape of an ogee,
+before which rise very slender pillars. Exactly over these
+windows, on the third tier and also on each side, are three very
+high and narrow windows; the middle part, though wider, has but
+two, rather small ones, and surrounded by some statues. This very
+massive portion of the building betrays at first sight its later
+origin; when Erwin's plan was abandoned, this part was added to
+fill up the empty space between the two towers; these were
+already completed, and even have on the third tier their windows
+looking into the central porch, but which are at present hidden
+from the outside. That part of the middle porch is used as a
+belfry, four large bells are suspended in it, the largest of
+which, cast in 1427, weighs nine thousand kilogrammes, and serves
+to announce great festival days; it is also rung at the death of
+renowned personages, or in case of fire.
+
+It was only in the year 1849 that the front was ornamented with
+statues representing the day of judgment. This group, consisting
+of fifteen gigantic figures, was made after the old drawings
+preserved in the archives of the _[OE]uvre-Notre-Dame_.
+Jesus-Christ, as judge, is in the middle, with Mary and John the
+Baptist on either side; they are surrounded by angels sounding
+the trumpet of dooms-day, or bearing the instruments of our
+Saviour's passion; beneath are seen the Evangelists, having men's
+bodies surmounted by the heads of the four symbols which
+generally accompany them.
+
+Above the middle porch and the southward tower, is the platform,
+very spacious and surrounded by a handsome balustrade; on it is
+built a small house for the guardians charged to strike the hours
+and ring the alarm bell in case of fire. From the top of this
+platform one enjoys a magnificent view; the wonderful panorama
+that unfolds itself from there, has been drawn with as much taste
+as accuracy by Mr. Frederic Piton, a zealous _amateur_ of our
+local history. Towards the North, in the direction of the Wacken,
+an island near Strasburg, is seen on the horizon the mountain of
+the _Pigeonnier_ (_Scherhol_ in German), at the foot of which
+lies Wissemburg; to its right rise the peaks crowned by the ruins
+of _Gutenberg_ and _Trifels_, and the famous _Geisberg_ taken by
+storm in the war of 1870. On the other side of the Rhine, whose
+majestic stream the eye can easily trace, the long range of the
+mountains of the _Black Forest_ limits the horizon. The first
+peak that is seen is that of the _Eichelberg_, at the opening of
+the valley of the _Murg_; then comes the _Fremersberg_, the
+_Mount-Mercury_, the mountain with the ruins of _Yburg_; all
+these names are known to those who have visited Baden. Beyond
+these summits is the high level ground of the _Hornisgründe_, on
+the other side of which is seen, in the midst of a forest, the
+dark lake named _Mummelsee_. Farther on, eastward, beyond the
+arsenal of Strasburg and the village of Kehl, you observe the
+castle of _Schauenburg_, near Oberkirch, where the valley of the
+_Rench_ begins. After gliding over the ruin of _Fürsteneck_ and
+_Schauenburg_, the eye rests on the stately buildings of
+_Ortenberg_, rebuilt after the middle age architecture, at the
+entrance of the valley of the _Kinzig_. Directing your eye more
+towards the South, you discover the mountains of _Triberg_, and
+close to them those of _Lahr_; then comes the loftiest peak of
+the _Black Forest_, the _Feldberg_, 1494 metres high. Farther on
+the eye may discover (if tine) the _Ballon_ and the _Blauen_,
+behind the hills of the _Kaiserstuhl_; thence this ridge of
+mountains is lost sight of. In the plain, between the Rhine and
+the Vosges, a double row of poplars points out the _Canal_ (from
+the Rhone to the Rhine). The first peak seen in the range of the
+Vosges towards the South-East is the _Ballon of Sultz_, 993
+metres high; the eye then discovers in a western direction the
+ruins of the three castles of _Egisheim_, _Haut-Hattstatt_ and
+_Landsberg_, the top of the _Ballon_ of _Gebwiller_, 1426
+metres high the _Hoheneck_, the ruins of the old castles of
+_Kientzheim_, _Rappoltstein, Hoh-_ (High) _K[oe]nigsburg_,
+_Ortenburg_, _Bernstein_, _Frankenburg_ and the summits of the
+_Bressoir_ and _Ungersberg_. Looking in the direction of
+Saint-Thomas' church, at one glance the eye overlooks the country
+of the old _Hohenburg_, so picturesque and so rich in monuments
+and historical associations: the castle of _Landsberg_, the rock
+of the _Mænnelstein_, the convent of _Sainte-Odile_, behind which
+rises the level ground of the _Champ-du-Feu_; further on to the
+right, are the ruins of _Girbaden_, the peaks of the _Donon_ and
+_Schneeberg_. Here the mountains are by degrees lost from sight
+in the distance; on the horizon one may however distinguish the
+towers of the castles of _Geroldseck_ and _Hoh-_ (High) _Barr_,
+in the vicinity of Zabern; then nothing more is seen but meadows,
+forests, fields, from the centre of which you see now and then
+the modest church-steeples of the numerous villages that cover
+the fine plain of Alsacia.
+
+On the North side stands a tower of an octangular form,
+supporting the spire. This tower consists, as it were, but of
+strong buttresses adorned with small columns and statues, and
+having large apertures in which very high windows are set and
+take nearly the whole breadth on the four sides, where they are.
+Among the statues that face the platform, one must be noticed as
+being, according to tradition, that of Erwin of Steinbach. In
+the interior of this tower are the bells that strike the hours,
+that which is called the gates' bell (_Thorglocke_)[1] and also a
+clock made in 1786 by two clockmakers of Strasburg, Maybaum
+father and son. An inscription over the door leading to the
+platform recalls to mind the earthquake of 1728, so violent that
+the water was raised from the reservoirs and thrown to a distance
+of eighteen feet[2]. In front of the four principal sides of the
+octagon tower are turrets with winding stairs, and consisting but
+of a series of windows that rise in a spiral form. These elegant
+turrets seem hardly to rest on any thing; besides the gallery
+that covers them, they communicate with the principal tower but
+by means of flat stones that serve as an entrance into a gallery
+of the interior of the arch-roof, and which lie at a height of
+almost thirty metres. According to the old drawings, these
+turrets should have been surmounted by pyramidal spires. They
+terminate in a gallery that surrounds the tower, from whence one
+enjoys a most admirable view. It is from that spot that rises
+the spire (_flèche_), which is an octangular pyramid of an
+extraordinary boldness, offering to the astonished gazer nothing
+of a massive construction. Six successive tiers of little turrets
+are thus pyramidically placed one above the other[3]. Eight
+winding stair-cases, narrow and of rich open carvings, lead the
+visitor to a massive spot commonly called _the lantern_; higher
+up is _the crown_[4], which is not reached without danger, by
+means of steps placed outside, and with no other protection than
+the wall to which they are fastened; above another widened place,
+called _the rose_, the spire is nothing but a column whence jut
+out horizontal branches to give it the aspect of a cross. The
+monument terminates in a _knob_ being 0m .460 in diameter and to
+which ever since 1835 a lightning-conductor has been adapted; one
+may climb there but with the aid of iron bars to which you must
+cling with hands and feet. The total height of this stately
+building is 142m.
+
+  [1] So called because it was rung morning and night before the
+  opening and closing of the city gates.
+
+  [2] In the interior of this tower and on the balustrade are seen
+  a great many names of foreigners who have visited the Cathedral.
+  Among these names are some of celebrated persons, as G[oe]the,
+  Herder, etc.
+
+  [3] Above the first tier of the turrets is seen around the spire
+  (flèche) the following inscription:
+
+      _Christus nos revocat. Christus gratis donat.
+       Christus semper regnat. Christus imperat.
+       Christus rex superat. Christus triumphat.
+       Maria glorificat. Christus coronat._
+
+  [4] Besides some other inscriptions on the spire, you read round
+  the first gallery of the crown these words:
+
+      _Jesus Christus verbum caro factum est,
+       Jesus Christus, et habitavit in nobis,
+       Jesus Christus, et vidimus gloriam ejus,
+       Jesus Christus, gloriam quasi unigeniti a Patre._
+
+                                (S. John. 1. 14.)
+
+[Illustration: The column of angels.]
+
+The nave, decked with a copper roof, abounds no less in
+decoration than the front. It has large ogive windows adorned
+with _rosaces_; at the place where the buttresses, equally carved
+with _rosaces_, join the counterforts or pillars, they have at
+their tops fine clochetoons; a great many statues and grotesque
+figures of heads complete the ornaments of this part of the
+church. Two galleries, one under the windows, the other below the
+clochetoons of the counterforts, lead from the towers to the
+cross-aisle. This, as we have already said, is still byzantine
+in several parts of it. The southern porch, formed by two
+semi-circular doors made evidently at one of the remotest periods
+of the Cathedral, is adorned with bas-reliefs and statues;
+according to tradition, it is reported that two of these statues
+are the work of Sabina of Steinbach. One is a woman in a
+triumphal posture holding in her hands a communion cup and a
+cross; she is the symbol of the church that vanquished the
+synagogue; the other, a symbol of the latter, is a woman looking
+down, blindfolded and leaning with pain on a broken spear, whilst
+the laws of the twelve tables drop from her left hand. On the
+parvis before this porch is erected, on the left, the statue of
+Sabina herself, and on the right, the statue of Erwin of
+Steinbach, both due to the chisel of Mr. Grass.
+
+The wall of the upper tier has openings for several windows of
+an ogive form, above which a gallery runs all along; two
+round-windows take up the third tier. The northern portion of the
+cross-aisle has more generally preserved the byzantine manner
+than that we have just spoken of; however, this intermixture with
+the gothic style denounces latter renovations. The ancient porch,
+the remains of very old constructions, is masked by a fore-front
+that belongs to the last period of the gothic art, and which was
+built in 1494 by James of Landshut; this new porch (_porch of St.
+Laurence_), though handsome in its _ensemble_, is wanting in that
+noble simplicity and purity of taste that distinguishes the other
+parts of the Cathedral; it is overloaded with ornaments, and its
+statues have a stiffness that is found nowhere else.
+
+The octangular dome over the chancel is also of the byzantine
+era; however, it has been renewed in several parts. In the place
+of the deformed cupola, destroyed by the fire of 1870, a handsome
+pyramid has been erected in the year 1878, after the plans of Mr.
+Klotz, architect of the Cathedral.
+
+Up to 1772 the lower part of the lateral fronts of the church was
+disfigured by paltry decayed houses; the same year they were
+pulled down and in their places the present porticos were built,
+which are not wanting in elegance: the shops and stalls that
+formerly obstructed in so disgraceful a manner the access to the
+nave, have also disappeared; and the porches have been repaired
+with a great amount of good taste.
+
+The view of the _interior_ of the nave leaves a deep impression.
+It is mysteriously lighted by magnificent painted windows, and
+supported on each side by seven large pillars, composed of round
+agglomerated columns. The two first of these pillars, more
+gigantic than the rest, support also the towers; the total
+elevation of the upper arch is more than 31 metres. The interior
+front, over the principal porch, is adorned with a beautiful
+sculptured round-window; between this and the grand rose-window
+is a glass gallery. Above the arches that unite the pillars on
+both sides of the nave and all along is a fine gothic gallery,
+serving as a basis to large windows, similar to those of the
+lower sides of the church. The lower part of the wall of the
+latter is ornamented with a range of small columns, joined
+together by og-arches. The magnificent windows of this church
+represent subjects and personages of Scripture and Legend. Among
+the artists who have painted these windows, the oldest one known,
+is master John of Kirchheim; those made after his drawings were
+put up in 1348; there is no doubt that many of his works still
+adorn the Cathedral. The names of John Markgraf, James Vischer
+and the brothers Link were mentioned later. At the latter part of
+the eighteenth century John Daniel Danegger painted also some,
+which, however, owing to their mediocrity, have since been
+removed. For some years past they have undergone considerable
+repair under the direction of artists of talent and well
+acquainted with the science of antiquities. The painted windows
+of the upper galleries of the nave represent the seventy four
+ancestors of Jesus Christ; higher up are the images of saints and
+martyrs; in the right aisle, over the vestry, is seen the
+gigantic figure of saint Christopher: on the South side, of the
+six windows that have each sixteen divisions, the four first
+contain some scenes from the history of the Bible; the two last,
+the day of Judgment and the celestial Jerusalem. On the North
+side, in an equal number of windows, you see the birth of Jesus
+Christ, the wise men, and the portraits of several German
+emperors; the last of these windows represents a series of the
+oldest events in Scripture. The effect produced by these
+beautiful windows is greatly increased since they had the happy
+idea to wash away the daubing with which, about thirty years ago,
+they had besmeared the inner walls of the Cathedral; by these
+means the bare part of the wall, a fine stone of a rosy tint,
+which served for the construction of the church, is rendered
+visible; it was a measure that bespoke much good taste and
+knowledge of the christian art.
+
+On the left side of the nave is fixed the organ which extends up
+to the superior arch. It is a master-piece of work of Andrew
+Silbermann, who was one of the most able organ-builders of his
+time and who built it in 1704. Pierced by a shell during the
+bombardment of 1870, this organ of Silbermann has been restored
+by a distinguished organ builder of our city.
+
+On the same side, at the fifth pillar, stands the pulpit, erected
+in 1486 by John Hammerer, by order of the magistrate, for the
+celebrated preacher Geiler of Kaysersberg. This work of
+sculpture, remarkably delicate, is adorned with nearly fifty
+little statues, the meaning of which is easy to understand. The
+canopy is of a modern style, and was made in 1824 to replace a
+more ancient one, perhaps the first erected in 1617, which has
+been handed down to us as a most simple piece of workmanship, and
+made of lime-wood. At the foot of the stairs are two figures, a
+man in the posture of rest and a woman praying; we may justly
+suppose that they are meant for the maker of the pulpit and his
+wife.
+
+[Illustration]
+
+The chancel is joined to the nave by two pillars of very large
+dimensions and whose tops belong to one of the constructions
+anterior to the gothic order. The magnificent lobby built by
+Erwin of Steinbach was taken down to make room for the taste
+prevailing in the seventeenth century; it was demolished in 1682.
+Two high and circular columns support the cupola of the chancel
+and separate it from its two aisles; in the centre of each of the
+latter stand also columns to sustain the arch-roofs; that of the
+northern part is round, whilst the column of the southern aisle
+is composed of a collection of very slender pillars, probably of
+a later construction; this long, thin and gracious column bears
+in its corners some statues, the fineness and gracefulness of
+which recall to mind the work of Sabina of Steinbach. Beneath are
+the four Evangelists; above four angels holding trumpets, and
+uppermost the Saviour and three angels with the implements of the
+Saviour's passion in their hands; it is called the angel's column
+or Erwin's column. On the large pillar which unites the nave to
+the chancel, are two inscriptions in commemoration of the famous
+preacher Geiler of Kaysersberg who, for many years, displayed his
+eloquence from the pulpit of the Cathedral. In this same aisle is
+erected the statue of bishop Wernher, meditating the design of
+the church laid before him. Opposite this statue, the work of Mr.
+Friderich, is the celebrated.
+
+
+Astronomical Clock.
+
+As early as 1352 an astronomical clock was begun under bishop
+Berthold of Bucheck, and finished two years after by an unknown
+artist, in the time of John of Lichtenberg. It was fixed to the
+wall facing the present one. The frame-work of that first clock
+was all of wood; the stones that formed its basis are to this day
+seen projecting from the wall. It was divided into three parts;
+the lower part contained a universal calendar; in the middle was
+an astrolabe, and in the superior division were seen the three
+wise men and the Virgin Mary carved in wood; the wise men bent
+every hour before the Virgin, by means of a peculiar mechanism,
+which at the same time put in motion a chime of harmonious sounds
+and a cock crowing and flapping his wings.
+
+The exact time at which this clock, which in the fourteenth
+century must have been a wonderful piece of workmanship, and was
+called the clock of the three sages, ceased going, is not known:
+it had been stopped for a long time, when in 1547 the magistrate
+of the town decided on having another made and putting it
+opposite the old one, in the very place the clock now occupies.
+Three distinguished mathematicians furnished the plan and
+superintended the execution of it: they were Dr Michel Herr,
+Christian Herlin, professor of mathematics at the school of
+Strasburg, and Nicholas Prugner, who, after preaching the
+reformation at Mulhouse and at Benfeld, occupied himself at
+Strasburg with mechanics and astrology. These three learned men
+began this work, but did not terminate it; it was resumed in the
+year 1570 by a pupil of Herlin, named Conrad Dasypodius of
+Strasburg, where he was a professor of mathematics. Dasypodius
+drew the design of the clock, but its execution was confided to
+two skilful mechanics of Schaffhouse, the brothers Isaac and
+Josiah Habrecht; Tobias Stimmer, also of Schaffhouse, had the
+charge of the paintings. This master-piece of the mechanical art
+of the sixteenth century was completed in 1574; it ceased going
+in 1789. As the exterior distribution of the present clock is
+nearly the same as that of the old clock, we shall abstain from
+describing the latter. In 1836 the corporation of the town of
+Strasburg adopted the resolution of causing this curious monument
+to be repaired. To Mr. Schwilgué, a distinguished mechanician of
+Strasburg, his native place, this remarkable work was entrusted;
+he began it the 24th of June 1838 and finished it at the end of
+1842.
+
+It is one of the most beautiful pieces of workmanship of our
+age; its mechanism is entirely new and in accordance with the
+present state of the science of astronomy, which as is well
+known, has attained a very high degree of certainty and
+exactness. Mr. Schwilgué has not made use of any of the pieces of
+the old clock, which are deposited in the chapel of the
+_[OE]uvre-Notre-Dame_; by comparing them with the pieces
+composing the new clock, one may judge of the progress of science
+and of the talents of the modern artist. M. Schwilgué preserved
+of the former clock only its fine case, the paintings and
+ornaments of which were carefully repaired. In this he had many
+difficulties to overcome, as well for the proper arrangement of
+this mechanism and lodging it in a space that was often very
+limited, as for making the old signs or indications accord with
+the movements of the clockwork. Of these many were marked only in
+painting, and must have been renewed after a certain time, as for
+instance those for the eclipses, which now by a most ingenious
+mechanical combination will henceforth last for ever. The little
+statues which hitherto had no articulation, are now moveable; the
+twelve Apostles have been added to the former number of them. The
+figure of Death, formerly on the same level with that of
+Jesus-Christ, is now placed in the centre of figures representing
+the four ages of life and striking the quarters of hours; the
+idea of assigning this place to the image of death is assuredly a
+more rational and finer one than that which prevailed in the old
+distribution of the figures. Childhood strikes the first quarter;
+Youth the second; Manhood the third, and Old Age the last; the
+first stroke of each quarter is struck by one of the two genii
+seated above the perpetual calendar; the four ages strike the
+second. Whilst death strikes the hours, the second of these genii
+turns over the hourglass that he holds in his hand. The image of
+the Saviour stands now on a higher ground; at the hour of noon
+the twelve Apostles pass bowing before him; he lifts up his hand
+to bless them, and during that time, a cock, whose motions and
+voice imitate nature, flaps his wings and crows three times.
+
+Mr. Schwilgué has altered the old calendar into a perpetual one
+with the addition of the feasts that vary, according to their
+connexion with Easter or Advent Sundays. The dial, nine metres in
+circumference, is subject to a revolution of 365 or 366 days,
+according as the case may be. Mr. Schwilgué has even indicated
+the suppression of the secular bissextile days. He has moreover
+enriched his work by adding to it an ecclesiastic compute with
+all its indications; an orrery after the Copernican system,
+representing the mean tropical revolutions of each of the planets
+visible to the naked eye, the phases of the moon, the eclipses of
+the sun and moon, calculated for ever; the true time and the
+sideral time; a new celestial globe with the procession of the
+equinoxes, solar and lunary equations for the reduction of the
+mean geocentric ascension and declension of the sun and moon at
+true times and places. A dial placed without the church and
+showing the hours and days, is put in motion by the same
+mechanism of the clockwork.
