Joris-Karl Huysmans

Joris-Karl Huysmans

Summary

Portrait of Joris-Karl Huysmans Joris-Karl Huysmans,  The Cathedral — Chapter XIII

“ How completely does this sanctuary—where the sweet and awful presence is ever felt of the Child who never leaves His Mother—lift the spirit above all realities, into the secret rapture of pure beauty!
"And how good must They both be," Durtal said to himself, as he looked round and found himself alone, "never to abandon this desert, never to weary of waiting for worshippers! But for the honest country folk who come at all hours to kiss the pillar, what a solitude it would be, even on Sunday, for this cathedral is never full.
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Source: Wikisource

Portrait of Joris-Karl Huysmans Joris-Karl Huysmans,  The Cathedral — Chapter XIII

“ How grandiose and how aerial was this cathedral, sprung like a jet from the soul of a man who had formed it in his own image, to record his ascent in mystic paths, up and up by degrees in the light; passing through the contemplative life in the transept, soaring in the choir into the full glory of the unitive life, far away now from the purgatorial life, the dark passage of the nave. ”
Source: Wikisource

Portrait of Joris-Karl Huysmans Joris-Karl Huysmans,  The Cathedral — Chapter XIII

“ In fact such colour can only be conceived of—if at all—as used in small chapels; why stain the walls of a cathedral with motley? For this tattooing, so to speak, reduces the sense of space, brings down the roof, and makes the pillars clumsy; in short, it eliminates the mysterious soul of the nave, and destroys the sober majesty of the aisle with its feebly vulgar fret or guilloche, lozenges or crosses, scattered over the pillars and walls, in a paste of treacly yellow, endive-green, vinous purple, lava drab, brick red—a whole range of dull and dirty colours ”
Source: Wikisource

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