Late in the fifth century, while the confusion of the Dark Ages reigned supreme, the Christian bishop of the Remi was at work on the discouraging task of rebuilding his church after pagan depredations at Rheims, when the great joy was vouchsafed to him of baptizing Clovis, the ruler of the largest Teutonic State of the age.

Saint Remi recommended Clovis to adore that which he had burned and to burn that which he had adored, that the work of judicious destruction might continue. Clovis sent offerings to all the sanctuaries, particularly to that of the old soldier Saint Martin. Three thousand Franks were baptized; Clovis exchanged the three toads on his shield for the fleur-de-lis, and France became Christian toute de suite. Then Saint Remi dreamt of great things yet to come: of a king and a people governed by the Church of Christ, temporally and spiritually. And he interpreted this dream to the people by a charming symbol: he explained how the Holy Ghost, the Heavenly Dove, had brought from above some spiritual oil with which to anoint Clovis at his baptism. But to make the idea clear to these many men of childish minds and many patois, he showed them a little ampulla filled with oil, which, he explained, “the Dove” had brought to him from Heaven to grace the baptism of their chief. And they decided to keep the oil that was left in the ampulla for great occasions, like coronations. This wonderful ointment united the Crown and the Church as long as it lasted. During the Revolution a sansculotte shattered the old vessel. Orthodoxy claimed to have caught one drop and encased it in a beautiful new vase; it was used again, but its efficacy was no more. And not long thereafter the French people decided to do without coronations, or monasteries, but they still love Clovis and Saint Remi.

Civilization is much indebted to the early bishops and a goodly number of them have been canonized. The monastic clergy were the snobs of the Church, securely selfish in the magnificent fastnesses they erected for themselves in the skies; condescending comfortably to pray for those that fed them (though who knows but they even shirked that obligation), while the secular clergy were working out, amid inspiration and error, the foundations of a Christian civilization. The idea of the early bishops that the Church ought to rule the world was a natural and an honest mistake. The later bishops were quite a different class. The stout little church of Saint Remi near Rheims pleads still for its brave old bishop, though as a building it is eclipsed by the great cathedral of the city.

The dynasty of Clovis passed away and the next reigning house came in with Pepin. He had good reason to approve of the Church as an institution, for it had early played into his hand. Had not the AbbÉ of Saint Denis journeyed to Rome to secure the papal confirmation of his crown? And had not Pope Stephen, while enjoying the protection of that same abbey, anointed Charlemagne, his little son? On this was based the succession. With his own good sword Charlemagne defended it and brought a semblance of order to the land of the Gaul and the Frank; and, genius that he was, he anticipated, in his interest in architecture, the genius of his great people. But it was rather Charlemagne’s attitude toward church building and letters that told, in the long run, than any literal achievement in them during this time. However, from the reign of his youngest son, Louis the Pious, we may trace the steady, consistent growth of an original order of building which culminated in the unparalleled Gothic of Northern France.

By that time the nobility had built so many sanctuaries in their domains that they had to be interdicted from establishing useless private foundations and, in a more democratic spirit, sixteen or seventeen churches, all edifices of dignity, were begun. Then Bishop Ebbon saw a golden opportunity to build a magnificent cathedral on the long-hallowed soil of Rheims. There the Druid had raised his altar, there the Roman his temple, which may have absorbed the old Druid’s stones into its walls as it had his old gods into its adaptive bosom, to fall, in its turn, a mightier pile, from which the Christian built again and again as he grew in skill. Indeed, beyond their generation the people of Rheims were experienced builders. In addition to all the stone quarried by varied worshipers of the long past at Rheims, Louis the Pious put at Ebbon’s service the materials of the city wall and sent him his favorite architect—Rumald. And it was found that the new cathedral protected the city better than the old walls. La paix religieuse turned away many an invader. One golden cup from the altar bought off the Norsemen (not that it turned their hearts); they swooped down upon Chartres instead.

The old chroniclers assure us that this early Cathedral of Rheims was the finest in the realm. It must have beggared description, for what manner of building it was none of them seem to say. But they tell of its wonderful altar of Our Lady, covered with gold and studded with gems, upon which stood a glorious virgin made of solid gold. That impressed them. Was this altar built with the loot of war? Was it built in remorse, or, worse, in mercenary superstition? Or was it lavished like the woman’s precious ointment upon our Savior? This much it certainly was,—a united tribute of the material to the immaterial, coming from many men of many minds. It was about this time that the Virgin became so peculiarly near and dear to the Catholic world. They loaded her with jewels and appealed to her as one of themselves, human, though divinely so. They painted her on the inside of their jewel boxes that she might turn the heart of the thief; they appealed to her in embarrassing human situations and loved her as a helpful, pitying woman who brought religion home to them.

In due time this golden Virgin of Rheims, so imposing, so splendid to her rude worshipers, gently made way for a line of tenderer virgins who were gradually infusing sweetness and skill into those who sought to spiritualize wood and stone into a suggestion of the mother of Christ. When the old ninth century church at Rheims was burned it is supposed that the barbarians’ gold was minted to rebuild the cathedral. Or shall we say that, purified by fire, the golden Virgin arose again and again from her ashes to rebuild her shrine in maturer beauty?