+
+The camerated roof of the back part of the chancel was formerly
+covered with paintings executed in 1686 representing Dooms-day. A few
+paintings only adorned till now the interior of the Cathedral,
+among which the most remarkable oil-paintings, executed by
+artists of Strasburg, are: the _Shepherd's Adoration_, by Guerin,
+the _Laying in the tomb_, by Klein; the _Ascension_, by Heim, and
+some others. In the seventeenth and eighteenth centuries the
+chancel was several times and in different ways enlarged and
+disfigured by ornaments little correspondent with the elegance and
+grandeur of the gothic order. Tribunes, stairs and wainscots that
+formed a strange contrast with the rest of the edifice were added.
+The altar, adorned in 1501, with fine figures carved in wood by
+Master Nicholas of Haguenau, was changed in 1685 by order of bishop
+William Egon of Fürstenberg; that new altar, covered with a
+baldachin, was destroyed by fire, and in 1765 the present one,
+which has nothing in its form worthy of notice, was erected. Great
+repairs were begun some years ago under the direction of the city
+corporation, struck, as every body was, by the great disproportion
+between the chancel and nave. It was resolved to restore the
+chancel to its primitive form and arrangement, and thus to
+reestablish the due proportions between that part and the rest of
+this magnificent church. This great labour is now finished. Their
+natural complement, as required by the style of this part of the
+pile and its extensive fronts and arch-roofs, is the execution of a
+certain number of monumental paintings, intrusted to two
+distinguished artists, Prof. Steinle, Director of Städel's
+Institute in Frankfort a/M. and the historical painter Steinheil
+in Paris, a native Alsacian. The former is charged with the
+execution of the fresco-paintings in the chancel and lateral
+naves, whilst the latter undertook the reestablishment of the
+paintings that represent the Dooms-day on the upper wall of the
+chancel, in front of the great nave. Both works, begun in 1876,
+came in sight for the visitors of the Cathedral, at the end of
+1878.
+
+In restoring to this part of the edifice its former appearance,
+it has highly augmented the effect produced on the inward aspect
+of the Cathedral; now also may be decided the question, hitherto
+doubtful, of the exact time at which the chancel was built; with
+certainty, it may already be said, that it was not erected, as
+was often affirmed, in the time of the emperor Charlemain.
+
+[Illustration: Astronomical clock.]
+
+In removing the superfetations that had taken place during these
+two last centuries, and in reestablishing the architectural forms
+that the wretched style then prevailing had concealed, a
+succession of large ogive arches of an admirable and powerful
+proportion which form the inferior part of the Apsis, and support
+a gallery serving as a basis to the upper story, have come to
+light. On this story, which is separated from the _cul-de-four_
+(spherical vault) by a single moulding, are three large ogive
+windows, the middle one of which is of colossal dimensions, and
+between the columns below are in a symmetrical manner placed, on
+each side, the doors of the treasury and chapter-room, and in the
+centre lies the bishop's throne, the niched vault of which is
+still more richly decorated; between the intermedial arches are
+the staircase doors leading to the gallery.
+
+The _Apsis_ is not very deep and terminates by a segment, cut out
+of a masonry work outwardly square; entirely devoted to the
+sanctuary, it only contains the high-altar, the twenty four
+stalls of the chapter and a necessary room to perform divine
+worship. In 1878 an accompanying organ has been erected on the
+left side. This beautiful instrument, made by Mr. Merklin, the
+skilful organ-builder of Lyons, is a masterpiece of art and taste
+that enhances indeed the chancel of the Cathedral. In front and a
+few steps lower down lies the chancel, destined to the inferior
+clergy and choristers. This chancel surmounted by a large
+octagonal cupola, the external part of which was struck by
+lightning in 1759, is placed at the intersection of the transepts
+and nave; open and lighted on all sides, one can admire the
+boldness and majesty of the columns and basis that support the
+arched roofs. The cripta or subterranean place, extending under
+the whole length of the chancel, is worthy of notice; it has also
+been recently restored. It is of an older order than the
+constructions of Erwin of Steinbach; it is perhaps the remainder
+of the edifice erected by bishop Werner, at the beginning of the
+eleventh century; the shape of the pillars, their cubical tops
+or chapters, the arches exclusively semi-circular, bring us back
+to those times. This crypta, that remained unimpaired during all
+the changes which the Cathedral must have undergone in the course
+of so many centuries, forms a nave with two arch-vaults and a
+round chancel. All along the walls of the nave are stone benches.
+Four of the inner pillars have still hinges affixed to them which
+prove that this portion of the crypta could be closed by a double
+door. At its entrance is what is called the holy tomb, a very
+ancient group of figures representing Jesus Christ and his
+disciples on the mount of Olives, at the moment when the soldiers
+are going to seize the Lord: this group comes from the chapel of
+the Augustines, erected in 1378; it was placed in the crypta in
+1683.
+
+The most ancient of the present chapels of the Cathedral is that
+of Saint-Andrew, in the South aisle of the chancel; it is
+remarkable for the details of its columns and for its ornaments
+of a very old style; it contains the tombs of several bishops,
+the oldest of which is that of Henry of Hasenburg, who died in
+1190. Behind the North aisle of the chancel, is Saint-John the
+Baptist's chapel, also very old, and being now lower than the
+pavement of the Cathedral. Besides several epitaphs, one here
+sees the fine gothic sepulchre of bishop Conrad of Lichtenberg,
+who died in 1299. The colossal statue of that prelate lies on a
+stone and has still some marks of the colours with which it had
+formerly been painted; in one hand he holds a book, in the other
+was his crosier of which only the lower part is now left; his
+head covered with the mitre rests on a cushion and his feet lie
+against a lion[1]. Near the entrance of this chapel, surrounded
+by an elegant railing, is the baptismal-font of sculptured stone,
+the master-piece of Josse Dotzinger of Worms, who died in 1449.
+
+  [1] The epitaph of Conrad is as follows:
+
+       «_Anno domini MCCLXXXXIX kal. Augusti obiit Conradus
+       secundus de Lichtenberg natus, Argentinensis episcopus,
+       hic sepultus. Qui omnibus bonis condicionibus, quæ in
+       homine mundiali debent concurrere, eminebat; nec sibi
+       visus similis est in illis. Sedit autem annis XXV et
+       mensibus sex. Orate pro eo._»
+
+The first chapel built in the Cathedral was Saint-Lawrence's,
+next to the North portal of the transept. It was the oldest
+parish in the town and diocese of Strasburg; the vicar of
+Saint-Lawrence was the first archpriest of the diocese and at the
+same time grand-penitentiary of the Cathedral. This chapel,
+decayed with time, was rebuilt after the plans of master James of
+Landshut, who died in 1495, and was completed in 1505; when in
+the course of time it became too small for the parish, it was
+transferred in 1698 into the neighbouring chapel of Saint-Martin,
+which had been built in 1420 and then assumed the name of
+Saint-Lawrence's chapel that it retained ever since. Among the
+sepulchral monuments it contains, is seen that of Mr. de la
+Bâtie, in his live time commander of Strasburg. In this chapel is
+the entrance to the vaults, where to this day the bishops' mortal
+remains are deposited.
+
+The chapel opposite the latter, on the right side of the church,
+is dedicated to saint Catharine; it was erected in the year 1331
+by bishop Berthold of Bucheck who is interred in it. It was newly
+arched in 1542 and formerly contained the holy tomb. The
+entrances both into this and the chapel of Saint-Lawrence are
+decorated with several old statues; in Saint-Catharine's chapel
+is the tomb of Conrad Bock, a nobleman of Strasburg, who died in
+1480; this work is remarkable for the manner in which the
+numerous figures that surround the bed of the dying man, are
+grouped together.
+
+The sepulchral stones that served as flag-stones or pavement in
+the interior of this large building, have long ago been removed.
+Besides the sepulchral monuments and inscriptions already
+mentioned we shall note the epitaphs of Erwin of Steinbach, of
+Husa his wife, and of his son John, at the lower part of the
+buttress in the little yard behind Saint John's chapel[1]; also
+the inscription to the memory of Conrad Gürtler, who bequeathed
+to the chapter of the Cathedral his house, a large building in
+the rue du Dôme; this inscription is opposite that of Geiler of
+Kaysersberg; finally, in one of the vestries is the epitaph, in
+german verses, of the celebrated printer John Mentelin of
+Schlestadt.
+
+  [1] _Anno domini MCCCXVI. XII Kal. Augustii obiit Domina
+  Husa uxor magistri Erwini. Anno domini MCCCXVIII. XVI Kal.
+  Februarii obiit magister Erwinus gubernator fabrice ecclessie
+  Argentinensis. Anno domini MCCCXXXVIII. XV Kal. Aprilis obiit
+  magister Johanni (sic) filius Erwini magistri operi huius
+  ecclesie._--There was formerly on that spot a burial ground; it
+  is very likely that Erwin and his family were buried there. When
+  some years ago, they were digging a waste-well for the lightning
+  conductor, they discovered an old coffin of stone, broken and
+  filled with earth and bones. All these remains with the exception
+  of some fragments taken away by some curious amateurs, were
+  deposited in a vault.
+
+We shall add one word more on the _foundations_ of the Cathedral.
+Every one knows the old story, according to which this edifice
+rests on piles, between each of which it were possible to go in
+boats on canals extending even under the place Gutenberg. As far
+back as the seventeenth century, they dug to a considerable
+depth, and have since several times renewed the experiments, to
+ascertain the nature of the foundations, that have been found to
+lie very deep and to be very solid, formed of masonry reposing on
+clay mixed with gravel; under a portion of the nave this bottom
+is reinforced by oaken piles.
+
+Through a door on the right of saint Catharine's chapel you enter
+the area of the workhouse of the stone-cutters of the Cathedral
+(_Steinhütte_). These workmen, even to this day form a particular
+corporation that seems to have originated in the days of Erwin of
+Steinbach; at all events it is a certain fact that the masons of
+the Cathedral were from the beginning a body, distinct from the
+ordinary masons; that they have not admitted among them every
+one who presented himself, and that they had secret signs to know
+one another. This (_loge_) society of the masons of the Cathedral
+has become the cause of many others in Germany; Dotzinger, the
+successor of John Hültz as architect of this church, united them
+all in one body; a general meeting of the masters or chiefs of
+the different _loges_, held at Ratisbon in 1459, adopted certain
+rules and regulations, and chose as their grand-masters the
+architects of the Cathedral of Strasburg, where the principal
+loge or lodge (_Haupthütte_) was established. Maximilian I
+confirmed the establishment and the rules of this corporation on
+the 3d October 1498. At the beginning of the eighteenth century
+it was transferred to Mayence.
+
+It has already been stated that at a very remote period the
+Cathedral had received rich and important donations composing the
+_[OE]uvre-Notre-Dame_, the revenues of which were originally
+under the direction of the bishops; but as they squandered them
+away «leaving the building to decay,» the chapter assumed their
+administration in 1263, after the war between the town and Walter
+of Geroldseck; however, the canons did no better and in 1290 the
+magistrate of the city was obliged to take back from them the
+management of the revenues. The estate and income of the
+_[OE]uvre_, employed only for keeping in good order and for
+repairing the Cathedral church, are still managed like other
+property that belongs to the city; the collector of the revenues
+is appointed by the city corporation, who also names the
+architect and sculptor of the _[OE]uvre_. The receiver's office
+is in a handsome house (_Frauenhaus_), built in 1581, after the
+taste of those times, situated opposite the South side of the
+Cathedral. In that house, where the old plans of the church and
+the pieces of the old clockwork, above mentioned, are carefully
+preserved, we have also to admire the light and elegant
+construction of the staircase.
+
+
+
+      *      *      *      *      *
+
+
+
+
+TRANSCRIBER'S NOTES
+
+
+The following changes have been made as needed to facilitate
+reading: standardized punctuation and accents, moved
+illustrations, and renumbered and moved footnotes.
+
+Additional changes are listed below:
+
+   Page 7: Changed "enthousiasm" to "enthusiasm" for consistency.
+
+   Page 16: Changed "pittoresqu s" to "pittoresques" and
+            "counter-forts" to "counterforts."
+
+   Pages 20 and 34: Changed "doomsday" and "dooms-day" to
+            "Dooms-day" for consistency.
+
+   Page 21: The phrase "if tine" matches the original text.
+
+   Page 22: Changed "Landsburg" to "Landsberg."
+
+   Page 23: Changed "plat-form" to "platform."
+
+   Page 24: The measurement "0m .460" matches the original text.
+
+   Page 26: Changed typo "is" to "it" and changed "bizantine" to
+            "byzantine" for consistency.
+
+   Page 32: Changed "clock-work" to "clockwork."
+
+   Page 40: Changed typo "eigtheenth" to "eighteenth."
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK HISTORICAL SKETCH OF THE CATHEDRAL
+OF STRASBURG***
+
+
+******* This file should be named 22990-8.txt or 22990-8.zip *******
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+<h1>The Project Gutenberg eBook, Historical Sketch of the Cathedral of
+Strasburg, by Anonymous</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Historical Sketch of the Cathedral of Strasburg</p>
+<p>Author: Anonymous</p>
+<p>Release Date: October 12, 2007  [eBook #22990]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK HISTORICAL SKETCH OF THE CATHEDRAL OF STRASBURG***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Juliet Sutherland, Suzan Flanagan,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<div class='center'>
+<p><br /></p>
+<table border="1" cellpadding="8" class="bbox" cellspacing="0" summary="Transcriber's Note">
+<tr><td align='left'>TRANSCRIBER'S NOTE:
+
+<p>This booklet appears to end abruptly, but there is no
+evidence of any missing pages in the original copy.</p>
+
+<p>Corrections are underlined in red with the original text shown as <ins title="like this">popups</ins>. Additional
+changes are noted in the <a href="#TRANSCRIBERS_NOTES">Transcriber's Notes</a> at the end of the e-text.<br /></p>
+</td></tr>
+</table></div><hr class="full" />
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<div class="cover">
+<h1>The Cathedral of Strasburg</h1>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+  <div class="ralign2">
+
+    <p class="fm12"><span class="">Strasburg</span></p>
+
+    <p class="fm14">A. Vix &amp; C<span class="super">ie</span></p>
+
+    <p class="fm12">Publishers</p>
+  </div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p class="center"><a href="images/cover.png">Click for larger image</a></p>
+
+</div>
+
+<hr />
+
+<div class="figcenter" style="width: 500px;"><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span>
+<a href="images/illus03.jpg"><img src="images/illus03tn.jpg" width="500" height="304" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+<span class="caption">Death of the Virgin Maria.</span>
+</div>
+
+<div class="pad"><p class="fm18">Historical Sketch</p></div>
+
+<div class="pad3"><p class="fm10">of the</p></div>
+
+<p class="fm22">Cathedral of Strasburg</p>
+
+<hr class="toc" />
+<div class="pad2"><p class="fm14">Twenty fourth Edition</p></div>
+<hr class="title" />
+
+<p class="fm16">STRASBURG</p>
+<p class="fm14">PUBLISHED BY A. VIX &amp; C<span class="super2">ie</span></p>
+<p class="fm10">31, PLACE DE LA CATH&Eacute;DRALE</p>
+<p class="fm12">1922.</p>
+
+
+<hr />
+
+<div class="figcenter" style="width: 398px;"><span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span>
+<a href="images/illus04.jpg"><img src="images/illus04tn.jpg" width="398" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+<span class="caption">The interior of the Cathedral.</span>
+</div>
+
+<hr />
+
+<div class="figcenter" style="width: 700px;"><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span>
+<a href="images/illus05.jpg"><img src="images/illus05tn.jpg" width="700" height="181" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+</div>
+
+<h2>I. HISTORY</h2>
+
+
+<p>Among the wonderful monuments to which the religious
+art of the middle ages has given rise and which will for ever
+excite the admiration of men, the church of <i>Notre-Dame</i> or
+Cathedral of Strasburg occupies one of the first ranks. By
+its dimensions, the richness of the ornaments and figures
+that adorn its exterior, by the majesty of its nave, and by its
+light steeple, which towers towards Heaven with as much
+grace as boldness, this house of God proclaims afar its destination
+and leaves a deep and indelible impression on the
+soul of any one who gazes on it.</p>
+
+<p>Exhibiting in all its different parts models of every epoch
+of christian architecture, this Cathedral is for the artist a
+subject of serious study and for the inhabitant of Strasburg
+a venerable monument, which recalls to his mind the principal
+events of the ancient history of our city.</p>
+
+<p>According to some old traditions, the Cathedral is built on a
+spot, which, from the remotest times, had been devoted to
+worship. Originally this spot formed a hill sloping westward
+into a cavity, which was filled up many centuries ago. Around
+it, the Celts, the first inhabitants of our country, built their
+huts: its summit was covered by the sacred wood, in the
+midst of which rose the druidical <i>dolmen</i>. It was there that
+those barbarians offered sacrifices to Esus, their God of war,<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>
+sacrifices which, in times of public calamity, were human
+victims.</p>
+
+<p>After the conquest of Gaul by the Romans, a regular and
+fortified town was very soon founded on the place hitherto
+occupied by the scattered habitations of the Celts. The old
+name of <i>Argentorat</i> was alone preserved; it signified a town
+where the river is crossed over. It was there, according to
+tradition, that a temple dedicated to Hercules and Mars succeeded
+the druidical forest. There is nothing unlikely in these
+traditions; the high ground on which the Cathedral stands
+speaks as much in their favour as the pagan statues found in
+the neighbourhood<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">1</a>.</p>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">1</span></a> A brass statue of Hercules, called <i>Krutzmann</i>, was found among
+the christian statues that decorated the Cathedral; it was taken down
+in 1525 and is no longer extant. A Hercules of stone, found no doubt
+when digging the foundations, is yet seen in a niche of the northward
+tower, where it juts out into the nave. A small stone figure of Mars,
+coming also from the Cathedral, was preserved in the town-library,
+but it appeared to be modern.</p></div>
+
+<p>With respect to the first erection of a christian church in
+this place, history is destitute of authentic facts. Some old
+chronicles report that about the middle of the fourth century,
+saint Amand built a church on the ruins of a Roman temple,
+but the existence of this supposed first bishop of Strasburg
+is even very doubtful. During the first years of the fifth century,
+the invasion of barbarians filled the provinces of Gaul
+with terror and devastation; the German tribes that crossed
+the Rhine plundered the Roman city of Argentorat and its
+temples. Nobody knows whether from that time new inhabitants
+settled in the midst of these ruins, or whether they
+served but as temporary abodes to the hordes successively
+coming into Gaul.</p>
+
+<p>It was only after the conquest of that extensive country by<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>
+the Franks that, about 510, Clovis had a church built at
+Argentorat, no doubt on the spot where the Cathedral now
+stands. The architecture of that church was as coarse and
+barbarous as the spirit of those times; it was built of wood
+and supported by earthen walls, extending from East to
+West; on this latter end was the front-gate and before it
+a portico; besides the principal nave it had two aisles; the
+western side opening into a yard that served as a passage to
+the priest's house.</p>
+
+<p>In proportion as the town, the name of which was by the
+Franks changed into Strasburg, increased in importance and
+population, the Merovegian kings granted greater favours to
+the church founded by one of their predecessors. The valuable
+donations they bestowed on the bishopric of Strasburg, enabled
+the inhabitants to embellish and enlarge the Cathedral. In 675
+Dagobert II granted to bishop Arbogast the town of Ruffach
+with the castle of Isenburg and a vaste domain that he freed
+from tax and royal jurisdiction and which on that account
+was called superior <i>Mundat</i>. A no less important gift was
+that from Count Rudhart, who made over to the church of Strasburg,
+in 748, Ettenheim with several neighbouring villages on
+the right bank of the Rhine. Many other eminent personages
+of this country increased successively by their liberality the
+wealth of the episcopal see. A great advantage was granted by
+Charlemain in 775, which was to exempt the subjects of the
+bishopric from all tolls and taxes imposed upon the traders travelling
+through the empire. At that time considerable sums had
+already been employed to adorn the interior of the Cathedral.
