Part 4 (2/2)

General Chanzy, who was in command of the French army of the West, courted defeat by advancing upon Paris, and by his retreat upon Le Mans invited the Germans to occupy it. Prince Frederick Charles, leaving Orleans and pa.s.sing Beaugency and Vendome, arrived at the latter place in time to see Chanzy repulsed, but not in time to cut off the French army, which was now in full retreat towards Paris. A series of rear-guard engagements followed as the Prussians drove the French before them towards Le Mans. The storming of Change was the last of the many battles around Le Mans. It lies in a hollow with hills curving round it on two sides, the north and west, and on these hills the French had taken up their position. They had, apparently, no desire to advance and clear away the Germans who were attacking them, laboriously marching through snow and the thick woods which covered the position. The attacking force ran from tree to tree and sought whatever shelter was available, making frequent charges whenever an occasion offered itself.

Notwithstanding their pertinacity they failed to carry the heights, and were for some time in danger of suffering a severe repulse, as the reserves on whom they relied had not yet come up, but were pounding their way along the frozen roads from La Chartre to Le Mans. The troops bivouacked in the snow on the night of the 11th, and when the frosty sun rose on the morning of the 12th the French outposts had been withdrawn and retired upon Le Mans. By this time the Tenth Corps had joined the attacking force, and after heavy fighting in the streets and squares the town was won in the evening, and on the following day Prince Frederick Charles established there his headquarters.

[Ill.u.s.tration: LE MANS]

General Chanzy in his defence of Le Mans accomplished all that courage and gallantry in his dire situation could suggest; he disputed the country inch by inch before the advancing armies of the Duke of Mecklenburg and Von der Tann, but he was unable with his raw levies, with recruits undrilled, unshod and unofficered, to withstand the furious onslaught of the enemy. Such is the short tribute paid to the French general by _The Times_ correspondent with the Prussian Army.

The Cathedral of Saint-Julien sits astride a great rock overlooking the Place des Jacobins--a square wide enough for once to allow of an adequate view of the great church on its eastern side. It stands so high that the want of a central tower is felt less than would be the case at a lower level. The only tower of any pretensions is over the south transept--originally the north transept possessed one also--but even this is rather inefficient. It is advisable to enter the Cathedral by the west door rather than by the south porch, so as to prevent the uninteresting west wall of the nave from becoming a factor of one's first impression. From this point it is the choir that first arrests our attention; we pa.s.s on through the lower, simpler nave and through the great soaring chancel arch that to look upon makes us giddy, to the blaze of deep-coloured gla.s.s and the magnificent _chevet_ of stilted arches placed close together and looking from their great height much narrower than they really are. The same idea of height and light prevails in the transepts, for by this time the French architect had begun to gauge the emotional effect of tremendous height, and to dare greater things than his predecessors had ever dreamed; while the same insatiable desire for light that we saw in the choir at Amiens has possessed the builder of Saint Julien, and led him to make his transepts nearly all window--especially the northern one, which has a triforium lighted by beautiful fifteenth-century gla.s.s--and to put a double ambulatory round the choir, both lighted by that marvellous jewelled gla.s.s.

The Romanesque nave was restored in the twelfth century, but this restoration was apparently a replacement of a great deal of old work, with only slight modifications of the original inspiration. A large door, decorated with sculpture and bearing a strong a.n.a.logy to the Portail Royal of Chartres, was opened in the middle of the south aisle.

Further changes were made in the early part of the thirteenth century, when the ancient apses were destroyed, and the admirable choir, as we now see it, was built--”a masterpiece of effect”--with its encircling chapels radiating like the petals of a flower. The vaulting approaches in construction the ”cupola inspiration”; but here, as at Angers and Poitiers, it is an example of only the last traces which remain to us of the domical design.

Besides the Cathedral there are two churches worthy of note--Notre Dame de la Coture, in the eastern quarter of the town, amongst the shops and markets; and Notre Dame (sometimes called St. Julien) du Pre, across the river in the far west. The latter church, in spite of having been a good deal restored, is extremely interesting. In the nave hangs a little printed history, which tells us that the church was founded by the first bishop of Le Mans, Saint Julian, sent as a missionary by Saint Peter. In honour of his great master Julian built a basilica, which was enlarged by Saint Innocent in the sixth century and restored about 1050. In the fifteenth century both church and monastery suffered from fire; two centuries later the pious Benedictines made some alterations, but during the Revolution the church was sacked and burnt, and the crypt, together with the tombs of Saint Julian and Saint Hadouin, entirely destroyed. The task of restoration was left to the faithful in the nineteenth century. In spite of the modern work, however, the church contains a great deal that is very interesting and undoubtedly ancient.

