diff options
Diffstat (limited to '22990-h')
| -rw-r--r-- | 22990-h/22990-h.htm | 1851 | ||||
| -rw-r--r-- | 22990-h/images/back-cover.jpg | bin | 0 -> 75438 bytes | |||
| -rw-r--r-- | 22990-h/images/back-covertn.jpg | bin | 0 -> 45646 bytes | |||
| -rw-r--r-- | 22990-h/images/cover.png | bin | 0 -> 381339 bytes | |||
| -rw-r--r-- | 22990-h/images/covertn.png | bin | 0 -> 138962 bytes | |||
| -rw-r--r-- | 22990-h/images/illus03.jpg | bin | 0 -> 84908 bytes | |||
| -rw-r--r-- | 22990-h/images/illus03tn.jpg | bin | 0 -> 39859 bytes | |||
| -rw-r--r-- | 22990-h/images/illus04.jpg | bin | 0 -> 90181 bytes | |||
| -rw-r--r-- | 22990-h/images/illus04tn.jpg | bin | 0 -> 34621 bytes | |||
| -rw-r--r-- | 22990-h/images/illus05.jpg | bin | 0 -> 36058 bytes | |||
| -rw-r--r-- | 22990-h/images/illus05tn.jpg | bin | 0 -> 21324 bytes | |||
| -rw-r--r-- | 22990-h/images/illus16.jpg | bin | 0 -> 63914 bytes | |||
| -rw-r--r-- | 22990-h/images/illus16tn.jpg | bin | 0 -> 33091 bytes | |||
| -rw-r--r-- | 22990-h/images/illus17.jpg | bin | 0 -> 53973 bytes | |||
| -rw-r--r-- | 22990-h/images/illus17tn.jpg | bin | 0 -> 24201 bytes | |||
| -rw-r--r-- | 22990-h/images/illus19.jpg | bin | 0 -> 98956 bytes | |||
| -rw-r--r-- | 22990-h/images/illus19tn.jpg | bin | 0 -> 38185 bytes | |||
| -rw-r--r-- | 22990-h/images/illus27.jpg | bin | 0 -> 72309 bytes | |||
| -rw-r--r-- | 22990-h/images/illus27tn.jpg | bin | 0 -> 30439 bytes | |||
| -rw-r--r-- | 22990-h/images/illus31.jpg | bin | 0 -> 87669 bytes | |||
| -rw-r--r-- | 22990-h/images/illus31tn.jpg | bin | 0 -> 42583 bytes | |||
| -rw-r--r-- | 22990-h/images/illus35.jpg | bin | 0 -> 63488 bytes | |||
| -rw-r--r-- | 22990-h/images/illus35tn.jpg | bin | 0 -> 30814 bytes |
23 files changed, 1851 insertions, 0 deletions
diff --git a/22990-h/22990-h.htm b/22990-h/22990-h.htm new file mode 100644 index 0000000..3a2e56c --- /dev/null +++ b/22990-h/22990-h.htm @@ -0,0 +1,1851 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of Historical Sketch of the Cathedral of Strasburg, by Anonymous</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; } + p.fm10 { text-align: center; /* front matter */ + font-size: 10pt; font-weight: bold; + margin-bottom: 0em; margin-top: 0em; } + p.fm12 { text-align: center; /* front matter */ + font-size: 12pt; margin-bottom: 0em; margin-top: 0em; + font-weight: bold; } + p.fm14 { text-align: center; /* front matter */ + font-size: 14pt; + font-weight: bold; + margin-top: 0em; margin-bottom: 0em; } + p.fm16 { text-align: center; /* front matter */ + font-size: 16pt; + font-weight: bold; + margin-top: 3em; margin-bottom: 0em; } + p.fm18 { text-align: center; /* front matter */ + font-size: 18pt; + font-weight: bold; + margin-top: .5em; margin-bottom: 1em; } + p.fm22 { text-align: center; /* front matter */ + font-size: 22pt; + font-weight: bold; + margin-top: 1em; margin-bottom: 1em; } + hr.title { width: 7%; /* title page */ + margin-top: 0.25em; margin-bottom: 0.25em; + margin-left: auto; margin-right: auto; + clear: both; color:black; } + hr.toc { width: 10%; /* title page */ + margin-top: 0.25em; margin-bottom: 0.25em; + margin-left: auto; margin-right: auto; + clear: both; color:black; } + hr { width: 65%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; } + table {margin-left: auto; margin-right: auto;} + body{margin-left: 10%; + margin-right: 10%; } + .pagenum { position: absolute; right: 3%; + font-size: 75%; + text-align: right; + text-indent: 0em; + font-style: normal; + font-weight: normal; + color: #5a5a5a; background-color: inherit; + font-variant: normal;} /* page numbers */ + .pagenum a {text-decoration: none; color: #5a5a5a; background-color: inherit;} + .tb { margin-top: 2em; margin-bottom: 0em; } + .pad { margin-top: 3em; margin-bottom: 1em; } + .pad2 { margin-top: 2em; margin-bottom: 2em; } + .pad3 { margin-top: 1em; margin-bottom: 1em; } + .blockquot{margin-left: 5%; margin-right: 10%;} + p.cite3 { /* author citation at end of blockquote or poem */ + text-indent: 25%;} + ins {text-decoration: none; border-bottom: thin dotted red;} + a {text-decoration: none;} + a[name] {position:absolute; /* Fix Opera bug */} + .bbox {background: #eeeeee;} + .ralign {float: right; clear: right; margin-left: -7.5em; margin-bottom: 1em; + margin-top: -5em; margin-right: 0; padding: 0; } + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .caption {font-weight: bold;} + img.plain { /* image with no border or padding, see float */ + border: none; padding: 0; } + .figcenter {margin: auto; text-align: center;} + .footnotes {border: solid 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: 0.3em; font-size: .8em; text-decoration: none; padding-left: 0.1em;} + .super {vertical-align: 0.2em; font-size: 80%; text-decoration: none;} + .super2 {vertical-align: 0.3em; font-size: 70%; text-decoration: none; font-variant: small-caps;} + .footpoem { margin-left: 15%; margin-right: 15%; } + .cover {background-image: url('images/covertn.png'); background-position: center center; background-repeat: no-repeat;} /* image block */ + .ralign2 {float: right; clear: right; margin-left: 50%; margin-bottom: 1em; + margin-top: -5em; margin-right: 23%; padding: 0; } + hr.full { width: 100%; + margin-top: 3em; + margin-bottom: 0em; + margin-left: auto; + margin-right: auto; + height: 4px; + border-width: 4px 0 0 0; /* remove all borders except the top one */ + border-style: solid; + border-color: #000000; + clear: both; } + pre {font-size: 85%;} + // --> + /* XML end ]]>*/ + </style> +</head> +<body> +<h1>The Project Gutenberg eBook, Historical Sketch of the Cathedral of +Strasburg, by Anonymous</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Historical Sketch of the Cathedral of Strasburg</p> +<p>Author: Anonymous</p> +<p>Release Date: October 12, 2007 [eBook #22990]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK HISTORICAL SKETCH OF THE CATHEDRAL OF STRASBURG***</p> +<p> </p> +<h3>E-text prepared by Juliet Sutherland, Suzan Flanagan,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net)</h3> +<p> </p> +<div class='center'> +<p><br /></p> +<table border="1" cellpadding="8" class="bbox" cellspacing="0" summary="Transcriber's Note"> +<tr><td align='left'>TRANSCRIBER'S NOTE: + +<p>This booklet appears to end abruptly, but there is no +evidence of any missing pages in the original copy.</p> + +<p>Corrections are underlined in red with the original text shown as <ins title="like this">popups</ins>. Additional +changes are noted in the <a href="#TRANSCRIBERS_NOTES">Transcriber's Notes</a> at the end of the e-text.<br /></p> +</td></tr> +</table></div><hr class="full" /> +<p> </p> +<p> </p> +<p> </p> + +<div class="cover"> +<h1>The Cathedral of Strasburg</h1> + +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> + + <div class="ralign2"> + + <p class="fm12"><span class="">Strasburg</span></p> + + <p class="fm14">A. Vix & C<span class="super">ie</span></p> + + <p class="fm12">Publishers</p> + </div> + +<p> </p> +<p> </p> +<p class="center"><a href="images/cover.png">Click for larger image</a></p> + +</div> + +<hr /> + +<div class="figcenter" style="width: 500px;"><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span> +<a href="images/illus03.jpg"><img src="images/illus03tn.jpg" width="500" height="304" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +<span class="caption">Death of the Virgin Maria.</span> +</div> + +<div class="pad"><p class="fm18">Historical Sketch</p></div> + +<div class="pad3"><p class="fm10">of the</p></div> + +<p class="fm22">Cathedral of Strasburg</p> + +<hr class="toc" /> +<div class="pad2"><p class="fm14">Twenty fourth Edition</p></div> +<hr class="title" /> + +<p class="fm16">STRASBURG</p> +<p class="fm14">PUBLISHED BY A. VIX & C<span class="super2">ie</span></p> +<p class="fm10">31, PLACE DE LA CATHÉDRALE</p> +<p class="fm12">1922.</p> + + +<hr /> + +<div class="figcenter" style="width: 398px;"><span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span> +<a href="images/illus04.jpg"><img src="images/illus04tn.jpg" width="398" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +<span class="caption">The interior of the Cathedral.</span> +</div> + +<hr /> + +<div class="figcenter" style="width: 700px;"><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span> +<a href="images/illus05.jpg"><img src="images/illus05tn.jpg" width="700" height="181" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +</div> + +<h2>I. HISTORY</h2> + + +<p>Among the wonderful monuments to which the religious +art of the middle ages has given rise and which will for ever +excite the admiration of men, the church of <i>Notre-Dame</i> or +Cathedral of Strasburg occupies one of the first ranks. By +its dimensions, the richness of the ornaments and figures +that adorn its exterior, by the majesty of its nave, and by its +light steeple, which towers towards Heaven with as much +grace as boldness, this house of God proclaims afar its destination +and leaves a deep and indelible impression on the +soul of any one who gazes on it.</p> + +<p>Exhibiting in all its different parts models of every epoch +of christian architecture, this Cathedral is for the artist a +subject of serious study and for the inhabitant of Strasburg +a venerable monument, which recalls to his mind the principal +events of the ancient history of our city.</p> + +<p>According to some old traditions, the Cathedral is built on a +spot, which, from the remotest times, had been devoted to +worship. Originally this spot formed a hill sloping westward +into a cavity, which was filled up many centuries ago. Around +it, the Celts, the first inhabitants of our country, built their +huts: its summit was covered by the sacred wood, in the +midst of which rose the druidical <i>dolmen</i>. It was there that +those barbarians offered sacrifices to Esus, their God of war,<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span> +sacrifices which, in times of public calamity, were human +victims.</p> + +<p>After the conquest of Gaul by the Romans, a regular and +fortified town was very soon founded on the place hitherto +occupied by the scattered habitations of the Celts. The old +name of <i>Argentorat</i> was alone preserved; it signified a town +where the river is crossed over. It was there, according to +tradition, that a temple dedicated to Hercules and Mars succeeded +the druidical forest. There is nothing unlikely in these +traditions; the high ground on which the Cathedral stands +speaks as much in their favour as the pagan statues found in +the neighbourhood<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">1</a>.</p> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">1</span></a> A brass statue of Hercules, called <i>Krutzmann</i>, was found among +the christian statues that decorated the Cathedral; it was taken down +in 1525 and is no longer extant. A Hercules of stone, found no doubt +when digging the foundations, is yet seen in a niche of the northward +tower, where it juts out into the nave. A small stone figure of Mars, +coming also from the Cathedral, was preserved in the town-library, +but it appeared to be modern.