+In the year 826, the abbot Ermold the Black, living in exile
+at Strasburg, speaks with enthusiasm of the <i>beautiful temple
+of the Virgin</i> and of the other altars that decorate it. This
+ecclesiastic, with great ardour changed the metal of the antique
+statues he could yet find into sacred vases; a bronze<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>
+Hercules, two cubits high, alone escaped the pursuit of his
+pious zeal; after preserving it several centuries in the Cathedral,
+it was at last sold, and is now at Issy near Paris.</p>
+
+<p>A fire, which in 873 destroyed a portion of the church and
+all its archives, occasioned, no doubt, important repairs, and
+this event was the cause of a new royal confirmation of all the
+possessions of the church. In 1002 it was plundered, profaned
+and set on fire by the soldiers of Hermann, duke of Suabia
+and Alsacia, who was then contending with Henry of Bavaria
+for the imperial crown, Strasburg and its bishop Wernher
+having declared for the latter. Subdued by Henry II, Hermann
+was compelled to repair the damage caused to the church
+by placing at bishop Wernher's disposal the income of the
+abbey of Saint-Stephen of which he was the patron. With
+these funds, which the bishop increased by means of a new
+levy of taxes and by indulgences, he was preparing to restore
+his Cathedral, when in 1007 a thunderbolt achieved its destruction.</p>
+
+<p>He then formed the project of rebuilding the church on a
+plan of much larger dimensions and after the style of architecture
+that was then making its first appearance. The revenues
+of the bishopric, contributions furnished by the clergy
+of Alsacia and large sums of money granted by the head of
+the empire, afforded Wernher the necessary resources for
+the execution of his plan. This was examined and discussed
+in the presence of several master-architects whom he had
+sent for. The plan once fixed upon, stones were brought from
+the fine quarries of free-stone in the Kronthal. The peasants
+and bondsmen of the country brought them to the town where
+they were cut in the square then called <i>Frohnhof</i>, between
+the Cathedral and the present palace. It was during these
+labours that in 1042 the emperor Henry II came to Strasburg;
+the dignified and austere deportment of the clergy of<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span>
+the high chapter, the tranquillity prevailing under the roof
+of the episcopal church, made such an impression on this
+prince, that he for a moment resolved to resign the crown
+and solicit his admittance among the canons of the Cathedral.
+The bishop appeared at first to accede to this wish; but it
+was only to prescribe to Henry, henceforth his subordinate, to
+resume the imperial authority which Providence had bestowed
+on him; the emperor acquiesced and perpetuated the remembrance
+of his pious wish by the foundation of a royal prebend.</p>
+
+<p>When, in 1015, a sufficient quantity of materials was collected,
+they set to work by digging the ground. At the depth
+of more than five fathoms they drove down stakes, filled the
+space between them with clay mixed with lime, fragments
+of bricks and coal; and on this solid base were laid the
+foundation stones.</p>
+
+<p>Tradition gives an account of a hundred and even two
+hundred thousand men being employed in the construction of
+this church, which work, thanks to the religious <ins title="enthousiasm">enthusiasm</ins>
+of that epoch and the labours performed by vassals and workmen
+<i>for the salvation of their souls</i>, advanced very rapidly.</p>
+
+<p>In the year 1027 bishop Wernher set out for Constantinople,
+and never returned to his native land. From that time we have
+but imperfect and uncertain accounts touching the progress
+of the building. All we know is, that in 1028 they had built
+up to the roof. It seems likely from that account that this
+monument, built in the byzantine style, at once so elegant
+and so simple, was soon after completed by the erection of a
+tower, and that it remained in the same state till, owing to
+sundry circumstances and, perhaps, to bad construction, it
+began to need important repair. It is impossible to determine
+the time when repairing the church took place; however, this
+happened probably not before the middle of the thirteenth
+century and in the then new style, since called the Gothic<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>
+order. This opinion is confirmed by the ancient seal of our
+city, which likely enough and according to the custom of
+those times, represents the front of the Cathedral.</p>
+
+<p>That it had a tower in 1130 is a certain fact; for K&#339;nigscoven
+speaks of its destruction by fire in the course of that
+year; successive fires, in 1140, 1150, 1176 also materially
+injured the beautiful edifice; besides, the continual wars
+and tumultuous commotions of the time prevented the bishops
+from undertaking essential repairs. It appears that these
+causes, by degrees, brought on the complete ruin of bishop
+Wernher's constructions; for unquestionably the part included
+between the nave and the two towers dates but from
+the thirteenth century, and cannot have been begun before
+the middle of it. What remained of the old church was
+pulled down at that time and a new and more spacious edifice
+was erected, built in the style then spreading over all Europe.
+Considering the immense size of this monument, it is easy to
+imagine that the work went on but slowly, and an old chronicle
+mentions that on the 7<span class="super">th</span> September 1275 they finished the
+middle part of the superior arch-roofs, with the exception of
+the towers in front. By whom these labours were directed is
+altogether unknown.</p>
+
+<p>It was bishop Conrad of Lichtenberg who undertook to
+rebuild the parts that were still in a state of ruin and thus at
+last to accomplish this great work of the Cathedral<a name="FNanchor_1_2" id="FNanchor_1_2"></a><a href="#Footnote_1_2" class="fnanchor">1</a>.</p>
+
+<div class="footnote"><p><a name="Footnote_1_2" id="Footnote_1_2"></a><a href="#FNanchor_1_2"><span class="label">1</span></a> &laquo;... <i>Ipsa ecclesia in meliorum statuum reedificetur</i> ...&raquo;
+(See a charter of bishop Conrad of Lichtenberg, published by <span class="smcap">M. L. Space</span>
+1841, p. 6).</p></div>
+
+<p>In order to execute this design, he published indulgences
+all over the country; and after collecting large sums of money
+in the town, he applied to the ecclesiastics of his diocese, asking
+their own gifts and offerings as well as those of the faithful
+under their direction; in a synod held in the diocese, the<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span>
+clergy agreed to give up, during four years, a fourth part of
+their revenues. Conrad entrusted the direction of this work to
+Master Erwin of Steinbach, who, according to some old documents,
+was a native of Mayence. This great architect began
+by rebuilding the nave, the arch-roofs of which were completed
+in 1275. Then he commenced the fa&ccedil;ade of the church
+and its towers from a plan so bold and sublime that the conception
+of it places Erwin for ever at the head of the architects
+of the middle age<a name="FNanchor_1_3" id="FNanchor_1_3"></a><a href="#Footnote_1_3" class="fnanchor">1</a>. In 1276 they laid the foundation of
+the northern tower; to consecrate the spot, the bishop walked
+solemnly round it, then took a trowel in his hand and thrust
+it into the ground, as a sign for beginning the work. They
+relate that a quarrel having occured between two workmen
+who both wished to work with the trowel the bishop had held
+in his hand, one of them was killed. This murder was considered
+as a very bad omen; Conrad ordered their labour
+to be suspended for nine days; they were only resumed
+after he had consecrated the place anew. The following year,
+on saint Urban's day (25<span class="super">th</span> May), Conrad himself laid the first
+stone of the tower. In the midst of his warfares, this bishop
+always entertained much affection for his Cathedral, as
+he beheld the gradual rising of this <i>glorious work</i>, as an
+old inscription terms it<a name="FNanchor_2_4" id="FNanchor_2_4"></a><a href="#Footnote_2_4" class="fnanchor">2</a>; in his heartfelt joy he used to compare
+it to the flowers of May that bloom in the sun<a name="FNanchor_3_5" id="FNanchor_3_5"></a><a href="#Footnote_3_5" class="fnanchor">3</a>. To the
+very end of his life Conrad of Lichtenberg neglected nothing<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>
+to urge on the progress of his work of predilection; after his
+death, in 1299, he received in it a sepulchre worthy of him; his
+statue is still to be seen in saint John's chapel. Yet, during
+the life of Conrad, the Cathedral was shaken by several
+earthquakes in 1279, 1289, 1291; that of 1289 was so violent
+that the columns in the interior of the building threatened
+for a moment to fall down. But a very favourable circumstance
+happened in 1292, which was the surrender of the
+<i>&#338;uvre-Notre-Dame</i> to the magistrate of the city, who
+was henceforth charged with the management of the revenues
+allotted to the keeping in repair of the Church
+and consequently also to the completion of it. A few years
+after, in 1298, a new misfortune happened to the Cathedral.
+A fire, caused by the imprudence of a cavalier of Albert I,
+during the sojourn of that prince at Strasburg, consumed
+all the timberwork and threatened even the pillars and walls.
+However the damage was promptly repaired. In 1302 a bloody
+conflict between two citizens of the town, which took place in
+the very chancel of the church, required again a new consecration
+of it.</p>
+
+<div class="footnote"><p><a name="Footnote_1_3" id="Footnote_1_3"></a><a href="#FNanchor_1_3"><span class="label">1</span></a> They still preserve in the records of the convent of the <i>&#338;uvre
+Notre-Dame</i> several old drawings on parchment of the fa&ccedil;ade and
+towers; these curious designs belong to different epochs; according
+to the opinion of the <i>connaisseurs</i>, the oldest would most likely be that
+of Erwin himself.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_4" id="Footnote_2_4"></a><a href="#FNanchor_2_4"><span class="label">2</span></a> <i>Anno Domini MCCLXXVII in die beati Urbani hoc gloriosum opus
+inchoavit magister Erwinus de Steinbach.</i> This inscription was formerly
+placed in the vault of the northern portal.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_5" id="Footnote_3_5"></a><a href="#FNanchor_3_5"><span class="label">3</span></a> In a letter of indulgence.</p></div>
+
+<p>After the death of bishop Conrad of Lichtenberg, who in
+the year 1299 was killed in a battle near Friburg, his brother
+and successor, Frederic, showed no less ardour for the continuation
+of this building; in 1303 he invited the curates
+throughout Alsacia to exhort those of their faithful parishioners
+who had horses and carts, to convey stones for the edifice;
+in 1308 the magistrate of Strasburg, no doubt at the request
+of bishop John, promised freepasses to all those who
+would bring stones or wood, and he secured wine and wheat
+for the workmen.</p>
+
+<p>Erwin superintended the works until 1318, when he died on
+the 14<span class="super">th</span> of January. All the children of this grand master were
+artists worthy of him: Sabina, his daughter, carved several<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>
+statues for the Cathedral; one of his sons, who died in
+1330, built the fine church of Haslach; his other son, John,
+succeeded him in directing the works of the Cathedral,
+and he died in 1339. In 1331 bishop Berthold of Bucheck
+built the chapel of saint Catherine, which also contains
+his tomb. The disturbances and calamities that desolated
+Strasburg during a great part of the fourteenth century, the
+revolution of 1332 that altered the form of the government of
+the town, the ravage caused by the black plague in 1349 with
+the insurrections accompanying it, the contest of bishop
+Berthold with his chapter and with the emperor, all this retarded
+of course the progress of the construction of the Cathedral.
+Nevertheless they terminated in 1365 the northern tower;
+K&#339;nigshoven calls it the new tower, perhaps, because they
+purposed erecting a pyramid on it, which was quite an innovation
+in the architecture of that time. The southern tower,
+which the chronicler calls the ancient one, because it was
+not intended to be raised higher, was finished at the
+same time. The name of the artist who made the plan of the
+pyramid and spire of the northern tower is still unknown;
+nor is it known who built the steeple which formerly rose
+above the <i>grande rosace</i>, or rose.</p>
+
+<p>In 1368 the church was again struck by lightning without receiving
+much damage; in 1384 a fire that broke out in the organ,
+burnt all the interior with the exception of the chancel.
+Ever since that time large vats were set in the different parts
+of the building and guardians placed in the interior and in
+the towers. In 1429, John H&uuml;ltz of Cologne was sent for
+to complete this great work; ten years after, he finished
+the spire; on Midsummer's day 1439, in the presence of
+a great multitude, he laid the last stone, exactly a hundred
+and sixty two years after Conrad of Lichtenberg had placed
+the first stone of this monument; a statue of the Virgin<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>
+Mary was also erected on the knob terminating the spire<a name="FNanchor_1_6" id="FNanchor_1_6"></a><a href="#Footnote_1_6" class="fnanchor">1</a>.</p>
+
+<div class="footnote"><p><a name="Footnote_1_6" id="Footnote_1_6"></a><a href="#FNanchor_1_6"><span class="label">1</span></a> It was taken down in 1488.</p></div>
+
+<p>At the time of the reformation the Cathedral passed over
+to the protestants; it is true that on account of their worship,
+they caused several chapels to be closed and some altars
+to be removed, but they made no material change, nor spoiled
+any thing; on the contrary, they watched with care over the
+magnificent building and even caused important repairs to be
+made in it. Several times it was very much injured by
+fire and by lightning, particularly in the years 1540, 1555,
+1568, 1624 and 1625. In 1654 the spire was destroyed by
+lightning; the skilful architect Heckler was obliged to rebuild
+it sixty five feet high. By the capitulation of 1681 the Cathedral
+was restored to the catholics, who immediately began
+to repair it, but unfortunately in that wretched style then
+prevailing, and when not the least intelligence of christian
+art existed any longer, they pulled down the lobby made by
+Erwin, so much admired in the middle age as a masterpiece
+of elegance; in 1692 they adorned the interior of the
+choir with wainscots of wood painted and gilt; in 1732 they
+widened it to the detriment of a portion of the nave, and
+ten years later galleries were made for the orchestra.
+To punish, as it would seem, those who were thus spoiling
+this wonderful monument, an earthquake shook it in 1728;
+in 1759 it was struck by lightning and considerably injured;
+the lead on the roof of the nave was entirely melted, and the
+fine cupola or arched roof that crowned the dome fell into
+pieces; the roof was then covered with copper, but the
+cupola was not rebuilt. New destructions awaited the Cathedral
+in 1793; in their fury of levelling, the men who then ruled
+the country caused two hundred and thirty four effigies of
+saints and kings to be taken down from their niches, of which<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>
+very few only were saved; the crazy jacobin Teterel even proposed
+pulling down the spire, because, by its height extending
+far beyond that of the ordinary houses, it was condemning
+the principle of equality; the motion not being carried on.
+Teterel obtained the assurance at least, that a large red
+cap made of tin should be placed on the top of the Cathedral,
+and it was to be seen among other curiosities in the town-library,
+before its destruction.</p>
+
+<p>The year 1870, so full of important events for Strasburg,
+was also fatal for the Cathedral, and during the seven weeks'
+cannonading of the town the beautiful building was constantly
+threatened with ruin. In the first period of the siege of Strasburg,
+the Germans tried to force the surrender by the bombardment
+and partial destruction of the inner town. In the
+night of the 23<span class="super">rd</span> of August began for the frightened inhabitants
+the real time of terror; however that night the rising
+conflagrations, for instance in St. Thomas' church, were
+quickly put out. But in the following night the New-Church,
+the Library of the town, the Museum of paintings and many
+of the finest houses became a heap of ruins, and under the
+hail of shells all efforts to extinguish the fire were useless. For
+the Cathedral the night from the 25<span class="super">th</span> to 26<span class="super">th</span> of August was
+the worst. Towards midnight the flames broke out from the
+roof perforated by shells, and increased by the melting copper,
+they rose to a fearful height beside the pyramid of the
+spire. The sight of this grand volume of flames, rising above
+the town, was indescribable and tinged the whole sky with its
+glowing reflection. And the guns went on thundering and shattering
+parts of the stone ornaments which adorned the front
+and sides of the Cathedral. The whole roof came down and
+the fire died out only for want of fuel. The following morning
+the ground in the interior was covered with ruins, and
+through the holes in the vault of the nave one could see the<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span>
+blue sky. The beautiful Organ built by Silbermann was pierced
+by a shell and the magnificent painted windows were in great
+part spoiled. Fortunately the celebrated astronomical Clock
+had escaped unhurt.</p>
+
+<p>As the Military Command continued for some time to occupy
+a post of observation on the platform, the Cathedral
+was unfortunately still longer the aim of German guns which
+every day surrounded the building with ruins. On the 4<span class="super">th</span> of
+September two shells hit the crown of the Cathedral and
+hurled the stonemasses to incredible distances; on the 15<span class="super">th</span> a
+shot came even into the point below the Cross, which was
+bent on one side, and had its threatened fall only prevented
+by the iron bars of the lightning conductor which
+held it.</p>
+
+<p>After the entrance of the Germans into the reconquered
+town, the difficult and dangerous work of restauration of the
+point of the spire was begun at once and happily ended a
+few months after. They work also constantly to make the
+other damages disappear, and in a short time the magnificent
+house of God will be restored to all its ancient splendour.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/illus16.jpg"><img src="images/illus16tn.jpg" width="500" height="381" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+</div>
+
+<hr /><p><span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/illus17.jpg"><img src="images/illus17tn.jpg" width="500" height="343" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+<span class="caption">The Crypta.</span>
+</div>
+
+<h2>II. DESCRIPTION.</h2>
+
+
+<p>The first aspect of the Cathedral produces on the mind a
+deep impression. One is seized with admiration and amazed
+at the first view of this noble edifice whose steeple towers up
+so gracefully and majestically. No doubt that examined in all
+its particular parts, 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.</p>
+
+<p>The <i>fa&ccedil;ade</i> of the church, of an imposing magnitude, cannot<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span>
+be sufficiently admired; the massive walls are hidden by
+<i>clochetoons</i>, 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<a name="FNanchor_1_7" id="FNanchor_1_7"></a><a href="#Footnote_1_7" class="fnanchor">1</a>. 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.</p>
+
+<div class="footnote"><p><a name="Footnote_1_7" id="Footnote_1_7"></a><a href="#FNanchor_1_7"><span class="label">1</span></a> We refer the reader who wishes to study the Cathedral in all its
+parts, to the following works: Grandidier, <i>Essais historiques et topographiques
+sur l'&eacute;glise Cath&eacute;drale de Strasbourg</i>, Strasb. 1782, in 8<span class="super">o</span>.&mdash;H.
+Schreiber, <i>Das M&uuml;nster zu Strassburg</i>, Freib. 1828, in 8<span class="super">o</span>, avec 11 lithographies
+gr. in-fol.&mdash;<i>Vues <ins title="pittoresqu s">pittoresques</ins> de la Cath&eacute;drale de Strasbourg</i>,
+dessins par Chapuy et texte par Schweigh&auml;user, 3 livr. in-fol. Strasb. 1827.
+<i>La Cath&eacute;drale de Strasbourg et ses d&eacute;tails</i>, par A. Friedrich, 4 liv. gr. in-fol.,
+renfermant 57 planches accompagn&eacute;es d'un texte explicatifet historique.
+We regret to say that but one number of this fine work has been published
+(in 1839).&mdash;<i>Kunst und Alterthum in Elsass-Lothringen</i>, von Prot.