After many fires, in 1212 the present Cathedral of Rheims was commenced upon the old, old crypt; before the middle of the century the main body of the church was complete, and once again the Cathedral of Rheims was the finest in the realm! In 1903 a vote was taken for the noblest Gothic monument, and the returns, as always before, were, “the Cathedral of Rheims.”

Through the Dark Ages the people of Rheims had not built in vain. Effort after effort was destroyed, it is true, but like the golden virgin it was minted to rebuild anew.

Lacking the mathematical knowledge, which is the mainstay of the modern architect, these early builders must have learned empirically, that is, in the school of defeat—but, too, there are triumphs there. Did the idea of the beautiful flying buttress (which is simply a constructive device to strengthen walls pierced by enormous windows) come suddenly to some baffled old architect, as from the lips of an angel, in answer to work and prayer? These old builders of Rheims leave us no written word, but there is a great Florentine architect who is a little more communicative; he leaves a discreet hint or two of his method of reasoning and also of securing contracts. Regarding the construction of the projected dome of the Cathedral of Santa Maria del Fiore, which the public regarded as impracticable, Brunelleschi writes: “Yet, remembering that this is a temple consecrated to God and the Virgin, I confidently trust that for a work executed in their honor, they will not fail to infuse knowledge where it is wanting and will bestow strength, wisdom and genius on him who shall be the author of such a project. But how can I help you, seeing that the work is not mine? I tell you plainly that, if it belonged to me, my courage and power would, beyond all doubt, suffice to discover means whereby the work might be effected without so many difficulties, but as yet I have not reflected on the matter to any extent.” And when he got the contract and reflected, he turned to the “parent past”—he went to Rome, where the vaulting of the Parthenon taught him to vault that lovelier Florentine dome which “clasps the ancient to the modern world.”

The builders of the Gothic were in some ways more original than the builders of the Renaissance; they evolved their own bracing; thus gradually at Rheims, the “Athens of the Middle Ages,” a great cathedral grew up that ranks with the Parthenon. The Greek had the subtlest of languages in which to speak of the good and the beautiful, while where the greatest Gothic churches were designed there was only a corrupt dead language and a partially developed living one; but the subtle poets of Chartres, Rheims, Amiens, Rouen, Bourges and Laon built strongly into their cathedrals the sweetest things they had to say. When the Parthenon was constructed Athens was so wealthy that it was one of the glories of Pericles that he was able to spend so much so well upon the greatest capital in the world. Rheims was simply, as the Middle Ages went, a rich see, and the Middle Ages were wretchedly poor, yet her cathedral is the more elaborate building of the two. To the end of time it is a monument of civic and religious enthusiasm; and, as we seek the human story, so elusively suggested through the marvelous pile, we realize at least how great a thing it is for each worker to give, in perfect self-effacement, of his best. The decorations of the mighty temple are so exquisitely subservient to the great whole that the handiwork of the gifted imagier, with that of his weaker brother, the one serving as a foil to the other, holds together like their prayers in the noble harmony of the great church. Gothic sculpture is for all sorts and conditions of men, but least of all for artists. It speaks its simple lesson distinctly. It is not sculpture for sculpture’s sake, but rather for decoration and lyric expression. Its emaciated saint betokens sacrifice; literally and figuratively he fills his place in the long, narrow niche, annihilating himself for the great church as a Catholic priest should.

Would you know how the Gothic affects a sculptor?

Says August Rodin: “Life is made up of strength and grace; the Gothic gives us this; its influence has entered into my blood and grown into my being.”

Nowadays, when all “the world travels,” schools of art do not grow up in little communities; intellectual boundaries are in no way geographic, and the moral effect of one man on another is hidden from view. But on the walls of the old mediÆval churches a simpler people, as their work improved, show their direct obligations to one another.

The Gothic cathedrals which served as Bibles for the laity (who, as a rule, could not read print) are now the most veracious chronicles of the period that we possess. Their statements cannot be gainsaid, however variously they may be understood. If some of the last judgments sculptured on their walls, with half of the figures marching toward heaven and the other half (very similar in appearance) moving serenely toward hell, are rather too didactic for this age of doubt, between the lines of these great stone volumes a gentle reader finds countless beautiful stories, much more convincingly told, of artists and artisans working away with smiles on their faces, carving Bible stories under the direction of the clergy; devising figures to personify the virtues and vices; inserting little angels here and there to fill out the design, while the best artist is rewarded with the sweet honor of carving the Madonna.

The barbarian’s gold pays interest yet; the spirit of the bequest is not changed;—a united tribute of the material to the spiritual coming from many men of many minds. The old golden Madonna is patroness still of the five thousand statues of the Cathedral of Rheims, whose mute lips speak so various a language. They tell of a day that is dead and of a day that is eternal; they speak of substance and of spirit; of error and of intuition; of things human and of things divine. Indeed,