</p></div> + +<p>With respect to the first erection of a christian church in +this place, history is destitute of authentic facts. Some old +chronicles report that about the middle of the fourth century, +saint Amand built a church on the ruins of a Roman temple, +but the existence of this supposed first bishop of Strasburg +is even very doubtful. During the first years of the fifth century, +the invasion of barbarians filled the provinces of Gaul +with terror and devastation; the German tribes that crossed +the Rhine plundered the Roman city of Argentorat and its +temples. Nobody knows whether from that time new inhabitants +settled in the midst of these ruins, or whether they +served but as temporary abodes to the hordes successively +coming into Gaul.</p> + +<p>It was only after the conquest of that extensive country by<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span> +the Franks that, about 510, Clovis had a church built at +Argentorat, no doubt on the spot where the Cathedral now +stands. The architecture of that church was as coarse and +barbarous as the spirit of those times; it was built of wood +and supported by earthen walls, extending from East to +West; on this latter end was the front-gate and before it +a portico; besides the principal nave it had two aisles; the +western side opening into a yard that served as a passage to +the priest's house.</p> + +<p>In proportion as the town, the name of which was by the +Franks changed into Strasburg, increased in importance and +population, the Merovegian kings granted greater favours to +the church founded by one of their predecessors. The valuable +donations they bestowed on the bishopric of Strasburg, enabled +the inhabitants to embellish and enlarge the Cathedral. In 675 +Dagobert II granted to bishop Arbogast the town of Ruffach +with the castle of Isenburg and a vaste domain that he freed +from tax and royal jurisdiction and which on that account +was called superior <i>Mundat</i>. A no less important gift was +that from Count Rudhart, who made over to the church of Strasburg, +in 748, Ettenheim with several neighbouring villages on +the right bank of the Rhine. Many other eminent personages +of this country increased successively by their liberality the +wealth of the episcopal see. A great advantage was granted by +Charlemain in 775, which was to exempt the subjects of the +bishopric from all tolls and taxes imposed upon the traders travelling +through the empire. At that time considerable sums had +already been employed to adorn the interior of the Cathedral. +In the year 826, the abbot Ermold the Black, living in exile +at Strasburg, speaks with enthusiasm of the <i>beautiful temple +of the Virgin</i> and of the other altars that decorate it. This +ecclesiastic, with great ardour changed the metal of the antique +statues he could yet find into sacred vases; a bronze<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span> +Hercules, two cubits high, alone escaped the pursuit of his +pious zeal; after preserving it several centuries in the Cathedral, +it was at last sold, and is now at Issy near Paris.</p> + +<p>A fire, which in 873 destroyed a portion of the church and +all its archives, occasioned, no doubt, important repairs, and +this event was the cause of a new royal confirmation of all the +possessions of the church. In 1002 it was plundered, profaned +and set on fire by the soldiers of Hermann, duke of Suabia +and Alsacia, who was then contending with Henry of Bavaria +for the imperial crown, Strasburg and its bishop Wernher +having declared for the latter. Subdued by Henry II, Hermann +was compelled to repair the damage caused to the church +by placing at bishop Wernher's disposal the income of the +abbey of Saint-Stephen of which he was the patron. With +these funds, which the bishop increased by means of a new +levy of taxes and by indulgences, he was preparing to restore +his Cathedral, when in 1007 a thunderbolt achieved its destruction.</p> + +<p>He then formed the project of rebuilding the church on a +plan of much larger dimensions and after the style of architecture +that was then making its first appearance. The revenues +of the bishopric, contributions furnished by the clergy +of Alsacia and large sums of money granted by the head of +the empire, afforded Wernher the necessary resources for +the execution of his plan. This was examined and discussed +in the presence of several master-architects whom he had +sent for. The plan once fixed upon, stones were brought from +the fine quarries of free-stone in the Kronthal. The peasants +and bondsmen of the country brought them to the town where +they were cut in the square then called <i>Frohnhof</i>, between +the Cathedral and the present palace. It was during these +labours that in 1042 the emperor Henry II came to Strasburg; +the dignified and austere deportment of the clergy of<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> +the high chapter, the tranquillity prevailing under the roof +of the episcopal church, made such an impression on this +prince, that he for a moment resolved to resign the crown +and solicit his admittance among the canons of the Cathedral. +The bishop appeared at first to accede to this wish; but it +was only to prescribe to Henry, henceforth his subordinate, to +resume the imperial authority which Providence had bestowed +on him; the emperor acquiesced and perpetuated the remembrance +of his pious wish by the foundation of a royal prebend.</p> + +<p>When, in 1015, a sufficient quantity of materials was collected, +they set to work by digging the ground. At the depth +of more than five fathoms they drove down stakes, filled the +space between them with clay mixed with lime, fragments +of bricks and coal; and on this solid base were laid the +foundation stones.</p> + +<p>Tradition gives an account of a hundred and even two +hundred thousand men being employed in the construction of +this church, which work, thanks to the religious <ins title="enthousiasm">enthusiasm</ins> +of that epoch and the labours performed by vassals and workmen +<i>for the salvation of their souls</i>, advanced very rapidly.</p> + +<p>In the year 1027 bishop Wernher set out for Constantinople, +and never returned to his native land. From that time we have +but imperfect and uncertain accounts touching the progress +of the building. All we know is, that in 1028 they had built +up to the roof. It seems likely from that account that this +monument, built in the byzantine style, at once so elegant +and so simple, was soon after completed by the erection of a +tower, and that it remained in the same state till, owing to +sundry circumstances and, perhaps, to bad construction, it +began to need important repair. It is impossible to determine +the time when repairing the church took place; however, this +happened probably not before the middle of the thirteenth +century and in the then new style, since called the Gothic<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> +order. This opinion is confirmed by the ancient seal of our +city, which likely enough and according to the custom of +those times, represents the front of the Cathedral.</p> + +<p>That it had a tower in 1130 is a certain fact; for Kœnigscoven +speaks of its destruction by fire in the course of that +year; successive fires, in 1140, 1150, 1176 also materially +injured the beautiful edifice; besides, the continual wars +and tumultuous commotions of the time prevented the bishops +from undertaking essential repairs. It appears that these +causes, by degrees, brought on the complete ruin of bishop +Wernher's constructions; for unquestionably the part included +between the nave and the two towers dates but from +the thirteenth century, and cannot have been begun before +the middle of it. What remained of the old church was +pulled down at that time and a new and more spacious edifice +was erected, built in the style then spreading over all Europe. +Considering the immense size of this monument, it is easy to +imagine that the work went on but slowly, and an old chronicle +mentions that on the 7<span class="super">th</span> September 1275 they finished the +middle part of the superior arch-roofs, with the exception of +the towers in front. By whom these labours were directed is +altogether unknown.</p> + +<p>It was bishop Conrad of Lichtenberg who undertook to +rebuild the parts that were still in a state of ruin and thus at +last to accomplish this great work of the Cathedral<a name="FNanchor_1_2" id="FNanchor_1_2"></a><a href="#Footnote_1_2" class="fnanchor">1</a>.</p> + +<div class="footnote"><p><a name="Footnote_1_2" id="Footnote_1_2"></a><a href="#FNanchor_1_2"><span class="label">1</span></a> «... <i>Ipsa ecclesia in meliorum statuum reedificetur</i> ...» +(See a charter of bishop Conrad of Lichtenberg, published by <span class="smcap">M. L. Space</span> +1841, p. 6).</p></div> + +<p>In order to execute this design, he published indulgences +all over the country; and after collecting large sums of money +in the town, he applied to the ecclesiastics of his diocese, asking +their own gifts and offerings as well as those of the faithful +under their direction; in a synod held in the diocese, the<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> +clergy agreed to give up, during four years, a fourth part of +their revenues. Conrad entrusted the direction of this work to +Master Erwin of Steinbach, who, according to some old documents, +was a native of Mayence. This great architect began +by rebuilding the nave, the arch-roofs of which were completed +in 1275. Then he commenced the façade of the church +and its towers from a plan so bold and sublime that the conception +of it places Erwin for ever at the head of the architects +of the middle age<a name="FNanchor_1_3" id="FNanchor_1_3"></a><a href="#Footnote_1_3" class="fnanchor">1</a>. In 1276 they laid the foundation of +the northern tower; to consecrate the spot, the bishop walked +solemnly round it, then took a trowel in his hand and thrust +it into the ground, as a sign for beginning the work. They +relate that a quarrel having occured between two workmen +who both wished to work with the trowel the bishop had held +in his hand, one of them was killed. This murder was considered +as a very bad omen; Conrad ordered their labour +to be suspended for nine days; they were only resumed +after he had consecrated the place anew. The following year, +on saint Urban's day (25<span class="super">th</span> May), Conrad himself laid the first +stone of the tower. In the midst of his warfares, this bishop +always entertained much affection for his Cathedral, as +he beheld the gradual rising of this <i>glorious work</i>, as an +old inscription terms it<a name="FNanchor_2_4" id="FNanchor_2_4"></a><a href="#Footnote_2_4" class="fnanchor">2</a>; in his heartfelt joy he used to compare +it to the flowers of May that bloom in the sun<a name="FNanchor_3_5" id="FNanchor_3_5"></a><a href="#Footnote_3_5" class="fnanchor">3</a>. To the +very end of his life Conrad of Lichtenberg neglected nothing<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span> +to urge on the progress of his work of predilection; after his +death, in 1299, he received in it a sepulchre worthy of him; his +statue is still to be seen in saint John's chapel. Yet, during +the life of Conrad, the Cathedral was shaken by several +earthquakes in 1279, 1289, 1291; that of 1289 was so violent +that the columns in the interior of the building threatened +for a moment to fall down. But a very favourable circumstance +happened in 1292, which was the surrender of the +<i>Œuvre-Notre-Dame</i> to the magistrate of the city, who +was henceforth charged with the management of the revenues +allotted to the keeping in repair of the Church +and consequently also to the completion of it. A few years +after, in 1298, a new misfortune happened to the Cathedral. +A fire, caused by the imprudence of a cavalier of Albert I, +during the sojourn of that prince at Strasburg, consumed +all the timberwork and threatened even the pillars and walls. +However the damage was promptly repaired. In 1302 a bloody +conflict between two citizens of the town, which took place in +the very chancel of the church, required again a new consecration +of it.