+F. X. Kraus, I. Band. With numerous wood-engravings. 1877.</p></div>
+
+<div class="figcenter" style="width: 302px;"><span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>
+<a href="images/illus19.jpg"><img src="images/illus19tn.jpg" width="302" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+<span class="caption">Porch of Saint-Lawrence.</span>
+</div>
+
+<p>The whole of the fa&ccedil;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
+<ins title="counter-forts">counterforts</ins> 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<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>
+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.</p>
+
+<p>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<a name="FNanchor_1_8" id="FNanchor_1_8"></a><a href="#Footnote_1_8" class="fnanchor">1</a>, is placed a blessed Virgin holding
+an infant Christ in her arms. The fronton of this portal is
+formed by two triangles and adorned with many figures; that
+on the summit of the interior triangle, which first strikes the
+eye, is king Solomon seated under a canopy; on both sides
+of him are fourteen lions raised on steps or benches that
+draw near towards the top and join near a Virgin Mary sitting
+with the infant Christ on one arm and holding a globe in her
+other hand; she is the Patroness of the church. Above her
+a radiated head, representing God the Father, forms the
+point of the triangle that encircles the inside fronton, which<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span>
+is decked with figures playing on different musical instruments.
+On the sides facing the North and South, the two
+towers have each a large window with most beautiful <i>rosaces</i>.
+Over the window on the South side is seen a very old
+sculpture, the grotesque figures of which represent the night
+revelling of sorcerers. The frontons of the other porticos are
+also adorned with <i>rosaces</i>.</p>
+
+<div class="footnote"><p><a name="Footnote_1_8" id="Footnote_1_8"></a><a href="#FNanchor_1_8"><span class="label">1</span></a> The beautiful folds of the middle door, mounted with artful
+bronze ornaments which were executed in Paris after the designs of
+the architect of our cathedral, Mr. Klotz, were hung up in 1879.</p></div>
+
+<p>On the second tier of the middle porch is a large rose-window
+that occupies the whole width of it. It is surrounded by
+a detached arch, which as much on account of the elegance
+of its workmanship, as of the boldness of its construction,
+is one of the most admirable parts of the Cathedral. The
+large painted windows have been repaired by skilful artists,
+Mr. Ritter and Mr. M&uuml;ller. Where the second tier begins,
+at the bottom of the rose-window, are four equestrian statues,
+placed in niches in the counterforts, three of which,
+those of Clovis, Dagobert and Rodolphe of Habsburg, were
+erected in 1291, the fourth, that of Louis XIV, was placed
+only in 1828. Clovis and Dagobert were the benefactors of
+the church of Strasburg. Rodolphe stands there, less on account
+of his liberalities to the Cathedral, than for having been
+to the last the valiant friend of the Republic of Strasburg. King
+Louis XIV accompanies the three others, rather from adulation
+than any other cause. On the upper tier of the fa&ccedil;ade
+are placed the equestrian statues of king Pepin the Short,
+of Charlemain, Otho the Great and Henry I the Fowler. On
+the south-side are seen in the first tier the emperors Otho
+II, Otho III and Henry II; in the upper tier of the same side,
+the equestrian statues of Conrad II, Henry III and the statue
+of Henry IV. On the north-side of the fa&ccedil;ade are the equestrian
+statues of Charles Martel, the Franconian majordomo; of Louis
+the Debonair and Lotharius, the son of Louis the Debonair;
+at last in the upper tier, the statues of Charles the Bald, king<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>
+of the West-Franconians and the equestrian statues of Lotharius
+II and Louis the German (&#10013;876).</p>
+
+<p>Over the rose-window, but still in the compartment of the
+second tier, is a gallery furnished with the figures of the
+Apostles, and above them is placed Jesus-Christ holding in
+his hands a cross and banner. In the lateral towers, the same
+tier is taken up on each side by a high broad window in
+the shape of an ogee, before which rise very slender pillars.
+Exactly over these windows, on the third tier and also on
+each side, are three very high and narrow windows; the middle
+part, though wider, has but two, rather small ones, and
+surrounded by some statues. This very massive portion of the
+building betrays at first sight its later origin; when Erwin's
+plan was abandoned, this part was added to fill up the empty
+space between the two towers; these were already completed,
+and even have on the third tier their windows looking into
+the central porch, but which are at present hidden from the
+outside. That part of the middle porch is used as a belfry,
+four large bells are suspended in it, the largest of which, cast
+in 1427, weighs nine thousand kilogrammes, and serves
+to announce great festival days; it is also rung at the death
+of renowned personages, or in case of fire.</p>
+
+<p>It was only in the year 1849 that the front was ornamented
+with statues representing the day of judgment.
+This group, consisting of fifteen gigantic figures, was made
+after the old drawings preserved in the archives of the <i>&#338;uvre-Notre-Dame</i>.
+Jesus-Christ, as judge, is in the middle, with
+Mary and John the Baptist on either side; they are surrounded
+by angels sounding the trumpet of <ins title="doomsday">Dooms-day</ins>, or bearing
+the instruments of our Saviour's passion; beneath are seen the
+Evangelists, having men's bodies surmounted by the heads of
+the four symbols which generally accompany them.</p>
+
+<p>Above the middle porch and the southward tower, is the<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>
+platform, very spacious and surrounded by a handsome
+balustrade; on it is built a small house for the guardians
+charged to strike the hours and ring the alarm bell in case of
+fire. From the top of this platform one enjoys a magnificent
+view; the wonderful panorama that unfolds itself from there,
+has been drawn with as much taste as accuracy by Mr. Frederic
+Piton, a zealous <i>amateur</i> of our local history. Towards
+the North, in the direction of the Wacken, an island near Strasburg,
+is seen on the horizon the mountain of the <i>Pigeonnier</i>
+(<i>Scherhol</i> in German), at the foot of which lies Wissemburg;
+to its right rise the peaks crowned by the ruins of <i>Gutenberg</i>
+and <i>Trifels</i>, and the famous <i>Geisberg</i> taken by storm in the
+war of 1870. On the other side of the Rhine, whose majestic
+stream the eye can easily trace, the long range of the mountains
+of the <i>Black Forest</i> limits the horizon. The first peak
+that is seen is that of the <i>Eichelberg</i>, at the opening of the
+valley of the <i>Murg</i>; then comes the <i>Fremersberg</i>, the <i>Mount-Mercury</i>,
+the mountain with the ruins of <i>Yburg</i>; all these
+names are known to those who have visited Baden. Beyond
+these summits is the high level ground of the <i>Hornisgr&uuml;nde</i>,
+on the other side of which is seen, in the midst of
+a forest, the dark lake named <i>Mummelsee</i>. Farther on, eastward,
+beyond the arsenal of Strasburg and the village of Kehl,
+you observe the castle of <i>Schauenburg</i>, near Oberkirch,
+where the valley of the <i>Rench</i> begins. After gliding over the
+ruin of <i>F&uuml;rsteneck</i> and <i>Schauenburg</i>, the eye rests on the
+stately buildings of <i>Ortenberg</i>, rebuilt after the middle age
+architecture, at the entrance of the valley of the <i>Kinzig</i>.
+Directing your eye more towards the South, you discover the
+mountains of <i>Triberg</i>, and close to them those of <i>Lahr</i>; then
+comes the loftiest peak of the <i>Black Forest</i>, the <i>Feldberg</i>,
+1494 metres high. Farther on the eye may discover (if tine)
+the <i>Ballon</i> and the <i>Blauen</i>, behind the hills of the <i>Kaiserstuhl</i>;<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>
+thence this ridge of mountains is lost sight of. In the
+plain, between the Rhine and the Vosges, a double row of
+poplars points out the <i>Canal</i> (from the Rhone to the Rhine).
+The first peak seen in the range of the Vosges towards the
+South-East is the <i>Ballon of Sultz</i>, 993 metres high; the eye
+then discovers in a western direction the ruins of the three
+castles of <i>Egisheim</i>, <i>Haut-Hattstatt</i> and <ins title="Landsburg"><i>Landsberg</i></ins>, the top
+of the <i>Ballon</i> of <i>Gebwiller</i>, 1426 metres high the <i>Hoheneck</i>,
+the ruins of the old castles of <i>Kientzheim</i>, <i>Rappoltstein, Hoh-</i>
+(High) <i>K&#339;nigsburg</i>, <i>Ortenburg</i>, <i>Bernstein</i>, <i>Frankenburg</i>
+and the summits of the <i>Bressoir</i> and <i>Ungersberg</i>. Looking in
+the direction of Saint-Thomas' church, at one glance the eye
+overlooks the country of the old <i>Hohenburg</i>, so picturesque
+and so rich in monuments and historical associations: the
+castle of <i>Landsberg</i>, the rock of the <i>M&aelig;nnelstein</i>, the convent
+of <i>Sainte-Odile</i>, behind which rises the level ground of
+the <i>Champ-du-Feu</i>; further on to the right, are the ruins of
+<i>Girbaden</i>, the peaks of the <i>Donon</i> and <i>Schneeberg</i>. Here the
+mountains are by degrees lost from sight in the distance; on
+the horizon one may however distinguish the towers of the
+castles of <i>Geroldseck</i> and <i>Hoh-</i> (High) <i>Barr</i>, in the vicinity
+of Zabern; then nothing more is seen but meadows, forests,
+fields, from the centre of which you see now and then the
+modest church-steeples of the numerous villages that cover
+the fine plain of Alsacia.</p>
+
+<p>On the North side stands a tower of an octangular form,
+supporting the spire. This tower consists, as it were, but
+of strong buttresses adorned with small columns and statues,
+and having large apertures in which very high windows
+are set and take nearly the whole breadth on the four
+sides, where they are. Among the statues that face the platform,
+one must be noticed as being, according to tradition,
+that of Erwin of Steinbach. In the interior of this tower<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>
+are the bells that strike the hours, that which is called
+the gates' bell (<i>Thorglocke</i>)<a name="FNanchor_1_9" id="FNanchor_1_9"></a><a href="#Footnote_1_9" class="fnanchor">1</a> and also a clock made in 1786
+by two clockmakers of Strasburg, Maybaum father and son.
+An inscription over the door leading to the <ins title="plat-form">platform</ins> recalls
+to mind the earthquake of 1728, so violent that the water
+was raised from the reservoirs and thrown to a distance
+of eighteen feet<a name="FNanchor_2_10" id="FNanchor_2_10"></a><a href="#Footnote_2_10" class="fnanchor">2</a>. In front of the four principal sides
+of the octagon tower are turrets with winding stairs, and
+consisting but of a series of windows that rise in a spiral
+form. These elegant turrets seem hardly to rest on any thing;
+besides the gallery that covers them, they communicate with
+the principal tower but by means of flat stones that serve as
+an entrance into a gallery of the interior of the arch-roof, and
+which lie at a height of almost thirty metres. According to
+the old drawings, these turrets should have been surmounted
+by pyramidal spires. They terminate in a gallery that surrounds
+the tower, from whence one enjoys a most admirable
+view. It is from that spot that rises the spire (<i>fl&egrave;che</i>), which
+is an octangular pyramid of an extraordinary boldness, offering
+to the astonished gazer nothing of a massive construction.
+Six successive tiers of little turrets are thus pyramidically
+placed one above the other<a name="FNanchor_3_11" id="FNanchor_3_11"></a><a href="#Footnote_3_11" class="fnanchor">3</a>. Eight winding stair-cases, narrow
+and of rich open carvings, lead the visitor to a massive spot<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>
+commonly called <i>the lantern</i>; higher up is <i>the crown</i><a name="FNanchor_4_12" id="FNanchor_4_12"></a><a href="#Footnote_4_12" class="fnanchor">4</a>, which is
+not reached without danger, by means of steps placed outside,
+and with no other protection than the wall to which they are
+fastened; above another widened place, called <i>the rose</i>, the
+spire is nothing but a column whence jut out horizontal branches
+to give it the aspect of a cross. The monument terminates
+in a <i>knob</i> being 0<span class="super">m</span> .460 in diameter and to which ever since
+1835 a lightning-conductor has been adapted; one may climb
+there but with the aid of iron bars to which you must cling with
+hands and feet. The total height of this stately building is 142<span class="super">m</span>.</p>
+
+<div class="footnote"><p><a name="Footnote_1_9" id="Footnote_1_9"></a><a href="#FNanchor_1_9"><span class="label">1</span></a> So called because it was rung morning and night before the opening
+and closing of the city gates.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_10" id="Footnote_2_10"></a><a href="#FNanchor_2_10"><span class="label">2</span></a> In the interior of this tower and on the balustrade are seen a great
+many names of foreigners who have visited the Cathedral. Among
+these names are some of celebrated persons, as G&#339;the, Herder, etc.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_11" id="Footnote_3_11"></a><a href="#FNanchor_3_11"><span class="label">3</span></a> Above the first tier of the turrets is seen around the spire (fl&egrave;che)
+the following inscription:
+</p>
+<p class="footpoem">
+<i>Christus nos revocat. Christus gratis donat.<br />
+Christus semper regnat. Christus imperat.<br />
+Christus rex superat. Christus triumphat.<br />
+Maria glorificat. Christus coronat.</i><br />
+</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_12" id="Footnote_4_12"></a><a href="#FNanchor_4_12"><span class="label">4</span></a> Besides some other inscriptions on the spire, you read round the
+first gallery of the crown these words:
+</p><p class="footpoem">
+<i>Jesus Christus verbum caro factum est,<br />
+Jesus Christus, et habitavit in nobis,<br />
+Jesus Christus, et vidimus gloriam ejus,<br />
+Jesus Christus, gloriam quasi unigeniti a Patre.</i><br />
+</p>
+<p class="cite3">(S. John. 1. 14.)</p></div>
+
+<div class="figcenter" style="width: 335px;"><span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>
+<a href="images/illus27.jpg"><img src="images/illus27tn.jpg" width="335" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+<span class="caption">The column of angels.</span>
+</div>
+
+<p>The nave, decked with a copper roof, abounds no less in
+decoration than the front. It has large ogive windows adorned
+with <i>rosaces</i>; at the place where the buttresses, equally
+carved with <i>rosaces</i>, join the counterforts or pillars, they
+have at their tops fine clochetoons; a great many statues and
+grotesque figures of heads complete the ornaments of this part
+of the church. Two galleries, one under the windows, the
+other below the clochetoons of the counterforts, lead from
+the towers to the cross-aisle. This, as we have already said,
+is still byzantine in several parts of it. The southern porch,
+formed by two semi-circular doors made evidently at one of the
+remotest periods of the Cathedral, is adorned with bas-reliefs
+and statues; according to tradition, it is reported that two
+of these statues are the work of Sabina of Steinbach. One is
+a woman in a triumphal posture holding in her hands a
+communion cup and a cross; she is the symbol of the church
+that vanquished the synagogue; the other, a symbol of the<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>
+latter, is a woman looking down, blindfolded and leaning
+with pain on a broken spear, whilst the laws of the twelve
+tables drop from her left hand. On the parvis before this
+porch is erected, on the left, the statue of Sabina herself, and
+on the right, the statue of Erwin of Steinbach, both due to
+the chisel of Mr. Grass.</p>
+
+<p>The wall of the upper tier has openings for several windows
+of an ogive form, above which a gallery runs all
+along; two round-windows take up the third tier. The northern
+portion of the cross-aisle has more generally preserved
+the byzantine manner than that we have just spoken of; however,
+this intermixture with the gothic style denounces
+latter renovations. The ancient porch, the remains of very
+old constructions, is masked by a fore-front that belongs
+to the last period of the gothic art, and which was built
+in 1494 by James of Landshut; this new porch (<i>porch of
+St. Laurence</i>), though handsome in its <i>ensemble</i>, is wanting in
+that noble simplicity and purity of taste that distinguishes the
+other parts of the Cathedral; it is overloaded with ornaments,
+and its statues have a stiffness that is found nowhere else.</p>
+
+<p>The octangular dome over the chancel is also of the <ins title="bizantine">byzantine</ins>
+era; however, <ins title="is">it</ins> has been renewed in several parts. In
+the place of the deformed cupola, destroyed by the fire of
+1870, a handsome pyramid has been erected in the year
+1878, after the plans of Mr. Klotz, architect of the Cathedral.</p>
+
+<p>Up to 1772 the lower part of the lateral fronts of the church
+was disfigured by paltry decayed houses; the same year they
+were pulled down and in their places the present porticos
+were built, which are not wanting in elegance: the shops
+and stalls that formerly obstructed in so disgraceful a manner
+the access to the nave, have also disappeared; and the porches
+have been repaired with a great amount of good taste.</p>
+
+<p>The view of the <i>interior</i> of the nave leaves a deep impression.<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>
+It is mysteriously lighted by magnificent painted windows,
+and supported on each side by seven large pillars, composed
+of round agglomerated columns. The two first of these pillars,
+more gigantic than the rest, support also the towers;
+the total elevation of the upper arch is more than 31
+metres. The interior front, over the principal porch, is
+adorned with a beautiful sculptured round-window; between
+this and the grand rose-window is a glass gallery.
+Above the arches that unite the pillars on both sides of the
+nave and all along is a fine gothic gallery, serving as a basis
+to large windows, similar to those of the lower sides of the
+church. The lower part of the wall of the latter is ornamented
+with a range of small columns, joined together by og-arches.
+The magnificent windows of this church represent subjects
+and personages of Scripture and Legend. Among the artists
+who have painted these windows, the oldest one known,
+is master John of Kirchheim; those made after his drawings
+were put up in 1348; there is no doubt that many of
+his works still adorn the Cathedral. The names of John Markgraf,
+James Vischer and the brothers Link were mentioned
+later. At the latter part of the eighteenth century John Daniel
+Danegger painted also some, which, however, owing to
+their mediocrity, have since been removed. For some years
+past they have undergone considerable repair under the direction
+of artists of talent and well acquainted with the science
+of antiquities. The painted windows of the upper galleries of
+the nave represent the seventy four ancestors of Jesus Christ;
+higher up are the images of saints and martyrs; in the right
+aisle, over the vestry, is seen the gigantic figure of saint
+Christopher: on the South side, of the six windows that have
+each sixteen divisions, the four first contain some scenes from
+the history of the Bible; the two last, the day of Judgment and
+the celestial Jerusalem. On the North side, in an equal number<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span>
+of windows, you see the birth of Jesus Christ, the wise
+men, and the portraits of several German emperors; the last
+of these windows represents a series of the oldest events in
+Scripture. The effect produced by these beautiful windows
+is greatly increased since they had the happy idea to wash
+away the daubing with which, about thirty years ago, they
+had besmeared the inner walls of the Cathedral; by these
+means the bare part of the wall, a fine stone of a rosy tint,
+which served for the construction of the church, is rendered
+visible; it was a measure that bespoke much good taste and
+knowledge of the christian art.</p>
+
+<p>On the left side of the nave is fixed the organ which extends
+up to the superior arch. It is a master-piece of work of Andrew
+Silbermann, who was one of the most able organ-builders
+of his time and who built it in 1704. Pierced by a shell during
+the bombardment of 1870, this organ of Silbermann has been
+restored by a distinguished organ builder of our city.</p>
+
+<p>On the same side, at the fifth pillar, stands the pulpit,
+erected in 1486 by John Hammerer, by order of the magistrate,
+for the celebrated preacher Geiler of Kaysersberg. This
+work of sculpture, remarkably delicate, is adorned with nearly
+fifty little statues, the meaning of which is easy to understand.
