4 o o» o^ '^ '^ ^ X '^^ (X"^ <^ -^ ^^ "^^^ .^ ■(.*^ ,. '^ ^ O < - .V .^ '-o/ :^^^ ^0^ :; b^-^^ '■ ^ U ,sv* v^ * V ♦ pi 'O . ^^0^ .•^o.. ^0-7* r A^ ^^0^ .V A <' ^^^. 0- THE CATHEDRALS OF SOUTHERN FRANCE By FRANCIS MILTOUN y^_^ AUTHOR OF "the CATHEDRALS of northern franc e," "dickens' London/' etc., with ninety illustrations, plans, and diagrams, By BLANCHE McMANUS lnyla.^yLAMjJ^ ^ 'tyuJU^L^x.g v-- BOSTON H. €• i^age anti Compani? MDCCCCV LIBRftRY n1 0OK6RESS Two OoDies RflCQived AUG 24 1904 Oopyrlffhf Entry CLA8^ 0. XXo. Na ^^ ^ ^, which is the Adour. The rest of his description might well apply to-day, and the city is most charm- ingly and romantically environed. 417 The Cathedrals of So^Uhern France Its cathedral will not receive the same adu- lation which is bestowed upon the charms of the city itself. It is a poor thing, not unlike, in appearance, a market-house or a third-rate town hall of some mean municipality. Once the Black Prince and his " fair maid of Kent " came to this town of the Bigorre, to see the Count of Armagnac, under rather doleful circumstances for the count, who was in prison and in debt to Gaston Phoebus for the amount of his ransom. The ^' fair maid," however, appears to have played the part of a good fairy, and prevailed upon the magnificent Phoebus to reduce the ransom to the extent of fifty thousand francs. In this incident alone there lies a story, of which all may read in history, and which is especially recommended to those writers of swash-buckler romances who may feel in need of a new plot. There is little in Tarbes but the memory of a fair past to compel attention from the lover of antiquity, of churches, or of art; and there are no remains of any note — even of the time when the Black Prince held his court here. The bishopric is very ancient, and dates from the sixth century, when St. Justin first 418 The Cathedrals of Southern France filled the office. In spite of this, however, there is very little inspiration to be derived from a study of this quite unconvincing ca- thedral, locally known as the Eglise de la Sede. This Romanesque-Transition church, though dating from the twelfth and thir- teenth centuries, has neither the strength and character of the older style, nor the vigour of the new. The nave is wide, but short, and has no aisles. At the transept is a superimposed oc- tagonal cupola, which is quite unbeautiful and unnecessary. It is a fourteenth-century addi- tion which finally oppresses this ungainly heavy edifice beyond the hope of redemption. Built upon the facade is a Renaissance portal which of itself would be a disfigure- ment anywhere, but which here gives the final blow to a structure w^hich is unappealing from every point. The present-day prefecture was the former episcopal residence. The bishopric, which to-day has jurisdic- tion over the Department of the Hautes-Pyr- enees, is a suffragan of the mother-see of Auch. 419 VIII CATHEDRALE DE CONDOM The history of Condom as an ecclesiastical see is very brief. It was established only in 13 17, on an an- cient abbey foundation, whose inception is unknown. For three centuries only was it endowed with diocesan dignity. Its last titulaire was Bishop Bossuet. The fine Gothic church, which was so short- lived as a cathedral, is more worthy of admi- ration than many grander and more ancient. It dates from the early sixteenth century, and shows all the distinct marks of its era; but it is a most interesting church neverthe- less, and is possessed of a fine unworldly clois- ter, which as much as many another — more famous or more magnificent — must have been conducive to inspired meditation. The portal rises to a considerable height 420 The Cathedrals of Southern France of elegance, but the fagade is otherwise aus- tere. In the interior, a choir-screen in cut stone is the chief artistic treasure. The sacristy is a finely decorated and beautifully propor- tioned room. In the choir is a series of red brick or terra-cotta stalls of poor design and of no artistic value whatever. The ancient residence of the bishops is now the Hotel de Ville, and is a good example of late Gothic domestic architecture. It is de- cidedly the architectural piece de resistance of the town. 421 IX CATHEDRALE DE MONTAUBAN MONTAUBAN, the location of an ancient abbey, was created a bishopric, in the Prov- ince of Toulouse, in 13 17, under Bertrand du Puy. It was a suffragan of the see of Tou- louse after that city had been made an arch- bishopric in the same year, a rank it virtually holds to-day, though the mother-see is now known by the double vocable of Toulouse- Narbonne. Montauban is in many ways a remarkable little city; remarkable for its tidy pictur- esqueness, for its admirable situation, for the added attraction of the river Tarn, which rushes tumblingly past its quais on its way from the Gorges to the Garonne; in short, Montauban Is a most fascinating centre of a life and activity, not so modern that it jars, nor yet so mediaeval that It is uncomfortably squalid. 422 The Cathedrals of Southern France The lover of architecture will interest him- self far more in the thirteenth-century bridge of bricks which crosses the Tarn on seven ogival arches, than he will in the painfully ordinary and unworthy cathedral, which is a combination of most of the undesirable fea- tures of Renaissance church-building. The fagade is, moreover, set about with a series of enormous sculptured effigies perched indiscriminately wherever it would appear that a foothold presented itself. There are still a few unoccupied niches and cornices, which some day may yet be peopled with other figures as gaunt. Two ungraceful towers flank a classical portico, one of which is possessed of the usual ludicrous clock-face. The interior, with its unusual flood of light from the windows of the clerestory, is cold and bare. Its imposed pilasters and heavy cornices are little in keeping with the true conception of Christian architecture, and its great height of nave — some eighty odd feet — lends a further chilliness to one's already lukewarm appreciation. The one artistic detail of Montauban's ca- thedral is the fine painting by Ingres (1781 — 1867) to be seen in the sacristy, if by any 423 The Cathedrals of Southern France chance you can find the sacristan — which is doubtful. It is one of this artist's most cele- brated paintings, and is commonly referred to as '' The Vow of Louis XIII." 424 I X ST. ETIENNE DE CAHORS St. Genulphe was the first bishop of Ca- hors, in the fourth century. The diocese was then, as now, a suffragan of Albi. The cathe- dral of St. Etienne was consecrated in 1119, but has since — and many times — been re- built and restored. This church is but one of the many of its class, built in Aquitaine at this period, which employed the cupola as a distinct feature. It shares this attribute in common with the ca- thedrals at Poitiers, Perigueux, and Angou- leme, and the great churches of Solignac, Fontevrault, and Souillac, and is commonly supposed to be an importation or adaptation of the domes of St. Marc's at Venice. A distinct feature of this development is that, while transepts may or may not be want- ing, the structures are nearly always without side aisles. What manner of architecture this style may 4^5 The Cathedrals of Southern France presume to be is impossible to discuss here, but it is manifestly not Byzantine pur-sang, as most guide-books would have the tourist believe. Although much mutilated in many of its accessories and details, the cathedral at Ca- hors fairly illustrates its original plan. There are no transepts, and the nave is wide and short, its area being entirely roofed by the two circular cupolas, each perhaps fifty feet in diameter. In height these two details depart from the true hemisphere, as has al- ways been usual in dome construction. There were discovered, as late as 1890, in this church, many mural paintings of great interest. Of the greatest importance was that in the west- erly cupola, which presents an entire com- position, drawn in black and colour. The cupola is perhaps forty feet in diame- ter, and is divided by the decorations into eight sectors. The principal features of this remarkable decoration are the figures of eight of the prophets, David, Daniel, Jeremiah, Jonah, Ezra, Isaiah, Ezekiel, and Habakkuk, each a dozen or more feet in height. Taken as a whole, in spite of their recent discovery, these elaborate decorations are supposed to have been undertaken by or under 426 The Cathedrals of Soiithent France the direction of the bishops who held the see from 1280 to 1324; most likely under Hugo Geraldi (1312 — 16), the friend of Pope Clement V. and of the King of France. This churchman was burned to death at Avignon, and the see was afterward administered by procuration by Guillaume de Labroa (13 16 — • 1324), who lived at Avignon. It is then permissible to think that these w^all-paintings of the cathedral at Cahors are perhaps unique in France. Including its sus- taining wall, one of the cupolas rises to a height of eighty-two feet, and the other to one hundred and five feet. The north portal is richly sculptured; and the choir, with its fifteenth-century ogival chapels, has been rebuilt from the original work of 1285. The interior, since the recently discovered frescoes of the cupolas, presents an exceed- ingly rich appearance, though there are ac- tually few decorative constructive elements. The apse of the choir is naturally pointed, as its era would indicate, and its chapels are ornamented with frescoes of the time of Louis XII.; neither very good nor very bad, but in no way comparable to the decorations of the cupolas. 427 The Cathedrals of Southern France The only monument of note in the interior is the tomb of Bishop Alain de Solminiac (seventeenth century). The paintings of the choir are supposed to date from 13 15, which certainly places them at a very early date. A doorway in the right of the nave gives on the fifteenth-century cloister, which, though fragmentary, must at one time have been a very satisfactory exam- ple. The ancient episcopal palace is now the prefecture. The bishop originally bore the provisional title of Count of Cahors, and was entitled to wear a sword and gauntlets, and it is recorded that he was received, upon his accession to the diocese, by the Vicomte de Sessac, who, attired in a grotesque garb, con- ducted him to his palace amid a ceremony which to-day would be accounted as buffoon- ery pure and simple. From the accounts of this ceremony, it could not have been very dignified or inspiring. The history of Cahors abounds in romantic incident, and its capture by Henry of Navarre in 1580 was a brilliant exploit. Cahors was the birthplace of one of the French Popes of Avignon, John XXII. (who IS buried in Notre Dame des Doms at Avi- gnon). 428 XI ST. CAPRAIS D'AGEN Agen, with Cahors, Tulle, Limoges, Peri- gueux, Angouleme, and Poitiers, are, in a way, in a class of themselves with respect to their cathedrals. They have not favoured aggrandizement, or even restoration to the extent of mitigating the sentiment which will always surround a really ancient fabric. The cathedral at Bordeaux came strongly under the Gothic spell; so did that at Cler- mont-Ferrand, and St. Nazaire, in the Cite de Carcassonne. But those before mentioned did not, to any appreciable extent, come under the influence of the new style affected by the architects of the Isle of France during the times of Philippe- Auguste (d. 1223). At the death of Philippe le Bel (13 14), the royal domain was considerably extended, and the cathedrals at Montpellier, Carcas- sonne, and Narbonne succumbed and took on Gothic features. 429 The Cathedrals of Southern France The diocese of Agen was founded in the fourth century as a suffragan of Bordeaux. Its first bishop was St. Pherade. To-day the diocese is still under the parent jurisdiction of Bordeaux, and the see comprises the de- partment of Lot-et-Garonne. A former cathedral church — St. Etienne — ^was destroyed at the Revolution. The Romanesque cathedral of St. Caprais dates, as to its apses and transepts, from the eleventh century. Its size is not commonly accredited great, but for a fact its nave is over fifty-five feet in width; greater than Chartres, and nearly as great as Amiens in the north. This is a comparison which will show how futile it is not to take into consideration the peers, compeers, or contemporaries of archi- tectural types when striving to impress its salient features upon one's senses. This immense vault is covered with a series of cupolas of a modified form which finally take the feature of the early development of the ogival arch. This, then, ranks as one of the early transitions between barrel-vaulted and domed roofs, and the Gothic arched vaulting which became so common in the century following. 430 The Cathedrals of Southern France As to the general ground-plan, the area is not great. Its Romanesque nave is stunted in length, if not in width, and the transepts are equally contracted. The choir is semi- circular, and the general effect is that of a tri-apsed church, seldom seen beyond the im- mediate neighbourhood of the Rhine valley. The interior effect is considerably marred by the modern mural frescoes by Bezard, after a supposed old manner. The combination of colour can only be described as polychro- matic, and the effect is not good. There are a series of Roman capitals in the nave, which are of more decided artistic worth and interest than any other distinct feature. At the side of the cathedral is the Chapelle des Innocents, the ancient chapter-house of St. Caprais, now used as the chapel of the college. Its fagade has some remarkable sculptures, and its interior attractions of curi- ously carved capitals and some tombs — sup- posed to date from the first years of the Chris- tian era — are of as great interest as any of the specific features of the cathedral proper. 