ST. QUIRIACE CHURCH[67] AT PROVINS
Provins, une des plus charmantes villes de France, rivalise avec la vallée de Cachemire. … Des croisés rapportèrent les roses de Jéricho dans cette délicieuse vallée, où, par hasard, elles prirent des qualités nouvelles, sans rien perdre de leur couleurs.—Balzac, Pierrette (whose scene is Provins).
Another Primary Gothic church in Champagne is St. Quiriace at Provins, which one goes out of one’s way to see because Provins is one of the most individual little towns in France, still in part surrounded by massive XII-and XIII-century ramparts. Thibaut IV the Singer added to the great walls of the lower town about 1230. They say that when crusaders drew near to Jerusalem on its hill encircled by its walls and towers they often cried out, “Provins!” Once the population of this shrunken little city rivaled that of Paris. Here were held annual fairs to which flocked the merchants of Europe, and the sensible counts of Champagne encouraged their visitors by wise regulations and strictest justice. The money of Provins was accepted in Florence and Rome.
The valley of roses was the favorite residence of the reigning counts. Here Thibaut IV, the most celebrated lyric poet of the Middle Ages, wrote his songs that wedded the art of the Midi troubadour with the salt of the northern trouvère. His son, Thibaut V, married the daughter of St. Louis and brought her in state to Provins, “où ils firent leur entrée accompagnés d’une grande foison de barons,” wrote Joinville, who had helped to arrange the match. Thibaut V’s heart is contained in a XIII-century monument now in the chapel of the Hôtel Dieu, which hospital was originally the ancient palace of the countesses of Champagne. Thibaut V and his wife died returning from the tragic last crusade of Louis IX. Their niece Jeanne married the king of France, and the prosperous days of Champagne ended when it merged its independence in the royal domain, for new regulations soon impaired the popularity of its famous fairs. It was Countess Jeanne of Navarre who persuaded her seneschal, Joinville, to write his reminiscences.
In the days when Provins was a world center St. Quiriace church was begun about 1160 by Henry the Liberal, the reigning count who was warmest patron of John of Salisbury when the latter, forced to quit England, lived in Provins. Little more than the choir of St. Quiriace now remains. In the tympanum of a late-Gothic portal is a XIII-century image of Christ. The semicircular chevet is boxed in a square ambulatory on which open square eastern chapels. The shafts are banded with annulets. There is Romanesque feeling in the zigzag ornamentation on the heavy ribs; the round arch reigns in the triforium, although the pier arcades below are pointed. The choir shows a curious experiment in vaulting hardly to be called successful: three bays are embraced by the vault section of eight branches.
St. Quiriace crowns the hilltop; in the lower town is St. Ayoul, whose portal sculpture (c. 1160) is of the same type as the three western doors at Chartres, as is the portal of St. Loup-de-Naud (Seine-et-Marne), close by.[68] Those who have fallen under the spell of Chartres’ fascinating column statues will always study their sister images with interest.
Epitaphs on the walls of St. Quiriace recall two true shepherds of this church, one, who went daily into the hills to teach children and to tend on the sick poor in their homes, and the other, who opened up the forgotten crypt and left a school and presbytery to his parish. There is a quaintly worded tablet of the XVI century telling of the haute et puissante dame, the Marquise de Chenoise, who had “for God a tender solid piety; for her husband a submissive, respectful love; for her children a Christian and reasonable tenderness; for her friends a sincere and generous affection; for the poor charity without limit; and for the rest of the world une bonté, une douceur, une honestété charmante.” One would not mind being the rest of the world for this gracious person. Both her sons were killed in one week, fighting under Turenne, so she passed the last years of her life in a retirement, which “she sanctified by prayer, and her prayer she nourished and sustained by good works.” The robust piety of Bossuet’s preaching breathes in such records. In St. Remi’s abbatial at Rheims is the eulogy of another good lady of Champagne who was “Rachel in beauty, Rebecca in fidelity, Suzanna in purity, Tabitha in piety of heart, Ruth in sentiment, and Anna by good works.” Paragons those old-time ladies seemed to be!
ST. YVED AT BRAINE[69]
I am just back from the battle line in that Royal Domain of Soissons, where the soul of ancient France seems more itself than in any other region, country of martyrs, and of kings, of Merovingian crypts, of the donjon of Coucy, of the five apses of St. Yved—realm of the first race of rulers bearing vestiges of the greatest history of France.—Gabriele d’Annunzio, 1914.
Strictly speaking, St. Yved at Braine is not so much a Primary Gothic monument as it is a link between that first tentative hour and the fuller development of the national art represented by Rheims and Amiens. In the same group as Braine, between Primary Gothic and the Era of the Great Cathedrals, are St. Leu d’Esserent, Montréal, Vézelay’s choir, and the church of St. Laumer at Blois.
Braine, on the ancient Roman highroad between Rheims and Soissons, had been a farm of the Frankish kings. In the VII century it belonged to the father of St. Ouen, and it was here that the future bishop of Rouen, as a child, was blessed by a passing guest, the Irish missionary St. Columbanus, whose Celtic rule of Luxeuil dominated, in Gaul, the century called of saints.
Lady Agnes of Braine espoused a son of Louis VI, the turbulent Count of Dreux (d. 1188), and, from them came the funds for St. Yved, the second foundation of the new Order of Prémontré. The recorded date of the enterprise is from 1180 to 1216, but as the church is perfectly homogeneous, it must have been built in one campaign, probably in main part before the dedication of 1216.
As a composition, the plan of the collegiate is original. The apse chapels on each side of the choir chapel are placed on the bias so that the sanctuary opens out like a fan, with five altars visible at the same time. The arrangement was copied in far-off Hungary in St. Martin’s church at Kassovie, built for the king by the wandering Picard artist Villard de Honnecourt. In Cologne the church of St. Gereon, and in Marburg that of St. Elizabeth, show the influence of Braine. St. Léger’s abbatial at Soissons copied it. St. Yved has a square transept-crossing tower that opens still farther the central part of the edifice. Carved about the interior is a cordon of free springtime foliage. There is youth in every line of this beautiful white church. The superb monocylindrical columns and their capitals are robust virility itself. Everywhere is firmness of touch, and never has the unity been marred by patchwork reconstructions. Like its neighbor, Soissons, the same nicety of stonework is shown.
Before the Revolution the collegiate at Braine harbored an unparalleled collection of tombs, since here for centuries were laid to rest the barons and bishops of the proud family of Dreux, warriors at Bouvines, crusaders, and donors of storied windows at Chartres and Rheims. The four west bays of the church of Braine were stupidly demolished after the Revolution, because funds for repairs were at that time lacking. From the destroyed portal were saved the two statues now set in the choir’s wall. They represent the Coronation of Our Lady; the robes flow easily and there is scarcely a touch of Byzantine rigidity left in them.
Twice during the late World War was Braine’s collegiate in the direct path of invasion. The first battle of the Marne freed it, but in May, 1918, the Germans again entered the little town. Then swept forward the second battle of the Marne, and Braine was liberated in September. One can only pray that, in such hasty retreats, St. Yved escaped mutilation.
ST. LEU D’ESSERENT[70]
I think that that style which is called Gothic is endowed with a profound and a commanding beauty, such as no other style possesses … and which probably the Church will not see surpassed till it attain