+The canopy is of a modern style, and was made in
+1824 to replace a more ancient one, perhaps the first
+erected in 1617, which has been handed down to us as a most
+simple piece of workmanship, and made of lime-wood. At
+the foot of the stairs are two figures, a man in the posture
+of rest and a woman praying; we may justly suppose that
+they are meant for the maker of the pulpit and his wife.</p>
+
+<div class="figcenter" style="width: 389px;"><span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>
+<a href="images/illus31.jpg"><img src="images/illus31tn.jpg" width="389" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+</div>
+
+<p>The chancel is joined to the nave by two pillars of very large
+dimensions and whose tops belong to one of the constructions
+anterior to the gothic order. The magnificent lobby built
+by Erwin of Steinbach was taken down to make room for the<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>
+taste prevailing in the seventeenth century; it was demolished
+in 1682. Two high and circular columns support the
+cupola of the chancel and separate it from its two aisles; in
+the centre of each of the latter stand also columns to sustain
+the arch-roofs; that of the northern part is round, whilst
+the column of the southern aisle is composed of a collection
+of very slender pillars, probably of a later construction; this
+long, thin and gracious column bears in its corners some
+statues, the fineness and gracefulness of which recall to
+mind the work of Sabina of Steinbach. Beneath are the four
+Evangelists; above four angels holding trumpets, and uppermost
+the Saviour and three angels with the implements of
+the Saviour's passion in their hands; it is called the angel's
+column or Erwin's column. On the large pillar which unites
+the nave to the chancel, are two inscriptions in commemoration
+of the famous preacher Geiler of Kaysersberg who, for
+many years, displayed his eloquence from the pulpit of the
+Cathedral. In this same aisle is erected the statue of bishop
+Wernher, meditating the design of the church laid before
+him. Opposite this statue, the work of Mr. Friderich, is the
+celebrated.</p>
+
+<div class="tb"><h3>Astronomical Clock.</h3></div>
+
+<p>As early as 1352 an astronomical clock was begun under
+bishop Berthold of Bucheck, and finished two years after by
+an unknown artist, in the time of John of Lichtenberg. It was
+fixed to the wall facing the present one. The frame-work of
+that first clock was all of wood; the stones that formed its
+basis are to this day seen projecting from the wall. It was
+divided into three parts; the lower part contained a universal
+calendar; in the middle was an astrolabe, and in the superior
+division were seen the three wise men and the Virgin
+Mary carved in wood; the wise men bent every hour before<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>
+the Virgin, by means of a peculiar mechanism, which at the
+same time put in motion a chime of harmonious sounds and
+a cock crowing and flapping his wings.</p>
+
+<p>The exact time at which this clock, which in the fourteenth
+century must have been a wonderful piece of workmanship,
+and was called the clock of the three sages, ceased going,
+is not known: it had been stopped for a long time, when in
+1547 the magistrate of the town decided on having another
+made and putting it opposite the old one, in the very place
+the clock now occupies. Three distinguished mathematicians
+furnished the plan and superintended the execution of it:
+they were D<span class="super">r</span> Michel Herr, Christian Herlin, professor
+of mathematics at the school of Strasburg, and Nicholas
+Prugner, who, after preaching the reformation at Mulhouse
+and at Benfeld, occupied himself at Strasburg with mechanics
+and astrology. These three learned men began this work, but
+did not terminate it; it was resumed in the year 1570 by a pupil
+of Herlin, named Conrad Dasypodius of Strasburg, where
+he was a professor of mathematics. Dasypodius drew the
+design of the clock, but its execution was confided to two
+skilful mechanics of Schaffhouse, the brothers Isaac and Josiah
+Habrecht; Tobias Stimmer, also of Schaffhouse, had the
+charge of the paintings. This master-piece of the mechanical
+art of the sixteenth century was completed in 1574; it
+ceased going in 1789. As the exterior distribution of the present
+clock is nearly the same as that of the old clock, we
+shall abstain from describing the latter. In 1836 the corporation
+of the town of Strasburg adopted the resolution of
+causing this curious monument to be repaired. To Mr. Schwilgu&eacute;,
+a distinguished mechanician of Strasburg, his native
+place, this remarkable work was entrusted; he began it the
+24<span class="super">th</span> of June 1838 and finished it at the end of 1842.</p>
+
+<p>It is one of the most beautiful pieces of workmanship of<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span>
+our age; its mechanism is entirely new and in accordance
+with the present state of the science of astronomy, which as
+is well known, has attained a very high degree of certainty
+and exactness. Mr. Schwilgu&eacute; has not made use of any of the
+pieces of the old clock, which are deposited in the chapel of
+the <i>&#338;uvre-Notre-Dame</i>; by comparing them with the pieces
+composing the new clock, one may judge of the progress of
+science and of the talents of the modern artist. M. Schwilgu&eacute;
+preserved of the former clock only its fine case, the paintings
+and ornaments of which were carefully repaired. In this
+he had many difficulties to overcome, as well for the proper
+arrangement of this mechanism and lodging it in a space that
+was often very limited, as for making the old signs or indications
+accord with the movements of the <ins title="clock-work">clockwork</ins>. Of
+these many were marked only in painting, and must have
+been renewed after a certain time, as for instance those for
+the eclipses, which now by a most ingenious mechanical
+combination will henceforth last for ever. The little statues
+which hitherto had no articulation, are now moveable; the
+twelve Apostles have been added to the former number of
+them. The figure of Death, formerly on the same level with
+that of Jesus-Christ, is now placed in the centre of figures
+representing the four ages of life and striking the quarters of
+hours; the idea of assigning this place to the image of death
+is assuredly a more rational and finer one than that which
+prevailed in the old distribution of the figures. Childhood
+strikes the first quarter; Youth the second; Manhood the
+third, and Old Age the last; the first stroke of each quarter is
+struck by one of the two genii seated above the perpetual
+calendar; the four ages strike the second. Whilst death
+strikes the hours, the second of these genii turns over the
+hourglass that he holds in his hand. The image of the Saviour
+stands now on a higher ground; at the hour of noon the twelve<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span>
+Apostles pass bowing before him; he lifts up his hand to bless
+them, and during that time, a cock, whose motions and voice
+imitate nature, flaps his wings and crows three times.</p>
+
+<p>Mr. Schwilgu&eacute; has altered the old calendar into a perpetual
+one with the addition of the feasts that vary, according to
+their connexion with Easter or Advent Sundays. The dial,
+nine metres in circumference, is subject to a revolution of 365
+or 366 days, according as the case may be. Mr. Schwilgu&eacute; has
+even indicated the suppression of the secular bissextile days.
+He has moreover enriched his work by adding to it an ecclesiastic
+compute with all its indications; an orrery after the
+Copernican system, representing the mean tropical revolutions
+of each of the planets visible to the naked eye, the phases of
+the moon, the eclipses of the sun and moon, calculated for
+ever; the true time and the sideral time; a new celestial globe
+with the procession of the equinoxes, solar and lunary equations
+for the reduction of the mean geocentric ascension and
+declension of the sun and moon at true times and places. A dial
+placed without the church and showing the hours and days,
+is put in motion by the same mechanism of the clockwork.</p>
+
+<p>The camerated roof of the back part of the chancel was formerly
+covered with paintings executed in 1686 representing
+Dooms-day. A few paintings only adorned till now the interior
+of the Cathedral, among which the most remarkable
+oil-paintings, executed by artists of Strasburg, are: the
+<i>Shepherd's Adoration</i>, by Guerin, the <i>Laying in the tomb</i>,
+by Klein; the <i>Ascension</i>, by Heim, and some others. In the
+seventeenth and eighteenth centuries the chancel was several
+times and in different ways enlarged and disfigured by ornaments
+little correspondent with the elegance and grandeur
+of the gothic order. Tribunes, stairs and wainscots that
+formed a strange contrast with the rest of the edifice were
+added. The altar, adorned in 1501, with fine figures carved<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span>
+in wood by Master Nicholas of Haguenau, was changed in
+1685 by order of bishop William Egon of F&uuml;rstenberg; that
+new altar, covered with a baldachin, was destroyed by fire, and
+in 1765 the present one, which has nothing in its form
+worthy of notice, was erected. Great repairs were begun
+some years ago under the direction of the city corporation,
+struck, as every body was, by the great disproportion between
+the chancel and nave. It was resolved to restore
+the chancel to its primitive form and arrangement, and thus
+to reestablish the due proportions between that part and the
+rest of this magnificent church. This great labour is now
+finished. Their natural complement, as required by the style
+of this part of the pile and its extensive fronts and arch-roofs,
+is the execution of a certain number of monumental
+paintings, intrusted to two distinguished artists, Prof. Steinle,
+Director of St&auml;del's Institute in Frankfort a/M. and the historical
+painter Steinheil in Paris, a native Alsacian. The
+former is charged with the execution of the fresco-paintings
+in the chancel and lateral naves, whilst the latter undertook
+the reestablishment of the paintings that represent the
+<ins title="dooms-day">Dooms-day</ins> on the upper wall of the chancel, in front of the
+great nave. Both works, begun in 1876, came in sight for
+the visitors of the Cathedral, at the end of 1878.</p>
+
+<p>In restoring to this part of the edifice its former appearance,
+it has highly augmented the effect produced on the
+inward aspect of the Cathedral; now also may be decided the
+question, hitherto doubtful, of the exact time at which the
+chancel was built; with certainty, it may already be said,
+that it was not erected, as was often affirmed, in the time of
+the emperor Charlemain.</p>
+
+<div class="figcenter" style="width: 307px;"><span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span>
+<a href="images/illus35.jpg"><img src="images/illus35tn.jpg" width="307" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+<span class="caption">Astronomical clock.</span>
+</div>
+
+<p>In removing the superfetations that had taken place during
+these two last centuries, and in reestablishing the architectural
+forms that the wretched style then prevailing had concealed,<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span>
+a succession of large ogive arches of an admirable
+and powerful proportion which form the inferior part of the
+Apsis, and support a gallery serving as a basis to the upper
+story, have come to light. On this story, which is separated
+from the <i>cul-de-four</i> (spherical vault) by a single
+moulding, are three large ogive windows, the middle one of
+which is of colossal dimensions, and between the columns
+below are in a symmetrical manner placed, on each side, the
+doors of the treasury and chapter-room, and in the centre
+lies the bishop's throne, the niched vault of which is still
+more richly decorated; between the intermedial arches are
+the staircase doors leading to the gallery.</p>
+
+<p>The <i>Apsis</i> is not very deep and terminates by a segment,
+cut out of a masonry work outwardly square; entirely devoted
+to the sanctuary, it only contains the high-altar, the twenty
+four stalls of the chapter and a necessary room to perform
+divine worship. In 1878 an accompanying organ has been
+erected on the left side. This beautiful instrument, made by
+Mr. Merklin, the skilful organ-builder of Lyons, is a masterpiece
+of art and taste that enhances indeed the chancel of
+the Cathedral. In front and a few steps lower down lies the
+chancel, destined to the inferior clergy and choristers. This
+chancel surmounted by a large octagonal cupola, the external
+part of which was struck by lightning in 1759, is placed
+at the intersection of the transepts and nave; open and
+lighted on all sides, one can admire the boldness and majesty
+of the columns and basis that support the arched roofs.
+The cripta or subterranean place, extending under the whole
+length of the chancel, is worthy of notice; it has also been recently
+restored. It is of an older order than the constructions
+of Erwin of Steinbach; it is perhaps the remainder of the edifice
+erected by bishop Werner, at the beginning of the eleventh
+century; the shape of the pillars, their cubical tops or chapters,<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span>
+the arches exclusively semi-circular, bring us back to
+those times. This crypta, that remained unimpaired during
+all the changes which the Cathedral must have undergone in
+the course of so many centuries, forms a nave with two arch-vaults
+and a round chancel. All along the walls of the nave
+are stone benches. Four of the inner pillars have still hinges
+affixed to them which prove that this portion of the crypta
+could be closed by a double door. At its entrance is what is
+called the holy tomb, a very ancient group of figures representing
+Jesus Christ and his disciples on the mount of Olives, at
+the moment when the soldiers are going to seize the Lord: this
+group comes from the chapel of the Augustines, erected in
+1378; it was placed in the crypta in 1683.</p>
+
+<p>The most ancient of the present chapels of the Cathedral is
+that of Saint-Andrew, in the South aisle of the chancel; it is remarkable
+for the details of its columns and for its ornaments
+of a very old style; it contains the tombs of several bishops,
+the oldest of which is that of Henry of Hasenburg, who died
+in 1190. Behind the North aisle of the chancel, is Saint-John the
+Baptist's chapel, also very old, and being now lower than
+the pavement of the Cathedral. Besides several epitaphs, one
+here sees the fine gothic sepulchre of bishop Conrad of Lichtenberg,
+who died in 1299. The colossal statue of that prelate
+lies on a stone and has still some marks of the colours
+with which it had formerly been painted; in one hand he holds
+a book, in the other was his crosier of which only the lower
+part is now left; his head covered with the mitre rests on a
+cushion and his feet lie against a lion<a name="FNanchor_1_13" id="FNanchor_1_13"></a><a href="#Footnote_1_13" class="fnanchor">1</a>. Near the entrance of
+this chapel, surrounded by an elegant railing, is the baptismal-font<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span>
+of sculptured stone, the master-piece of Josse
+Dotzinger of Worms, who died in 1449.</p>
+
+<div class="footnote"><p><a name="Footnote_1_13" id="Footnote_1_13"></a><a href="#FNanchor_1_13"><span class="label">1</span></a> The epitaph of Conrad is as follows:
+</p>
+<p class="blockquot">&laquo;<i>Anno domini MCCLXXXXIX kal. Augusti obiit Conradus secundus
+de Lichtenberg natus, Argentinensis episcopus, hic sepultus.
+Qui omnibus bonis condicionibus, qu&aelig; in homine mundiali debent
+concurrere, eminebat; nec sibi visus similis est in illis. Sedit autem
+annis XXV et mensibus sex. Orate pro eo.</i>&raquo;
+</p></div>
+
+<p>The first chapel built in the Cathedral was Saint-Lawrence's,
+next to the North portal of the transept. It was the
+oldest parish in the town and diocese of Strasburg; the vicar
+of Saint-Lawrence was the first archpriest of the diocese and
+at the same time grand-penitentiary of the Cathedral. This
+chapel, decayed with time, was rebuilt after the plans of
+master James of Landshut, who died in 1495, and was completed
+in 1505; when in the course of time it became too small
+for the parish, it was transferred in 1698 into the neighbouring
+chapel of Saint-Martin, which had been built in 1420 and
+then assumed the name of Saint-Lawrence's chapel that it retained
+ever since. Among the sepulchral monuments it contains,
+is seen that of Mr. de la B&acirc;tie, in his live time commander
+of Strasburg. In this chapel is the entrance to the vaults,
+where to this day the bishops' mortal remains are deposited.</p>
+
+<p>The chapel opposite the latter, on the right side of the
+church, is dedicated to saint Catharine; it was erected in the
+year 1331 by bishop Berthold of Bucheck who is interred in
+it. It was newly arched in 1542 and formerly contained the
+holy tomb. The entrances both into this and the chapel of
+Saint-Lawrence are decorated with several old statues; in
+Saint-Catharine's chapel is the tomb of Conrad Bock, a
+nobleman of Strasburg, who died in 1480; this work is remarkable
+for the manner in which the numerous figures that
+surround the bed of the dying man, are grouped together.</p>
+
+<p>The sepulchral stones that served as flag-stones or pavement
+in the interior of this large building, have long ago
+been removed. Besides the sepulchral monuments and inscriptions
+already mentioned we shall note the epitaphs of Erwin
+of Steinbach, of Husa his wife, and of his son John, at the
+lower part of the buttress in the little yard behind Saint John's<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span>
+chapel<a name="FNanchor_1_14" id="FNanchor_1_14"></a><a href="#Footnote_1_14" class="fnanchor">1</a>; also the inscription to the memory of Conrad
+G&uuml;rtler, who bequeathed to the chapter of the Cathedral his
+house, a large building in the rue du D&ocirc;me; this inscription
+is opposite that of Geiler of Kaysersberg; finally, in one of
+the vestries is the epitaph, in german verses, of the celebrated
+printer John Mentelin of Schlestadt.</p>
+
+<div class="footnote"><p><a name="Footnote_1_14" id="Footnote_1_14"></a><a href="#FNanchor_1_14"><span class="label">1</span></a> <i>Anno domini MCCCXVI. XII Kal. Augustii obiit Domina Husa
+uxor magistri Erwini. Anno domini MCCCXVIII. XVI Kal. Februarii
+obiit magister Erwinus gubernator fabrice ecclessie Argentinensis.
+Anno domini MCCCXXXVIII. XV Kal. Aprilis obiit magister Johanni
+(sic) filius Erwini magistri operi huius ecclesie.</i>&mdash;There was formerly
+on that spot a burial ground; it is very likely that Erwin and
+his family were buried there. When some years ago, they were
+digging a waste-well for the lightning conductor, they discovered an
+old coffin of stone, broken and filled with earth and bones. All these
+remains with the exception of some fragments taken away by some
+curious amateurs, were deposited in a vault.</p></div>
+
+<p>We shall add one word more on the <i>foundations</i> of the
+Cathedral. Every one knows the old story, according to which
+this edifice rests on piles, between each of which it were
+possible to go in boats on canals extending even under the
+place Gutenberg. As far back as the seventeenth century,
+they dug to a considerable depth, and have since several
+times renewed the experiments, to ascertain the nature of
+the foundations, that have been found to lie very deep and
+to be very solid, formed of masonry reposing on clay mixed
+with gravel; under a portion of the nave this bottom is reinforced
+by oaken piles.</p>
+
+<p>Through a door on the right of saint Catharine's chapel you
+enter the area of the workhouse of the stone-cutters of the
+Cathedral (<i>Steinh&uuml;tte</i>). These workmen, even to this day
+form a particular corporation that seems to have originated
+in the days of Erwin of Steinbach; at all events it is a certain
+fact that the masons of the Cathedral were from the beginning
+a body, distinct from the ordinary masons; that they
+have not admitted among them every one who presented<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span>
+himself, and that they had secret signs to know one another.
+This (<i>loge</i>) society of the masons of the Cathedral has become
+the cause of many others in Germany; Dotzinger, the successor
+of John H&uuml;ltz as architect of this church, united them
+all in one body; a general meeting of the masters or chiefs
+of the different <i>loges</i>, held at Ratisbon in 1459, adopted certain
+rules and regulations, and chose as their grand-masters
+the architects of the Cathedral of Strasburg, where the principal
+loge or lodge (<i>Haupth&uuml;tte</i>) was established. Maximilian I
+confirmed the establishment and the rules of this corporation
+on the 3<span class="super">d</span> October 1498. At the beginning of the <ins title="eigtheenth">eighteenth</ins>
+century it was transferred to Mayence.</p>
+
+<p>It has already been stated that at a very remote period the
+Cathedral had received rich and important donations composing
+the <i>&#338;uvre-Notre-Dame</i>, the revenues of which were originally
+under the direction of the bishops; but as they squandered
+them away &laquo;leaving the building to decay,&raquo; the chapter
+assumed their administration in 1263, after the war between
+the town and Walter of Geroldseck; however, the canons did
+no better and in 1290 the magistrate of the city was obliged
+to take back from them the management of the revenues.