</p> + +<div class="footnote"><p><a name="Footnote_1_3" id="Footnote_1_3"></a><a href="#FNanchor_1_3"><span class="label">1</span></a> They still preserve in the records of the convent of the <i>Œuvre +Notre-Dame</i> several old drawings on parchment of the façade and +towers; these curious designs belong to different epochs; according +to the opinion of the <i>connaisseurs</i>, the oldest would most likely be that +of Erwin himself.</p></div> + +<div class="footnote"><p><a name="Footnote_2_4" id="Footnote_2_4"></a><a href="#FNanchor_2_4"><span class="label">2</span></a> <i>Anno Domini MCCLXXVII in die beati Urbani hoc gloriosum opus +inchoavit magister Erwinus de Steinbach.</i> This inscription was formerly +placed in the vault of the northern portal.</p></div> + +<div class="footnote"><p><a name="Footnote_3_5" id="Footnote_3_5"></a><a href="#FNanchor_3_5"><span class="label">3</span></a> In a letter of indulgence.</p></div> + +<p>After the death of bishop Conrad of Lichtenberg, who in +the year 1299 was killed in a battle near Friburg, his brother +and successor, Frederic, showed no less ardour for the continuation +of this building; in 1303 he invited the curates +throughout Alsacia to exhort those of their faithful parishioners +who had horses and carts, to convey stones for the edifice; +in 1308 the magistrate of Strasburg, no doubt at the request +of bishop John, promised freepasses to all those who +would bring stones or wood, and he secured wine and wheat +for the workmen.</p> + +<p>Erwin superintended the works until 1318, when he died on +the 14<span class="super">th</span> of January. All the children of this grand master were +artists worthy of him: Sabina, his daughter, carved several<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> +statues for the Cathedral; one of his sons, who died in +1330, built the fine church of Haslach; his other son, John, +succeeded him in directing the works of the Cathedral, +and he died in 1339. In 1331 bishop Berthold of Bucheck +built the chapel of saint Catherine, which also contains +his tomb. The disturbances and calamities that desolated +Strasburg during a great part of the fourteenth century, the +revolution of 1332 that altered the form of the government of +the town, the ravage caused by the black plague in 1349 with +the insurrections accompanying it, the contest of bishop +Berthold with his chapter and with the emperor, all this retarded +of course the progress of the construction of the Cathedral. +Nevertheless they terminated in 1365 the northern tower; +Kœnigshoven calls it the new tower, perhaps, because they +purposed erecting a pyramid on it, which was quite an innovation +in the architecture of that time. The southern tower, +which the chronicler calls the ancient one, because it was +not intended to be raised higher, was finished at the +same time. The name of the artist who made the plan of the +pyramid and spire of the northern tower is still unknown; +nor is it known who built the steeple which formerly rose +above the <i>grande rosace</i>, or rose.</p> + +<p>In 1368 the church was again struck by lightning without receiving +much damage; in 1384 a fire that broke out in the organ, +burnt all the interior with the exception of the chancel. +Ever since that time large vats were set in the different parts +of the building and guardians placed in the interior and in +the towers. In 1429, John Hültz of Cologne was sent for +to complete this great work; ten years after, he finished +the spire; on Midsummer's day 1439, in the presence of +a great multitude, he laid the last stone, exactly a hundred +and sixty two years after Conrad of Lichtenberg had placed +the first stone of this monument; a statue of the Virgin<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> +Mary was also erected on the knob terminating the spire<a name="FNanchor_1_6" id="FNanchor_1_6"></a><a href="#Footnote_1_6" class="fnanchor">1</a>.</p> + +<div class="footnote"><p><a name="Footnote_1_6" id="Footnote_1_6"></a><a href="#FNanchor_1_6"><span class="label">1</span></a> It was taken down in 1488.</p></div> + +<p>At the time of the reformation the Cathedral passed over +to the protestants; it is true that on account of their worship, +they caused several chapels to be closed and some altars +to be removed, but they made no material change, nor spoiled +any thing; on the contrary, they watched with care over the +magnificent building and even caused important repairs to be +made in it. Several times it was very much injured by +fire and by lightning, particularly in the years 1540, 1555, +1568, 1624 and 1625. In 1654 the spire was destroyed by +lightning; the skilful architect Heckler was obliged to rebuild +it sixty five feet high. By the capitulation of 1681 the Cathedral +was restored to the catholics, who immediately began +to repair it, but unfortunately in that wretched style then +prevailing, and when not the least intelligence of christian +art existed any longer, they pulled down the lobby made by +Erwin, so much admired in the middle age as a masterpiece +of elegance; in 1692 they adorned the interior of the +choir with wainscots of wood painted and gilt; in 1732 they +widened it to the detriment of a portion of the nave, and +ten years later galleries were made for the orchestra. +To punish, as it would seem, those who were thus spoiling +this wonderful monument, an earthquake shook it in 1728; +in 1759 it was struck by lightning and considerably injured; +the lead on the roof of the nave was entirely melted, and the +fine cupola or arched roof that crowned the dome fell into +pieces; the roof was then covered with copper, but the +cupola was not rebuilt. New destructions awaited the Cathedral +in 1793; in their fury of levelling, the men who then ruled +the country caused two hundred and thirty four effigies of +saints and kings to be taken down from their niches, of which<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> +very few only were saved; the crazy jacobin Teterel even proposed +pulling down the spire, because, by its height extending +far beyond that of the ordinary houses, it was condemning +the principle of equality; the motion not being carried on. +Teterel obtained the assurance at least, that a large red +cap made of tin should be placed on the top of the Cathedral, +and it was to be seen among other curiosities in the town-library, +before its destruction.</p> + +<p>The year 1870, so full of important events for Strasburg, +was also fatal for the Cathedral, and during the seven weeks' +cannonading of the town the beautiful building was constantly +threatened with ruin. In the first period of the siege of Strasburg, +the Germans tried to force the surrender by the bombardment +and partial destruction of the inner town. In the +night of the 23<span class="super">rd</span> of August began for the frightened inhabitants +the real time of terror; however that night the rising +conflagrations, for instance in St. Thomas' church, were +quickly put out. But in the following night the New-Church, +the Library of the town, the Museum of paintings and many +of the finest houses became a heap of ruins, and under the +hail of shells all efforts to extinguish the fire were useless. For +the Cathedral the night from the 25<span class="super">th</span> to 26<span class="super">th</span> of August was +the worst. Towards midnight the flames broke out from the +roof perforated by shells, and increased by the melting copper, +they rose to a fearful height beside the pyramid of the +spire. The sight of this grand volume of flames, rising above +the town, was indescribable and tinged the whole sky with its +glowing reflection. And the guns went on thundering and shattering +parts of the stone ornaments which adorned the front +and sides of the Cathedral. The whole roof came down and +the fire died out only for want of fuel. The following morning +the ground in the interior was covered with ruins, and +through the holes in the vault of the nave one could see the<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> +blue sky. The beautiful Organ built by Silbermann was pierced +by a shell and the magnificent painted windows were in great +part spoiled. Fortunately the celebrated astronomical Clock +had escaped unhurt.</p> + +<p>As the Military Command continued for some time to occupy +a post of observation on the platform, the Cathedral +was unfortunately still longer the aim of German guns which +every day surrounded the building with ruins. On the 4<span class="super">th</span> of +September two shells hit the crown of the Cathedral and +hurled the stonemasses to incredible distances; on the 15<span class="super">th</span> a +shot came even into the point below the Cross, which was +bent on one side, and had its threatened fall only prevented +by the iron bars of the lightning conductor which +held it.</p> + +<p>After the entrance of the Germans into the reconquered +town, the difficult and dangerous work of restauration of the +point of the spire was begun at once and happily ended a +few months after. They work also constantly to make the +other damages disappear, and in a short time the magnificent +house of God will be restored to all its ancient splendour.</p> + +<div class="figcenter" style="width: 500px;"> +<a href="images/illus16.jpg"><img src="images/illus16tn.jpg" width="500" height="381" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +</div> + +<hr /><p><span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p> + +<div class="figcenter" style="width: 500px;"> +<a href="images/illus17.jpg"><img src="images/illus17tn.jpg" width="500" height="343" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +<span class="caption">The Crypta.</span> +</div> + +<h2>II. DESCRIPTION.