431 XII STE. MARIE D'AUCH The first bishop of Auch was Citerius, In the fourth century. Subsequently the Prov- ince d'Auch became the see of an archbishop, who was Primate of Aquitaine. This came to pass when the office was abolished or trans- ferred from Eauze in the eighth century. The diocese is thus established in antiquity, and endures to-day with suffragans at Aire, Tarbes, and Bayonne. The cathedral of Ste. Marie d'Auch is not of itself an ancient structure, dating only from the late fifteenth century. Its choir, however, ranks among the most celebrated in the Gothic style in all Europe, and the entire edifice is usually accorded as being the most thoroughly characteristic (though varied as to the excel- lence of its details) church of the Midi of France, though built at a time when the ogival style was projecting its last rays of glory over the land. 432 The Cathedrals of Southern France In its general plan it is of generous though not majestic proportions, and is rich and as- piring in its details throughout. An ancient altar in this present church is supposed to have come from the humble basil- ica which was erected here by St. Taurin, bishop of Eauze, soon after the foundation of the see. If this is so, it is certainly of great antiquity, and is exceedingly valuable as the record of an art expression of that early day. Taurin II., in 845, rebuilt a former church, which stood on the site of the present cathe- dral; but, its dimensions not proving great enough for the needs of the congregation, St. Austinde, in 1048, built a much larger church, which was consecrated early in the twelfth century. Various other structures were undertaken, some completed only in part and others to the full; but it was not until 1548 that the pres- ent Ste. Marie was actually consecrated by Jean Dumas. '' This gorgeous ceremony," says the Abbe Bourasse, ^' was accomplished amid great pomp on the anniversary day of the dedica- tion of the eleventh-century basilica on the same site." In 1597 further additions were made to the 433 The Cathedrals of Southern France vaulting, and the fine choir glass added. Soon after this time, the glass of the nave chapels was put into place, being the gift of Domi- nique de Vic. The final building operations — as might be expected — show just the least suspicion of debasement. This quality is to be remarked in the choir-screen, the porch and towers, and in the balustrades of the chapels, to say nothing of the organ sup- ports. The west front is, in part, as late as the sev- enteenth century. In this fagade there is an elaborately tracer- ied rose window, indicating in its painted glass a " Glory of Angels." It is not a great work, as these chief decorative features of French mediaeval architecture go, but is highly ornate by reason of its florid tracery, and dates, moreover, from that period when the really great accomplishment of designing in painted glass was approaching its maturity. If any feature of remark exists to excite undue criticism, it is that of a certain incon- gruity or mixture of style, which, while not widely separated in point of time, has great variation as to excellence. In spite of this there is, in the general ensemble, an imposing picturesqueness to 434 The Cathedrals of Southern France which distance lends the proverbial degree of enchantment. The warm mouse-coloured cathedral and its archbishop's palace, when seen in con- junction with the modern ornamental gardens and escalier at the rear, produces an effect more nearly akin to an Italian composition than anything of a like nature in France. It is an ensemble most interesting and pleasing, but as a worthy artistic effort it does perhaps fall short of the ideal. The westerly towers are curious heavy works after the " French Classical " manner in vogue during the reign of Louis XIV. They are not beautiful of themselves, and quite unexpressive of the sanctity which should surround a great church. The portal is richly decorated, and con- tains statues of St. Roche and St. Austinde. It has been called an ^' imitation of the portal of St. Peter's at Rome," but this is an opinion wholly unwarranted by a personal acquaint- ance therewith. The two bear no resemblance except that they are both very inferior to the magnificent Gothic portals of the north. The interior embellishments are as mixed as to style, and of as varied worth, as those of the exterior. 435 The Cathedrals of Southern France The painted glass (by a Gascon artist, Ar- naud de Moles, 1573) is usually reckoned as of great beauty. This it hardly is, though of great value and importance as showing the development of the art which produced it. The colour is rich, — which it seldom is in modern glass, — but the design is coarse and crude, a distinction that most modern glass has as well. Ergo, we have not advanced greatly in this art. The chief feature of artistic merit is the series of one hundred and thirteen choir-stalls, richly and wonderfully carved in wood. If not the superior to any others in France, these remarkable examples of Renaissance wood- work are the equal of any, and demonstrate, once again, that it was in wood-carving, rather than sculptures in stone, that Renais- sance art achieved its greatest success. A distinct feature is the disposition made of the accessories of the fine choir. It is sur- rounded by an elaborate screen, surmounted by sculpture of a richness quite uncommon in any but the grander and more wealthy churches. Under the reign of St. Louis many of the grand cathedrals and the larger monastic churches were grandly favoured with this 436 The Cathedrals of Southern France accessory, notably at Amiens and Beauvais, at Burgos in Spain, and at Canterbury. Here the elaborate screen was designed to protect the ranges of stalls and their canopied dossiers, and give a certain seclusion to the chapter and officiants. Elsewhere — out of regard for the people it is to be presumed — this feature was in many known instances done away with, and the material of which it was constructed — often of great richness — made use of in chapels subsequently erected in the walls of the apside or in the side aisles of the nave. This is to be remarked at Rodez particularly, where the reerected cloture is still the show- piece of the cathedral. The organ buffet is, as usual (in the minds of the local resident), a remarkably fine piece of cabinet-work and nothing more. One al- ways qualifies this by venturing the opinion that no one ever really does admire these over- powering and ungainly accessories. What triforium there is is squat and ugly, with ungraceful openings, and the high-altar is a modern work in the pseudo-classic style, quite unworthy as a work of art. The five apsidal chapels are brilliant with 437 The Cathedrals of Southern France coloured glass, but otherwise are not remark- able. In spite of all incongruity, Ste. Marie d'Auch is one of those fascinating churches in and about which one loves to linger. It is hard to explain the reason for this, ex- cept that its environment provides the atmos- phere which is the one necessary ingredient to a full realization of the appealing qualities of a stately church. The archiepiscopal palace adjoins the ca- thedral in the rear, and has a noble donjon of the fourteenth century. Its career of the past must have been quite uneventful, as his- tory records no very bloody or riotous events which have taken place within or before its walls. Fenelon was a student at the College of Auch, and his statue adorns the Promenade du Fosse. 438 s T. ETIENNE . de TOULOUSE XIII ST. ETIENNE DE TOULOUSE The provincialism of Toulouse has been the theme of many a French writer of ability, — offensively provincial, it would seem from a consensus of these written opinions. " Life and movement in abundance, but what a life! " . . . " The native is saved from coarseness by his birth, but after a quarter of an hour the substratum shows itself." . . . " The working girl is graceful and has the vivacity of a bird, but there is nothing in her cackle.'^ ..." How much more beautiful are the stars that mirror themselves in the gutter of the Rue du Bac." ..." There is a yelp in the accents of the people of the town." Contrariwise we may learn also that " the water is fine," " the quays are fine," and " fine large buildings glow in the setting sun in bright and softened hues," and " in the far distance lies the chain of the Pyrenees, like 439 The Cathedrals of Southern France a white bed of watery clouds," and " the river, dressed always in smiling verdure, gracefully skirts the city." These pessimistic and optimistic views of others found the contributors to this book in somewhat of a quandary as to the manner of mood and spirit in which they should ap- proach this provincial capital. They had heard marvels of its Romanesque church of St. Saturnin, perhaps the most perfect and elaborate of any of its kind in all France; of the curious amalgamated edifice, now the cathedral of St. Etienne, wherein two distinct church bodies are joined by an un- seemly ligature; of the church of the Jaco- bins ; and of the " seventy-seven religious establishments " enumerated by Taine. All these, or less, were enough to induce one to cast suspicion aside and descend upon the city with an open mind. Two things one must admit: Toulouse does somewhat approach the gaiety of a capital, and it is provincial. Its list of attractions for the visitor is great, and its churches numerous and splen- did, so why carp at the " ape-like manners " of the corner loafers, who, when all is said, 440 The Cathedrals of Southern France are vastly less in number here than in many a northern centre of population. The Musee is charming, both as to the dis- position of its parts and its contents. It was once a convent, and has a square courtyard or promenade surrounded by an arcade. The courtyard is set about with green shrubs, and a lofty brick tower, pierced with little arched windows and mullioned with tiny columns, rises skyward in true conventual fashion. Altogether the Musee, in the attractiveness of its fabric and the size and importance of its collections, must rank, for interest to the tourist, at the very head of those outside Paris itself. As for the churches, there are many, the three greatest of which are the cathedral of St. Etienne, St. Saturnin, and the Eglise des Jacobins; in all is to be observed the uni- versal application or adoption of des mate- riaux du pays — bricks. In the cathedral tower, and in that of the figlise des Jacobins, a Gothic scheme is worked out in these warm-toned bricks, and forms, in contrast with the usual execution of a Gothic design, a most extraordinary effect; not wholly to the detriment of the style, but certainly not In keeping with the original 441 The Cathedrals of Southern France conception and development of " pointed " architecture. In 1863 Viollet-le-Duc thoroughly and creditably restored St. Saturnin at great ex- pense, and by this treatment it remains to-day as the most perfectly preserved work extant of its class. It is vast, curious, and in a rather mixed style, though thoroughly Latin in motive. It is on the border-line of two styles; of the Italian, with respect to the full semicir- cular arches and vaulting of the nave and aisles; the square pillars destitute of all orna- ment, except another column standing out in flat relief — an intimation of the quiet and placid force of their functions. With the transition comes a change in the flowered capitals, from the acanthus to tracery and grotesque animals. There are five domes covering the five aisles, each with a semicircular vault. The walls, with their infrequent windows, are very thick. The delightful belfry — of five octagonal stages — which rises from the crossing of the transepts, presents, from the outside, a fine and imposing arrangement. So, too, the chapelled choir, with its apse of rounded 442 The Cathedrals of Southern France vaults rising in imposing tiers. This fine church is in direct descent from the Roman manner; built and developed as a simple idea, and, like all antique and classical work, — approaching purity, — is a living thing, in spite of the fact that it depicts the sentiment of a dead and gone past. It might not be so successfully duplicated to-day, but, considering that St. Saturnin dates from the eleventh century, its com- mencement was sufficiently in the remote past to allow of its having been promulgated under a direct and vigorous Roman influence. The brick construction of St. Saturnin and of the cathedral is not of that justly admired quality seen in the ancient Convent of the Jacobins, which dates from the thirteenth century. Here is made perhaps the most beautiful use of this style of mediaeval build- ing. It is earlier than the Pont de Montau- ban, the churches at Moissac or Lombez, and even the cathedral at Albi, but much later than the true Romanesque brickwork, which alternated rows of brick with other materials. The builders of Gallo-Romain and Mer- ovingian times favoured this earlier method, but work in this style is seldom met with of a later date than the ninth century. 443 The Cathedrals of Southern France The Eglise of St. Saturnin shows, in parts, brickwork of a century earlier than the Eglise des Jacobins, but, as before said, it is not so beautiful. When the Renaissance came to deal with hrique, it did not do so badly. Certainly the domestic and civil establishments of Touraine in this style — to particularize only one sec- tion — are very beautiful. Why the revival was productive of so much thorough badness when it dealt with stone is one of the things which the expert has not as yet attempted to explain; at least, not convincingly. The contrasting blend of the northern and southern motive in the hybrid cathedral at Toulouse will not remain unnoticed for long after the first sensation of surprise at its curi- ous ground-plan passes off. Here are seen a flamboyant northern choir and aisles in strange juxtaposition with a thirteenth-century single vaulted nave, after the purely indigenous southern manner. This nave nearly equals in immensity those in the cathedrals of Albi and Bordeaux. It has the great span of sixty-two feet, necessi- tating the employment of huge buttresses, which would be remarkable anywhere, in order to take the thrust. The unobstructed 444 The Cathedrals of Southern France flooring of this splendid nave lends an added dignity of vastness. Near the vaulted roof are the only apertures in the walls. Windows, as one knows them elsewhere, are practicaHy absent. Nave of St. Etienne de Toulouse The congregations which assemble in this great aisleless nave present a curiously ani- mated effect by reason of the fact that they scatter themselves about in knots or groups rather than crowding against either the altar- 445 The Cathedrals of Southern France rail or pulpit, occasionally even overflowing into the adjoining choir. The nave is entirely unobstructed by decorations, such as screens, pillars, or tombs. It is a mere shell, sans gal- lery, sans aisles, and sans triforium. The development of the structure from the individual members of nave and choir is readily traced, and though these parts show not the slightest kind of relationship one to the other, it is from these two fragmentary churches that the completed, if imperfect, whole has been made. The west front, to-day more than ever, shows how badly the cathedral has been put together; the uncovered bricks creep out here and there, and buildings