+The estate and income of the <i>&#338;uvre</i>, employed only for
+keeping in good order and for repairing the Cathedral church,
+are still managed like other property that belongs to the city;
+the collector of the revenues is appointed by the city corporation,
+who also names the architect and sculptor of the
+<i>&#338;uvre</i>. The receiver's office is in a handsome house (<i>Frauenhaus</i>),
+built in 1581, after the taste of those times, situated
+opposite the South side of the Cathedral. In that house, where
+the old plans of the church and the pieces of the old clockwork,
+above mentioned, are carefully preserved, we have also
+to admire the light and elegant construction of the staircase.</p>
+
+<div class="figcenter" style="width: 291px;">
+<a href="images/back-cover.jpg"><img src="images/back-covertn.jpg" width="291" height="483" class="plain" alt="Click for larger image" title="Click for larger image" /></a>
+</div>
+<p>&nbsp;</p>
+
+<div class='center'>
+<p><br /></p>
+<table border="1" class="bbox" cellpadding="10" cellspacing="2" summary="Transcriber's Notes">
+<tr><td align='center'><a name="TRANSCRIBERS_NOTES" id="TRANSCRIBERS_NOTES"></a><h2>TRANSCRIBER'S NOTES</h2>
+
+<p>The following changes have been made as needed to facilitate reading:
+standardized punctuation and accents, moved illustrations, and renumbered and
+moved footnotes.</p>
+
+<p>Additional changes are listed below:</p>
+<p><a href="#Page_7">Page 7</a>: Changed "enthousiasm" to "enthusiasm" for consistency.</p>
+<p><a href="#Page_16">Page 16</a>: Changed "pittoresqu s" to "pittoresques" and "counter-forts" to "counterforts."</p>
+<p><a href="#Page_20">Pages 20</a> and <a href="#Page_34">34</a>: Changed "doomsday" and "dooms-day" to "Dooms-day"
+for consistency.</p>
+<p><a href="#Page_21">Page 21</a>: The phrase "if tine" matches the original text.</p>
+<p><a href="#Page_22">Page 22</a>: Changed "Landsburg" to "Landsberg."</p>
+<p><a href="#Page_23">Page 23</a>: Changed "plat-form" to "platform."</p>
+<p><a href="#Page_24">Page 24</a>: The measurement "0<span class="super">m</span> .460" matches the original text.</p>
+<p><a href="#Page_26">Page 26</a>: Changed typo "is" to "it" and changed "bizantine" to "byzantine"
+for consistency.</p>
+<p><a href="#Page_32">Page 32</a>: Changed "clock-work" to "clockwork."</p>
+<p><a href="#Page_40">Page 40</a>: Changed typo "eigtheenth" to "eighteenth."</p>
+</td></tr>
+</table></div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK HISTORICAL SKETCH OF THE CATHEDRAL OF STRASBURG***</p>
+<p>******* This file should be named 22990-h.txt or 22990-h.zip *******</p>
+<p>This and all associated files of various formats will be found in:<br />
+<a href="http://www.gutenberg.org/dirs/2/2/9/9/22990">http://www.gutenberg.org/2/2/9/9/22990</a></p>
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@@ -0,0 +1,1660 @@
+The Project Gutenberg eBook, Historical Sketch of the Cathedral of
+Strasburg, by Anonymous
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Historical Sketch of the Cathedral of Strasburg
+
+
+Author: Anonymous
+
+
+
+Release Date: October 12, 2007  [eBook #22990]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK HISTORICAL SKETCH OF THE CATHEDRAL
+OF STRASBURG***
+
+
+E-text prepared by Juliet Sutherland, Suzan Flanagan, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 22990-h.htm or 22990-h.zip:
+      (https://www.gutenberg.org/dirs/2/2/9/9/22990/22990-h/22990-h.htm)
+      o9
+      (https://www.gutenberg.org/dirs/2/2/9/1/22990/22990-h.zip)
+
+
+Transcriber's notes:
+
+      This booklet appears to end abruptly, but there is no
+      evidence of any missing pages in the original copy.
+
+      The "oe" and "OE" ligatures are represented as "[oe]"
+      and "[OE]" respectively.
+
+      Superscripted text is not displayed as such in the text
+      version. Superscripts are displayed in the HTML version.
+
+      On page 20, a cross symbol, which indicates year of death,
+      is represented as {+}.
+
+      A list of corrections will be found at the end of the
+      e-text.
+
+
+
+
+
+The Cathedral of Strasburg
+
+[Illustration]
+
+Strasburg
+A. Vix & Cie
+Publishers
+
+
+[Illustration: Death of the Virgin Maria.]
+
+
+HISTORICAL SKETCH OF THE CATHEDRAL OF STRASBURG
+
+Twenty fourth Edition
+
+
+
+
+
+
+
+Strasburg
+Published by A. Vix & Cie
+31, Place de la Cathedrale
+1922.
+
+
+
+
+[Illustration: The interior of the Cathedral.]
+
+
+
+
+[Illustration]
+
+I. HISTORY
+
+
+Among the wonderful monuments to which the religious art of the
+middle ages has given rise and which will for ever excite the
+admiration of men, the church of _Notre-Dame_ or Cathedral of
+Strasburg occupies one of the first ranks. By its dimensions, the
+richness of the ornaments and figures that adorn its exterior, by
+the majesty of its nave, and by its light steeple, which towers
+towards Heaven with as much grace as boldness, this house of God
+proclaims afar its destination and leaves a deep and indelible
+impression on the soul of any one who gazes on it.
+
+Exhibiting in all its different parts models of every epoch of
+christian architecture, this Cathedral is for the artist a
+subject of serious study and for the inhabitant of Strasburg a
+venerable monument, which recalls to his mind the principal
+events of the ancient history of our city.
+
+According to some old traditions, the Cathedral is built on a
+spot, which, from the remotest times, had been devoted to
+worship. Originally this spot formed a hill sloping westward into
+a cavity, which was filled up many centuries ago. Around it, the
+Celts, the first inhabitants of our country, built their huts:
+its summit was covered by the sacred wood, in the midst of which
+rose the druidical _dolmen_. It was there that those barbarians
+offered sacrifices to Esus, their God of war, sacrifices which,
+in times of public calamity, were human victims.
+
+After the conquest of Gaul by the Romans, a regular and fortified
+town was very soon founded on the place hitherto occupied by the
+scattered habitations of the Celts. The old name of _Argentorat_
+was alone preserved; it signified a town where the river is
+crossed over. It was there, according to tradition, that a temple
+dedicated to Hercules and Mars succeeded the druidical forest.
+There is nothing unlikely in these traditions; the high ground on
+which the Cathedral stands speaks as much in their favour as the
+pagan statues found in the neighbourhood[1].
+
+  [1] A brass statue of Hercules, called _Krutzmann_, was found
+  among the christian statues that decorated the Cathedral; it was
+  taken down in 1525 and is no longer extant. A Hercules of stone,
+  found no doubt when digging the foundations, is yet seen in a
+  niche of the northward tower, where it juts out into the nave. A
+  small stone figure of Mars, coming also from the Cathedral, was
+  preserved in the town-library, but it appeared to be modern.
+
+With respect to the first erection of a christian church in this
+place, history is destitute of authentic facts. Some old
+chronicles report that about the middle of the fourth century,
+saint Amand built a church on the ruins of a Roman temple, but
+the existence of this supposed first bishop of Strasburg is even
+very doubtful. During the first years of the fifth century, the
+invasion of barbarians filled the provinces of Gaul with terror
+and devastation; the German tribes that crossed the Rhine
+plundered the Roman city of Argentorat and its temples. Nobody
+knows whether from that time new inhabitants settled in the midst
+of these ruins, or whether they served but as temporary abodes to
+the hordes successively coming into Gaul.
+
+It was only after the conquest of that extensive country by the
+Franks that, about 510, Clovis had a church built at Argentorat,
+no doubt on the spot where the Cathedral now stands. The
+architecture of that church was as coarse and barbarous as the
+spirit of those times; it was built of wood and supported by
+earthen walls, extending from East to West; on this latter end
+was the front-gate and before it a portico; besides the principal
+nave it had two aisles; the western side opening into a yard that
+served as a passage to the priest's house.
+
+In proportion as the town, the name of which was by the Franks
+changed into Strasburg, increased in importance and population,
+the Merovegian kings granted greater favours to the church
+founded by one of their predecessors. The valuable donations they
+bestowed on the bishopric of Strasburg, enabled the inhabitants
+to embellish and enlarge the Cathedral. In 675 Dagobert II
+granted to bishop Arbogast the town of Ruffach with the castle of
+Isenburg and a vaste domain that he freed from tax and royal
+jurisdiction and which on that account was called superior
+_Mundat_. A no less important gift was that from Count Rudhart,
+who made over to the church of Strasburg, in 748, Ettenheim with
+several neighbouring villages on the right bank of the Rhine.
+Many other eminent personages of this country increased
+successively by their liberality the wealth of the episcopal see.
+A great advantage was granted by Charlemain in 775, which was to
+exempt the subjects of the bishopric from all tolls and taxes
+imposed upon the traders travelling through the empire. At that
+time considerable sums had already been employed to adorn the
+interior of the Cathedral. In the year 826, the abbot Ermold the
+Black, living in exile at Strasburg, speaks with enthusiasm of
+the _beautiful temple of the Virgin_ and of the other altars that
+decorate it. This ecclesiastic, with great ardour changed the
+metal of the antique statues he could yet find into sacred
+vases; a bronze Hercules, two cubits high, alone escaped the
+pursuit of his pious zeal; after preserving it several centuries
+in the Cathedral, it was at last sold, and is now at Issy near
+Paris.
+
+A fire, which in 873 destroyed a portion of the church and all
+its archives, occasioned, no doubt, important repairs, and this
+event was the cause of a new royal confirmation of all the
+possessions of the church. In 1002 it was plundered, profaned and
+set on fire by the soldiers of Hermann, duke of Suabia and
+Alsacia, who was then contending with Henry of Bavaria for the
+imperial crown, Strasburg and its bishop Wernher having declared
+for the latter. Subdued by Henry II, Hermann was compelled to
+repair the damage caused to the church by placing at bishop
+Wernher's disposal the income of the abbey of Saint-Stephen of
+which he was the patron. With these funds, which the bishop
+increased by means of a new levy of taxes and by indulgences,
+he was preparing to restore his Cathedral, when in 1007 a
+thunderbolt achieved its destruction.
+
+He then formed the project of rebuilding the church on a plan of
+much larger dimensions and after the style of architecture that
+was then making its first appearance. The revenues of the
+bishopric, contributions furnished by the clergy of Alsacia and
+large sums of money granted by the head of the empire, afforded
+Wernher the necessary resources for the execution of his plan.
+This was examined and discussed in the presence of several
+master-architects whom he had sent for. The plan once fixed upon,
+stones were brought from the fine quarries of free-stone in the
+Kronthal. The peasants and bondsmen of the country brought them
+to the town where they were cut in the square then called
+_Frohnhof_, between the Cathedral and the present palace. It was
+during these labours that in 1042 the emperor Henry II came to
+Strasburg; the dignified and austere deportment of the clergy of
+the high chapter, the tranquillity prevailing under the roof of
+the episcopal church, made such an impression on this prince,
+that he for a moment resolved to resign the crown and solicit his
+admittance among the canons of the Cathedral. The bishop appeared
+at first to accede to this wish; but it was only to prescribe to
+Henry, henceforth his subordinate, to resume the imperial
+authority which Providence had bestowed on him; the emperor
+acquiesced and perpetuated the remembrance of his pious wish by
+the foundation of a royal prebend.
+
+When, in 1015, a sufficient quantity of materials was collected,
+they set to work by digging the ground. At the depth of more than
+five fathoms they drove down stakes, filled the space between
+them with clay mixed with lime, fragments of bricks and coal; and
+on this solid base were laid the foundation stones.
+
+Tradition gives an account of a hundred and even two hundred
+thousand men being employed in the construction of this church,
+which work, thanks to the religious enthusiasm of that epoch and
+the labours performed by vassals and workmen _for the salvation
+of their souls_, advanced very rapidly.
+
+In the year 1027 bishop Wernher set out for Constantinople, and
+never returned to his native land. From that time we have but
+imperfect and uncertain accounts touching the progress of the
+building. All we know is, that in 1028 they had built up to the
+roof. It seems likely from that account that this monument, built
+in the byzantine style, at once so elegant and so simple, was
+soon after completed by the erection of a tower, and that it
+remained in the same state till, owing to sundry circumstances
+and, perhaps, to bad construction, it began to need important
+repair. It is impossible to determine the time when repairing the
+church took place; however, this happened probably not before the
+middle of the thirteenth century and in the then new style,
+since called the Gothic order. This opinion is confirmed by the
+ancient seal of our city, which likely enough and according to
+the custom of those times, represents the front of the Cathedral.
+
+That it had a tower in 1130 is a certain fact; for K[oe]nigscoven
+speaks of its destruction by fire in the course of that year;
+successive fires, in 1140, 1150, 1176 also materially injured the
+beautiful edifice; besides, the continual wars and tumultuous
+commotions of the time prevented the bishops from undertaking
+essential repairs. It appears that these causes, by degrees,
+brought on the complete ruin of bishop Wernher's constructions;
+for unquestionably the part included between the nave and the two
+towers dates but from the thirteenth century, and cannot have
+been begun before the middle of it. What remained of the old
+church was pulled down at that time and a new and more spacious
+edifice was erected, built in the style then spreading over all
+Europe. Considering the immense size of this monument, it is easy
+to imagine that the work went on but slowly, and an old chronicle
+mentions that on the 7th September 1275 they finished the middle
+part of the superior arch-roofs, with the exception of the towers
+in front. By whom these labours were directed is altogether
+unknown.
+
+It was bishop Conrad of Lichtenberg who undertook to rebuild the
+parts that were still in a state of ruin and thus at last to
+accomplish this great work of the Cathedral[1].
+
+  [1] "... _Ipsa ecclesia in meliorum statuum reedificetur_ ..."
+  (See a charter of bishop Conrad of Lichtenberg, published by M.
+  L. SPACE 1841, p. 6).
+
+In order to execute this design, he published indulgences all
+over the country; and after collecting large sums of money in the
+town, he applied to the ecclesiastics of his diocese, asking
+their own gifts and offerings as well as those of the faithful
+under their direction; in a synod held in the diocese, the clergy
+agreed to give up, during four years, a fourth part of their
+revenues. Conrad entrusted the direction of this work to Master
+Erwin of Steinbach, who, according to some old documents, was a
+native of Mayence. This great architect began by rebuilding the
+nave, the arch-roofs of which were completed in 1275. Then he
+commenced the facade of the church and its towers from a plan so
+bold and sublime that the conception of it places Erwin for ever
+at the head of the architects of the middle age[1]. In 1276 they
+laid the foundation of the northern tower; to consecrate the
+spot, the bishop walked solemnly round it, then took a trowel in
+his hand and thrust it into the ground, as a sign for beginning
+the work. They relate that a quarrel having occured between two
+workmen who both wished to work with the trowel the bishop had
+held in his hand, one of them was killed. This murder was
+considered as a very bad omen; Conrad ordered their labour to be
+suspended for nine days; they were only resumed after he had
+consecrated the place anew. The following year, on saint Urban's
+day (25th May), Conrad himself laid the first stone of the tower.
+In the midst of his warfares, this bishop always entertained much
+affection for his Cathedral, as he beheld the gradual rising of
+this _glorious work_, as an old inscription terms it[2]; in his
+heartfelt joy he used to compare it to the flowers of May that
+bloom in the sun[3]. To the very end of his life Conrad of
+Lichtenberg neglected nothing to urge on the progress of his work
+of predilection; after his death, in 1299, he received in it a
+sepulchre worthy of him; his statue is still to be seen in saint
+John's chapel. Yet, during the life of Conrad, the Cathedral was
+shaken by several earthquakes in 1279, 1289, 1291; that of 1289
+was so violent that the columns in the interior of the building
+threatened for a moment to fall down. But a very favourable
+circumstance happened in 1292, which was the surrender of the
+_[OE]uvre-Notre-Dame_ to the magistrate of the city, who was
+henceforth charged with the management of the revenues allotted
+to the keeping in repair of the Church and consequently also to
+the completion of it. A few years after, in 1298, a new
+misfortune happened to the Cathedral. A fire, caused by the
+imprudence of a cavalier of Albert I, during the sojourn of that
+prince at Strasburg, consumed all the timberwork and threatened
+even the pillars and walls. However the damage was promptly
+repaired. In 1302 a bloody conflict between two citizens of the
+town, which took place in the very chancel of the church,
+required again a new consecration of it.
+
+  [1] They still preserve in the records of the convent of the
+  _[OE]uvre Notre-Dame_ several old drawings on parchment of the
+  facade and towers; these curious designs belong to different
+  epochs; according to the opinion of the _connaisseurs_, the
+  oldest would most likely be that of Erwin himself.
+
+  [2] _Anno Domini MCCLXXVII in die beati Urbani hoc gloriosum
+  opus inchoavit magister Erwinus de Steinbach._ This inscription
+  was formerly placed in the vault of the northern portal.
+
+  [3] In a letter of indulgence.
+
+After the death of bishop Conrad of Lichtenberg, who in the year
+1299 was killed in a battle near Friburg, his brother and
+successor, Frederic, showed no less ardour for the continuation
+of this building; in 1303 he invited the curates throughout
+Alsacia to exhort those of their faithful parishioners who had
+horses and carts, to convey stones for the edifice; in 1308 the
+magistrate of Strasburg, no doubt at the request of bishop John,
+promised freepasses to all those who would bring stones or wood,
+and he secured wine and wheat for the workmen.
+
+Erwin superintended the works until 1318, when he died on the
+14th of January. All the children of this grand master were
+artists worthy of him: Sabina, his daughter, carved several
+statues for the Cathedral; one of his sons, who died in 1330,
+built the fine church of Haslach; his other son, John, succeeded
+him in directing the works of the Cathedral, and he died in 1339.
+In 1331 bishop Berthold of Bucheck built the chapel of saint
+Catherine, which also contains his tomb. The disturbances and
+calamities that desolated Strasburg during a great part of the
+fourteenth century, the revolution of 1332 that altered the form
+of the government of the town, the ravage caused by the black
+plague in 1349 with the insurrections accompanying it, the
+contest of bishop Berthold with his chapter and with the emperor,
+all this retarded of course the progress of the construction of
+the Cathedral. Nevertheless they terminated in 1365 the northern
+tower; K[oe]nigshoven calls it the new tower, perhaps, because
+they purposed erecting a pyramid on it, which was quite an
+innovation in the architecture of that time. The southern tower,
+which the chronicler calls the ancient one, because it was not
+intended to be raised higher, was finished at the same time. The
+name of the artist who made the plan of the pyramid and spire of
+the northern tower is still unknown; nor is it known who built
+the steeple which formerly rose above the _grande rosace_, or
+rose.
+
+In 1368 the church was again struck by lightning without
+receiving much damage; in 1384 a fire that broke out in the
+organ, burnt all the interior with the exception of the chancel.
+Ever since that time large vats were set in the different parts
+of the building and guardians placed in the interior and in the
+towers. In 1429, John Hueltz of Cologne was sent for to complete
+this great work; ten years after, he finished the spire; on
+Midsummer's day 1439, in the presence of a great multitude, he
+laid the last stone, exactly a hundred and sixty two years after
+Conrad of Lichtenberg had placed the first stone of this
+monument; a statue of the Virgin Mary was also erected on the
+knob terminating the spire[1].
+
+  [1] It was taken down in 1488.
+
+At the time of the reformation the Cathedral passed over to the
+protestants; it is true that on account of their worship, they
+caused several chapels to be closed and some altars to be
+removed, but they made no material change, nor spoiled any thing;
+on the contrary, they watched with care over the magnificent
+building and even caused important repairs to be made in it.
+Several times it was very much injured by fire and by lightning,
+particularly in the years 1540, 1555, 1568, 1624 and 1625. In
+1654 the spire was destroyed by lightning; the skilful architect
+Heckler was obliged to rebuild it sixty five feet high. By
+the capitulation of 1681 the Cathedral was restored to the
+catholics, who immediately began to repair it, but unfortunately
+in that wretched style then prevailing, and when not the least
+intelligence of christian art existed any longer, they pulled
+down the lobby made by Erwin, so much admired in the middle age
+as a masterpiece of elegance; in 1692 they adorned the interior
+of the choir with wainscots of wood painted and gilt; in 1732
+they widened it to the detriment of a portion of the nave, and
+ten years later galleries were made for the orchestra. To punish,
+as it would seem, those who were thus spoiling this wonderful
+monument, an earthquake shook it in 1728; in 1759 it was struck
+by lightning and considerably injured; the lead on the roof of
+the nave was entirely melted, and the fine cupola or arched roof
+that crowned the dome fell into pieces; the roof was then covered
+with copper, but the cupola was not rebuilt. New destructions
+awaited the Cathedral in 1793; in their fury of levelling, the
+men who then ruled the country caused two hundred and thirty four
+effigies of saints and kings to be taken down from their niches,
+of which very few only were saved; the crazy jacobin Teterel even
+proposed pulling down the spire, because, by its height extending
+far beyond that of the ordinary houses, it was condemning the
+principle of equality; the motion not being carried on. Teterel
+obtained the assurance at least, that a large red cap made of tin
+should be placed on the top of the Cathedral, and it was to be
+seen among other curiosities in the town-library, before its
+destruction.
