Part 7 (1/2)

During the sixteenth century Basel enjoyed a glorious era with respect to science and art.

Its university, the oldest in Switzerland, founded by Pius II., shone brilliantly with the reflected light of the philosopher Erasmus, the alchemist Paracelsus, and many theologians and geographers. Hans Holbein was born here in the seventeenth century.

The Rhine divides the city into two unequal parts, which are connected by a bridge which was originally constructed in 1220.

Although Basel bears even yet, in its architecture, the stamp of an imperial city of the middle ages, it must be counted as somewhat modern.

Nevertheless, of all the cities of the first rank in Switzerland it resisted the march of innovation the longest. For instance, there was a time when all the clocks of the city were an hour behind those of their neighbours. In 1778, however, the Swiss government decreed that on the first of the following January all the clocks of the city must be regulated by solar time. The innovation excited the indignation of the people exceedingly; but, fifteen days after the date originally set, the city fell in with the new regulation, and took up anew the routine of its life.

[Ill.u.s.tration: CATHEDRAL CLOCK BaLE]

”The most magnificent of the Swiss women,” says a gallant French writer, ”are those of Basel, but they know too much (at all times and all places),” he continued, somewhat dulling the effect of his praises.

”They have an elegance of carriage and dress, which, added to their naturally agreeable qualities, gives them a preeminence over all other women of Switzerland.”

All this is as flowery a compliment as the fair s.e.x of any country could receive, and, judging from appearances, as one lingers a few hours or a few days in Basel, it is all true.

The most remarkable of all the edifices of Basel is its cathedral, or munster, dedicated to the Virgin.

In certain of its features one finds a distinct Lombard influence,--in its sculptures and carvings, notably the two carved lions in the crypt, which are the counterparts of others at Modena and Verona in Italy,--though in general it is a Gothic structure.

The cathedral was founded by the Emperor Henry II. of Bavaria in 1010, and was dedicated in 1019.

It is constructed of red sandstone, as are the chief of the architectural monuments along the Rhine, and is an imposing example of the Gothic of that time.

The great portal on the west is richly decorated in the archivolt. It is flanked on either side by an arcade whose b.u.t.tress pillars are each surmounted by a statue in a canopied niche or _baldaquin_.

[Ill.u.s.tration]

At the foot of the north tower is an equestrian statue of St. George and the Dragon, and at the angle of the southern tower is another of St.

Martin.

Two small doorways, each entering the side aisles, flank the arcade of the portal. Above the princ.i.p.al doorway of this facade is a _balcon a jour_ before the great window which lights the main nave.

The towers rise beside this great window, and are of themselves perhaps the most remarkable features of the church.

They are not exactly alike, but they reflect more than any other part of the edifice the characteristics of the Gothic of these parts. The northern tower was completed in 1500, and is sixty-six metres in height.

The southern tower is perhaps more ornate, and resembles, if somewhat faintly, Texier's beautiful spire at Chartres.

The ogival windows of the side walls are strong and of ample proportions.

At the extremity of the north transept is a doorway known as the Porte de St. Gall, decorated with statues of the four evangelists. Above is a great round window of the variety so commonly seen in France. It is here known as the ”Wheel of Fortune.” It is not a particularly graceful design, the rays or spokes being formed of tiny _colonnettes_, but is interesting nevertheless and quite unusual along the Rhine.

The coping of the roof of the nave is formed of party-coloured tiles, which give it a singular bizarre effect when viewed from near by.

The interior divides itself in the conventional manner into three naves, which are bare and with no ornamentation whatever.

The pulpit is a real work of art, and there are some sculptured capitals in the choir which are quite excellent.