to the left, which formerly covered the incongruous joint be- tween the nave and choir, are now razed, making the patchwork even more apparent. The square tower which flanks the portal to the north is not unpleasing, and dates from the fifteenth and sixteenth centuries. The portal is not particularly beautiful, and is bare of decorations of note. It appears to have been remodelled at some past time with a view to conserving the western rose win- dow. There are no transepts or collateral chapels, 446 The Cathedrals of Southern France which tends to make the ground-plan the more unusual and lacking in symmetry. The choir (1275 — 1502) is really very beautiful, taken by itself, far more so than the nave, from which it is extended on a dif- ferent axis. It was restored after a seventeenth-century fire, and is supposed to be less beautiful to-day than formerly. There are seventeen chapels in this choir, with much coloured glass of the fifteenth and seventeenth centuries, all with weird poly- chromatic decorations in decidedly bad taste. Toulouse became a bishopric in the third century, with St. Saturnin as its first bishop. It was raised to the rank of archiepiscopal dignity in 1327, a distinction which it enjoys to-day in company with Narbonne. Six former suffragan bishoprics, Pamiers, Rieux, Mirepoix, Saint-Papoul, Lombez, and La- vaur were suppressed at the Revolution. In the magnificent Musee of the city is un petit monument, without an inscription, but bearing a cross gammee or Swastika, and a palm-leaf, symbols of the divine Apollo and Artemis. It seems curious that this tiny rec- ord in stone should have been found, as it was, in the mountains which separate the 447 The Cathedrals of Southern France sources of the Garonne and the Adour, as the Swastika is a symbol supposedly indigenous to the fire and sun-worshippers of the East, where it figures in a great number of their monuments. It is called, by the local antiquary, a Pyre- nean altar. If this is so, it is of course of pagan origin, and is in no way connected with Christian art. 448 w 1 Co < ^'^ h N s^ c/^ < ■^ o ^ XIV ST. NAZAIRE DE CARCASSONNE With old and new Carcassonne one finds a contrast, if not as great as between the hyphenated Hungarian cities of Buda and Pest, at least as marked in detail. In most European settlements, where an old municipality adjoins a modern one, walls have been razed, moats filled, and much gen- eral modernization has been undertaken. With Carcassonne this is not so; its wind- ing ways, its culs-de-sacs, narrow alleys, and towering walls remain much as they always were, and the great stronghold of the Middle Ages, vulnerable — as history tells — from but one point, remains to-day, after its ad- mirable restoration of roof and capstone, much as it was in the days when modern Car- cassonne was but a scattering hamlet beneath the walls of the older fortification. One thing will always be recalled, and that 449 The Cathedrals of Southern France is that a part of the enceinte of the ancient Cite was a construction of the sixth century — the days of the Visigoths — and that its subsequent development into an almost in- vulnerable fortress was but the endorsement which later centuries gave to the work and forethought of a people who were supposed to possess no arts, and very little of ingenuity. This should suggest a line of investigation to one so minded; while for us, who regard the ancient walls merely as a boundary which sheltered and protected a charming Gothic church, it is perhaps sufficient to recall the inconsistency in many previous estimates as to what great abilities, if any, the Goths pos- sessed. If it is true that the Visigoths merely fol- lowed Roman tradition, so much the more creditable to them that they preserved these ancient walls to the glory of those who came after, and but added to the general plan. Old and new Carcassonne, as one might call them, in the sixteenth and seventeenth centuries had each their own magistrates and a separate government. The Cite, elevated above the ville, held also the garrison, the presidial seat, and the first seneschalship of the province. 450 The Cathedrals of Southern France The bishopric of the Cite is not so ancient as the ville itself; for the first prelate there whose name is found upon record was one Sergius, " who subscribed to a ' Council ' held at Narbonne in 590." St. Hilaire, who founded the abbey at Poi- The Old Cite de Carcassonne before and after the Restoration tiers, came perhaps before Sergius, but his tenure is obscure as to Its exact date. The cathedral of St. Michel, in the lower town, has been, since 1803, the seat of the bishop's throne. It Is a work unique, perhaps, in its design, 45 T The Cathedrals of Southern France but entirely unfeeling and preposterous in its overelaborate decorations. It has a long par- allelogram-like nave, '^ entierement peinte," as the custodian refers to it. It has, to be sure, a grand vault, strong and broad, but there are no aisles, and the chapels which flank this gross nave are mere painted boxes. Episcopal dignity demanded that some show of importance should be given to the cathedral, and it was placed in the hands of Viollet-le-Duc in 1849 for restoration. What- ever his labours may have been, he doubtless was not much in sympathy with this clumsy fabric, and merely " restored " it in some measure approaching its twelfth-century form. It is with St. Nazaire de Carcassonne, the tiny eglise of the old Cite and the ci-devant cathedral that we have to do. This most fascinating church, fascinating for itself none the less than its unique envi- ronment, is, in spite of the extended centuries of its growth, almost the equal in the purity of its Gothic to that of St. Urbain at Troyes. And this, in spite of evidences of rather bad joining up of certain warring constructive elements. The structure readily composes itself into 452 The Cathedrals of Southern France two distinct parts: that of the Romanesque (round arch and barrel vault) era and that of the Gothic of the thirteenth and fourteenth centuries. No consideration of St. Nazaire de Car- cassonne is possible without first coming to a realization of the construction and the func- tions of the splendidly picturesque and effect- ive ramparts which enclosed the ancient Cite, its cathedral, chateaux, and various civil and domestic establishments. In brief, its history and chronology com- mences with the Visigoth foundation, extend- ing from the fifth to the eighth centuries to the time (1356) when it successfully resisted the Black Prince in his bloody ravage, by sword and fire, of all of Languedoc. Legend has it that in Charlemagne's time, after that monarch had besieged the town for many years and was about to raise the siege in despair, a certain tower, — which flanked the chateau, — defended only by a Gauloise known as Carcaso, suddenly gave way and opened a breach by which the army was at last able to enter. A rude figure perpetuating the fame of this Madame Carcaso — a veritable Amazon, it 453 The Cathedrals of Southern France would seem — is still seen, rudely carved, over the Porte Narbonnaise. It is the inner line of ramparts which dates from the earliest period. The chateau, the postern-gate, and most of the interior con- struction are of the eleventh and twelfth cen- ? T Two Capitals of Pillars in St. Nazaire de Carcassonne ; and the Rtide Stone Carving of Carcas turies, while the outer fortification is of the time of St. Louis, the latter part of the thir- teenth century. The Saracens successfully attacked and oc- cupied the city from 713 to 759, but were routed by Pepin-le-Bref. In 1090 was first founded the strong vicomtale dynasty of the 454 The Cathedrals of Southern France Trencavels. In 1210 the Crusaders, under Simon de Montfort and the implacable Abbot of Citeaux, laid siege to the Cite, an act which resulted in the final massacre, fifty of the be- sieged — who surrendered — being hanged, and four hundred burned alive. In addition to the walls and ramparts were fifty circular protecting towers. The extreme length of the inner enclosure is perhaps three- quarters of a mile, and of the outer nearly a full mile. It is impossible to describe the magnitude and splendour of these city walls, which, up to the time of their restoration by Viollet- le-Duc, had scarcely crumbled at all. The upper ranges of the towers, roof-tops, ram- parts, etc., had become broken, of course, and the sky-line had become serrated, but the walls, their foundations, and their outline plan had endured as few works of such mag- nitude have before or since. Carcassonne, its history, its romance, and its picturesque qualities, has ever appealed to the poet, painter, and historian alike. Something of the halo of sentiment which surrounds this marvellous fortified city will be gathered from the following praiseful ad- miration by Gustave Nadaud: 455 The Cathedrals of Southern France CARCASSONNE " * I'm growing old, I've sixty years; I've laboured all my life in vain; In all that time of hopes and fears I've failed my dearest wish to gain; I see full well that here below Bliss unalloyed there is for none. My prayer will ne'er fulfilment know; I never have seen Carcassonne, I never have seen Carcassonne! " * You see the city from the hill — It lies beyond the mountains blue, And yet to reach it one must still Five long and weary leagues pursue, And, to return, as many more! Ah! had the vintage plenteous grown, The grape withheld its yellow store! I shall not look on Carcassonne, I shall not look on Carcassonne! '* * They tell me every day is there Not more nor less than Sunday gay; In shining robes and garments fair The people walk upon their way. One gazes there on castle walls As grand as those of Babylon, A bishop and two generals! I do not know fair Carcassonne, I do not know fair Carcassonne! The Cathedrals of Southern France *' * The cure's right; he says that we Are ever wayward, weak, and blind; He tells us in his homily Arhbition ruins all mankind ; Yet could I there two days have spent, While the autumn sweetly shone. Ah, me! I might have died content When I had looked on Carcassonne, When I had looked on Carcassonne! (( ( Thy pardon. Father, I beseech. In this my prayer if I offend ; One something sees beyond his reach From childhood to his journey's end. My wife, our little boy, Aignan, Have travelled even to Narbonne, My grandchild has seen Perpignan, And I have not seen Carcassonne, And I have not seen Carcassonne ! ' **So crooned one day, close by Limoux, A peasant double bent with age, * Rise up, my friend,' said I, * with you I'll go upon this pilgrimage.' We left next morning his abode, But (Heaven forgive him) half way on The old man • died upon the road ; He never gazed on Carcassonne, Each mortal has his Carcassonne!'* St. Nazaire is possessed of a Romanesque nave which dates from 1096, but the choir 457 The Cathedrals of Southern France and transepts are of the most acceptable Gothic forms of the thirteenth and fourteenth centuries. This choir is readily accounted as a master- work of elegance, is purely northern in style and treatment, and possesses also those other attributes of the perfectionnement of the style — fine glass, delicate fenestration, and super- lative grace throughout, as contrasted with the heavier and more cold details of the Ro- manesque variety. The nave was dedicated by Urbain II., and was doubtless intended for defence, if its square, firmly bedded towers and piers are suggestive of that quality. The principal porte — it does not rise to the grandeur of a portail — is a thorough Roman example. The interior, with its great piers, its rough barrel-vault, and its general lack of grace and elegance, bespeaks its functions as a strong- hold. A Romanesque tower in its original form stands on the side which adjoins the ramparts. With the choir comes the contrast, both inside and out. The apside, the transepts, the eleven gor- geous windows, and the extreme grace of its piers and vaulting, all combine in the fullest 458 The Cathedrals of Southern France expression of the architectural art of its time. This admirable Gothic addition was the work of Bishop Pierre de Rochefort in 1321. The transept chapels and the apse are framed with light soaring arches, and the great east- erly windows are set with brilliant glass. In a side chapel is the former tomb of Simon de Montfort, whose remains were buried here in 12 18. At a subsequent time they were removed to Montfort TAmaury in the Isle of France. Another remarkable tomb is that of Bishop Radulph (1266). It shows an unusually elaborate sculptured treat- ment for its time, and is most ornate and beau- tiful. In the choir are many fine fourteenth-cen- tury statues; a tomb with a sleeping figure, thought to be that of Bishop du Puy of Car- cassonne; statues of the Virgin, St. Nazaire, and the twelve apostles; an elaborate high- altar; and a pair of magnificent candlesticks, bearing the arms of Bishop Martin (1522). An eleventh-century crypt lies beneath the choir. The sacristy, as it is to-day, was for- merly a thirteenth-century chapel. The organ is commonly supposed to be the most ancient in France. It is not of ranking 459 The Cathedrals of Southern France greatness as a work of art, but it is interesting to know that it has some redeeming quality, aside from its conventional ugliness. The tour carree, which is set in the inner rampart just in front of the cathedral, is known as the Bishop's Tower. It is a tower of many stages, and contains some beautifully vaulted chambers. The celebrated tour des Visigoths, which is near by, is the most ancient of all. The entrance to the old Cite is via the Pont Vieux, which is itself a mediaeval twelfth or thirteenth century architectural monument of rare beauty. In the middle of this old bridge is a very ancient iron cross. 