+
+The year 1870, so full of important events for Strasburg, was
+also fatal for the Cathedral, and during the seven weeks'
+cannonading of the town the beautiful building was constantly
+threatened with ruin. In the first period of the siege of
+Strasburg, the Germans tried to force the surrender by the
+bombardment and partial destruction of the inner town. In
+the night of the 23rd of August began for the frightened
+inhabitants the real time of terror; however that night the rising
+conflagrations, for instance in St. Thomas' church, were quickly
+put out. But in the following night the New-Church, the Library
+of the town, the Museum of paintings and many of the finest
+houses became a heap of ruins, and under the hail of shells all
+efforts to extinguish the fire were useless. For the Cathedral
+the night from the 25th to 26th of August was the worst. Towards
+midnight the flames broke out from the roof perforated by shells,
+and increased by the melting copper, they rose to a fearful
+height beside the pyramid of the spire. The sight of this grand
+volume of flames, rising above the town, was indescribable and
+tinged the whole sky with its glowing reflection. And the guns
+went on thundering and shattering parts of the stone ornaments
+which adorned the front and sides of the Cathedral. The whole
+roof came down and the fire died out only for want of fuel. The
+following morning the ground in the interior was covered with
+ruins, and through the holes in the vault of the nave one could
+see the blue sky. The beautiful Organ built by Silbermann was
+pierced by a shell and the magnificent painted windows were in
+great part spoiled. Fortunately the celebrated astronomical Clock
+had escaped unhurt.
+
+As the Military Command continued for some time to occupy a post
+of observation on the platform, the Cathedral was unfortunately
+still longer the aim of German guns which every day surrounded
+the building with ruins. On the 4th of September two shells hit
+the crown of the Cathedral and hurled the stonemasses to
+incredible distances; on the 15th a shot came even into the point
+below the Cross, which was bent on one side, and had its
+threatened fall only prevented by the iron bars of the lightning
+conductor which held it.
+
+After the entrance of the Germans into the reconquered town, the
+difficult and dangerous work of restauration of the point of the
+spire was begun at once and happily ended a few months after.
+They work also constantly to make the other damages disappear,
+and in a short time the magnificent house of God will be restored
+to all its ancient splendour.
+
+[Illustration]
+
+
+
+
+[Illustration: The Crypta.]
+
+II. DESCRIPTION.
+
+
+The first aspect of the Cathedral produces on the mind a deep
+impression. One is seized with admiration and amazed at the first
+view of this noble edifice whose steeple towers up so gracefully
+and majestically. No doubt that examined in all its particular
+parts, 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 _facade_ 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'eglise Cathedrale de
+  Strasbourg_, Strasb. 1782, in 8o.--H. Schreiber, _Das Muenster
+  zu Strassburg_, Freib. 1828, in 8o, avec 11 lithographies gr.
+  in-fol.--_Vues pittoresques de la Cathedrale de Strasbourg_,
+  dessins par Chapuy et texte par Schweighaeuser, 3 livr. in-fol.
+  Strasb. 1827. _La Cathedrale de Strasbourg et ses details_, par
+  A. Friedrich, 4 liv. gr. in-fol., renfermant 57 planches
+  accompagnees 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 facade 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 blessed Virgin holding an infant Christ in her arms. The
+fronton of this portal is formed by two triangles and adorned
+with many figures; that on the summit of the interior triangle,
+which first strikes the eye, is king Solomon seated under a
+canopy; on both sides of him are fourteen lions raised on steps
+or benches that draw near towards the top and join near a Virgin
+Mary sitting with the infant Christ on one arm and holding a
+globe in her other hand; she is the Patroness of the church.
+Above her a radiated head, representing God the Father, forms the
+point of the triangle that encircles the inside fronton, which is
+decked with figures playing on different musical instruments. On
+the sides facing the North and South, the two towers have each a
+large window with most beautiful _rosaces_. Over the window on
+the South side is seen a very old sculpture, the grotesque
+figures of which represent the night revelling of sorcerers. The
+frontons of the other porticos are also adorned with _rosaces_.
+
+  [1] The beautiful folds of the middle door, mounted with artful
+  bronze ornaments which were executed in Paris after the designs
+  of the architect of our cathedral, Mr. Klotz, were hung up in
+  1879.
+
+On the second tier of the middle porch is a large rose-window
+that occupies the whole width of it. It is surrounded by a
+detached arch, which as much on account of the elegance of its
+workmanship, as of the boldness of its construction, is one of
+the most admirable parts of the Cathedral. The large painted
+windows have been repaired by skilful artists, Mr. Ritter and Mr.
+Mueller. Where the second tier begins, at the bottom of the
+rose-window, are four equestrian statues, placed in niches in the
+counterforts, three of which, those of Clovis, Dagobert and
+Rodolphe of Habsburg, were erected in 1291, the fourth, that of
+Louis XIV, was placed only in 1828. Clovis and Dagobert were the
+benefactors of the church of Strasburg. Rodolphe stands there,
+less on account of his liberalities to the Cathedral, than for
+having been to the last the valiant friend of the Republic of
+Strasburg. King Louis XIV accompanies the three others, rather
+from adulation than any other cause. On the upper tier of the
+facade are placed the equestrian statues of king Pepin the Short,
+of Charlemain, Otho the Great and Henry I the Fowler. On the
+south-side are seen in the first tier the emperors Otho II, Otho
+III and Henry II; in the upper tier of the same side, the
+equestrian statues of Conrad II, Henry III and the statue of
+Henry IV. On the north-side of the facade are the equestrian
+statues of Charles Martel, the Franconian majordomo; of Louis the
+Debonair and Lotharius, the son of Louis the Debonair; at last
+in the upper tier, the statues of Charles the Bald, king of the
+West-Franconians and the equestrian statues of Lotharius II and
+Louis the German ({+}876).
+
+Over the rose-window, but still in the compartment of the second
+tier, is a gallery furnished with the figures of the Apostles,
+and above them is placed Jesus-Christ holding in his hands a
+cross and banner. In the lateral towers, the same tier is taken
+up on each side by a high broad window in the shape of an ogee,
+before which rise very slender pillars. Exactly over these
+windows, on the third tier and also on each side, are three very
+high and narrow windows; the middle part, though wider, has but
+two, rather small ones, and surrounded by some statues. This very
+massive portion of the building betrays at first sight its later
+origin; when Erwin's plan was abandoned, this part was added to
+fill up the empty space between the two towers; these were
+already completed, and even have on the third tier their windows
+looking into the central porch, but which are at present hidden
+from the outside. That part of the middle porch is used as a
+belfry, four large bells are suspended in it, the largest of
+which, cast in 1427, weighs nine thousand kilogrammes, and serves
+to announce great festival days; it is also rung at the death of
+renowned personages, or in case of fire.
+
+It was only in the year 1849 that the front was ornamented with
+statues representing the day of judgment. This group, consisting
+of fifteen gigantic figures, was made after the old drawings
+preserved in the archives of the _[OE]uvre-Notre-Dame_.
+Jesus-Christ, as judge, is in the middle, with Mary and John the
+Baptist on either side; they are surrounded by angels sounding
+the trumpet of dooms-day, or bearing the instruments of our
+Saviour's passion; beneath are seen the Evangelists, having men's
+bodies surmounted by the heads of the four symbols which
+generally accompany them.
+
+Above the middle porch and the southward tower, is the platform,
+very spacious and surrounded by a handsome balustrade; on it is
+built a small house for the guardians charged to strike the hours
+and ring the alarm bell in case of fire. From the top of this
+platform one enjoys a magnificent view; the wonderful panorama
+that unfolds itself from there, has been drawn with as much taste
+as accuracy by Mr. Frederic Piton, a zealous _amateur_ of our
+local history. Towards the North, in the direction of the Wacken,
+an island near Strasburg, is seen on the horizon the mountain of
+the _Pigeonnier_ (_Scherhol_ in German), at the foot of which
+lies Wissemburg; to its right rise the peaks crowned by the ruins
+of _Gutenberg_ and _Trifels_, and the famous _Geisberg_ taken by
+storm in the war of 1870. On the other side of the Rhine, whose
+majestic stream the eye can easily trace, the long range of the
+mountains of the _Black Forest_ limits the horizon. The first
+peak that is seen is that of the _Eichelberg_, at the opening of
+the valley of the _Murg_; then comes the _Fremersberg_, the
+_Mount-Mercury_, the mountain with the ruins of _Yburg_; all
+these names are known to those who have visited Baden. Beyond
+these summits is the high level ground of the _Hornisgruende_, on
+the other side of which is seen, in the midst of a forest, the
+dark lake named _Mummelsee_. Farther on, eastward, beyond the
+arsenal of Strasburg and the village of Kehl, you observe the
+castle of _Schauenburg_, near Oberkirch, where the valley of the
+_Rench_ begins. After gliding over the ruin of _Fuersteneck_ and
+_Schauenburg_, the eye rests on the stately buildings of
+_Ortenberg_, rebuilt after the middle age architecture, at the
+entrance of the valley of the _Kinzig_. Directing your eye more
+towards the South, you discover the mountains of _Triberg_, and
+close to them those of _Lahr_; then comes the loftiest peak of
+the _Black Forest_, the _Feldberg_, 1494 metres high. Farther on
+the eye may discover (if tine) the _Ballon_ and the _Blauen_,
+behind the hills of the _Kaiserstuhl_; thence this ridge of
+mountains is lost sight of. In the plain, between the Rhine and
+the Vosges, a double row of poplars points out the _Canal_ (from
+the Rhone to the Rhine). The first peak seen in the range of the
+Vosges towards the South-East is the _Ballon of Sultz_, 993
+metres high; the eye then discovers in a western direction the
+ruins of the three castles of _Egisheim_, _Haut-Hattstatt_ and
+_Landsberg_, the top of the _Ballon_ of _Gebwiller_, 1426
+metres high the _Hoheneck_, the ruins of the old castles of
+_Kientzheim_, _Rappoltstein, Hoh-_ (High) _K[oe]nigsburg_,
+_Ortenburg_, _Bernstein_, _Frankenburg_ and the summits of the
+_Bressoir_ and _Ungersberg_. Looking in the direction of
+Saint-Thomas' church, at one glance the eye overlooks the country
+of the old _Hohenburg_, so picturesque and so rich in monuments
+and historical associations: the castle of _Landsberg_, the rock
+of the _Maennelstein_, the convent of _Sainte-Odile_, behind which
+rises the level ground of the _Champ-du-Feu_; further on to the
+right, are the ruins of _Girbaden_, the peaks of the _Donon_ and
+_Schneeberg_. Here the mountains are by degrees lost from sight
+in the distance; on the horizon one may however distinguish the
+towers of the castles of _Geroldseck_ and _Hoh-_ (High) _Barr_,
+in the vicinity of Zabern; then nothing more is seen but meadows,
+forests, fields, from the centre of which you see now and then
+the modest church-steeples of the numerous villages that cover
+the fine plain of Alsacia.
+
+On the North side stands a tower of an octangular form,
+supporting the spire. This tower consists, as it were, but of
+strong buttresses adorned with small columns and statues, and
+having large apertures in which very high windows are set and
+take nearly the whole breadth on the four sides, where they are.
+Among the statues that face the platform, one must be noticed as
+being, according to tradition, that of Erwin of Steinbach. In
+the interior of this tower are the bells that strike the hours,
+that which is called the gates' bell (_Thorglocke_)[1] and also a
+clock made in 1786 by two clockmakers of Strasburg, Maybaum
+father and son. An inscription over the door leading to the
+platform recalls to mind the earthquake of 1728, so violent that
+the water was raised from the reservoirs and thrown to a distance
+of eighteen feet[2]. In front of the four principal sides of the
+octagon tower are turrets with winding stairs, and consisting but
+of a series of windows that rise in a spiral form. These elegant
+turrets seem hardly to rest on any thing; besides the gallery
+that covers them, they communicate with the principal tower but
+by means of flat stones that serve as an entrance into a gallery
+of the interior of the arch-roof, and which lie at a height of
+almost thirty metres. According to the old drawings, these
+turrets should have been surmounted by pyramidal spires. They
+terminate in a gallery that surrounds the tower, from whence one
+enjoys a most admirable view. It is from that spot that rises
+the spire (_fleche_), which is an octangular pyramid of an
+extraordinary boldness, offering to the astonished gazer nothing
+of a massive construction. Six successive tiers of little turrets
+are thus pyramidically placed one above the other[3]. Eight
+winding stair-cases, narrow and of rich open carvings, lead the
+visitor to a massive spot commonly called _the lantern_; higher
+up is _the crown_[4], which is not reached without danger, by
+means of steps placed outside, and with no other protection than
+the wall to which they are fastened; above another widened place,
+called _the rose_, the spire is nothing but a column whence jut
+out horizontal branches to give it the aspect of a cross. The
+monument terminates in a _knob_ being 0m .460 in diameter and to
+which ever since 1835 a lightning-conductor has been adapted; one
+may climb there but with the aid of iron bars to which you must
+cling with hands and feet. The total height of this stately
+building is 142m.
+
+  [1] So called because it was rung morning and night before the
+  opening and closing of the city gates.
+
+  [2] In the interior of this tower and on the balustrade are seen
+  a great many names of foreigners who have visited the Cathedral.
+  Among these names are some of celebrated persons, as G[oe]the,
+  Herder, etc.
+
+  [3] Above the first tier of the turrets is seen around the spire
+  (fleche) the following inscription:
+
+      _Christus nos revocat. Christus gratis donat.
+       Christus semper regnat. Christus imperat.
+       Christus rex superat. Christus triumphat.
+       Maria glorificat. Christus coronat._
+
+  [4] Besides some other inscriptions on the spire, you read round
+  the first gallery of the crown these words:
+
+      _Jesus Christus verbum caro factum est,
+       Jesus Christus, et habitavit in nobis,
+       Jesus Christus, et vidimus gloriam ejus,
+       Jesus Christus, gloriam quasi unigeniti a Patre._
+
+                                (S. John. 1. 14.)
+
+[Illustration: The column of angels.]
+
+The nave, decked with a copper roof, abounds no less in
+decoration than the front. It has large ogive windows adorned
+with _rosaces_; at the place where the buttresses, equally carved
+with _rosaces_, join the counterforts or pillars, they have at
+their tops fine clochetoons; a great many statues and grotesque
+figures of heads complete the ornaments of this part of the
+church. Two galleries, one under the windows, the other below the
+clochetoons of the counterforts, lead from the towers to the
+cross-aisle. This, as we have already said, is still byzantine
+in several parts of it. The southern porch, formed by two
+semi-circular doors made evidently at one of the remotest periods
+of the Cathedral, is adorned with bas-reliefs and statues;
+according to tradition, it is reported that two of these statues
+are the work of Sabina of Steinbach. One is a woman in a
+triumphal posture holding in her hands a communion cup and a
+cross; she is the symbol of the church that vanquished the
+synagogue; the other, a symbol of the latter, is a woman looking
+down, blindfolded and leaning with pain on a broken spear, whilst
+the laws of the twelve tables drop from her left hand. On the
+parvis before this porch is erected, on the left, the statue of
+Sabina herself, and on the right, the statue of Erwin of
+Steinbach, both due to the chisel of Mr. Grass.
+
+The wall of the upper tier has openings for several windows of
+an ogive form, above which a gallery runs all along; two
+round-windows take up the third tier. The northern portion of the
+cross-aisle has more generally preserved the byzantine manner
+than that we have just spoken of; however, this intermixture with
+the gothic style denounces latter renovations. The ancient porch,
+the remains of very old constructions, is masked by a fore-front
+that belongs to the last period of the gothic art, and which was
+built in 1494 by James of Landshut; this new porch (_porch of St.
+Laurence_), though handsome in its _ensemble_, is wanting in that
+noble simplicity and purity of taste that distinguishes the other
+parts of the Cathedral; it is overloaded with ornaments, and its
+statues have a stiffness that is found nowhere else.
+
+The octangular dome over the chancel is also of the byzantine
+era; however, it has been renewed in several parts. In the place
+of the deformed cupola, destroyed by the fire of 1870, a handsome
+pyramid has been erected in the year 1878, after the plans of Mr.
+Klotz, architect of the Cathedral.
+
+Up to 1772 the lower part of the lateral fronts of the church was
+disfigured by paltry decayed houses; the same year they were
+pulled down and in their places the present porticos were built,
+which are not wanting in elegance: the shops and stalls that
+formerly obstructed in so disgraceful a manner the access to the
+nave, have also disappeared; and the porches have been repaired
+with a great amount of good taste.
+
+The view of the _interior_ of the nave leaves a deep impression.
+It is mysteriously lighted by magnificent painted windows, and
+supported on each side by seven large pillars, composed of round
+agglomerated columns. The two first of these pillars, more
+gigantic than the rest, support also the towers; the total
+elevation of the upper arch is more than 31 metres. The interior
+front, over the principal porch, is adorned with a beautiful
+sculptured round-window; between this and the grand rose-window
+is a glass gallery. Above the arches that unite the pillars on
+both sides of the nave and all along is a fine gothic gallery,
+serving as a basis to large windows, similar to those of the
+lower sides of the church. The lower part of the wall of the
+latter is ornamented with a range of small columns, joined
+together by og-arches. The magnificent windows of this church
+represent subjects and personages of Scripture and Legend. Among
+the artists who have painted these windows, the oldest one known,
+is master John of Kirchheim; those made after his drawings were
+put up in 1348; there is no doubt that many of his works still
+adorn the Cathedral. The names of John Markgraf, James Vischer
+and the brothers Link were mentioned later. At the latter part of
+the eighteenth century John Daniel Danegger painted also some,
+which, however, owing to their mediocrity, have since been
+removed. For some years past they have undergone considerable
+repair under the direction of artists of talent and well
+acquainted with the science of antiquities. The painted windows
+of the upper galleries of the nave represent the seventy four
+ancestors of Jesus Christ; higher up are the images of saints and
+martyrs; in the right aisle, over the vestry, is seen the
+gigantic figure of saint Christopher: on the South side, of the
+six windows that have each sixteen divisions, the four first
+contain some scenes from the history of the Bible; the two last,
+the day of Judgment and the celestial Jerusalem. On the North
+side, in an equal number of windows, you see the birth of Jesus
+Christ, the wise men, and the portraits of several German
+emperors; the last of these windows represents a series of the
+oldest events in Scripture. The effect produced by these
+beautiful windows is greatly increased since they had the happy
+idea to wash away the daubing with which, about thirty years ago,
+they had besmeared the inner walls of the Cathedral; by these
+means the bare part of the wall, a fine stone of a rosy tint,
+which served for the construction of the church, is rendered
+visible; it was a measure that bespoke much good taste and
+knowledge of the christian art.
+
+On the left side of the nave is fixed the organ which extends up
+to the superior arch. It is a master-piece of work of Andrew
+Silbermann, who was one of the most able organ-builders of his
+time and who built it in 1704. Pierced by a shell during the
+bombardment of 1870, this organ of Silbermann has been restored
+by a distinguished organ builder of our city.