</h2> + + +<p>The first aspect of the Cathedral produces on the mind a +deep impression. One is seized with admiration and amazed +at the first view of this noble edifice whose steeple towers up +so gracefully and majestically. No doubt that examined in all +its particular parts, one may also be struck with the disproportion +that exists between them; the nave is not in harmony +with the dimensions of the tower, the chancel and +transept still less so: but although this want of uniformity +may lessen the symmetry of the monument, the impression it +at first produces is no less extraordinary. And besides, have +not those different styles a particular interest for those who +study the history of architecture? In the Cathedral are, as it +were, brought together all the styles or orders of architecture +of the middle ages, from the byzantine art with its grave +simplicity, down to the last glimmerings of the gothic art, +now declining, and its works lined with an excess of superfluous +ornaments. The byzantine taste prevails in the first +constructions of the chancel and aisles and even somewhat in +the lower part of the nave; higher up, the style in which the +ogive was built extends to the other constructions and finally +succeeds to the former entirely.</p> + +<p>The <i>façade</i> of the church, of an imposing magnitude, cannot<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span> +be sufficiently admired; the massive walls are hidden by +<i>clochetoons</i>, arcades, small pillars and innumerable statues; +these decorations all wrought to great perfection, give to +that part of the edifice a nicety that makes it resemble a work +coming from the hands of a chaser. But how to describe, in the +short space which the limits of this sketch admit, all the details, +all the particular parts of our Cathedral? There is in it +such a profusion, such a richness, that to be properly explored, +it would require volumes. We must therefore limit +ourselves to some brief indications of the most interesting +and essential parts<a name="FNanchor_1_7" id="FNanchor_1_7"></a><a href="#Footnote_1_7" class="fnanchor">1</a>. Moreover a description of all the allegorical +statues and figures that adorn particularly the inferior +parts of the building, would be here so much the more +superfluous, as an intelligent spectator may easily understand +them. All these fine ornaments are meant to symbolize +the mysteries of Redemption, taken from the principal +facts in Scripture and from the fundamental doctrines of the +christian faith. In this respect the lower tier is the most remarkable; +the middle one has neither the same beauty nor +the same religious signification; the third is the least satisfactory +both as regards execution and artistical conception.</p> + +<div class="footnote"><p><a name="Footnote_1_7" id="Footnote_1_7"></a><a href="#FNanchor_1_7"><span class="label">1</span></a> We refer the reader who wishes to study the Cathedral in all its +parts, to the following works: Grandidier, <i>Essais historiques et topographiques +sur l'église Cathédrale de Strasbourg</i>, Strasb. 1782, in 8<span class="super">o</span>.—H. +Schreiber, <i>Das Münster zu Strassburg</i>, Freib. 1828, in 8<span class="super">o</span>, avec 11 lithographies +gr. in-fol.—<i>Vues <ins title="pittoresqu s">pittoresques</ins> de la Cathédrale de Strasbourg</i>, +dessins par Chapuy et texte par Schweighäuser, 3 livr. in-fol. Strasb. 1827. +<i>La Cathédrale de Strasbourg et ses détails</i>, par A. Friedrich, 4 liv. gr. in-fol., +renfermant 57 planches accompagnées d'un texte explicatifet historique. +We regret to say that but one number of this fine work has been published +(in 1839).—<i>Kunst und Alterthum in Elsass-Lothringen</i>, von Prot. +F. X. Kraus, I. Band. With numerous wood-engravings. 1877.</p></div> + +<div class="figcenter" style="width: 302px;"><span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span> +<a href="images/illus19.jpg"><img src="images/illus19tn.jpg" width="302" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +<span class="caption">Porch of Saint-Lawrence.</span> +</div> + +<p>The whole of the façade is formed of the two fore-parts +of the northern and southern towers and of the large central +porch; these three distinct portions are separated by +<ins title="counter-forts">counterforts</ins> or pillars which divide, as it were, the frontispiece +into three broad vertical bands, each of which has its +portico. These porticos and their frontons are ornamented +with a great many statues and bas-reliefs, some of which +pulled down during the revolution, have since been replaced. +The large figures in the left portico are twelve virgins, wearing +diadems and trampling down human forms representing<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> +the seven deadly sins. On both sides of the right hand +portico are seen the ten virgins of the parable; to the group +of the wise virgins on the right is joined the statue of Jesus-Christ; +the foolish virgins composing the group on the left +side, have among them an allegoric figure expressing the +lust of the world: on her head is a wreath, in one hand she +holds an apple, the ancient symbol of lust; her back bears +hideous vipers, to portray the sad fate which must be the +inevitable result of inordinate earthly desires.</p> + +<p>All these statues, now blackened by the centuries that have +passed over them, have all a stern appearance, like those +that deck the magnificent middle porch representing either +prophets of the Old Testament, Apostles or fathers of the +Church. In the arches of these three porticos are figures of a +smaller size, which like the bas-reliefs of the tympans, exhibit +either scenes taken from Scripture, or saints and angels. +In the tympan on the right hand door, Jesus is seen seated +on a rain-bow, and over him is the Resurrection of the dead +and the Judgment-day. On the butting pillar that divides both +folds of the middle porch<a name="FNanchor_1_8" id="FNanchor_1_8"></a><a href="#Footnote_1_8" class="fnanchor">1</a>, is placed a blessed Virgin holding +an infant Christ in her arms. The fronton of this portal is +formed by two triangles and adorned with many figures; that +on the summit of the interior triangle, which first strikes the +eye, is king Solomon seated under a canopy; on both sides +of him are fourteen lions raised on steps or benches that +draw near towards the top and join near a Virgin Mary sitting +with the infant Christ on one arm and holding a globe in her +other hand; she is the Patroness of the church. Above her +a radiated head, representing God the Father, forms the +point of the triangle that encircles the inside fronton, which<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span> +is decked with figures playing on different musical instruments. +On the sides facing the North and South, the two +towers have each a large window with most beautiful <i>rosaces</i>. +Over the window on the South side is seen a very old +sculpture, the grotesque figures of which represent the night +revelling of sorcerers. The frontons of the other porticos are +also adorned with <i>rosaces</i>.</p> + +<div class="footnote"><p><a name="Footnote_1_8" id="Footnote_1_8"></a><a href="#FNanchor_1_8"><span class="label">1</span></a> The beautiful folds of the middle door, mounted with artful +bronze ornaments which were executed in Paris after the designs of +the architect of our cathedral, Mr. Klotz, were hung up in 1879.</p></div> + +<p>On the second tier of the middle porch is a large rose-window +that occupies the whole width of it. It is surrounded by +a detached arch, which as much on account of the elegance +of its workmanship, as of the boldness of its construction, +is one of the most admirable parts of the Cathedral. The +large painted windows have been repaired by skilful artists, +Mr. Ritter and Mr. Müller. Where the second tier begins, +at the bottom of the rose-window, are four equestrian statues, +placed in niches in the counterforts, three of which, +those of Clovis, Dagobert and Rodolphe of Habsburg, were +erected in 1291, the fourth, that of Louis XIV, was placed +only in 1828. Clovis and Dagobert were the benefactors of +the church of Strasburg. Rodolphe stands there, less on account +of his liberalities to the Cathedral, than for having been +to the last the valiant friend of the Republic of Strasburg. King +Louis XIV accompanies the three others, rather from adulation +than any other cause. On the upper tier of the façade +are placed the equestrian statues of king Pepin the Short, +of Charlemain, Otho the Great and Henry I the Fowler. On +the south-side are seen in the first tier the emperors Otho +II, Otho III and Henry II; in the upper tier of the same side, +the equestrian statues of Conrad II, Henry III and the statue +of Henry IV. On the north-side of the façade are the equestrian +statues of Charles Martel, the Franconian majordomo; of Louis +the Debonair and Lotharius, the son of Louis the Debonair; +at last in the upper tier, the statues of Charles the Bald, king<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span> +of the West-Franconians and the equestrian statues of Lotharius +II and Louis the German (✝876).</p> + +<p>Over the rose-window, but still in the compartment of the +second tier, is a gallery furnished with the figures of the +Apostles, and above them is placed Jesus-Christ holding in +his hands a cross and banner. In the lateral towers, the same +tier is taken up on each side by a high broad window in +the shape of an ogee, before which rise very slender pillars. +Exactly over these windows, on the third tier and also on +each side, are three very high and narrow windows; the middle +part, though wider, has but two, rather small ones, and +surrounded by some statues. This very massive portion of the +building betrays at first sight its later origin; when Erwin's +plan was abandoned, this part was added to fill up the empty +space between the two towers; these were already completed, +and even have on the third tier their windows looking into +the central porch, but which are at present hidden from the +outside. That part of the middle porch is used as a belfry, +four large bells are suspended in it, the largest of which, cast +in 1427, weighs nine thousand kilogrammes, and serves +to announce great festival days; it is also rung at the death +of renowned personages, or in case of fire.</p> + +<p>It was only in the year 1849 that the front was ornamented +with statues representing the day of judgment. +This group, consisting of fifteen gigantic figures, was made +after the old drawings preserved in the archives of the <i>Œuvre-Notre-Dame</i>. +Jesus-Christ, as judge, is in the middle, with +Mary and John the Baptist on either side; they are surrounded +by angels sounding the trumpet of <ins title="doomsday">Dooms-day</ins>, or bearing +the instruments of our Saviour's passion; beneath are seen the +Evangelists, having men's bodies surmounted by the heads of +the four symbols which generally accompany them.