460 XV CATHEDRALE DE PAMIERS " UnE petite ville stir la rive droite de VAriege, siege d'un eve chef These few words, with perhaps seven accompanying lines, usually dismiss this charming little Pyrenean city, so far as information for the traveller is concerned. It is, however, one of these neglected tour- ist points which the traveller has ever passed by in his wild rush " across country." To be sure, it is considerably off the beaten track; so too are its neighbouring ancient 461 The Cathedrals of Southern France bishoprics of Mirepoix and St. Bertrand de Comminges, and for that reason they are com- paratively unspoiled. The great and charming attraction of Pamiers is its view of the serrated ridge of the Pyrenees from the promenade de Cas- tellat, just beyond the cathedral. For the rest, the cathedral, the fortified £glise de Notre Dame dii Camp, the ancient ]£giise de Cordeliers, the many old houses, and the general sub-tropical aspect of the country round about, all combine to present attractions far more edifying and gratifying than the allurements of certain of the Pyre- nean '' watering-places." The cathedral itself is not a great work; its charm, as before said, lies in its environ- ments. Its chief feature — and one of real distinc- tion — is its octagonal clocher, in brick, dating from the fourteenth century. It is a singularly graceful tower, built after the local manner of the Midi of France, of which St. Saturnin and the Eglise des Jacobins at Toulouse are the most notable. Its base is a broad square machicolated foundation with no openings, and suggests, as truly as does the tower at Albi, a churchly 462 The Cathedrals of Sottthern France stronghold unlikely to give way before any ordinary attack. In the main, the church is a rebuilt, rather than a restored edifice. The nave, and indeed nearly all of the structure, except its dominant octagonal tower, is of the seventeenth century. This work was undertaken and consummated by Mansart after the manner of that period, and is far more acceptable than the effect pro- duced by most '' restored churches." The eleventh-century abbey of St. Antoine formed originally the seat of the throne of the first bishop of Pamiers, Bernard Saisset, in 1297. 463 XVI ST. BERTRAND DE COMMINGES To - DAY St. Bertrand de Comminges, the ancient Lugdunum Convenarum (through which one traces its communistic foundation), is possessed of something less than six hundred inhabitants. Remains of the Roman ramparts are yet to be seen, and its ci-devant cathedral, — of the twelfth to fourteenth centuries — suppressed in 1790, still dominates the town from its heights. Arthur Young, writing in the eighteenth century, describes its situation thus: ^' The mountains rise proudly around and give their rough frame to this exquisite little picture." The diocese grew out of the monkish com- munity which had settled here in the sixth century, when the prelate Suavis became its first bishop. To-day the nearest bishop's seat is at Tarbes, in the archbishopric of Auch. As to architectural style, the cathedral pre- sents what might ordinarily be called an un- 464 The Cathedrals of Southern France desirable mixture, though it is in no way uninteresting or even unpleasing. The west front has a curious Romanesque doorway, and there is a massiveness of wall and buttress which the rather diminutive pro- portions of the general plan of the church make notably apparent. Otherwise the effect, from a not too near view-point, is one of a solidity and firmness of building only to be seen in some of the neiorhbourinor fortress- churches. A tower of rather heavy proportions is to- day capped with a pyramidal slate or tim- bered apex after the manner of the western towers at Rodez. From a distance, this fea- ture has the suggestion of the development of what may perhaps be a local type of clocher. Closer inspections, when its tempo- rary nature is made plain, disabuses this idea entirely. It is inside the walls that the great charm of this church lies. It is elaborately planned, profuse in ornament, — without be- ing in any degree redundant, — and has a warmth and brilliancy which in most Roman- esque interiors is wanting. This interior is representative, on a small scale, of that class of structure whose dis- tinctive feature is what the French architect 465 The Cathedrals of Southern France calls a nef unique, meaning, in this instance, one of those great single-chambered churches without aisles, such as are found at Perpignan, new Carcassonne, Lodeve, and in a still more amplified form at Albi. There are of course no aisles; and for a length of something over two hundred feet, and a breadth of fifty-five, the bold vault — in the early pointed style — roofs one of the most attractive and pleasing church interiors it is possible to conceive. Of the artistic accessories it is impossible to be too enthusiastic. There are sixty-six choir-stalls, most elaborately carved in wood — perhaps mahogany — of a deep rich col- ouring seldom seen. Numerous other sculp- tured details in wood and stone set off with unusual effect the great and well-nigh win- dowless side walls. The organ buffet of Renaissance workman- ship — as will naturally be inferred — is a remarkably elaborate work, much more to be admired than many of its contemporaries. Among the other decorative features are an elaborately conceived " tree of Jesse," an un- usually massive rood-loft or ]uhe, and a high- altar of much magnificence. The choir is surrounded by eleven chapels, 466 The Cathedrals of Southern France showing in some instances the pure pointed style, and in the latter ones that of the Renais- sance. A fourteenth-century funeral monument of Bishop Hugh de Castillione is an elaborate work in white marble; while a series of paintings on the choir walls, — illustrating the miracles of St. Bertrand, — though of a certain crudity, tend to heighten the interest without giving that effect of the overelabora- tion of irrelative details not unfrequently seen in some larger churches. At St. Bertrand de Comminges and the cathedrals at Aries, Cavaillon, and Aix-en- Provence, Elne-en-Roussillon, and Le Puy- en-Velay are conserved — in a more or less perfect state of preservation — a series of de- lightful twelfth-century cloisters. These churches possess this feature in common with the purely monastic houses, whose builders so frequently lavished much thought and care on these enclosed and cloistered courtyards. As a mere detail — or accessory, if you will, — an ample cloister is expressive of much that is wanting in a great church which lacks this contributory feature. Frequently this part was the first to suc- cumb to the destroying influence of time, and 467 The Cathedrals of Southern France leave a void for which no amount of latter- day improvement could make up. Even here, while the cloister ranks as one of the most beautiful yet to be seen, it is part in a ruinous condition. 468 XVII ST. JEAN - BAPTISTE D'AIRE This city of the Landes, that wild, bleak region of sand-dunes and shepherds, abuts upon the more prosperous and fertile terri- tory of the valley of the Adour. By reason of this juxtaposition, its daily life presents a series of contrasting elements as quaint and as interesting as those of the bordering Franco-Spanish cities of Perpignan and Bayonne. From travellers in general, and lovers of architecture in particular, it has ever received 469 The Cathedrals of Southern France but scant consideration, though it is by no means the desert place that early Victorian writers would have us believe. It is in reality a well-built mediaeval town, with no very lurid events of the past to its discredit, and, truthfully, with no very marvellous attributes beyond a certain subtle charm and quaintness which is perhaps the more interesting because of its unobtrusiveness. It has been a centre of Christian activity since the days of the fifth century, when its first bishop, Marcel, was appointed to the diocese by the mother-see of Auch. The cathedral of St. Jean-Baptiste belongs to the minor class of present-day cathedrals, and is of a decidedly conglomerate architec- tural style, with no imposing dimensions, and no really vivid or lively details of ornamenta- tion. It was begun in the thirteenth century, and the work of rebuilding and restoration has been carried on well up to the present time. 470 i.. ^ffi ''L iff '■■■ fi/f I ii^Srl'"" > v>^ ^ f ^ C/D en XVIII STS. BENOIT ET VINCENT DE CASTRES Castres will ever rank in the mind of the wayfarer along the byways of the south of France as a marvellous bit of stage scenery, rather than as a collection of profound, or even highly interesting, architectural types. It is one of those spots into which a trav- eller drops quite unconsciously en route to somewhere else; and lingers a much longer time than circumstances would seem to justify. This is perhaps inexplicable, but it is a fact, which is only in a measure accounted for by reason of the "local colour" — whatever that vague term of the popular novelist may mean — and customs which weave an entan- glement about one which is difficult to resist. The river Agout is as weird a stream as its name implies, and divides this haphazard lit- tle city of the Tarn into two distinct, and quite characteristically different, parts. 4/1 The Cathedrals of Southern France Intercourse between Castres and its fau- bourg, Villegondom, is carried on by two stone bridges; and from either bank of the river, or from either of the bridges, there is always in a view a ravishingly picturesque ensemble of decrepit walls and billowy roof- tops, that will make the artist of brush and pencil angry with fleeting time. The former cathedral is not an entrancingly beautiful structure; indeed, it is not after the accepted " good form " of any distinct archi- tectural style. It is a poor battered thing which has suffered hardly in the past; notably at the hands of the Huguenots in 1567. As it stands to-day, it is practically a seventeenth- century construction, though it is yet unfin- ished and lacks its western fagade. The vaulting of the choir, and the chapels are the only constructive elements which war- rant remark. There are a few paintings in the choir, four rather attractive life-size stat- ues, and a series of severe but elegant choir- stalls. The former eveche is to-day the Hotel de Ville, but was built by Mansart in 1666, and has a fine escalier in sculptured stone. As a centre of Christianity, Castres is very 472 The Cathedrals of Southern France ancient. In 647 there was a Benedictine abbey here. The bishopric, however, did not come into being until 13 17, and was sup- pressed in 1790. 473 XIX NOTRE DAME DE RODEZ The cathedral at Rodez, whose diocese dates from the fifth century and whose first bishop was St. Amand, is, in a way, reminis- cent — in its majesty of outline and dominant situation — of that at Albi. It is not, however, after the same manner, but resembles it more particularly with re- spect to its west fagade, which is unpierced in its lower stages by either doorway or window. Here, too, the entrance is midway in its length, and its front presents that sheer flank of walled barrier which is suggestive of noth- ing but a fortification. This great church — for it is truly great, pure and simple — makes up in width what it lacks in length. Its nave and aisles are just covered by a span of one hundred and twenty feet, — a greater dimension than is possessed 474 N UlKE DAMb de RODEZ . . The Cathedrals of Southern France by Chartres or Rouen, and nearly as great as Paris or Amiens. Altogether Notre Dame de Rodez is a most pleasing church, though conglomerate as to its architecture, and as bad, with respect to the Renaissance gable of its fagade, as any contemporary work in the same style. Rodez lacks, however, the great enfolding tower central of Albi. This mellow and warm-toned cathedral, from its beginnings in the latter years of the thirteenth century to the time when the Re- naissance cast its dastardly spell over the genius who inspired its original plan, was the result of the persevering though intermittent work of three centuries, and even then the two western towers w^ere left incomplete. This perhaps was fortunate; otherwise they might have been topped with such an excres- cence as looms up over the doorless west fagade. The Gascon compares the pyramidal roofs which cap either tower — and with some just- ness, too — to the pyramids of Egypt, and for that reason the towers are, to him, the most wonderful in the universe. Subtle hu- mour this, and the observer will have little difficulty in tracing the analogy. 475 The Cathedrals of Southern France Still, they really are preferable, as a decora- tive feature, to the tomb-like headboard which surmounts the central gable which they flank. The ground-plan is singularly uni- form, with transepts scarcely defined — ex- cept in the interior arrangements — and yet not wholly absent. The elaborate tower, called often and with some justification the hejfroi, which flanks, or rather indicates, the northerly transept, is hardly pure as to its Gothic details, but it is a magnificent work nevertheless. It dates from 1510, is two hundred and sixty-five feet high, and is typical of most of the late pointed work of its era. The final stage is octagonal and is surmounted by a statue of the Virgin surrounded by the Evan- gelists. This statue may or may not be a worthy work of art; it is too elevated, how- ever, for one to decide. The decorations of the west front, except for the tombstone-like Renaissance gable, are mainly of the same period as the north tran- sept tower, and while perhaps ultra-florid, certainly make a fine appearance when viewed across the Flace d'Armes. This west front, moreover, possesses that unusual attribute of a southern church, an 476 The Cathedrals of Southern France elaborate Gothic rose window; and, though it does not equal in size or design such mag- nificent examples as are seen in the north, at Reims, Amiens, or Chartres, is, after all, a notable detail of its kind. The choir, chevet, and apside are of mas- sive building, though not lacking grace, in spite of the absence of the arcs-boutants of the best Gothic. Numerous grotesque gargoyles dot the eaves and gables, though whether of the spout vari- ety or mere symbols of superstition one can hardly tell with accuracy when viewed from the ground level. The north and south portals of the tran- septs are of a florid nature, after the manner of most of the decorations throughout the structure, and are acceptable evidence of the ingenious craft of the stone-carver, if noth- ing more. The workmanship of these details, how- ever, does not rise to the heights achieved by the architect who outlined the plan and foundation upon which they were latterly imposed. They are, too, sadly disfigured, the tympanum in the north portal having been disgracefully ravished. The interior arrangements are doubly im- 477 The Cathedrals of Southern France pressive, not only from the effect of great size, but from the novel colour effect — a sort of dull, glowing pink which seems to pervade the very atmosphere, an effect which con- trasts strangely with the colder atmosphere of the Gothic churches of the north. A curi- ous feature to be noted here is that the sus- taining walls of the vault rest directly on piers sans capitals; as effective, no doubt, as the conventional manner, but in this case hardly as pleasing. Two altars, one at either end of nave and choir, duplicate the arrangement seen at Albi. The organ buffet, too, is