+
+On the same side, at the fifth pillar, stands the pulpit, erected
+in 1486 by John Hammerer, by order of the magistrate, for the
+celebrated preacher Geiler of Kaysersberg. This work of
+sculpture, remarkably delicate, is adorned with nearly fifty
+little statues, the meaning of which is easy to understand. The
+canopy is of a modern style, and was made in 1824 to replace a
+more ancient one, perhaps the first erected in 1617, which has
+been handed down to us as a most simple piece of workmanship, and
+made of lime-wood. At the foot of the stairs are two figures, a
+man in the posture of rest and a woman praying; we may justly
+suppose that they are meant for the maker of the pulpit and his
+wife.
+
+[Illustration]
+
+The chancel is joined to the nave by two pillars of very large
+dimensions and whose tops belong to one of the constructions
+anterior to the gothic order. The magnificent lobby built by
+Erwin of Steinbach was taken down to make room for the taste
+prevailing in the seventeenth century; it was demolished in 1682.
+Two high and circular columns support the cupola of the chancel
+and separate it from its two aisles; in the centre of each of the
+latter stand also columns to sustain the arch-roofs; that of the
+northern part is round, whilst the column of the southern aisle
+is composed of a collection of very slender pillars, probably of
+a later construction; this long, thin and gracious column bears
+in its corners some statues, the fineness and gracefulness of
+which recall to mind the work of Sabina of Steinbach. Beneath are
+the four Evangelists; above four angels holding trumpets, and
+uppermost the Saviour and three angels with the implements of the
+Saviour's passion in their hands; it is called the angel's column
+or Erwin's column. On the large pillar which unites the nave to
+the chancel, are two inscriptions in commemoration of the famous
+preacher Geiler of Kaysersberg who, for many years, displayed his
+eloquence from the pulpit of the Cathedral. In this same aisle is
+erected the statue of bishop Wernher, meditating the design of
+the church laid before him. Opposite this statue, the work of Mr.
+Friderich, is the celebrated.
+
+
+Astronomical Clock.
+
+As early as 1352 an astronomical clock was begun under bishop
+Berthold of Bucheck, and finished two years after by an unknown
+artist, in the time of John of Lichtenberg. It was fixed to the
+wall facing the present one. The frame-work of that first clock
+was all of wood; the stones that formed its basis are to this day
+seen projecting from the wall. It was divided into three parts;
+the lower part contained a universal calendar; in the middle was
+an astrolabe, and in the superior division were seen the three
+wise men and the Virgin Mary carved in wood; the wise men bent
+every hour before the Virgin, by means of a peculiar mechanism,
+which at the same time put in motion a chime of harmonious sounds
+and a cock crowing and flapping his wings.
+
+The exact time at which this clock, which in the fourteenth
+century must have been a wonderful piece of workmanship, and was
+called the clock of the three sages, ceased going, is not known:
+it had been stopped for a long time, when in 1547 the magistrate
+of the town decided on having another made and putting it
+opposite the old one, in the very place the clock now occupies.
+Three distinguished mathematicians furnished the plan and
+superintended the execution of it: they were Dr Michel Herr,
+Christian Herlin, professor of mathematics at the school of
+Strasburg, and Nicholas Prugner, who, after preaching the
+reformation at Mulhouse and at Benfeld, occupied himself at
+Strasburg with mechanics and astrology. These three learned men
+began this work, but did not terminate it; it was resumed in the
+year 1570 by a pupil of Herlin, named Conrad Dasypodius of
+Strasburg, where he was a professor of mathematics. Dasypodius
+drew the design of the clock, but its execution was confided to
+two skilful mechanics of Schaffhouse, the brothers Isaac and
+Josiah Habrecht; Tobias Stimmer, also of Schaffhouse, had the
+charge of the paintings. This master-piece of the mechanical art
+of the sixteenth century was completed in 1574; it ceased going
+in 1789. As the exterior distribution of the present clock is
+nearly the same as that of the old clock, we shall abstain from
+describing the latter. In 1836 the corporation of the town of
+Strasburg adopted the resolution of causing this curious monument
+to be repaired. To Mr. Schwilgue, a distinguished mechanician of
+Strasburg, his native place, this remarkable work was entrusted;
+he began it the 24th of June 1838 and finished it at the end of
+1842.
+
+It is one of the most beautiful pieces of workmanship of our
+age; its mechanism is entirely new and in accordance with the
+present state of the science of astronomy, which as is well
+known, has attained a very high degree of certainty and
+exactness. Mr. Schwilgue has not made use of any of the pieces of
+the old clock, which are deposited in the chapel of the
+_[OE]uvre-Notre-Dame_; by comparing them with the pieces
+composing the new clock, one may judge of the progress of science
+and of the talents of the modern artist. M. Schwilgue preserved
+of the former clock only its fine case, the paintings and
+ornaments of which were carefully repaired. In this he had many
+difficulties to overcome, as well for the proper arrangement of
+this mechanism and lodging it in a space that was often very
+limited, as for making the old signs or indications accord with
+the movements of the clockwork. Of these many were marked only in
+painting, and must have been renewed after a certain time, as for
+instance those for the eclipses, which now by a most ingenious
+mechanical combination will henceforth last for ever. The little
+statues which hitherto had no articulation, are now moveable; the
+twelve Apostles have been added to the former number of them. The
+figure of Death, formerly on the same level with that of
+Jesus-Christ, is now placed in the centre of figures representing
+the four ages of life and striking the quarters of hours; the
+idea of assigning this place to the image of death is assuredly a
+more rational and finer one than that which prevailed in the old
+distribution of the figures. Childhood strikes the first quarter;
+Youth the second; Manhood the third, and Old Age the last; the
+first stroke of each quarter is struck by one of the two genii
+seated above the perpetual calendar; the four ages strike the
+second. Whilst death strikes the hours, the second of these genii
+turns over the hourglass that he holds in his hand. The image of
+the Saviour stands now on a higher ground; at the hour of noon
+the twelve Apostles pass bowing before him; he lifts up his hand
+to bless them, and during that time, a cock, whose motions and
+voice imitate nature, flaps his wings and crows three times.
+
+Mr. Schwilgue has altered the old calendar into a perpetual one
+with the addition of the feasts that vary, according to their
+connexion with Easter or Advent Sundays. The dial, nine metres in
+circumference, is subject to a revolution of 365 or 366 days,
+according as the case may be. Mr. Schwilgue has even indicated
+the suppression of the secular bissextile days. He has moreover
+enriched his work by adding to it an ecclesiastic compute with
+all its indications; an orrery after the Copernican system,
+representing the mean tropical revolutions of each of the planets
+visible to the naked eye, the phases of the moon, the eclipses of
+the sun and moon, calculated for ever; the true time and the
+sideral time; a new celestial globe with the procession of the
+equinoxes, solar and lunary equations for the reduction of the
+mean geocentric ascension and declension of the sun and moon at
+true times and places. A dial placed without the church and
+showing the hours and days, is put in motion by the same
+mechanism of the clockwork.
+
+The camerated roof of the back part of the chancel was formerly
+covered with paintings executed in 1686 representing Dooms-day. A few
+paintings only adorned till now the interior of the Cathedral,
+among which the most remarkable oil-paintings, executed by
+artists of Strasburg, are: the _Shepherd's Adoration_, by Guerin,
+the _Laying in the tomb_, by Klein; the _Ascension_, by Heim, and
+some others. In the seventeenth and eighteenth centuries the
+chancel was several times and in different ways enlarged and
+disfigured by ornaments little correspondent with the elegance and
+grandeur of the gothic order. Tribunes, stairs and wainscots that
+formed a strange contrast with the rest of the edifice were added.
+The altar, adorned in 1501, with fine figures carved in wood by
+Master Nicholas of Haguenau, was changed in 1685 by order of bishop
+William Egon of Fuerstenberg; that new altar, covered with a
+baldachin, was destroyed by fire, and in 1765 the present one,
+which has nothing in its form worthy of notice, was erected. Great
+repairs were begun some years ago under the direction of the city
+corporation, struck, as every body was, by the great disproportion
+between the chancel and nave. It was resolved to restore the
+chancel to its primitive form and arrangement, and thus to
+reestablish the due proportions between that part and the rest of
+this magnificent church. This great labour is now finished. Their
+natural complement, as required by the style of this part of the
+pile and its extensive fronts and arch-roofs, is the execution of a
+certain number of monumental paintings, intrusted to two
+distinguished artists, Prof. Steinle, Director of Staedel's
+Institute in Frankfort a/M. and the historical painter Steinheil
+in Paris, a native Alsacian. The former is charged with the
+execution of the fresco-paintings in the chancel and lateral
+naves, whilst the latter undertook the reestablishment of the
+paintings that represent the Dooms-day on the upper wall of the
+chancel, in front of the great nave. Both works, begun in 1876,
+came in sight for the visitors of the Cathedral, at the end of
+1878.
+
+In restoring to this part of the edifice its former appearance,
+it has highly augmented the effect produced on the inward aspect
+of the Cathedral; now also may be decided the question, hitherto
+doubtful, of the exact time at which the chancel was built; with
+certainty, it may already be said, that it was not erected, as
+was often affirmed, in the time of the emperor Charlemain.
+
+[Illustration: Astronomical clock.]
+
+In removing the superfetations that had taken place during these
+two last centuries, and in reestablishing the architectural forms
+that the wretched style then prevailing had concealed, a
+succession of large ogive arches of an admirable and powerful
+proportion which form the inferior part of the Apsis, and support
+a gallery serving as a basis to the upper story, have come to
+light. On this story, which is separated from the _cul-de-four_
+(spherical vault) by a single moulding, are three large ogive
+windows, the middle one of which is of colossal dimensions, and
+between the columns below are in a symmetrical manner placed, on
+each side, the doors of the treasury and chapter-room, and in the
+centre lies the bishop's throne, the niched vault of which is
+still more richly decorated; between the intermedial arches are
+the staircase doors leading to the gallery.
+
+The _Apsis_ is not very deep and terminates by a segment, cut out
+of a masonry work outwardly square; entirely devoted to the
+sanctuary, it only contains the high-altar, the twenty four
+stalls of the chapter and a necessary room to perform divine
+worship. In 1878 an accompanying organ has been erected on the
+left side. This beautiful instrument, made by Mr. Merklin, the
+skilful organ-builder of Lyons, is a masterpiece of art and taste
+that enhances indeed the chancel of the Cathedral. In front and a
+few steps lower down lies the chancel, destined to the inferior
+clergy and choristers. This chancel surmounted by a large
+octagonal cupola, the external part of which was struck by
+lightning in 1759, is placed at the intersection of the transepts
+and nave; open and lighted on all sides, one can admire the
+boldness and majesty of the columns and basis that support the
+arched roofs. The cripta or subterranean place, extending under
+the whole length of the chancel, is worthy of notice; it has also
+been recently restored. It is of an older order than the
+constructions of Erwin of Steinbach; it is perhaps the remainder
+of the edifice erected by bishop Werner, at the beginning of the
+eleventh century; the shape of the pillars, their cubical tops
+or chapters, the arches exclusively semi-circular, bring us back
+to those times. This crypta, that remained unimpaired during all
+the changes which the Cathedral must have undergone in the course
+of so many centuries, forms a nave with two arch-vaults and a
+round chancel. All along the walls of the nave are stone benches.
+Four of the inner pillars have still hinges affixed to them which
+prove that this portion of the crypta could be closed by a double
+door. At its entrance is what is called the holy tomb, a very
+ancient group of figures representing Jesus Christ and his
+disciples on the mount of Olives, at the moment when the soldiers
+are going to seize the Lord: this group comes from the chapel of
+the Augustines, erected in 1378; it was placed in the crypta in
+1683.
+
+The most ancient of the present chapels of the Cathedral is that
+of Saint-Andrew, in the South aisle of the chancel; it is
+remarkable for the details of its columns and for its ornaments
+of a very old style; it contains the tombs of several bishops,
+the oldest of which is that of Henry of Hasenburg, who died in
+1190. Behind the North aisle of the chancel, is Saint-John the
+Baptist's chapel, also very old, and being now lower than the
+pavement of the Cathedral. Besides several epitaphs, one here
+sees the fine gothic sepulchre of bishop Conrad of Lichtenberg,
+who died in 1299. The colossal statue of that prelate lies on a
+stone and has still some marks of the colours with which it had
+formerly been painted; in one hand he holds a book, in the other
+was his crosier of which only the lower part is now left; his
+head covered with the mitre rests on a cushion and his feet lie
+against a lion[1]. Near the entrance of this chapel, surrounded
+by an elegant railing, is the baptismal-font of sculptured stone,
+the master-piece of Josse Dotzinger of Worms, who died in 1449.
+
+  [1] The epitaph of Conrad is as follows:
+
+       "_Anno domini MCCLXXXXIX kal. Augusti obiit Conradus
+       secundus de Lichtenberg natus, Argentinensis episcopus,
+       hic sepultus. Qui omnibus bonis condicionibus, quae in
+       homine mundiali debent concurrere, eminebat; nec sibi
+       visus similis est in illis. Sedit autem annis XXV et
+       mensibus sex. Orate pro eo._"
+
+The first chapel built in the Cathedral was Saint-Lawrence's,
+next to the North portal of the transept. It was the oldest
+parish in the town and diocese of Strasburg; the vicar of
+Saint-Lawrence was the first archpriest of the diocese and at the
+same time grand-penitentiary of the Cathedral. This chapel,
+decayed with time, was rebuilt after the plans of master James of
+Landshut, who died in 1495, and was completed in 1505; when in
+the course of time it became too small for the parish, it was
+transferred in 1698 into the neighbouring chapel of Saint-Martin,
+which had been built in 1420 and then assumed the name of
+Saint-Lawrence's chapel that it retained ever since. Among the
+sepulchral monuments it contains, is seen that of Mr. de la
+Batie, in his live time commander of Strasburg. In this chapel is
+the entrance to the vaults, where to this day the bishops' mortal
+remains are deposited.
+
+The chapel opposite the latter, on the right side of the church,
+is dedicated to saint Catharine; it was erected in the year 1331
+by bishop Berthold of Bucheck who is interred in it. It was newly
+arched in 1542 and formerly contained the holy tomb. The
+entrances both into this and the chapel of Saint-Lawrence are
+decorated with several old statues; in Saint-Catharine's chapel
+is the tomb of Conrad Bock, a nobleman of Strasburg, who died in
+1480; this work is remarkable for the manner in which the
+numerous figures that surround the bed of the dying man, are
+grouped together.
+
+The sepulchral stones that served as flag-stones or pavement in
+the interior of this large building, have long ago been removed.
+Besides the sepulchral monuments and inscriptions already
+mentioned we shall note the epitaphs of Erwin of Steinbach, of
+Husa his wife, and of his son John, at the lower part of the
+buttress in the little yard behind Saint John's chapel[1]; also
+the inscription to the memory of Conrad Guertler, who bequeathed
+to the chapter of the Cathedral his house, a large building in
+the rue du Dome; this inscription is opposite that of Geiler of
+Kaysersberg; finally, in one of the vestries is the epitaph, in
+german verses, of the celebrated printer John Mentelin of
+Schlestadt.
+
+  [1] _Anno domini MCCCXVI. XII Kal. Augustii obiit Domina
+  Husa uxor magistri Erwini. Anno domini MCCCXVIII. XVI Kal.
+  Februarii obiit magister Erwinus gubernator fabrice ecclessie
+  Argentinensis. Anno domini MCCCXXXVIII. XV Kal. Aprilis obiit
+  magister Johanni (sic) filius Erwini magistri operi huius
+  ecclesie._--There was formerly on that spot a burial ground; it
+  is very likely that Erwin and his family were buried there. When
+  some years ago, they were digging a waste-well for the lightning
+  conductor, they discovered an old coffin of stone, broken and
+  filled with earth and bones. All these remains with the exception
+  of some fragments taken away by some curious amateurs, were
+  deposited in a vault.
+
+We shall add one word more on the _foundations_ of the Cathedral.
+Every one knows the old story, according to which this edifice
+rests on piles, between each of which it were possible to go in
+boats on canals extending even under the place Gutenberg. As far
+back as the seventeenth century, they dug to a considerable
+depth, and have since several times renewed the experiments, to
+ascertain the nature of the foundations, that have been found to
+lie very deep and to be very solid, formed of masonry reposing on
+clay mixed with gravel; under a portion of the nave this bottom
+is reinforced by oaken piles.
+
+Through a door on the right of saint Catharine's chapel you enter
+the area of the workhouse of the stone-cutters of the Cathedral
+(_Steinhuette_). These workmen, even to this day form a particular
+corporation that seems to have originated in the days of Erwin of
+Steinbach; at all events it is a certain fact that the masons of
+the Cathedral were from the beginning a body, distinct from the
+ordinary masons; that they have not admitted among them every
+one who presented himself, and that they had secret signs to know
+one another. This (_loge_) society of the masons of the Cathedral
+has become the cause of many others in Germany; Dotzinger, the
+successor of John Hueltz as architect of this church, united them
+all in one body; a general meeting of the masters or chiefs of
+the different _loges_, held at Ratisbon in 1459, adopted certain
+rules and regulations, and chose as their grand-masters the
+architects of the Cathedral of Strasburg, where the principal
+loge or lodge (_Haupthuette_) was established. Maximilian I
+confirmed the establishment and the rules of this corporation on
+the 3d October 1498. At the beginning of the eighteenth century
+it was transferred to Mayence.
+
+It has already been stated that at a very remote period the
+Cathedral had received rich and important donations composing the
+_[OE]uvre-Notre-Dame_, the revenues of which were originally
+under the direction of the bishops; but as they squandered them
+away "leaving the building to decay," the chapter assumed their
+administration in 1263, after the war between the town and Walter
+of Geroldseck; however, the canons did no better and in 1290 the
+magistrate of the city was obliged to take back from them the
+management of the revenues. The estate and income of the
+_[OE]uvre_, employed only for keeping in good order and for
+repairing the Cathedral church, are still managed like other
+property that belongs to the city; the collector of the revenues
+is appointed by the city corporation, who also names the
+architect and sculptor of the _[OE]uvre_. The receiver's office
+is in a handsome house (_Frauenhaus_), built in 1581, after the
+taste of those times, situated opposite the South side of the
+Cathedral. In that house, where the old plans of the church and
+the pieces of the old clockwork, above mentioned, are carefully
+preserved, we have also to admire the light and elegant
+construction of the staircase.
+
+
+
+      *      *      *      *      *
+
+
+
+
+TRANSCRIBER'S NOTES
+
+
+The following changes have been made as needed to facilitate
+reading: standardized punctuation and accents, moved
+illustrations, and renumbered and moved footnotes.
+
+Additional changes are listed below:
+
+   Page 7: Changed "enthousiasm" to "enthusiasm" for consistency.
+
+   Page 16: Changed "pittoresqu s" to "pittoresques" and
+            "counter-forts" to "counterforts."
+
+   Pages 20 and 34: Changed "doomsday" and "dooms-day" to
+            "Dooms-day" for consistency.
+
+   Page 21: The phrase "if tine" matches the original text.
+
+   Page 22: Changed "Landsburg" to "Landsberg."
+
+   Page 23: Changed "plat-form" to "platform."
+
+   Page 24: The measurement "0m .460" matches the original text.
+
+   Page 26: Changed typo "is" to "it" and changed "bizantine" to
+            "byzantine" for consistency.
+
+   Page 32: Changed "clock-work" to "clockwork."
+
+   Page 40: Changed typo "eigtheenth" to "eighteenth."
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK HISTORICAL SKETCH OF THE CATHEDRAL
+OF STRASBURG***
+
+
+******* This file should be named 22990.txt or 22990.zip *******
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