</p> + +<p>Above the middle porch and the southward tower, is the<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> +platform, very spacious and surrounded by a handsome +balustrade; on it is built a small house for the guardians +charged to strike the hours and ring the alarm bell in case of +fire. From the top of this platform one enjoys a magnificent +view; the wonderful panorama that unfolds itself from there, +has been drawn with as much taste as accuracy by Mr. Frederic +Piton, a zealous <i>amateur</i> of our local history. Towards +the North, in the direction of the Wacken, an island near Strasburg, +is seen on the horizon the mountain of the <i>Pigeonnier</i> +(<i>Scherhol</i> in German), at the foot of which lies Wissemburg; +to its right rise the peaks crowned by the ruins of <i>Gutenberg</i> +and <i>Trifels</i>, and the famous <i>Geisberg</i> taken by storm in the +war of 1870. On the other side of the Rhine, whose majestic +stream the eye can easily trace, the long range of the mountains +of the <i>Black Forest</i> limits the horizon. The first peak +that is seen is that of the <i>Eichelberg</i>, at the opening of the +valley of the <i>Murg</i>; then comes the <i>Fremersberg</i>, the <i>Mount-Mercury</i>, +the mountain with the ruins of <i>Yburg</i>; all these +names are known to those who have visited Baden. Beyond +these summits is the high level ground of the <i>Hornisgründe</i>, +on the other side of which is seen, in the midst of +a forest, the dark lake named <i>Mummelsee</i>. Farther on, eastward, +beyond the arsenal of Strasburg and the village of Kehl, +you observe the castle of <i>Schauenburg</i>, near Oberkirch, +where the valley of the <i>Rench</i> begins. After gliding over the +ruin of <i>Fürsteneck</i> and <i>Schauenburg</i>, the eye rests on the +stately buildings of <i>Ortenberg</i>, rebuilt after the middle age +architecture, at the entrance of the valley of the <i>Kinzig</i>. +Directing your eye more towards the South, you discover the +mountains of <i>Triberg</i>, and close to them those of <i>Lahr</i>; then +comes the loftiest peak of the <i>Black Forest</i>, the <i>Feldberg</i>, +1494 metres high. Farther on the eye may discover (if tine) +the <i>Ballon</i> and the <i>Blauen</i>, behind the hills of the <i>Kaiserstuhl</i>;<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span> +thence this ridge of mountains is lost sight of. In the +plain, between the Rhine and the Vosges, a double row of +poplars points out the <i>Canal</i> (from the Rhone to the Rhine). +The first peak seen in the range of the Vosges towards the +South-East is the <i>Ballon of Sultz</i>, 993 metres high; the eye +then discovers in a western direction the ruins of the three +castles of <i>Egisheim</i>, <i>Haut-Hattstatt</i> and <ins title="Landsburg"><i>Landsberg</i></ins>, the top +of the <i>Ballon</i> of <i>Gebwiller</i>, 1426 metres high the <i>Hoheneck</i>, +the ruins of the old castles of <i>Kientzheim</i>, <i>Rappoltstein, Hoh-</i> +(High) <i>Kœnigsburg</i>, <i>Ortenburg</i>, <i>Bernstein</i>, <i>Frankenburg</i> +and the summits of the <i>Bressoir</i> and <i>Ungersberg</i>. Looking in +the direction of Saint-Thomas' church, at one glance the eye +overlooks the country of the old <i>Hohenburg</i>, so picturesque +and so rich in monuments and historical associations: the +castle of <i>Landsberg</i>, the rock of the <i>Mænnelstein</i>, the convent +of <i>Sainte-Odile</i>, behind which rises the level ground of +the <i>Champ-du-Feu</i>; further on to the right, are the ruins of +<i>Girbaden</i>, the peaks of the <i>Donon</i> and <i>Schneeberg</i>. Here the +mountains are by degrees lost from sight in the distance; on +the horizon one may however distinguish the towers of the +castles of <i>Geroldseck</i> and <i>Hoh-</i> (High) <i>Barr</i>, in the vicinity +of Zabern; then nothing more is seen but meadows, forests, +fields, from the centre of which you see now and then the +modest church-steeples of the numerous villages that cover +the fine plain of Alsacia.</p> + +<p>On the North side stands a tower of an octangular form, +supporting the spire. This tower consists, as it were, but +of strong buttresses adorned with small columns and statues, +and having large apertures in which very high windows +are set and take nearly the whole breadth on the four +sides, where they are. Among the statues that face the platform, +one must be noticed as being, according to tradition, +that of Erwin of Steinbach. In the interior of this tower<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span> +are the bells that strike the hours, that which is called +the gates' bell (<i>Thorglocke</i>)<a name="FNanchor_1_9" id="FNanchor_1_9"></a><a href="#Footnote_1_9" class="fnanchor">1</a> and also a clock made in 1786 +by two clockmakers of Strasburg, Maybaum father and son. +An inscription over the door leading to the <ins title="plat-form">platform</ins> recalls +to mind the earthquake of 1728, so violent that the water +was raised from the reservoirs and thrown to a distance +of eighteen feet<a name="FNanchor_2_10" id="FNanchor_2_10"></a><a href="#Footnote_2_10" class="fnanchor">2</a>. In front of the four principal sides +of the octagon tower are turrets with winding stairs, and +consisting but of a series of windows that rise in a spiral +form. These elegant turrets seem hardly to rest on any thing; +besides the gallery that covers them, they communicate with +the principal tower but by means of flat stones that serve as +an entrance into a gallery of the interior of the arch-roof, and +which lie at a height of almost thirty metres. According to +the old drawings, these turrets should have been surmounted +by pyramidal spires. They terminate in a gallery that surrounds +the tower, from whence one enjoys a most admirable +view. It is from that spot that rises the spire (<i>flèche</i>), which +is an octangular pyramid of an extraordinary boldness, offering +to the astonished gazer nothing of a massive construction. +Six successive tiers of little turrets are thus pyramidically +placed one above the other<a name="FNanchor_3_11" id="FNanchor_3_11"></a><a href="#Footnote_3_11" class="fnanchor">3</a>. Eight winding stair-cases, narrow +and of rich open carvings, lead the visitor to a massive spot<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> +commonly called <i>the lantern</i>; higher up is <i>the crown</i><a name="FNanchor_4_12" id="FNanchor_4_12"></a><a href="#Footnote_4_12" class="fnanchor">4</a>, which is +not reached without danger, by means of steps placed outside, +and with no other protection than the wall to which they are +fastened; above another widened place, called <i>the rose</i>, the +spire is nothing but a column whence jut out horizontal branches +to give it the aspect of a cross. The monument terminates +in a <i>knob</i> being 0<span class="super">m</span> .460 in diameter and to which ever since +1835 a lightning-conductor has been adapted; one may climb +there but with the aid of iron bars to which you must cling with +hands and feet. The total height of this stately building is 142<span class="super">m</span>.</p> + +<div class="footnote"><p><a name="Footnote_1_9" id="Footnote_1_9"></a><a href="#FNanchor_1_9"><span class="label">1</span></a> So called because it was rung morning and night before the opening +and closing of the city gates.</p></div> + +<div class="footnote"><p><a name="Footnote_2_10" id="Footnote_2_10"></a><a href="#FNanchor_2_10"><span class="label">2</span></a> In the interior of this tower and on the balustrade are seen a great +many names of foreigners who have visited the Cathedral. Among +these names are some of celebrated persons, as Gœthe, Herder, etc.</p></div> + +<div class="footnote"><p><a name="Footnote_3_11" id="Footnote_3_11"></a><a href="#FNanchor_3_11"><span class="label">3</span></a> Above the first tier of the turrets is seen around the spire (flèche) +the following inscription: +</p> +<p class="footpoem"> +<i>Christus nos revocat. Christus gratis donat.<br /> +Christus semper regnat. Christus imperat.<br /> +Christus rex superat. Christus triumphat.<br /> +Maria glorificat. Christus coronat.</i><br /> +</p></div> + +<div class="footnote"><p><a name="Footnote_4_12" id="Footnote_4_12"></a><a href="#FNanchor_4_12"><span class="label">4</span></a> Besides some other inscriptions on the spire, you read round the +first gallery of the crown these words: +</p><p class="footpoem"> +<i>Jesus Christus verbum caro factum est,<br /> +Jesus Christus, et habitavit in nobis,<br /> +Jesus Christus, et vidimus gloriam ejus,<br /> +Jesus Christus, gloriam quasi unigeniti a Patre.</i><br /> +</p> +<p class="cite3">(S. John. 1. 14.)</p></div> + +<div class="figcenter" style="width: 335px;"><span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> +<a href="images/illus27.jpg"><img src="images/illus27tn.jpg" width="335" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +<span class="caption">The column of angels.</span> +</div> + +<p>The nave, decked with a copper roof, abounds no less in +decoration than the front. It has large ogive windows adorned +with <i>rosaces</i>; at the place where the buttresses, equally +carved with <i>rosaces</i>, join the counterforts or pillars, they +have at their tops fine clochetoons; a great many statues and +grotesque figures of heads complete the ornaments of this part +of the church. Two galleries, one under the windows, the +other below the clochetoons of the counterforts, lead from +the towers to the cross-aisle. This, as we have already said, +is still byzantine in several parts of it. The southern porch, +formed by two semi-circular doors made evidently at one of the +remotest periods of the Cathedral, is adorned with bas-reliefs +and statues; according to tradition, it is reported that two +of these statues are the work of Sabina of Steinbach. One is +a woman in a triumphal posture holding in her hands a +communion cup and a cross; she is the symbol of the church +that vanquished the synagogue; the other, a symbol of the<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span> +latter, is a woman looking down, blindfolded and leaning +with pain on a broken spear, whilst the laws of the twelve +tables drop from her left hand. On the parvis before this +porch is erected, on the left, the statue of Sabina herself, and +on the right, the statue of Erwin of Steinbach, both due to +the chisel of Mr. Grass.</p> + +<p>The wall of the upper tier has openings for several windows +of an ogive form, above which a gallery runs all +along; two round-windows take up the third tier. The northern +portion of the cross-aisle has more generally preserved +the byzantine manner than that we have just spoken of; however, +this intermixture with the gothic style denounces +latter renovations. The ancient porch, the remains of very +old constructions, is masked by a fore-front that belongs +to the last period of the gothic art, and which was built +in 1494 by James of Landshut; this new porch (<i>porch of +St. Laurence</i>), though handsome in its <i>ensemble</i>, is wanting in +that noble simplicity and purity of taste that distinguishes the +other parts of the Cathedral; it is overloaded with ornaments, +and its statues have a stiffness that is found nowhere else.</p> + +<p>The octangular dome over the chancel is also of the <ins title="bizantine">byzantine</ins> +era; however, <ins title="is">it</ins> has been renewed in several parts. In +the place of the deformed cupola, destroyed by the fire of +1870, a handsome pyramid has been erected in the year +1878, after the plans of Mr. Klotz, architect of the Cathedral.