Part 11 (2/2)

After the wars of the sixteenth century, when Speyer was sacked, pillaged, and burned, the st.u.r.dy walls of the cathedral again fell, and only in the eighteenth century was it restored. For a long time, only the choir was rebuilt, the nave being neglected up to 1772, when Bishop August of Limburg undertook to restore the entire edifice, which, considering that he did it in the eighteenth century, he did comparatively well.

The choir and nave reflect, considerably, the spirit of the middle ages.

The facade alone indicates the false taste of the period in which it was restored.

In general the exterior decoration is simple and remarkable for its interest.

The interior was wisely restored in 1823, and shows a series of mural decorations of more than usual excellence, and the statue of Rudolph of Hapsburg, a modern work by a pupil of Thorwaldsen's, is less offensive than might be supposed.

In Speyer's cathedral are an elaborate series of frescoes by Schraudolph, forming a part of the extensive renovation undertaken by Maximilian II. of Bavaria.

The cloister, built in 1437, exists no more. The baptistery is a curious octagonal edifice ornamented with eight columns and surmounted by a dome. It is lighted by eight narrow windows. The origin of the baptistery is in dispute; but, while doubts are likely enough to be cast upon the a.s.sertion, it is repeated here, on the strength of the opinion of many authorities, that it may have descended from the time of Dagobert.

There are numerous grotesque carvings, which ornament the cathedral in its various parts, and which have ever been the despair of antiquarians as to their meaning.

In one place on the exterior of the apside is a queerly represented melee between gnomish figures of men and beasts with human heads. And again, in the nave, there is a figure of a dwarf with a long beard, with a sort of helmet on his head, and a sword at his side. If he is supposed in any way to represent the Church militant, the symbolism is badly expressed.

St. Bernard preached the Crusades here in the presence of Conrad III., of Hohenstaufen, who was so inspired by the enthusiasm of the holy man that he took the cross himself.

It was in the cathedral of Speyer, too, that St. Bernard added to the canticle of ”_Salva Regina_” these words, ”_O Clemens! O Pia! O Dulcis Virgo Maria_,” which have since been sung in all the Roman churches of the universe.

An ancient legend recounts how one day St. Bernard had come late to the church, when the statue of the Virgin cried out to him: ”_O Bernharde, cur tum tarde?_” and that the saint, with very little respect on this occasion, replied: ”_Mulier taceat in ecclesia_.” ”Since that time,”

says the legend, ”the Madonna has never spoken.”

XII

CARLSRUHE, DARMSTADT, AND WIESBADEN

_Carlsruhe_

Carlsruhe is modern, very modern, and is a favourite resting-place with those who would study the language and customs of Germany. In fact, there is not much else to attract one, except a certain conventional society air, which seems to pervade all of its two score thousand inhabitants.

The architectural treasures of the city mostly bear eighteenth-century dates, from the great monumental gateway, by which one enters the city, and on which one reads, ”_Regnante Carolo Frederico, M.B., S.R.I.P.E._,”

to the Academy of Fine Arts, really the most beautiful structure of the city, which dates only from 1845, though reproducing the Byzantine style of the early ages.

The great palace designed by Weinbrunner branches out like the leaves of a fan, and, if not the equal of Versailles or Fontainebleau, suggests them not a little in general effect.

The two chief churches of Carlsruhe are in no way great ecclesiastical edifices, or of any intrinsic artistic worth whatever. Both the princ.i.p.al Protestant place of wors.h.i.+p and the Catholic edifice are from the designs of Weinbrunner, and are a confused mixture of pretty much all the well recognized details of style, with no convincing features of any. They are pretentious, gaudy, and quite out of keeping with religious feeling.

The Catholic edifice is a poor, ungainly imitation of the Pantheon at Rome, which reflects no dignity upon its author or the religion which it houses.

The Protestant church has its facade ornamented with six Corinthian columns--a weakly pseudo-cla.s.sic style--which lead up to a tower which would be suitable enough to a country-side German parish church, but which, in a prosperous and gay little metropolis of pleasure, like Carlsruhe, is unappropriate and unfeeling, particularly when one recalls that it is a modern building which one contemplates. The window openings, too, recall rather those of a dwelling-house than of a religious edifice. So, when all is said and done, there is not much in favour of Carlsruhe's churches.

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