Chapter XXXI: Emmerich, Clèves, and Xanten

_Emmerich and Clèves_

Just below Emmerich, which is the last of the German Rhenish cities, the Rhine divides itself, and, branching to the north, takes the Dutch name of Oud Rijn, which name, with the variation Neder Rijn, it retains until it reaches the sea. The branch to the west takes the name of the Waal and passes on through Nymegen, bounding Brabant on the north, and enters the sea beyond Dordrecht.

Emmerich has, in its church of St. Martin, a tenth-century church of no great architectural worth, but charming to contemplate, nevertheless.

Four kilometres away is Clèves, which, under the Romans, was known as Clivia and attained considerable prominence and prosperity. The Normans sacked it in the ninth century, but it was shortly rebuilt, and became the chief town of the County, afterward the Duchy, of Clèves.

Under the Empire the city belonged to France. The town's principal church is quite attractive, but, beyond the distinction which it has in its twin spires, terminating a singularly long line of roof-top of nave and choir, there are no architectural features of note.

_Xanten_

At a little distance from the Rhine, just before the frontier of Holland is reached, is Xanten, the ancient Ulpia Castra. Near by, in the neighbouring village of Mirten, one sees the remains of an ancient amphitheatre, which denotes a considerable importance for the neighbourhood in Roman times. If more proof were needed, it will be found in the museum at Bonn, where are many Roman antiquities coming from the neighbourhood.

Xanten is celebrated for having given birth to St. Norbert, the founder of the order of Premonstratension monks, and for having been the cradle of Siegfried, the hero of the "Nibelungen Lied."

The city was captured by the French in 1672.

The collegiate church of Xanten is known as St. Victor's, and is truly celebrated for the grace and beauty of its early twelfth-century Gothic.

Without transepts or clerestory, it shows in its one ample chamber, comprising both nave and choir, an exemplification of the art of combining the accessories of the Latin-cross structures of France with the hall-church idea so frequently met with in Germany, and so well recognized as a distinct German type.

This arrangement does not give the church the appearance of being in any way confined or limited; quite the reverse is the case, and the double range of windows in the apse indicates, at least, a loftiness and hardiness of construction which is highly commendable.

There are, moreover, double aisles to both nave and choir which give an ampleness to the interior which even its abundance of furnishings does not overcrowd.

There are few five-aisled churches such as this in Germany, or indeed elsewhere, Cologne being Germany's chief example in this style.

In general, the Gothic of this highly interesting church is of the best, though it dates from various periods. The primitive church, we know, was a Romanesque structure; but, beyond the foundations of the western towers, and possibly other fragmentary works yet hidden, there is nothing but the most acceptable Gothic in evidence.

A distinctly curious feature is the apse-sided termination to the aisles, radiating from the main apse at an angle of forty-five degrees. It is a distinct innovation in the easterly termination of a church; a sort of a compromise between the French, English, and German styles, and wholly a successful one.

In the chancel is a sort of screen before the high altar, worked in brass at Maastricht in 1501.

The windows contain a great deal of beautiful old glass, and some other that is by no means as good.

The clerestory windows are elaborately traceried, and there is much detail of church furnishings, a choir screen, some elaborate stalls, a little tapestry,--which looks well and is certainly old,--and a modern tiled floor which is not offensive.

As is frequently seen in Germany, the pillars and shafts have a series of statues superimposed upon them; always a daring thing to do, but in this case of far better execution and design than is frequently encountered. Before the church is a monument in honour of Cornelius de Pauw, the friend of the great Frederick, a canon of the church and a famous spiritual writer. He was born at Amsterdam in 1739 and died at Xanten in 1799.