of the same mas- siveness and elaborateness, and is consequently an object of supreme pride to the local au- thorities. It seems difficult to make these useful and necessary adjuncts to a church interior of the quality of beauty shared by most other ac- cessories, such as screens, altars, and choir- stalls, which, though often of the contempo- rary Renaissance period, are generally beau- tiful In themselves. The organ-case, however, seems to run either to size, heaviness, or gro- tesqueness, or a com.bination of all. This Is true in this case, where its great size, and 478 The Cathedrals of Southern France plentifully besprinkled rococo ornament, and unpleasantly dull and dingy " pipes " are of no aesthetic value whatever. The organ, moreover, occupies the unusual position — in a French church — of being over the western doorway. The nave is of extreme height, one hundred and ten feet, and is of unusual width, as are also the aisles. The rose window, before remarked, shows well from the inside, though its glass is not notable. A series of badly arched lancets in the choir are ungraceful and not in keeping with the other constructive details. The delicately sculptured and foliaged screen or juhe at the crossing is a late fifteenth-century work. In one of the chapels is now to be seen, in mutilated fragments, the ancient sixteenth- century cloture du chceiir. It was a remark- able and elaborate work of bizarre stone- carving, which to-day has been reconstructed in some measure approaching its former com- pleteness by the use of still other fragments taken from the episcopal palace. The chief feature as to completeness and perfection is the doorway, which bears two lengthy inscrip- tions In Latin. The facing of the cloture 479 The Cathedrals of Southern France throughout is covered with a range of pilas- ters in Arabesque, but the niches between are Choir-stalls, Rodez to-day bare of their statues, if they ever really possessed them. The choir-stalls and bishop's throne in carved wood are excellent, as also an elab- 480 The Cathedrals of Southern France orately carved wooden grille of a mixed Ara- besque and Gothic design. There are four other chapel or alcove screens very nearly as elaborate ; all of w^hich features, taken in conjunction one with the other, form an extensive series of embellish- ments such as is seldom met with. Two fourteenth-century monuments to former prelates are situated in adjoining chapels, and a still more luxurious work of the same period — the tomb of Gilbert de Cantobre — is beneath an extensive altar which has supposedly Byzantine ornament of the tenth century. Rodez was the seat of a bishop (St. Amand) as early as the fifth century. Then, as now, the diocese was a suffragan of Albi, whose first bishop, St. Clair, came to the mother-see in the century previous. 481 XX STE. CECILE D'ALBI The cathedral of Ste. Cecile d'Albi is one of the most interesting, as well as one of the most curious, in all France. It possesses a quality, rare among churches, which gives it at once the aspect of both a church and a fortress. As the representative of a type, it stands at the very head of the splendid fortress- churches of feudal times. The remarkable disposition of its plan is somewhat reflected in the neighbouring cathedral at Rodez and in the church at Esnades, in the Department of the Charente-Inferieure. In the severe and aggressive lines of the easterly, or choir, end, it also resembles the famous church of St. Francis at Assisi, and the ruined church of Sainte Sophie at Fama- gousta in the Island of Cyprus. It has been likened by the imaginative French — and it needs not so very great a 482 s T. CECILE d'ALBI . . The Cathedrals of Southern France stretch of the imagination, either — to an im- mense vessel. Certainly its lines and propor- tions somewhat approach such a form; as much so as those of Notre Dame de Noyon, which Stevenson likened to an old-time craft with a high poop. A less aesthetic compari- son has been made with a locomotive of gigan- tic size, and, truth to tell, it is not unlike that, either, with its advancing tower. The extreme width of the great nave of this church is nearly ninety feet, and its body is constructed, after an unusual manner, of a warm, rosy-coloured brick. In fact the only considerable portions of the structure not so done are the cloture of the choir, the window- mullions, and the flamboyant Gothic porch of the south side. By reason of its uncommon constructive elements, — though by no means is it the sole representative of its kind in the south of France, — Ste. Cecile stands forth as the most considerable edifice of its kind among those which were constructed after this manner of Roman antiquity. Brickwork of this nature, as is well known, is very enduring, and it therefore makes much for the lasting qualities of a structure so built; much more so, in fact, than the crumbling soft 483 The Cathedrals of Southern France stone which is often used, and which crumbles before the march of time like lead in a fur- nace. Ste. Cecile was begun in 1282, on the ruins of the ancient church of St. Croix. It came to its completion during the latter years of the fourteenth century, when it stood much as it does to-day, grim and strong, but very beautiful. The only exterior addition of a later time is the before-remarked florid south porch. This baldaquin is very charmingly worked in a light brown stone, and, while flamboyant to an ultra degree, is more graceful in design and execution than most works of a contem- porary era which are welded to a stone fabric whose constructive and decorative details are of quite a distinctly different species. In other words, it composes and adds a graceful beauty to the brick fabric of this great church ; but likely enough it would offend exceedingly were it brought into juxtaposition with the more slim lines of early Gothic. Its detail here is the very culmination of the height to which Gothic rose before its final debase- ment, and, in its spirited non-contemporane- ous admixture with the firmly planted brick walls which form its background, may be 484 The Cathedrals of Sotithern France reckoned as a baroque in art rather than as a thing outre or misplaced. In further explanation of the peculiar for- tress-like qualities possessed by Ste. Cecile, it may be mentioned here that it was the out- come of a desire for the safety of the church and its adherents which caused it to take this form. It was the direct result of the terrible wars of the Albigenses, and the political and social conditions of the age in which it was built, — the days when the Church was truly militant. Here, too, to a more impressive extent than elsewhere, if we except the papal palace at Avignon, the episcopal residence as well takes on an aspect which is not far different from that possessed by some of the secular chateaux of feudal times. It closely adjoins the cathe- dral, which should perhaps dispute this. In reality, however, it does not, and its walls and foundations look far more worldly than they do devout. As to impressiveness, this strong- hold of a bishop's palace is thoroughly in keeping with the cathedral itself, and the frowning battlement of its veritable donjon and walls and ramparts suggests a deal more than the mere name by which it is known would justify. Such use as it was previously 485 The Cathedrals of Southern France put to was well served, and the history of the troublous times of the mediaeval ages, when the wars of the Protestants, '' the cursed Albi- genses," and the natural political and social dissensions, form a chapter around which one could weave much of the history of this majestic cathedral and its walled and fortified environment. The interior of the cathedral will appeal first of all by its very grand proportions, and next by the curious ill-mannered decorations with which the walls are entirely covered. There is a certain gloom in this interior, in- duced by the fact that the windows are mere elongated slits in the walls. There are no aisles, no triforium, and no clerestory; noth- ing but a vast expanse of wall with bizarre decorations and these unusual window pierc- ings. The arrangement of the openings in the tower are even more remarkable — what there are of them, for in truth it is here that the greatest likeness to a fortification is seen. In the lower stages of the tower there are no openings ^ whatever, while above they are practically nothing but loopholes. The fine choir-screen, in stone, is consid- ered one of the most beautiful and magnifi- cent in France, and to see it is to believe the 486 The Cathedrals of Southern France statement. The entire cloture of the choir is a wonderful piece of stonework, and the hundred and twenty stalls, which are within its walls, form of themselves an excess of elab- oration which perhaps in a more garish light would be oppressive. The wall-paintings or frescoes are deci- dedly not beautiful, being for the most part crudely coloured geometrical designs scat- tered about with no relation one to another. They date from the fifteenth and sixteenth centuries, and are doubtless Italian as to their workmanship, but they betray no great skill on the part of those unknowns who are re- sponsible for them. The pulpit is an unusually ornate work for a French church, but is hardly beautiful as a work of art. No more is the organ-case, which, as if in keeping with the vast interior, spreads itself over a great extent of wall space. Taken all in all, the accessories of the ca- thedral at Albi, none the less than the unique plan and execution thereof, the south porch, the massive tower, the ]uhe and cloture of the choir, the vast unobstructed Interior, and the outre wall decorations, place It as one of the most consistently and thoroughly completed edifices of Its rank In France. Nothing ap- 487 The Cathedrals of Southern France parently is wanting, and though possessed of no great wealth of accessory — if one excepts the choir enclosure alone — it is one of those shrines which, by reason of its very individ- uality, will live long in the memory. It has been said, moreover, to stand alone as to the extensive and complete exemplification of '' Fart decoratif " in France ; that is, as being distinctively French throughout. The evolution of these component elements took but the comparatively small space of time covered by two centuries — from the fourteenth to the sixteenth. The culmination resulted in what is still to be seen in all its pristine glory to-day, for Ste. Cecile has not suffered the depredation of many another shrine. The general plan is distinctly and indige- nously French; French to the very core — born of the soil of the Midi, and bears no re- semblance whatever to any exotic from an- other land. With the decorative elements the case may be somewhat qualified. The baldaquin — like the choir-screen — more than equals in delicacy and grace the portals of such mas- terworks as Notre Dame de Rouen, St. Ma- clou, or even the cathedral at Troyes, though 488 The Cathedrals of Southern France of less magnitude than any of these examples. On the other hand, it was undoubtedly in- spired by northern precept, as also were the ornamental sculptures in wood and stcne which are to be seen in the interior. / Albi was a bishopric as early as the fourth century, with St. Clair as its first bishop. At the time the present cathedral was begun it became an archbishopric, and as such it has endured until to-day, with suffragans at Ro- dez, Cahors, Mende, and Perpignan. 489 XXI ST. PIERRE DE MENDE In the heart of the Gevaudan, Mende is the most picturesque, mountain-locked little city imaginable, with no very remarkable fea- tures surrounding it, nor any very grand arti- ficial ones contained within it. The mountains here, unlike the more fruit- ful plains of the lower Gevaudan, are covered with snow all of the winter. It is said that the inhabitants of the mountainous upper Gevaudan used to " go into Spain every win- ter to get a livelihood." Why, it is difficult to understand. The mountain and valley towns around Mende look no less prosperous than those of Switzerland, though to be sure the inhabitants have never here had, and per- haps never will have, the influx of tourists *^ to live off of," as in the latter region. During an invasion of the Alemanni into Gaul, in the third century, the principal city of Gevaudan was plundered and ruined. The 490 The Cathedrals of Sottthern France bishop, St. Privat, fled into the Cavern of Memate or Mende, whither the Germans fol- lowed and killed him. The holy man was interred in the neigh- bouring village of Mende, and the venera- tion which people had for his memory caused them to develop it into a considerable place Such is the popular legend, at any rate. The city had no bishop of its own, however, until the middle of the tenth century. Pre- viously the bishops were known as Bishops of Gevaudan. At last, however, the prelates fixed their seat at Mende, and ^' great num- bers of people resorted thither by reason of the sepulchre of St. Privat." By virtue of an agreement with Philippe- le-Bel, in 1306, the bishop became Count of Gevaudan. He claimed also the right of administering the laws and the coining of specie. Mende is worth visiting for itself alone and for its cathedral. It is difficult to say which will interest the absolute stranger the more. The spired St. Pierre de Mende is but a fourteenth-century church, with restorations of the seventeenth, but there is a certain grim- ness and primitiveness about its fabric which 491 The Cathedrals of Southern France would otherwise seem to place it as of a much earlier date. The seventeenth-century restorations amounted practically to a reconstruction, as the Calvinists had partly destroyed the fabric. The two fine towers of the century before were left standing, but without their spires. The city itself lies at a height of over seven hundred kilometres, and the pic rises another three hundred kilometres above. The surrounding ^' green basin of hillsides " en- closes the city in a circular depression, which, with its cathedral as the hub, radiates in long, straight roadways to the bases of these ver- dure-clad hills. It is not possible to have a general view of the cathedral without its imposing back- ground of mountain or hilltops, and for this reason, while the entire city may appear dwarfed, and its cathedral likewise dimin- ished in size, they both show in reality the strong contrasting effect of nature and art. The cathedral towers, built by Bishop de la Rovere, are of sturdy though not great pro- portions, and the half-suggested spires rise skyward in as piercing a manner as if they were continued another hundred feet. As a matter of fact one rises to a height of 492 The Cathedrals of Southern France two hundred and three feet, and the other to two hundred and seventy-six feet, so at least, they are not diminutive. The taller of these pleasing towers is really a remarkable work. The general plan of the cathedral is the conventional Gothic conception, which was not changed in the seventeenth-century recon- struction. The nave is flanked with the usual aisles, which in turn are abutted with ten chapels on either side. Just within the left portal is preserved the old bourdon called la Non-Pareille, 3. curi- osity which seems in questionable taste for inclusion within a cathedral. The rose window of the portal shows In the interior with considerable effect, though it Is of not great elegance or magnificence of itself. In the Chapelle des Catechismes, immedi- ately beneath the tower, Is an unusual " As- sumption." As a work of art its rank is not high, and Its artist is unknown, but In Its con- ception it is unique and wonderful. There are some excellent wood-carvings In the Chapelle du Baptistere, a description which applies as well to the stalls of the choir. Around the sanctuary hang seven tapes- 493 The Cathedrals of Southern France tries, ancient, it is said, but of no great beauty in themselves. In a chapel on the north side of the choir is a ^' miraculous statue " of la Vierge Noir. The organ buffet dates from 1640, and is of the ridiculous overpowering bulk of most works of its class. The bishopric, founded by St. Severein in the third century at Civitas Gabalorum, was reestablished at Mende in the year 1000. The Ermitage de St. Privat, the holy shrine of the former habitation of the holy man whose name it bears, is situated a few kilo- metres away on the side of Mont Mimat. It is a favourite place of pilgrimage, and from the platform of the chapel is to be had a fine view of the city and its cathedral. 