Joris-Karl Huysmans

“ It must be seen in winter, with the groining outlined and powdered with snow, and the pillars as white as the trunks of birch-trees, to understand the primitive idea, the seed of art which could give rise in the mind of an architect to the conception of similar arcades, and lead to the gradual refining of the Romanesque till the pointed arch had entirely superseded the round. ”

“ The Gothic, on the contrary, is less timid, more captivated by the two other Persons and the Virgin; it is the home of less rigorous and more artistic Orders. Bowed shoulders are straightened, downcast eyes are raised, sepulchral voices become seraphic. It is, in fact, the expansion of the spirit, while the Romanesque symbolizes its repression. At least, to me, that is the interpretation of these styles," Durtal repeated to himself. ”

“ At Paray the round arch is to be seen in harmony with the pointed arch which appears in the higher summits of the structure, announcing the advent of a less plaintive phase of the soul, a tenderer and less harsh idea of Christ, who is preparing, and already revealing, the Mother's indulgent smile. ”

“ Still, allowing that these basilicas—which may have been built between the eleventh and thirteenth centuries—are purely Romanesque, as Quicherat opines, mentioning them as examples, their structure is already of a mingled type, and the joyousness of the vaulted arch is already to be seen there.
"Nor have we here, as at Notre Dame la Grande at Poitiers, a Romanesque façade, minutely elaborate, flanked at each wing by a low tower supporting a heavy stone spire cut into facets, like a pine-apple. At Paray there is none of the puerile ornament and heavy richness that we see at Poitiers. ”

“ Like him, I am convinced that if the essential character of the Romanesque is the substitution of the vaulted roof for the truss, the distinctive element and principle of the Gothic is the buttress, and not the pointed arch.
"I reserve my opinion, indeed, as to the accuracy of Quicherat's declaration that 'the history of architecture in the middle ages is no more than the history of the struggle of architects against the thrust and weight of vaulting,' for there is something in this art beyond material industry and a problem of practice ”

“ I am not at large there, and prayer is difficult; and yet the nave is magnificent, and the sculptures in the ambulatory, finer even than those of Chartres, may be pronounced unique.
"But here, too, the soul is absent.
"It is the same with the Cathedral of Laon—bare, ice-bound, dead past hope; while some are in an intermediate state, dying, but not yet cold: Reims, Rouen, Dijon, Tours, and Le Mans for instance; even in these there is some refreshment; and Bourges, with its five porches opening on a long perspective of aisles, and its vast deserted spaces ”

“ Archæologists and architects have exhausted hypotheses and systems in vain; they seem to agree in attributing the Romanesque to Oriental parentage, and that in fact maybe proven. That the Romanesque should be an offshoot of the Latin and Byzantine styles, and be, as Quicherat defines it, 'the style which has ceased to be Roman and is not yet Gothic, though it already has something of the Gothic,' I am ready to admit ”

“ No meteorological reason, I suppose, can account for this preference; but on carefully considering the two spires, I am struck by the delicate foliage, the slender lacework of the new spire, the elegant and coquettish grace of the whole of that side. The other, on the contrary, has no ornament, no carved tracery; it is simply carved in scallops like scale armour; it is sober, stern, stalwart and strong. It might really almost be thought that one is female and the other of the male sex. ”

“ Some writers assert that the pointed arch based on an equilateral triangle existed in Egypt, Syria, and Persia; others regard it as descended from Saracen and Arab art; nothing certainly is provable.
"Again, it must be clearly stated that the pointed equilateral arch, which some persons still suppose to be the distinctive characteristic of an era in architecture, is not so in fact, as Quicherat has very clearly demonstrated, and, since him, Lecoy de la Marche. The study of archives has, on this point, completely overset the hobbies of architects, and demolished the twaddle of the Bonzes. ”

“ Those whom some writers try to represent as our fellow-countrymen are Flemings transplanted to Burgundy, or docile Frenchmen whose imitative work bears an unmistakable Flemish stamp. Look in the Louvre at our primitive artists; look at Dijon, especially at what remains from the time when northern art was introduced by Philippe le Hardi into his own province. It is impossible to feel a doubt. ”

“ In fact, we stumble, we feel our way—but we know nothing—nothing!"
"And at best," said Durtal, "archæology and architecture have only done a secondary work; they have simply set before us the material organism, the body of the cathedrals; who shall show us the soul?"
"What do you mean by the word?" said the Abbé Gévresin.
"I am not speaking of the soul of the building at the moment when man by Divine help had created it; we know nothing of that soul—not indeed as regards Chartres, for some invaluable documents still reveal it ”

“ France: so Lecoy de la Marche emphatically asserts. 'The buttress made its appearance as the essential basis of a style in the early years of Louis le Gros, in the district lying between the Seine and the Aisne.' In his opinion the first practice of this form was in the Cathedral of Laon; other authorities regard it as merely supplementary to earlier basilicas, instancing Saint-Front at Périgueux, Vézelay, Saint-Denis, Noyon, and the ancient college chapel at Poissy; but no two agree. One thing is certain, Gothic art is the art of the North ”

“ Whereas in our Cathedral She receives you at once, just as She is. And I have told him, told our friend, that he should attend the first morning Mass in the crypt, and he will see what a welcome our Mother gives her visitors."
"Chartres is a marvellous place," said the Abbé Gévresin, "with its two black Madonnas—Notre Dame of the Pillar, above in the body of the church, and Notre Dame de Sous-Terre below, in the vault over which the basilica is built. ”

“ He draws a stipend of ten thousand francs a year and not another penny; for there is no endowment at Chartres, and the revenue from the fees on the ecclesiastical Acts is nothing. In this rich, but irreligious town he can hope for no assistance; the gardener and porter are paid by him; he is obliged for economy's sake to employ Sisters from a convent as cook and linen-keeper. ”