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Image from page 302 of "Vanished halls and cathedrals of France" (1917)
Image by Internet Archive Book Images Identifier: hallscathedral00edwa Title: Vanished halls and cathedrals of France Year: 1917 (1910s) Authors: Edwards, George Wharton, 1859-1950 Subjects: Cities and towns Cathedrals Publisher: Philadelphia, The Penn publishing company Contributing Library: Getty Research Institute Digitizing Sponsor: Getty Research Institute View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: mous, for instance the Scholar Hincmar,and Gerbert, who was afterwards Pope Sylvester II, andwho as a simple monk under the great Adalberon attainedgreat celebrity for his lectures. Until the fourteenth century Archbishops had temporalpower over Rheims, coining their money and ruling assovereigns. Calixtus II in 1119 held here a council to excommuni-cate the Emperor, Henry V. In 1429 Rheims was delivered from the English yokeby Jeanne dArc, who personally gave the keys of thetown to Charles VII and assisted at his coronation in theCathedral. Liibke, writing of the sculptural details of the Cathe-dral, says, All the dignity and grace of the style herereaches a truly classical expression. Nevertheless, evenhere, in one of the master works of the time, we find agreat variety in the mode of treatment. There are heavystunted statues with clumsy heads and vacant expression,like the earlier works of Chartres; others are of the mostrefined beauty, full of nobility and tenderness, graceful 250 Text Appearing After Image: RHEIMS in proportion, and with drapery which falls in statelyfolds, free in movement and with a gentle loveliness orsublime dignity of expression; others again are exag-gerated in height, awkward in proportion, caricatured inexpression, and affected in attitude. Strange that Lubke could not realize that the sculptorproduced these contrasts with design, so that the ugly andgrotesque of some might make the grace and beauty ofthe others the more telling; but such is the quality of theTeutonic mind. But he has written so appreciatively of the beauties ofthe figures, that we can overlook his shortcomings. Hefurther says, That different hands were employed onthe same portal (the North Transept) may be seen in theforty-two small seated figures of bishops, saints andkings, which in three rows fill the hollows of the archi-volts. They are one and all of enchanting beauty, grace,and dignity; the little heads delightful; the attitudesmost varied; the drapery nobly arranged, and so variedin conce Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.