494 XXII OTHER OLD - TIME CATHEDRALS IN AND ABOUT THE BASIN OF THE GARONNE Dax At Dax, an ancient thermal station of the Romans, is a small cathedral, mainly modern, with a portal of the thirteenth century. It was reconstructed from these thirteenth- century remains in the seventeenth century, and exhibits no marks of beauty which would have established its ranking greatness even at that time. Dax was a bishopric in the province of Auch in the third century, but the see was suppressed in 1802. Eauze Eauze was an archbishopric In the third century, when St. Paterne was its first dig- 495 The Cathedrals of Southern France nitary. Subsequently — in the following cen- tury — the archbishopric was transferred to Auch. As Elusa it was an important place in the time of Caesar, but was completely destroyed in the early part of the tenth century. Eauze, therefore, has no church edifice which ever ranked as a cathedral, but there is a fine Gothic church of the late fifteenth century which is, in every way, an architectural mon- ument worthy of remark. Lombez The bishopric of Lombez, in the ancient ecclesiastical province of Toulouse, endured from 1328 (a tenth-century Benedictine abbey foundation). Its first bishop was one Roger de Com- minges, a monk who came from the monastic community of St. Bertrand de Comminges. The see was suppressed in 1790. St. Papoul St. Papoul was a bishopric from 13 17 until 1790. Its cathedral is in many respects 496 The Cathedrals of Southern France a really fine work. It was an ancient abbatial church in the Romanesque style, and has an attractive cloister built after the same manner. Rieux is perhaps the tiniest ville of France which has ever possessed episcopal dignity. It is situated on a mere rivulet — a branch of the Arize, which itself is not much more, but which in turn goes to swell the flood of La Garonne. Its one-time cathedral is per- haps not remarkable in any way, though it has a fine fifteenth-century tower in brique. The bishopric was founded in 1370 under Guillaume de Brutia, and was suppressed in 1790. Lavaur Lavaur was a bishopric, in the ecclesias- tical province of Toulouse, from 13 17 to 1790. Its cathedral of brick is of the fourteenth century, with a clocher dating from 1515, and a smaller tower, embracing a jacquemart, of the sixteenth century. In the interior is a fine sixteenth-century 497 The Cathedrals of Southern France painting, but there are no other artistic treas- ures or details of note. Oloron Oloron was a bishopric under St. Gratus in the sixth century; it ceased its functions as the head of a diocese at the suppression of 1790. The former cathedral of Ste. Marie is a fine Romanic-Ogivale edifice of the eleventh century, though its constructive era may be said to extend well toward the fifteenth be- fore it reached completion. There is a re- markably beautiful Romanesque sculptured portal. The nave is doubled, as to its aisles, and is one hundred and fifty feet or more in length and one hundred and six wide, an astonishing breadth when one comes to think of it, and a dimension which is not equalled by any minor cathedral. There are no other notable features beyond the general attractiveness of its charming environment. The ancient eveche has a fine Romanesque tower, and the cathedral itself is reckoned, by a paternal government, as a '' monument historique/' and as such is cared for at pub- lic expense. 498 The Cathedrals of Southern France Vabres Vabres was a bishopric which came into being as an aftergrowth of a Benedictine foundation of the ninth century, though its episcopal functions only began in 13 18, and ceased with the Revolutionary suppression. It was a suffragan in the archiepiscopal dio- cese of Albi. Its former cathedral, while little to be remarked to-day as a really grand church edifice, was by no means an unworthy fane. It dates from the fourteenth century, and in part is thoroughly representative of the Gothic of that era. It was rebuilt in the eighteenth century, and a fine clocher added. St. Lizier or Couserans The present-day St. Lizier — a tiny Pyre- nean city — was the former Gallo-Romain city of Couserans. It retained this name when it was first made a bishopric by St. Valere in the fifth century. The see was suppressed in 1790. The Eglise de St. Lizier, of the twelfth and thirteenth centuries, consists of a choir and a nave, but no aisles. It shows some traces 499 The Cathedrals of Southern France of fine Roman sculpture, and a mere sugges- tion of a cloister. The former bishop's palace dates only from the seventeenth century. Sarlat A Benedictine abbey was founded here in the eighth century, and from this grew up the bishopric which took form in 13 17 under Raimond de Roquecarne, which in due course was finally abolished and the town stripped of its episcopal rank. The former cathedral dates from the elev- enth and twelfth centuries, and in part from the fifteenth. Connected therewith is a sepul- chral chapel, called the tour des Maures. It is of two etages, and dates from the twelfth century. St. Pons de Tomiers St. Pons is the seat of an ancient bishopric now suppressed. It is a charming village — it can hardly be named more ambitiously — situated at the source of the river Jaur, which rises in the Montagnes Noir in Lower Lan- guedoc. 500 The Cathedrals of Southern France Its former cathedral is not of great interest as an architectural type, though it dates from the twelfth century. The fagade is of the eighteenth century, but one of its side chapels dates from the four- teenth. St, Maurice de Mirepoix Mirepoix is a charming little city of the slopes of the Pyrenees. Its ancient cathedral of St. Maurice dates from the fifteenth and sixteenth centuries, and has no very splendid features or appointments, — not even of the Renaissance order, — as might be expected from its magnitude. Its sole possession of note is the clocher, which rises to an approximate height of two hundred feet. The bishopric was founded in 13 18 by Rai- mond Athone, but was suppressed in 1790. THE END. 501 Appendices Sketch map showing the usual geographical divisions of France. /., north ; //., northwest ; III., east ; IV., southwest : V., southeast: also the present departments into which the government is divided, with their names ; and the mediceval provinces which were gradually absorbed into the kiftgdom of France. There is in general one bishopric to a department. The subject-matter of this book treats of all of southtvestern and southeastern France ; with, in addition, the departments of Saont-et- Loire, fura, Rhdne, Loire, Ain, and Allier. II A Historical Table of the Dioceses of the South of France up to the beginning of the nineteenth century. Province d'Aix Name Diocese founded First bishop Date of suppression Aix ' Nice, Avignon, AJaccio, attd Digne 'we7'e allied therewith in 1802, and Marseilles and Alger in 1822. (Archbishopric) First century (?) St. Maxim (?) Antibes Transferred to Grasse Apt First century (?) St. Auspice 1790 Grasse (Jurisdiction over An- tibes.) Gap Fifth century St. Demetrius Riez Fifth century St. Prosper 1790 Frejus Fourth century Acceptus Sisteron Fifth century Chrysaphius Province d' Albi Albi Bishopric (Archbishopric) Castres Mende Fourth century 1317 (?) 647 as a Benedic- tine Abbey. 1317 as a Bish- opric Third century at Civitas Gabalo- rum. Reestab- lished here in the year 1000 St. Clair Anthime Robert, the first 1790 Abbot St. S eve rein and Genialis Appendices Name Diocese founded Cahors Rodez Arisitum Vabres Fourth century Fifth century Sixth century de- tached from the diocese of Rodez Benedictine Abbey, 862. Bishopric, 131 7 First bishop St. Genulphe St. Amand Deothaire Date of suppression Rejoined to Rodez 670 1790 Province d' Aries Aries (Archbishopric) Marseilles First century First century St. Trophime St. Lazare 1790 St. Paul-Trois Chateaux, r Tricastin Second century St. Restuit 1790 Toulon Fifth century Honore 1790 Orange Fifth century St. Luce 1790 Province d^Auch Eauze Third century St. Paterne 720 (Archbishopric) Auch Fourth century Citerius (Bishopric then Archbishopric) Dax Third century St. Vincent 1802 Lectoure Sixth century Heuterius 1790 Comminges Sixth century Suavis 1790 Conserans Fifth century St. Valere 1790 Aire Fifth century Marcel Bazas Sixth century Sextilius (?) Tarbes Sixth century St. Justin Oloron Sixth century Gratus 1790 Lescar Fifth century St. Julien 1790 Bayonne Ninth century 505 Arsias Rocha Appendices Province d' Avignon Name Diocese founded Avignon (Bishopric, be- coming A r c h- bishopric in fif- teenth century) Carpentras Vaison Cavaillon Fourth century Third century Fourth century Fifth century Province de Bordeaux Bordeaux (Bishopric) (Archbishopric) Agen Condom (Ancient abbey — foundation date unknown) (Bishopric) Angouleme Saintes Poitiers Maillezais (afterward at La Rochelle) Lu9on (Seventh-c e n- tury abbey) Perigueux Sarlat (Eighth-century Benedictine abbey) Third century Fourth century Fourth century Fourteenth century Third century Third century Third century Fourteenth century Second century 1317 Province de Bo urges Third century Third century Bourges (Archbishopric) Clermont-Ferrand First bishop St. Ruf Date of suppression St. Valentin 1790 St. Aubin 1790 St. Genialis 1790 Oriental St. Pherade Raimond de Galard St. Ansome St. Eutrope St. Nectaire Geoff roy I. Pierre de La Veyrie St. Front Raimond de Roquecorne 1793 St. Ursin St. Austremoine 506 Appendices Name St. Flour (Ancient priory) Limoges Tulle (Seventh- c en- t u r y Benedic- tine abbey) Le Puy Diocese founded I318 Third century 1317 Third century Province d^Embrun Embrun (Archbishopric) Fourth century Digne Fourth century Antibes Fourth century (afterward at Grasse) Grasse Vence Glandeve Senez Nice (formerly at Cemenelium) Fourth century Fifth century Fifth century Fourth century Province de Lyon First bishop Raimond de Vehens St. Martial A r n a u d de Saint-Astier St. Georges Date of suppression St. Marcellin 1793 St. Domnin St. Armentaire Raimond de 1790 Villeneuve (1245) Eusebe 1790 Fraterne 1790 Ursus 1790 Lyon (Archbishopric) Autun Macon Chalon-sur-Saone Langres Dijon (Fo u r t h-cen- tury abbey) Saint Claude (F if t h-century abbey) The Archbishop of Lyon was Primate of Gaul. Second century Third century Sixth century Fifth century Third century Bishopric in 1731 Bishopric in 1742 St. Pothin St. Amateur Placide Paul St. Just Jean Bonhier 1790 1790 Joseph Madet de Appendices Province de Narbonne Name D Hocese /ounded First bishop Date 0/ suppression Narbonne Third century St. Paul 1802 (Archbishopric) Saint- Pons-de- 1318 Pierre Roger 1790 Tomieres (Tenth- , century abbey) Met 1318 Barthelmy 1790 (Ninth-century abbey) Beziers Fourth century St. Aphrodise 1702 Nimes Fourth century St. Felix Alais 1694 Chevalier de Saulx 1790 Lodeve Fourth century (?) St. Flour 1790 Uzes Fifth century Constance 1790 Agde Fifth century St. Venuste 1790 Maguelonne Sixth century Beotius (afterward a t Montpellier) Carcassonne Sixth century St. Hilaire Elne Sixth century Domnus (afterward at Perpignan) Province de Tarentaise ' Tarentaise Fifth century St. Jacques (Archbishopric) Sion Fourth century St. Theodule Aoste Fourth century St. Eustache Chambery 1780 Michel Conseil Province de Toulouse Toulouse (Bishopric) Third century St. Saturnin (Archbishopric) 1327 Pamiers 1297 Bernard Saisset (Eleventh-cen- tury abbey) 508 Appendices Name Diocese fonnded Rieux 1317 Montauban 13^7 (Ancient abbey) Mirepoix 1318 Saint-Papoul 1317 Lombes 1328 (Tenth-century abbey) Lavaur 13^7 First bishop ■0«'^' °f suppression Guillaume de Brutia Bertrand du Puy R ai m o n d i79° Athone Bernard de la 1790 Tour Roger de Com- 1790 minges Roger d'Arma- 1790 gnac Province de Vienne Vienne Second century (Archbishopric) Grenoble Geneve (Switz.) Annency Valence Die Viviers St. Jean de Mau- rienne Third century Fourth century 1822 Fourth century Third century Fifth century Fifth century St. Crescent Domninus Diogene Claude de Thi- oUaz Emelien Saint Mars Saint Janvier Lucien 1790 1801 1790 509 Ill The Classification of Architectural Styles in France according to De Caumonfs ^^ Abe- cedaire d' Architecture Religieuse/' Architecture Romaine Architecture Ogivale Primordiale Secondaire Tertiaire or transition Primitive Secondaire Tertiaire From the Vth to the Xth cen- turies. From the end of the Xth century to the beginning of the Xllth Xllth century Xlllth century XI Vth century XVth and the first part of the XVIth century lO IV A Chronology of Architectural Styles in France Following more or less upon the lines of De Cau- mont's territorial and chronological divisions of archi- tectural style in France, the various species and periods are thus further described and defined : The Merovingian period, commencing about 480 ; Carlovingian, 751 ; Romanesque or Capetian period, 987; Transitional, iioo (extending in the south of France and on the Rhine till 1300); early French Gothic or Pointed {Gothiqiie a lancettes)^ mid-twelfth to mid-thirteenth centuries ; decorated French Gothic {^Gothique rayonnani)^ from the mid-thirteenth to mid- fifteenth centuries, and even in some districts as late as the last decade of the fifteenth century ; Flamboyant {Gothique flamboyant)^ early fifteenth to early sixteenth; Renaissance, dating at least from 1495, which gave rise subsequently to the style Louis XIL and style Fran- cois I. With the reign of Henri II., the change to the Italian style was complete, and its place, such as it was, definitely assured. French writers, it may be observed, at least those of a former generation and be- Appendices fore, often carry the reference to the style de la Re- naissance to a much later period, even including the neo-classical atrocities of the seventeenth and eighteenth centuries. Bizarre or baroque details, or the style perruque^ had little place on French soil, and the later exaggerations of the rococo^ the styles Pompadour and Dubarri^ had little if anything to do with church-building, and are relevant merely insomuch as they indicate the manner- isms of a period when great churches, if they were built at all, were constructed with somewhat of a leaning toward their baseness, if not actually favouring their eccentricities. SI2 V nm ^ Jf^o-^asifica. 