</p> + +<p>Up to 1772 the lower part of the lateral fronts of the church +was disfigured by paltry decayed houses; the same year they +were pulled down and in their places the present porticos +were built, which are not wanting in elegance: the shops +and stalls that formerly obstructed in so disgraceful a manner +the access to the nave, have also disappeared; and the porches +have been repaired with a great amount of good taste.</p> + +<p>The view of the <i>interior</i> of the nave leaves a deep impression.<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span> +It is mysteriously lighted by magnificent painted windows, +and supported on each side by seven large pillars, composed +of round agglomerated columns. The two first of these pillars, +more gigantic than the rest, support also the towers; +the total elevation of the upper arch is more than 31 +metres. The interior front, over the principal porch, is +adorned with a beautiful sculptured round-window; between +this and the grand rose-window is a glass gallery. +Above the arches that unite the pillars on both sides of the +nave and all along is a fine gothic gallery, serving as a basis +to large windows, similar to those of the lower sides of the +church. The lower part of the wall of the latter is ornamented +with a range of small columns, joined together by og-arches. +The magnificent windows of this church represent subjects +and personages of Scripture and Legend. Among the artists +who have painted these windows, the oldest one known, +is master John of Kirchheim; those made after his drawings +were put up in 1348; there is no doubt that many of +his works still adorn the Cathedral. The names of John Markgraf, +James Vischer and the brothers Link were mentioned +later. At the latter part of the eighteenth century John Daniel +Danegger painted also some, which, however, owing to +their mediocrity, have since been removed. For some years +past they have undergone considerable repair under the direction +of artists of talent and well acquainted with the science +of antiquities. The painted windows of the upper galleries of +the nave represent the seventy four ancestors of Jesus Christ; +higher up are the images of saints and martyrs; in the right +aisle, over the vestry, is seen the gigantic figure of saint +Christopher: on the South side, of the six windows that have +each sixteen divisions, the four first contain some scenes from +the history of the Bible; the two last, the day of Judgment and +the celestial Jerusalem. On the North side, in an equal number<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> +of windows, you see the birth of Jesus Christ, the wise +men, and the portraits of several German emperors; the last +of these windows represents a series of the oldest events in +Scripture. The effect produced by these beautiful windows +is greatly increased since they had the happy idea to wash +away the daubing with which, about thirty years ago, they +had besmeared the inner walls of the Cathedral; by these +means the bare part of the wall, a fine stone of a rosy tint, +which served for the construction of the church, is rendered +visible; it was a measure that bespoke much good taste and +knowledge of the christian art.</p> + +<p>On the left side of the nave is fixed the organ which extends +up to the superior arch. It is a master-piece of work of Andrew +Silbermann, who was one of the most able organ-builders +of his time and who built it in 1704. Pierced by a shell during +the bombardment of 1870, this organ of Silbermann has been +restored by a distinguished organ builder of our city.</p> + +<p>On the same side, at the fifth pillar, stands the pulpit, +erected in 1486 by John Hammerer, by order of the magistrate, +for the celebrated preacher Geiler of Kaysersberg. This +work of sculpture, remarkably delicate, is adorned with nearly +fifty little statues, the meaning of which is easy to understand. +The canopy is of a modern style, and was made in +1824 to replace a more ancient one, perhaps the first +erected in 1617, which has been handed down to us as a most +simple piece of workmanship, and made of lime-wood. At +the foot of the stairs are two figures, a man in the posture +of rest and a woman praying; we may justly suppose that +they are meant for the maker of the pulpit and his wife.</p> + +<div class="figcenter" style="width: 389px;"><span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span> +<a href="images/illus31.jpg"><img src="images/illus31tn.jpg" width="389" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +</div> + +<p>The chancel is joined to the nave by two pillars of very large +dimensions and whose tops belong to one of the constructions +anterior to the gothic order. The magnificent lobby built +by Erwin of Steinbach was taken down to make room for the<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span> +taste prevailing in the seventeenth century; it was demolished +in 1682. Two high and circular columns support the +cupola of the chancel and separate it from its two aisles; in +the centre of each of the latter stand also columns to sustain +the arch-roofs; that of the northern part is round, whilst +the column of the southern aisle is composed of a collection +of very slender pillars, probably of a later construction; this +long, thin and gracious column bears in its corners some +statues, the fineness and gracefulness of which recall to +mind the work of Sabina of Steinbach. Beneath are the four +Evangelists; above four angels holding trumpets, and uppermost +the Saviour and three angels with the implements of +the Saviour's passion in their hands; it is called the angel's +column or Erwin's column. On the large pillar which unites +the nave to the chancel, are two inscriptions in commemoration +of the famous preacher Geiler of Kaysersberg who, for +many years, displayed his eloquence from the pulpit of the +Cathedral. In this same aisle is erected the statue of bishop +Wernher, meditating the design of the church laid before +him. Opposite this statue, the work of Mr. Friderich, is the +celebrated.</p> + +<div class="tb"><h3>Astronomical Clock.</h3></div> + +<p>As early as 1352 an astronomical clock was begun under +bishop Berthold of Bucheck, and finished two years after by +an unknown artist, in the time of John of Lichtenberg. It was +fixed to the wall facing the present one. The frame-work of +that first clock was all of wood; the stones that formed its +basis are to this day seen projecting from the wall. It was +divided into three parts; the lower part contained a universal +calendar; in the middle was an astrolabe, and in the superior +division were seen the three wise men and the Virgin +Mary carved in wood; the wise men bent every hour before<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span> +the Virgin, by means of a peculiar mechanism, which at the +same time put in motion a chime of harmonious sounds and +a cock crowing and flapping his wings.</p> + +<p>The exact time at which this clock, which in the fourteenth +century must have been a wonderful piece of workmanship, +and was called the clock of the three sages, ceased going, +is not known: it had been stopped for a long time, when in +1547 the magistrate of the town decided on having another +made and putting it opposite the old one, in the very place +the clock now occupies. Three distinguished mathematicians +furnished the plan and superintended the execution of it: +they were D<span class="super">r</span> Michel Herr, Christian Herlin, professor +of mathematics at the school of Strasburg, and Nicholas +Prugner, who, after preaching the reformation at Mulhouse +and at Benfeld, occupied himself at Strasburg with mechanics +and astrology. These three learned men began this work, but +did not terminate it; it was resumed in the year 1570 by a pupil +of Herlin, named Conrad Dasypodius of Strasburg, where +he was a professor of mathematics. Dasypodius drew the +design of the clock, but its execution was confided to two +skilful mechanics of Schaffhouse, the brothers Isaac and Josiah +Habrecht; Tobias Stimmer, also of Schaffhouse, had the +charge of the paintings. This master-piece of the mechanical +art of the sixteenth century was completed in 1574; it +ceased going in 1789. As the exterior distribution of the present +clock is nearly the same as that of the old clock, we +shall abstain from describing the latter. In 1836 the corporation +of the town of Strasburg adopted the resolution of +causing this curious monument to be repaired. To Mr. Schwilgué, +a distinguished mechanician of Strasburg, his native +place, this remarkable work was entrusted; he began it the +24<span class="super">th</span> of June 1838 and finished it at the end of 1842.</p> + +<p>It is one of the most beautiful pieces of workmanship of<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span> +our age; its mechanism is entirely new and in accordance +with the present state of the science of astronomy, which as +is well known, has attained a very high degree of certainty +and exactness. Mr. Schwilgué has not made use of any of the +pieces of the old clock, which are deposited in the chapel of +the <i>Œuvre-Notre-Dame</i>; by comparing them with the pieces +composing the new clock, one may judge of the progress of +science and of the talents of the modern artist. M. Schwilgué +preserved of the former clock only its fine case, the paintings +and ornaments of which were carefully repaired. In this +he had many difficulties to overcome, as well for the proper +arrangement of this mechanism and lodging it in a space that +was often very limited, as for making the old signs or indications +accord with the movements of the <ins title="clock-work">clockwork</ins>. Of +these many were marked only in painting, and must have +been renewed after a certain time, as for instance those for +the eclipses, which now by a most ingenious mechanical +combination will henceforth last for ever. The little statues +which hitherto had no articulation, are now moveable; the +twelve Apostles have been added to the former number of +them. The figure of Death, formerly on the same level with +that of Jesus-Christ, is now placed in the centre of figures +representing the four ages of life and striking the quarters of +hours; the idea of assigning this place to the image of death +is assuredly a more rational and finer one than that which +prevailed in the old distribution of the figures. Childhood +strikes the first quarter; Youth the second; Manhood the +third, and Old Age the last; the first stroke of each quarter is +struck by one of the two genii seated above the perpetual +calendar; the four ages strike the second. Whilst death +strikes the hours, the second of these genii turns over the +hourglass that he holds in his hand. The image of the Saviour +stands now on a higher ground; at the hour of noon the twelve<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span> +Apostles pass bowing before him; he lifts up his hand to bless +them, and during that time, a cock, whose motions and voice +imitate nature, flaps his wings and crows three times.