The nave pillars especially, with their carved capitals, are worth individual notice. In those of the north aisle, from west to east, we find portrayed:

No. 1. Animals caught in a thicket, turning their heads over their shoulders to free themselves from the branches. Notice here how the volute at the corner has suggested to the sculptor a human face.

No. 2. Leaves and curiously twisted arabesques.

No. 3. The same in a simpler form.

No. 4. Volutes and grotesque heads at the angles.

No. 5. [South aisle, east to west] gives a kind of rope-work, with volutes and human-headed dragons.

No. 6. Is much the same as No. 3.

No. 7. Flat _applique_ leaves, volutes and ball-flowers; and in

No. 8. We return to the wild animals. Both aisles are arcaded on their outer walls; on the north we find arches ornamented with ball-flowers, on the south an arcade of some interest, as showing the immense variety of design in its capitals--dragons, fir-cones, arabesques, and, strangest of all, winged lions, with a most a.s.syrian air. Apart from the capitals, the architecture of the church is quite simple, and whoever rehandled it has done so much in keeping with the old work. The windows are round-headed: the clerestory consists of single lights, and the triforium is a blind arcade.

[Ill.u.s.tration: NoTRE DAME DE LA COTURE, LE MANS]

Notre Dame de la Coture--the name originally referred to the _Cultura Dei_--is an old Benedictine foundation, dating from the sixth century, but destroyed during the Revolution; the church, however, remains, with most of the old work intact, the two square fourteenth-century towers rising in quaint contrast to the modern buildings around them. Between the towers a remarkable Last Judgment confronts the visitor from the west doorway. The central figure, Justice, weighs a sinner in the balance, and apparently finds him wanting, if one may judge by the angle of the scales and the expectantly gleeful att.i.tude of a devil amongst the ”goats” on the left hand. Of the interior, the choir is the oldest part, and here we find eleventh-century work, especially in the crypt, which contains the tomb of the founder, Saint Bertrand, and shows the rudely carved capitals and square-edged arches of an age before architects had blossomed out into beauty of sculpture and design. The same simplicity characterises the choir, which has four bays and a _chevet_ of five-round arches, with ma.s.sive piers, and the abacus square and voluted at the angles. The vaulting of the _chevet_ is terminated by figures of saints, which rest upon the shafts of the clerestory windows.

There is no triforium, its position being taken throughout the church by corbel tables in the form of human and animal faces. The nave consists of a single wide body without aisles, and set in the blank wall are three large bays of relieving arches, their s.p.a.ce being filled in with curious old tapestry, in which appears a medley of Biblical subjects, pastoral and hunting scenes, and Chinese paG.o.das.

This quiet little church was in the very centre of the furious street fighting which followed the first rush into the city of the Prussian troops, and fulfilled its sacred mission of giving shelter to the wounded and comfort to the dying who lay stretched in the neighbouring streets of the town. ”We entered,” says the war correspondent of _The Times_, ”the picturesque old church of Notre Dame de la Coture, interesting from its quaint mixed architecture, its old choir and vaulted walls, and were told by the meek-looking priest who sadly showed us over it, and was busy cleaning it as we entered, that no fewer than six hundred wounded had pa.s.sed the night in it.”

Chapter Nine

ANGERS

If Le Mans marks the first stage from Normandy upon the southward road, Angers may certainly be counted as another stepping-stone to the lands of the Loire--another landmark in our own history--another city upon a hill, and yet differing from all the hill cities before it. We are now in what Freeman calls ”before all things the land and the city of counts,” the city which gave to history the name of Fulk the Black, warrior and pilgrim and enemy of Odo of Chartres; of Geoffrey the Hammer, who strove with the Conqueror at Domfront and Alencon; of Rene the minstrel and of Margaret his daughter, who carried to England the spirit of the old Angevin line, and fought with the strength of two for the inheritance of her husband, meek, scholarly Henry of Windsor, for whom the s.h.i.+eld of faith had more significance than the s.h.i.+eld of the warrior.

The house of Anjou cannot but have an interest to an Englishman, since it is the parent stock of our longest dynasty. Long before it came through Normandy into contact with England it held its own, however, in Gaul, Roman and Frankish. The Andecavi, who settled on the Maine, were an important tribe, and their city was of equal importance. In 464 the Saxons wandered down from Normandy and overran Anjou, but their occupation was merely temporary, and left no traces in city or people, as did the Saxon colonies at Bayeux and in England; and when this one cloud has cleared off, an open field is left for the history of the counts. Now the Counts of Anjou may be said to stand very near the head of the list of all the rulers in France at this early time--a long list, which numbers many important names, Hughs and Roberts of Paris, Williams and Richards of Normandy, Thibauts of Champagne--yet against whose feats of arms and feats of policy the Angevins can measure theirs almost one by one. ”The restless spirit of the race showed itself sometimes for good and sometimes for evil, but there was no Count of Anjou who could be called a fool, a coward, or a _faineant_.”

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