'JXCe/rt:. l^mBtufd. Crtuiijorm "XLCeniunf T^ *^ ^ r\- j 2^e ^matesga^ t^ Soui/fem JffaHcei fit tSe XT Cenitujy Jl/orman Cruxlfo'-'^ 'JlaM/ i Leading for^ns of early cathedral constructions ~ 5^3 The disposition of the parts of a tenth-century church, as defined by Viollet-le-Duc Of this class are many monastic churches, as will be evinced by the inclusion of a cloister in the diagram plan. Many of these were subsequently made use of, as the church and the cloisters, where they had not suffered the stress of time, were of course retained. St. Bertrand de Comminges is a notable example among the smaller structures. In the basilica form of ground-plan, which obtained to a modified extent, the transepts were often lacking, or at least only suggested. Subsequently they were added in many cases, but the tenth-century church pur sang was mainly a parallelogram-like structure, with, of course, an apsidal termination. 514 Appendices A The choir B The exedra, meaning literally a niche or throne — in this in- stance for the occupancy of the bishop, abbot, or prior — apart from the main edifice C The high-altar D Secondary or specially dedicated altars E The transepts, which in later centuries expanded and length- ened G The nave proper, down which was reserved a free passage separating the men from the women H The aisles I The portico or porch which precedes the nave (/. e., the narthen of the primitive basilica), where the pilgrims who were temporarily forbidden to enter were allowed to wait K A separate portal or doorway to cloisters L The cloister M The towers; often placed at the junction of transept and nave, instead of the later position, flanking the west fa9ade N The baptismal font ; usually in the central nave, but often in the aisle O Entrance to the crypt or confessional, where were usually pre- served the reliques of the saint to whom the church was erected P The tribune, in a later day often surrounded by a screen or jube 515 VII A brief definitive gazetteer of the natural and geological divisions included in the ancient provinces and present-day departments of southern France, together with the local names by which the pays et pagi are com- monly known Gevaudan Velay Ly onn ais-Beau j olais Mo r van Haute- Auvergne Basse-Auvergne Limousin Agenais Haut-Quercy Bas-Quercy Armagnac Landes Beam Basse-Navarre In the Cevennes, a region of forests and mountains A region of plateaux with visible lava tracks The mountain ranges which rise to the west- ward of Lyons An isolated group of porphyrons and granite elevations The mountain range of Cantal The mountain chains of Mont Dore and des Domes A land of plateaux, ravines, and granite Rocky and mountainous, but with its valleys among the richest in all France A rolling plain, but with little fertility The plains of the Garonne, the Tarn, and the Aveyron An extensive range of petites montagnes run- ning in various directions A desert of sand, forests, and inlets of the sea A country furrowed by the ramifications of the range of the Pyrenees A Basque country situated on the northern slope of the Pyrenees 516 Appendices Bigorre Savoie Bourbonnais Nivernais Berry Sologne Gatinais Saintonge Angoumois Perigord Bordelais Dauphine Provence Camargue Languedoc Rousillon The plain of Tortes and its neighbouring valleys A region comprising a great number of valleys made by the ramifying ranges of the Alps. The principal valleys being those of Faucigny, the Tarentaise, and the Maurienne A country of hills and valleys which, as to general limits, corresponds with the De- partment of the Allier An undulating region between the Loire and the Morvan A fertile plain, slightly elevated, to the northward of Limousin An arid plain separated by the valleys of the Cher and the Indre A barren country northeast of Sologne Slightly mountainous and covered with vine- yards — also in parts partaking of the characteristics of the Landes A hilly country covered with a growth of vines An ensemble of diverse regions, often hilly, but covered with a luxuriant forest growth (Comprising Blayais, Fronsadais, Libournais, Entre-deux-mers, Medoc, and Bazadais.) The vine-lands of the Garonne, La Gironde, and La Dordogne Another land of mountains and valleys. It is crossed by numbers of ranges and dis- tinct peaks. The principal subdivisions are Viennois, Royonnais Vercors, Trieves, Devoluy, Oisons, Graisivaudan, Chartreuse, Queyras Valgodemar, Champsaur. A region of fertile plains dominated by vol- canic rocks and mountains. It contains also the great pebbly plain in the extreme southwest known as the Crau The region of the Rhone delta Properly the belt of plains situated between the foot of the Cevennes and the borders of the Mediterranean The region between the peaks of the Corbi^re and the Albere mountain chain. The population was originally pure Catalan Appendices Lauragais Albigeois Toulousain Comminges A stony plateau with red earth deposited in former times by the glaciers of the Pyrenees A rolling and fertile country A plain well watered by the Garonne and the Ariege The lofty Pyrenean valleys of the Garonne basin 518 VIII 519 IX Dimensions and Chronology CATHEDRALE D'AGDE Bishopric founded, Vth century Bishopric suppressed, 1790 Primitive church consecrated, Vllth century Main body of present cathedral, Xlth to Xllth centuries ST. CAPRIAS D'AGEN Former cathedral of St. Etienne, destroyed at the Revolution, 1790 Apse and transepts of St. Caprias, Xlth century "Width of nave, 55 feet 520 Appendices ST. JEAN BAPTISTE D'AIRE Cathedral begun, XII Ith century ST. SAVEUR D'AIX Eglise St. Jean de Malte, XlVth century Remains of a former St. Saveur's, Xlth century Choir, Xlllth century Choir elaborated, XlVth century South aisle of nave, XlVth century Tower, XlVth century Carved doors, 1503 Episcopal palace, 151 2 North aisle of nave, XVIIth century Baptistere, Vlth century ST. JEAN D'ALAIS A bishopric only from 1694 to 1790 Remains of a Xllth century church Appendices STE. CECILE D'ALBI Begun, 1277 Finished, 151 2 South porch, 1380-1400 Tower completed, 1475 Choir-screen, 1475-1512- Wall paintings, XVth to XVIth centuries Organ, XVIIIth century Choir stalls, 1 20 in number Height of tower, 256 feet Length, 300 {320 ?) feet Width of nave, 88 feet Height of nave, 98 feet ST. PIERRE D'ALET Primitive cathedral, IXth century (?) Rebuilt, Xlth century Eglise St. Andre, XlVth to XVth centuries ^22 Appendices ST. PIERRE D'ANGOULEME City ravaged by Coligny, XVIth century Cathedral rebuilt from foundations of primitive church, 1120 Western dome, Xllth century Central and other domes, latter part of Xllth century Episcopal palace restored, XlXth century General restoration of cathedral, after the depredations of Coligny, 1628 Height of tower, 197 feet ST. PIERRE D'ANNECY Christianity first founded here, IVth century Cathedral dates from XlVth century Tomb of St. Francois de Sales, 1622 Tomb of Jeanne de Chantal, J 641 Episcopal palace, 1784 ST. CASTOR D'APT Gallo-Romain sarcophagus, Vth century Tomb of Dues de Sabron, XTIth century Chapelle de Ste. Anne, XVIIth century Appendices ST. TROPHIME D'ARLES 1 St. m Oaitie^ IE ^ d'jTrles Primitive church on same site, 606 Foundations of present cathedral laid, 11 52 Nave completed, 1200 Choir and chapels, 1423-1430 Cloisters, east side, 1221 Cloisters, west side, 1250 Cloisters, north side, 1380 Length, 240 feet Width, 90 feet Height, 60 feet Height of clocher, 137 feet STE. MARIE D'AUCH Ancient altar, IVth century First cathedral built by Taurin II., 845 Another (larger) by St. Austinde, 1048 Present cathedral consecrated, 1548 Additions made and coloured glass added, 1597 West front, in part, XVIIth century Towers, 1 650-1 700 Episcopal palace, XlVth century Length, 347 feet Height to vaulting, 74 feet Appendices NOTRE DAME DES DOMS D'AVIGNON Territory of Avignon acquired by the Popes from Joanna of Naples, 1300 Popes reigned at Avignon, 1 305-1 370 Avignon formally ceded to France by Treaty of Tolentino, 1797 Palais des Papes begun, Xlllth century Pope Gregory left Avignon for Rome, 1376 Cathedral dates chiefly from Xllth century Nave chapels, XlVth century Frescoes in portal, XlVth century Height of walls of papal palace, 90 feet ♦' '• tower " " " 150 feet Length of cathedral, 200 (?) feet Width of cathedral, 50 (?) feet NOTRE DAME DE BAYONNE Foundations, 1140 Choir and apse, Xllth century Destroyed by fire, 1213 Choir rebuilt, 12 15 Completed and restored, XVIth century 525 Appendices ST. JEAN DE BAZAS Foundations date from Xth century Walls, etc., 1233 West front, XVIth century CATHEDRALE DE BELLEY Gothic portion of cathedral, XVth century ST. NAZAIRE DE BEZIERS Primitive church damaged by fire, 1 209 Transepts, XTIIth century Towers, XlVth century Apside and nave, XlVth century Glass and grilles, XlVth century Cloister, XlVth century Height of clocher, 151 feet ST. ANDRE DE BORDEAUX Three cathedral churches here before the Xlth century Romanesque structure, Xlth century Present cathedral dates from 1252 North transept portal, XlVth century Noailles monument, 1662 Length, 450 feet Width of nave, 65 feet NOTRE DAME DE BOURG Main body dates from XVth to XVI Ith centuries Choir and apse, XVth to XVIth centuries Choir stalls, XVIth century c;26 Appendices ST. ETIENNE DE CAHORS Bishopric founded, IVth century Cathedral consecrated, 1119 Cupola decorations, 1 280-1 324 Choir chapels, XVth century Choir, 1285 Tomb of Bishop Solminiac, XVI I th century Choir paintings, 1315 Cloister, X Tilth to XVth century Cupolas of nave, 50 feet in diameter Cupolas of choir, 49 feet in height Height from pavement to cupolas of choir, 82 feet Height from pavement to cupolas of nave, 195 feet Portal and western towers, XlVth century ST. NAZAIRE DE CARCASSONNE Present-day cathedral, St. Michel, in lower town, 1083 Restored by VioUet-le-Duc, 1849 Visigoth foundation walls of old Cite, Vth to Vlllth centuries Cite besieged by the Black Prince, 1536 Chateau of Cite and postern gate, Xlth and Xllth centuries Outer fortifications with circular towers of the time of St. Louis, Xlllth century Length inside the inner walls, ^ mile Length inside the outer walls, i mile Saracens occupied the Cite, 783 Routed by Pepin le Bref, 759 Viscountal dynasty of Trencavels, 1090 Besieged by Simon de Montfort, 12 10 Romanesque nave of St. Nazaire, 1096 Choir and transepts, XIITth and XlVth centuries Remains of Simon de Montfort buried here (since removed), 1218 Tomb of Bishop Radulph, 1266 Statues in choir, XlVth century High-altar, 1522 Crypt, Xlth century Sacristy, Xlllth century The " Pont Vieux," Xllth and XTIIth centuries Appendices ST. SIFFREIN DE CARPENTRAS A Roman colony under Augustus, 1st century St. Siffrein, patron of the cathedral, died, XVIth century Edifice mainly of the XVIth century Paintings in nave, XVIIIth and XlXth centuries Tomb of Bishop Buti, 17 lo Episcopal palace built, 1640 Arc de Triomphe, 1st or lid century Porte d'Orange, XlVth century ST. BENOIT DE CASTRES Cathedral dates mainly from XVI Ith century ST. VERAN DE CAVAILLON O aval 11 on Cathedral consecrated by St. Veran, in person, 1259 Tomb of Bishop Jean de Sade, XVIIth century 528 Appendices ST. ETIENNE DE CHALONS - SUR SAONE Cathedral completed, XVIth century Rebuilt, after a disastrous fire, XVIIth century Remains of early nave, dating from Xlllth century Bishopric founded, Vth century Height of nave, 90 feet Length of nave, 350 feet CATHEDRALE DE CHAMBERY First bishop, Michel Conseil, 1780 Main body of cathedral dates from XlVth century 529 Appendices NOTRE DAME DE CLERMONT- FERRAND Choir and nave, 1 248-1 265 Urban II. preached the Crusades here, 1095 Sanctuary completed, Xlllth century Nave completed, except fagade, XlVth century Rose windows, XVth century Western towers and portal, XlXth century Height of towers, 340 feet Height of nave, 100 feet ^ectntlu CanijiUted Clermont -"^t^errand ST. BERTRAND DE COMMINGES First monastery here, Vlth century Present cathedral mainly Xllth to XlVth centuries First bishop, Suavis, Vlth century Monument to Bishop Hugh de Castel- lane, XlVth century Length, 210 feet (?) Width, 55 feet (?) CATHEDRALS DE DAX Main fabric, Xlllth century Reconstructed, XVII Ith century 530 Appendices NOTRE DAME DE DIE A bishopric in 1285, and from 1672 until 1801 Porch, Xlth century Romanesque fragments in " Porte Rouge," Xlth century Restored and rebuilt, XVIIth century Length of nave, 270 feet Width of nave, 76 feet CATHEDRALE D'EAUZE Town destroyed, Xth century Gothic church (not, however, the former cathedral), XVth century STE. EULALIE D'ELNE Cathedral rebuilt from a former structure, XVth century Cloister, XVth century NOTRE DAME D'EMBRUN North porch and peristyle, Xllth century Romanesque tower rebuilt, XlVth century The "Tour Brune" Xlth century High-altar, XVIIIth century Painted triptych, 1518 Coloured glass, XVth century Organ and gallery, XVIth century NOTRE DAME DE GRENOBLE Foundations of choir, Xlth century Tabernacle, XVth century Tomb of Abbe Chisse, 1407 Former episcopal palace, Xlth century Present episcopal palace, on same site, XVth century Eglise St. Andre, Xlllth century " La Grande Chartreuse," founded by St. Bruno, 1084 " La Grande Chartreuse," enlarged, XVIth to XVIIth centuries Monks expelled, i8i6 and 1902 Appendices ST. LOUIS DE LA ROCHELLE City besieged