</p> + +<p>Mr. Schwilgué has altered the old calendar into a perpetual +one with the addition of the feasts that vary, according to +their connexion with Easter or Advent Sundays. The dial, +nine metres in circumference, is subject to a revolution of 365 +or 366 days, according as the case may be. Mr. Schwilgué has +even indicated the suppression of the secular bissextile days. +He has moreover enriched his work by adding to it an ecclesiastic +compute with all its indications; an orrery after the +Copernican system, representing the mean tropical revolutions +of each of the planets visible to the naked eye, the phases of +the moon, the eclipses of the sun and moon, calculated for +ever; the true time and the sideral time; a new celestial globe +with the procession of the equinoxes, solar and lunary equations +for the reduction of the mean geocentric ascension and +declension of the sun and moon at true times and places. A dial +placed without the church and showing the hours and days, +is put in motion by the same mechanism of the clockwork.</p> + +<p>The camerated roof of the back part of the chancel was formerly +covered with paintings executed in 1686 representing +Dooms-day. A few paintings only adorned till now the interior +of the Cathedral, among which the most remarkable +oil-paintings, executed by artists of Strasburg, are: the +<i>Shepherd's Adoration</i>, by Guerin, the <i>Laying in the tomb</i>, +by Klein; the <i>Ascension</i>, by Heim, and some others. In the +seventeenth and eighteenth centuries the chancel was several +times and in different ways enlarged and disfigured by ornaments +little correspondent with the elegance and grandeur +of the gothic order. Tribunes, stairs and wainscots that +formed a strange contrast with the rest of the edifice were +added. The altar, adorned in 1501, with fine figures carved<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span> +in wood by Master Nicholas of Haguenau, was changed in +1685 by order of bishop William Egon of Fürstenberg; that +new altar, covered with a baldachin, was destroyed by fire, and +in 1765 the present one, which has nothing in its form +worthy of notice, was erected. Great repairs were begun +some years ago under the direction of the city corporation, +struck, as every body was, by the great disproportion between +the chancel and nave. It was resolved to restore +the chancel to its primitive form and arrangement, and thus +to reestablish the due proportions between that part and the +rest of this magnificent church. This great labour is now +finished. Their natural complement, as required by the style +of this part of the pile and its extensive fronts and arch-roofs, +is the execution of a certain number of monumental +paintings, intrusted to two distinguished artists, Prof. Steinle, +Director of Städel's Institute in Frankfort a/M. and the historical +painter Steinheil in Paris, a native Alsacian. The +former is charged with the execution of the fresco-paintings +in the chancel and lateral naves, whilst the latter undertook +the reestablishment of the paintings that represent the +<ins title="dooms-day">Dooms-day</ins> on the upper wall of the chancel, in front of the +great nave. Both works, begun in 1876, came in sight for +the visitors of the Cathedral, at the end of 1878.</p> + +<p>In restoring to this part of the edifice its former appearance, +it has highly augmented the effect produced on the +inward aspect of the Cathedral; now also may be decided the +question, hitherto doubtful, of the exact time at which the +chancel was built; with certainty, it may already be said, +that it was not erected, as was often affirmed, in the time of +the emperor Charlemain.</p> + +<div class="figcenter" style="width: 307px;"><span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span> +<a href="images/illus35.jpg"><img src="images/illus35tn.jpg" width="307" height="500" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +<span class="caption">Astronomical clock.</span> +</div> + +<p>In removing the superfetations that had taken place during +these two last centuries, and in reestablishing the architectural +forms that the wretched style then prevailing had concealed,<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span> +a succession of large ogive arches of an admirable +and powerful proportion which form the inferior part of the +Apsis, and support a gallery serving as a basis to the upper +story, have come to light. On this story, which is separated +from the <i>cul-de-four</i> (spherical vault) by a single +moulding, are three large ogive windows, the middle one of +which is of colossal dimensions, and between the columns +below are in a symmetrical manner placed, on each side, the +doors of the treasury and chapter-room, and in the centre +lies the bishop's throne, the niched vault of which is still +more richly decorated; between the intermedial arches are +the staircase doors leading to the gallery.</p> + +<p>The <i>Apsis</i> is not very deep and terminates by a segment, +cut out of a masonry work outwardly square; entirely devoted +to the sanctuary, it only contains the high-altar, the twenty +four stalls of the chapter and a necessary room to perform +divine worship. In 1878 an accompanying organ has been +erected on the left side. This beautiful instrument, made by +Mr. Merklin, the skilful organ-builder of Lyons, is a masterpiece +of art and taste that enhances indeed the chancel of +the Cathedral. In front and a few steps lower down lies the +chancel, destined to the inferior clergy and choristers. This +chancel surmounted by a large octagonal cupola, the external +part of which was struck by lightning in 1759, is placed +at the intersection of the transepts and nave; open and +lighted on all sides, one can admire the boldness and majesty +of the columns and basis that support the arched roofs. +The cripta or subterranean place, extending under the whole +length of the chancel, is worthy of notice; it has also been recently +restored. It is of an older order than the constructions +of Erwin of Steinbach; it is perhaps the remainder of the edifice +erected by bishop Werner, at the beginning of the eleventh +century; the shape of the pillars, their cubical tops or chapters,<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span> +the arches exclusively semi-circular, bring us back to +those times. This crypta, that remained unimpaired during +all the changes which the Cathedral must have undergone in +the course of so many centuries, forms a nave with two arch-vaults +and a round chancel. All along the walls of the nave +are stone benches. Four of the inner pillars have still hinges +affixed to them which prove that this portion of the crypta +could be closed by a double door. At its entrance is what is +called the holy tomb, a very ancient group of figures representing +Jesus Christ and his disciples on the mount of Olives, at +the moment when the soldiers are going to seize the Lord: this +group comes from the chapel of the Augustines, erected in +1378; it was placed in the crypta in 1683.</p> + +<p>The most ancient of the present chapels of the Cathedral is +that of Saint-Andrew, in the South aisle of the chancel; it is remarkable +for the details of its columns and for its ornaments +of a very old style; it contains the tombs of several bishops, +the oldest of which is that of Henry of Hasenburg, who died +in 1190. Behind the North aisle of the chancel, is Saint-John the +Baptist's chapel, also very old, and being now lower than +the pavement of the Cathedral. Besides several epitaphs, one +here sees the fine gothic sepulchre of bishop Conrad of Lichtenberg, +who died in 1299. The colossal statue of that prelate +lies on a stone and has still some marks of the colours +with which it had formerly been painted; in one hand he holds +a book, in the other was his crosier of which only the lower +part is now left; his head covered with the mitre rests on a +cushion and his feet lie against a lion<a name="FNanchor_1_13" id="FNanchor_1_13"></a><a href="#Footnote_1_13" class="fnanchor">1</a>. Near the entrance of +this chapel, surrounded by an elegant railing, is the baptismal-font<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span> +of sculptured stone, the master-piece of Josse +Dotzinger of Worms, who died in 1449.</p> + +<div class="footnote"><p><a name="Footnote_1_13" id="Footnote_1_13"></a><a href="#FNanchor_1_13"><span class="label">1</span></a> The epitaph of Conrad is as follows: +</p> +<p class="blockquot">«<i>Anno domini MCCLXXXXIX kal. Augusti obiit Conradus secundus +de Lichtenberg natus, Argentinensis episcopus, hic sepultus. +Qui omnibus bonis condicionibus, quæ in homine mundiali debent +concurrere, eminebat; nec sibi visus similis est in illis. Sedit autem +annis XXV et mensibus sex. Orate pro eo.</i>» +</p></div> + +<p>The first chapel built in the Cathedral was Saint-Lawrence's, +next to the North portal of the transept. It was the +oldest parish in the town and diocese of Strasburg; the vicar +of Saint-Lawrence was the first archpriest of the diocese and +at the same time grand-penitentiary of the Cathedral. This +chapel, decayed with time, was rebuilt after the plans of +master James of Landshut, who died in 1495, and was completed +in 1505; when in the course of time it became too small +for the parish, it was transferred in 1698 into the neighbouring +chapel of Saint-Martin, which had been built in 1420 and +then assumed the name of Saint-Lawrence's chapel that it retained +ever since. Among the sepulchral monuments it contains, +is seen that of Mr. de la Bâtie, in his live time commander +of Strasburg. In this chapel is the entrance to the vaults, +where to this day the bishops' mortal remains are deposited.</p> + +<p>The chapel opposite the latter, on the right side of the +church, is dedicated to saint Catharine; it was erected in the +year 1331 by bishop Berthold of Bucheck who is interred in +it. It was newly arched in 1542 and formerly contained the +holy tomb. The entrances both into this and the chapel of +Saint-Lawrence are decorated with several old statues; in +Saint-Catharine's chapel is the tomb of Conrad Bock, a +nobleman of Strasburg, who died in 1480; this work is remarkable +for the manner in which the numerous figures that +surround the bed of the dying man, are grouped together.</p> + +<p>The sepulchral stones that served as flag-stones or pavement +in the interior of this large building, have long ago +been removed. Besides the sepulchral monuments and inscriptions +already mentioned we shall note the epitaphs of Erwin +of Steinbach, of Husa his wife, and of his son John, at the +lower part of the buttress in the little yard behind Saint John's<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span> +chapel<a name="FNanchor_1_14" id="FNanchor_1_14"></a><a href="#Footnote_1_14" class="fnanchor">1</a>; also the inscription to the memory of Conrad +Gürtler, who bequeathed to the chapter of the Cathedral his +house, a large building in the rue du Dôme; this inscription +is opposite that of Geiler of Kaysersberg; finally, in one of +the vestries is the epitaph, in german verses, of the celebrated +printer John Mentelin of Schlestadt.</p> + +<div class="footnote"><p><a name="Footnote_1_14" id="Footnote_1_14"></a><a href="#FNanchor_1_14"><span class="label">1</span></a> <i>Anno domini MCCCXVI. XII Kal. Augustii obiit Domina Husa +uxor magistri Erwini. Anno domini MCCCXVIII. XVI Kal. Februarii +obiit magister Erwinus gubernator fabrice ecclessie Argentinensis. +Anno domini MCCCXXXVIII. XV Kal. Aprilis obiit magister Johanni +(sic) filius Erwini magistri operi huius ecclesie.</i>—There was formerly +on that spot a burial ground; it is very likely that Erwin and +his family were buried there. When some years ago, they were +digging a waste-well for the lightning conductor, they discovered an +old coffin of stone, broken and filled with earth and bones. All these +remains with the exception of some fragments taken away by some +curious amateurs, were deposited in a vault.</p></div> + +<p>We shall add one word more on the <i>foundations</i> of the +Cathedral. Every one knows the old story, according to which +this edifice rests on piles, between each of which it were +possible to go in boats on canals extending even under the +place Gutenberg. As far back as the seventeenth century, +they dug to a considerable depth, and have since several +times renewed the experiments, to ascertain the nature of +the foundations, that have been found to lie very deep and +to be very solid, formed of masonry reposing on clay mixed +with gravel; under a portion of the nave this bottom is reinforced +by oaken piles.</p> + +<p>Through a door on the right of saint Catharine's chapel you +enter the area of the workhouse of the stone-cutters of the +Cathedral (<i>Steinhütte</i>). These workmen, even to this day +form a particular corporation that seems to have originated +in the days of Erwin of Steinbach; at all events it is a certain +fact that the masons of the Cathedral were from the beginning +a body, distinct from the ordinary masons; that they +have not admitted among them every one who presented<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span> +himself, and that they had secret signs to know one another. +This (<i>loge</i>) society of the masons of the Cathedral has become +the cause of many others in Germany; Dotzinger, the successor +of John Hültz as architect of this church, united them +all in one body; a general meeting of the masters or chiefs +of the different <i>loges</i>, held at Ratisbon in 1459, adopted certain +rules and regulations, and chose as their grand-masters +the architects of the Cathedral of Strasburg, where the principal +loge or lodge (<i>Haupthütte</i>) was established. Maximilian I +confirmed the establishment and the rules of this corporation +on the 3<span class="super">d</span> October 1498. At the beginning of the <ins title="eigtheenth">eighteenth</ins> +century it was transferred to Mayence.</p> + +<p>It has already been stated that at a very remote period the +Cathedral had received rich and important donations composing +the <i>Œuvre-Notre-Dame</i>, the revenues of which were originally +under the direction of the bishops; but as they squandered +them away «leaving the building to decay,» the chapter +assumed their administration in 1263, after the war between +the town and Walter of Geroldseck; however, the canons did +no better and in 1290 the magistrate of the city was obliged +to take back from them the management of the revenues. +The estate and income of the <i>Œuvre</i>, employed only for +keeping in good order and for repairing the Cathedral church, +are still managed like other property that belongs to the city; +the collector of the revenues is appointed by the city corporation, +who also names the architect and sculptor of the +<i>Œuvre</i>. The receiver's office is in a handsome house (<i>Frauenhaus</i>), +built in 1581, after the taste of those times, situated +opposite the South side of the Cathedral. In that house, where +the old plans of the church and the pieces of the old clockwork, +above mentioned, are carefully preserved, we have also +to admire the light and elegant construction of the staircase.</p> + +<div class="figcenter" style="width: 291px;"> +<a href="images/back-cover.jpg"><img src="images/back-covertn.jpg" width="291" height="483" class="plain" alt="Click for larger image" title="Click for larger image" /></a> +</div> +<p> </p> + +<div class='center'> +<p><br /></p> +<table border="1" class="bbox" cellpadding="10" cellspacing="2" summary="Transcriber's Notes"> +<tr><td align='center'><a name="TRANSCRIBERS_NOTES" id="TRANSCRIBERS_NOTES"></a><h2>TRANSCRIBER'S NOTES</h2> + +<p>The following changes have been made as needed to facilitate reading: +standardized punctuation and accents, moved illustrations, and renumbered and +moved footnotes.</p> + +<p>Additional changes are listed below:</p> +<p><a href="#Page_7">Page 7</a>: Changed "enthousiasm" to "enthusiasm" for consistency.</p> +<p><a href="#Page_16">Page 16</a>: Changed "pittoresqu s" to "pittoresques" and "counter-forts" to "counterforts."</p> +<p><a href="#Page_20">Pages 20</a> and <a href="#Page_34">34</a>: Changed "doomsday" and "dooms-day" to "Dooms-day" +for consistency.</p> +<p><a href="#Page_21">Page 21</a>: The phrase "if tine" matches the original text.</p> +<p><a href="#Page_22">Page 22</a>: Changed "Landsburg" to "Landsberg."</p> +<p><a href="#Page_23">Page 23</a>: Changed "plat-form" to "platform."</p> +<p><a href="#Page_24">Page 24</a>: The measurement "0<span class="super">m</span> .460" matches the original text.</p> +<p><a href="#Page_26">Page 26</a>: Changed typo "is" to "it" and changed "bizantine" to "byzantine" +for consistency.</p> +<p><a href="#Page_32">Page 32</a>: Changed "clock-work" to "clockwork."</p> +<p><a href="#Page_40">Page 40</a>: Changed typo "eigtheenth" to "eighteenth."</p> +</td></tr> +</table></div> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK HISTORICAL SKETCH OF THE CATHEDRAL OF STRASBURG***</p> +<p>******* This file should be named 22990-h.txt or 22990-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/2/2/9/9/22990">http://www.gutenberg.org/2/2/9/9/22990</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution.</p> + + + +<pre> +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +<a href="http://www.gutenberg.org/license">http://www.gutenberg.org/license)</a>. + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://www.gutenberg.org/about/contact + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://www.gutenberg.org/fundraising/pglaf + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://www.gutenberg.org/fundraising/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + +<a href="http://www.gutenberg.org">http://www.gutenberg.org</a> + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + +<a href="http://www.gutenberg.org/dirs/etext06/">http://www.gutenberg.org/dirs/etext06/</a> + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + +http://www.gutenberg.org/dirs/1/0/2/3/10234 + +or filename 24689 would be found at: +http://www.gutenberg.org/dirs/2/4/6/8/24689 + +An alternative method of locating eBooks: +<a href="http://www.gutenberg.org/dirs/GUTINDEX.ALL">http://www.gutenberg.org/dirs/GUTINDEX.ALL</a> + +*** END: FULL LICENSE *** +</pre> +</body> +</html> diff --git a/22990-h/images/back-cover.jpg b/22990-h/images/back-cover.jpg Binary files differnew file mode 100644 index 0000000..d252f0a --- /dev/null +++ b/22990-h/images/back-cover.jpg diff --git a/22990-h/images/back-covertn.jpg b/22990-h/images/back-covertn.jpg Binary files differnew file mode 100644 index 0000000..a5771fb --- /dev/null +++ b/22990-h/images/back-covertn.jpg diff --git a/22990-h/images/cover.png b/22990-h/images/cover.png Binary files differnew file mode 100644 index 0000000..cf4e01b --- /dev/null +++ b/22990-h/images/cover.png diff --git a/22990-h/images/covertn.png b/22990-h/images/covertn.png Binary files differnew file mode 100644 index 0000000..b8996ae --- /dev/null +++ b/22990-h/images/covertn.png diff --git a/22990-h/images/illus03.jpg b/22990-h/images/illus03.jpg Binary files differnew file mode 100644 index 0000000..bb6c77f --- /dev/null +++ b/22990-h/images/illus03.jpg diff --git a/22990-h/images/illus03tn.jpg b/22990-h/images/illus03tn.jpg Binary files differnew file mode 100644 index 0000000..4856fff --- /dev/null +++ b/22990-h/images/illus03tn.jpg diff --git a/22990-h/images/illus04.jpg b/22990-h/images/illus04.jpg Binary files differnew file mode 100644 index 0000000..ccf9364 --- /dev/null +++ b/22990-h/images/illus04.jpg diff --git a/22990-h/images/illus04tn.jpg b/22990-h/images/illus04tn.jpg Binary files differnew file mode 100644 index 0000000..27287bb --- /dev/null +++ b/22990-h/images/illus04tn.jpg diff --git a/22990-h/images/illus05.jpg b/22990-h/images/illus05.jpg Binary files differnew file mode 100644 index 0000000..bd85a4b --- /dev/null +++ b/22990-h/images/illus05.jpg diff --git a/22990-h/images/illus05tn.jpg b/22990-h/images/illus05tn.jpg Binary files differnew file mode 100644 index 0000000..5b30d1f --- /dev/null +++ b/22990-h/images/illus05tn.jpg diff --git a/22990-h/images/illus16.jpg b/22990-h/images/illus16.jpg Binary files differnew file mode 100644 index 0000000..84d4f4f --- /dev/null +++ b/22990-h/images/illus16.jpg diff --git a/22990-h/images/illus16tn.jpg b/22990-h/images/illus16tn.jpg Binary files differnew file mode 100644 index 0000000..b1f844a --- /dev/null +++ b/22990-h/images/illus16tn.jpg diff --git a/22990-h/images/illus17.jpg b/22990-h/images/illus17.jpg Binary files differnew file mode 100644 index 0000000..6e586cc --- /dev/null +++ b/22990-h/images/illus17.jpg diff --git a/22990-h/images/illus17tn.jpg b/22990-h/images/illus17tn.jpg Binary files differnew file mode 100644 index 0000000..c008ae7 --- /dev/null +++ b/22990-h/images/illus17tn.jpg diff --git a/22990-h/images/illus19.jpg b/22990-h/images/illus19.jpg Binary files differnew file mode 100644 index 0000000..ac4e4fb --- /dev/null +++ b/22990-h/images/illus19.jpg diff --git a/22990-h/images/illus19tn.jpg b/22990-h/images/illus19tn.jpg Binary files differnew file mode 100644 index 0000000..67e939d --- /dev/null +++ b/22990-h/images/illus19tn.jpg diff --git a/22990-h/images/illus27.jpg b/22990-h/images/illus27.jpg Binary files differnew file mode 100644 index 0000000..aafdd88 --- /dev/null +++ b/22990-h/images/illus27.jpg diff --git a/22990-h/images/illus27tn.jpg b/22990-h/images/illus27tn.jpg Binary files differnew file mode 100644 index 0000000..eeca36a --- /dev/null +++ b/22990-h/images/illus27tn.jpg diff --git a/22990-h/images/illus31.jpg b/22990-h/images/illus31.jpg Binary files differnew file mode 100644 index 0000000..644290c --- /dev/null +++ b/22990-h/images/illus31.jpg diff --git a/22990-h/images/illus31tn.jpg b/22990-h/images/illus31tn.jpg Binary files differnew file mode 100644 index 0000000..569c081 --- /dev/null +++ b/22990-h/images/illus31tn.jpg diff --git a/22990-h/images/illus35.jpg b/22990-h/images/illus35.jpg Binary files differnew file mode 100644 index 0000000..401e90b --- /dev/null +++ b/22990-h/images/illus35.jpg diff --git a/22990-h/images/illus35tn.jpg b/22990-h/images/illus35tn.jpg Binary files differnew file mode 100644 index 0000000..072ae7b --- /dev/null +++ b/22990-h/images/illus35tn.jpg |