unsuccessfully, 1573 City besieged and fell, XVIIth century Huguenots held the city from 1557 to 1629 Present cathedral dates from 1735 NOTRE DAME DE LE PUY First bishop, St. Georges, Hid cen- tury Primitive cathedral, Vth century West fa9ade of present edifice, Xllth century Choir, Xth century Virgin of Le Puy, 50 feet in height Aguille de St. Michel, 250 feet in height, 50 feet in circumference at top, 500 feet at base J^moges -a — a — n-TT .yTiZ). Zs -^"^ ST. ETIENNE DE LIMOGES Nave, XVth and XVIth centuries Romanesque portion of nave, Xlth century Lower portion of tower, Xlth century Clocher, Xlllth century Choir, Xlllth century Transepts, XI Vth and XVth cen- turies Choir-screen, 1543 Coloured glass, XVth and XlXth centuries Tomb of Bishop Brun, 1349; de la Porte, 1325 ; Langeac, 1541 Crypt, Xlth century Height of clocher, 240 feet Enamels of reredos, XVIIth century Appendices ST. FULCRAN DE LODEVE City converted to Christianity, 323 Earliest portion of cathedral, Xth century Main portion of fabric, Xllth century Cathedral completed, XVIth century Tomb of Bishop de la Panse, 1658 Height of nave, 80 feet CATHEDRALE DE LUCON Ancient abbey, Vllth century First bishop appointed, 131 7 Richelieu bishop here, 1616^1624 Main fabric of cathedral dates from Xllth to XVIIth centuries Fabric restored, 1853 Cloister of episcopal palace, XVth century c 1 Zyon * 1 ST. JEAN DE LYON Bridge across Saone, Xth century Earliest portions of cathedral, 1180 Concile generale of the Church held at Lyons, 1245 and 1274 Portail, XVth century Glass of choir, Xlllth and XlVth centuries Great bourdon, 1662 Weight of great bourdon, 10,000 kilos Chapelle des Bourbons, XVth century Astronomical clock, XVIth and XVIIth centuries 533 Appendices STE. MARIE MAJEURE DE MAR- SEILLES First bishop, St. Lazare, 1st century Ancient cathedral built upon the ruins of a temple to Diana, Xlth century New cathedral begun, 1852 Practically completed, 1893 Length, 460 feet Height of central dome, 197 feet ST. JEAN DE MAURIENNE Relique of St. Jean Baptiste, first brought here in Vlth century Cloister, 1452 ST. PIERRE DE MENDE First bishop, Xth century Main fabric of cathedral, XlVth century Restoration, XVIIth century Towers, XVIth century Organ-case, 1640 Height of western towers, 203 and 276 feet ST. PIERRE DE MONTPELLIER Bishopric removed here from Maguelonne, 1 536 Pope Urban V. consecrated present cathedral in a former Benedic- tine abbey, 1364 Length of nave, 181 feet Width of nave, 49 feet Length of choir, 43 feet Width of choir, 39 feet NOTRE DAME DE MOULINS Towers and west front, XlXth century Choir and nave, 1 465-1 507 Coloured glass, XVth and XVIth centuries Choir restoration completed, 1885 Sepulchre, XVIth century Height of western spires, 312 feet Chateau of Dues de Bourbon (facing the cathedral) XlVth century 534 Appendices ST. JUST DE NARBONNE fh. 1 I . ^y^aroonne Choir begun, 1272-1330 Choir rebuilt, XVII Ith century Remains of cloister, XlVth and XVth century Towers, XVth century Tombs of bishops, XlVth to XVIth centuries Organ buffet, 1741 Height of choir vault, 120 (127?) feet ST. CASTOR DE NIMES St. Felix the first bishop, IVth century St. Castor as bishop, 1030 Cathedral damaged by wars of XVIth and XVI Ith centuries Length of grande axe of Arena, 420 feet Capacity of Arena, 80,000 persons 535 Appendices STE. MARIE D'OLORON Earliest portions, Xlth century Completed, XVth century Length of nave, 150 feet Width of nave, 106 feet NOTRE DAME D'ORANGE Orange Oldest portions, 1085 Nave, 1085-1126 CATHEDRALE DE PAMIERS Clocher, XlVth century Nave rebuilt, XVIIth century Ancient Abbey of St. Antoine, Xlth century First bishop, Bernard Saisset, 1297 536 Appendices t w jre'r/^ueujC ST. FRONT DE PERIGUEUX Primitive monastery founded, Vlth century Cathedral dates from 984-1047 Cathedral rebuilt, Xllth century Cathedral restored, XlXth century Pulpit in carved wood, XVIIth Confessionals, Xth or Xlth century Paintings in vaulting, Xlth century Length of nave, 197 feet Height of pillars of nave, 44 feet Height of cupola of clocher, 217 feet Height of great arches in interior, 65 feet ST. JEAN DE PERPIGNAN d^ ^i cn r^iy nan Tower, XlVth century Re table, XIV century Altar-screen, XIV th century Bishop's tomb, 1695 537 Appendices ST. PIERRE DE POITIERS ^veche' \ S. Piera of s. Tean ^o /' ^ i Eglise St. Hilaire, Xth and Xlth centuries Baptistere, IVth to Xllth centuries St. Radegonde, Xlth and Xllth centuries Cathedral begun, 1162 High-altar dedicated, 11 99 Choir completed, 1250 Western doorway, XVth century Coloured glass, Xlllth and. XVIIIth centuries Appendices NOTRE DAME DE RODEZ 1 ■ / ■s 1 ■ ^Je^ Dates chiefly from 1275 Choir, XlVth century Nave, XVth century Cross-vaults, tribune, sacristy door, and facade, from about 1535 Cloture of choir designed by Cusset Terrace to episcopal palace designed by Philandrier, 1550 Episcopal palace itself dates, in the main, from XVIIth century Rose window of fa9ade is the most notable in France south of the Loire, excepting Poitiers ST. PIERRE DE SAINTES Eglise St. Eutrope, 1 081-1096 Primitive cathedral, 11 17 Cathedral rebuilt, 1585 First two bays of transept, Xllth century Nave completed, XVth century Vaulting of choir and nave, XVth to XVIIth centuries Height of flamboyant tower (XlVth century), 236 feet 539 Appendices CATHEDRALE DE SARLAT Benedictine abbey dates from Vlllth century Cathedral mainly of Xlth and Xllth centuries Sepulchral chapel, Xllth century CATHEDRALE DE SION First bishop, St. Theodule, IVth century Choir of Eglise Ste. Catherine, Xth or Xlth century Bishop of Sion sent as papal legate to Winchester, 1070 Main body of cathedral, XVth century ST. PIERRE DE ST. CLAUDE Abbey founded by St. Claude, Vth century Bishopric founded by Jos. de Madet, 1742 Bishopric suppressed, 1790 Bishopric revived again, 1821 Main fabric of cathedral, XlVth century Cathedral restored, XVIIIth century Length, 200 feet (approx.) Width, 85 feet " Height, 85 feet " ST. ODILON DE ST. FLOUR Bishopric founded, 13 18 Present cathedral begun, 1375 '* " dedicated, 1496 " " completed, 1556 Episcopal palace, 1800 Chateau de St. Flour, 1000 ST. LISIER OR COUSERANS Former cathedral, Xllth and Xlllth centuries Bishop's palace, XVIIth century Appendices STE. MARIE MAJEURE DE TOULON Main body of fabric, Xlth and Xllth centuries Fa9ade, XVIIth century Length of nave, i6o feet Width of nave, 35 feet ST. ETIENNE DE TOULOUSE Nave, Xlllth century Tower, XVth and XVIth century Choir, 1275-1502 Bishopric founded, Illd century Archbishopric founded, 1327 Width of nave, 62 feet 541 Appendices ST PAUL TROIS CHATEAUX Chapel to St. Restuit first erected here, IVth century Town devastated by the Vandals, Vth century " " " " Saracens, 736 " " " " Protestants, XlVth century " " " " Catholics, XlVth century Former cathedral, Xlth and Xllth centuries CATHEDRALE DE TULLE Benedictine foundation, Vllth century Cloister, Vllth century (?) Bishopric founded, 131 7 Romanesque and transition nave, Xllth century ST. THEODORIT D'UZES Inhabitants of the town, including the bishop, mostly became Protestant, XVIth century Cathedral rebuilt and restored, XVIIth and XVIIIth centuries Tour Fenestrelle, Xlllth century Organ-case, XVIIth century Height of the " Tour Fenestrelle," 130 feet Appendices CATHEDRALE DE VAISON Cloister, Xlth century Eglise de St. Quinin, Vllth century ST. APOLLINAIRE DE VALENCE Cathedral rebuilt and reconsecrated by Urban II., Xlth oentury Reconstructed, 1604 Bishopric founded, IVth century Foundations laid, Xllth century Cenotaph to Pius VI., 1799 Height of tower, 187 feet CATHEDRALE DE VABRES Principally, XlVth century Rebuilt and reconstructed, and clocher added, XVIIIth century 543 Appendices NOTRE DAME DE VENCE Fabric of various eras, Vlth, Xth, Xllth, and XVth centuries Ratable, XVIth century Choir-stalls, XVth century ST. MAURICE DE VIENNE Bishopric dates from lid century St. Crescent, first bishop, ii8 Cathedral begun, 1052 Reconstructed, 151 5 Coloured glass, in part, XlVth century Tomb of Cardinal de Montmorin, XVIth century Metropolitan privileges of Vienne confirmed by Pope Paschal II., 1099 CATHEDRALE DE VIVIERS Choir, XlVth century Tower, XlVth and XVth centuries 544 INDEX Abbey of Cluny, 59, 61 . Abbey of Montmajour, 230. Acre, 56. Adelbert, Count of P^rigueux, 38. Adour, River, 417. Agde, 53, 358, 359. Agde, Cathedrale de, 358-360, 520. Agen, 42, 429. Agen, St. Caprais de, 429, 431, 520. Agout, River, 471. Aigues-Mortes, 228, 319, 320. Aire, St. Jean Baptiste de, 469, 470, 521. Aix, 36, 230, 283, 293, 323, 324. Aix St. Jean de Malte, 324, Aix, St. Sauveur de, 323-327, 521. Ajaccio, 47. Alais, 249-251. Alais, St. Jean de, 249-251, 521. Alberoni, Cardinal, 240. Albi, 27, 41, 53, 54, 61, 95, 98, 274. Albi, Ste. Cecile de, 363, 482-489, 522. Albigenses, The, 365, 485, 486. Alet, 42. Alet, St. Pierre de, 350, 351, 522. Amantius, 330. Amiens, 60, 62. Andorra, Republic of, 373. Angers, Chateau at, 66. Angers, St. Maurice d', 97. Angouleme, 55, 61, 73, 120, 124. Angouleme, St. Pierre de, 73, 120-125, 523. Anjou, 45. 71- Anjou, Duke of, 40, 44. Anjou, Henry Plantagenet of, 39- Anjou (La Trinite), 56. Annecy, 252-254, 256. Annecy, St. Pierre de, 252-254, 523- Antibes, 330, 339, 341. Aosti, 268. Apt, 289-291. Apt, St. Castor de, 523. Aquitaine, 38, 62. Aquitanians, The, 38. Aquitanian architecture, 54, 55, 66. Arc de Triomphe (Saintes), 115. Architecture, Church, 50-56. Ariosto, 235. Aries, 28, 23^ 61, 217, 228-235, 283, 293. Aries, Archbishop of, 46. Aries, St. Trophime de, 37, 202, 228-235, 524- Arnaud, Bishop, 354. Auch, St. Marie de, 432-438, 524. Auch, College of, 438. Augustus, 221. Autun, Bishop of (Talleyrand- Perigord), 46. Auvergne, 29, 62, 72-74. 545 Index Auzon, 221. Avignon, 2,2,y 4i» 53' 54, 241. Avignon, Papal Palace at, 377, 485. Avignon, Notre Dame des Doms, 204-220, 525. Avignon, Ruf d', 36. Baptistere of St. Siffrein de Car- pentras, 222. Baptistere, The (Poitiers), 95, 96, lOI. Basilique de Notre Dame de Fourviere, 185. Bayonne, 28, 57, 373, 387, 405- 407, 410, 411. Bayonne, Notre Dame de, 405- 410, 525. Bazas, St. Jean de, 411, 412, 526. Bazin, Rene, 229, 235. Beam, Province of, 395, 406. Beauvais, Lucien de, 37. Becket, Thomas 535- Narbonne (St. Paul), 37. Nero, Reign of, 36. Neiges, Notre Dame des, 223. Nice, St. Reparata de, 328-331. Nimes, 28, ^^^ 40, 61, 218, 228, 229, 236-242. Nimes, St. Castor de, 236-244, 535- Notre Dame de I'Assomption de Gap, 296-299. Notre Dame de Bayonne, 405- 410, 525. Notre Dame de Bourg, 277-279, 526. Notre Dame de Clermont-Fer- rand, 144-151, 530. Notre Dame de Die, 287, 288, 531- Notre Dame de Doms d'Avi- gnon, 204-220, 525. Notre Dame d'Embrun, 292-295, 531- Notre Dame de la Gard, 346, 347- Notre Dame de la Grande (Poi- tiers), 95. Notre Dame de Grenoble, 258- 264, 531. Notre Dame de Le Puy, 97, 134- 143. 532. Notre Dame de Lescar, 413-416. Notre Dame de Moulins, 126- i33» 534- Notre Dame des Neiges, 223. Notre Dame d'Orange, 197-199, 536. Notre Dame de Rodez, 363, 474- 481, 539- Notre Dame et St. Castor d'Apt, 289-291. Notre Dame de Vence, 300, 301, 544- Notre Dame du Port, 57. Noyon, 60. Obreri, Peter, 212. Oloron, 498, 536. Oloron, Ste. Marie d', 498, 536. Orange, 28, 33, 61, 225, 229. Orange, Notre Dame d', 197- 199' 536. Orb, River, 366, 367. Order of St. Bruno, 260, 261,^263. Palais de Justice (Poitiers), I02. Palais des Papes, 54, 209. Palais du Constantin, 230. Palissy, Bernard, 117. Pamiers, 461. Pamiers, Cathedrale de, 461-463, 536. Paris, 29, 37, 46, 62, 232, 270. Parrocel, 290. Pascal, Blaise, 150, 151, 160. Paschal II., 189. Pas de Calais, 30. Pause, Plantavit de la, 154. Perigueux, 55-57, 61. Perigueux, St. Front de, 56, 87- 91, 97, 537- Perpignan, 28, 368, 369, 373. Perpignan, St. Jean de, 368-371, 537- Petrarch, 204, 207-209, 211, 213, 221, 264. Peyer, Roger, 242. Philippe-Auguste, 40. Philippe-le-Bel, 41. Piedmont, 270. Pierrefonds, Chateau at, 66. Pius VI., 194. Pius, Pope, 210. Plantagenet, Henry (of Maine and Anjou), 39. Poitiers, 42, 73, 95-97, I'z^l- Poitiers, Notre Dame de la Grande, 95. Poitiers (St. Hilaire), 61. Poitiers, St. Pierre de, 92-101, 538. Poitou, 71-73. Poitou, Eleanor of, 39. Polignac, Chateau de, 75, 76* 135. 143- 550 Index Port Royal, 45. Provence, 32, 62, 163-167, 313. Proven9al architecture, 54, 55, 57, 66. Ptolemy, 159. Puy, Bertrand du, 422. Puy de Dome, 29, 73, 74. Puy, Notre Dame de la, 97, 134- 143, 532- Pyrenees, The, 393-395. Religious movements in France, 23-48. Rene, King, 323, 326. Revoil, Henri, 348. Rheims, 60, 62, 229, Rheims, Sixte de, 37. Rhone valley, 28. Richelieu, Cardinal, 85. Rienzi, 211. Rieux, 497. Riez, 280, 281. Riom, 73. Riviera, The, 313-320. Rochefort, 73. Rocher des Doms, 213. Rodez, 29, 42, 274. Rodez, Notre Dame de, 363, 474- 481, 539- Rouen, 60. Rouen, Nicaise de, 37. Rouen (St. Ouen), 52. Rousillon, 368, 369, 372. Rousseau, 256. Rovere, Bishop de la, 492. Rubens, 340. Ruskin, 63. St. Albans in Hertfordshire, 230. St. Andre de Bordeaux, 94, 396- 401, 526. St. Ansone, 121. St. Apollinaire de Valence, 190- i94» 543- St. Armand, 474, 481. St. Armentaire, 339, 341. St. Astier, Armand de, 119. St. Aubin, 226. St. Auspice, 289. St. Austinde, 433, 435. St. Austremoine, 37, 150. St. Ayrald, 271. St. Benezet, 219. St. Benigne of Dijon, 63. St. Benoit de Castres, 471-473, 528. St. Bertrand de Comminges, 62, 464-468, 530. St. Bruno, Monks of, 260-263. St. Caprais d' Agen, 429, 431, 520. St. Castor d'Apt, 523. St. Castor de Nimes, 236-244, 535- Ste. Catherine, Church of, 303. St. Cecile d'Albi, 363, 482-489, 522. St. Clair, 489. Ste. Clara de Mont Falcone, 217. St. Claude, 272-274. St. Claude, St. Pierre de, 272- 274, 540. St. Crescent, 37, 186, 296. St. Demetrius, 296. St. Denis, The bishop of, 37. St. Denis, 51. St. Domnin, 285. St. Emilien, 253. Ste. Estelle, 218. St. Etienne, 230. St. Etienne d'Auxerre, 407. St. Etienne de Cahors, 425-428, 527; St. Etienne de Chalons-sur-Saone, 170-173, 529- St. Etienne de Frejus, 335-338. St. Etienne de Limoges, 1 04-1 11, 532- St. Etienne de Toulouse, 439- 448, 541. St. Eulalie d'Elne, 372-374, 531. St. Eustache, 268. St. Eutrope (Saintes), 115-117. St. Felix, 241. St. Flour, St. Odilon de, 112- 114, 540. St. Frangois de Sales, 253. St. Fraterne, 280. 551 Index St. Front de Perigueux, 56, 87- 91. 97, 537- St. Fulcran de Lodeve, 152-155, 533- St. Gatien (Tours), 37. St. Genialis, 201. St. Georges, 137. St. Gilles, 232. St. Hilaire, 61, 95, 96. St. Honorat des Alyscamps, 231. St. Jean d'Alais, 249-251, 521. St. Jean-Baptiste d'Aire, 469, 470, 521. St. Jean de Bazas, 411, 412, 526. St. Jean de Lyon, 177-185, 533. St. Jean-de-Malte, Aix, 324. St. Jean de Maurienne, 256, 269- 271, 534. St. Jean de Perpignan, 368-371, 537- Ste. Jeanne de Chantal, 253. St. Jerome deDigne, 28 1,283-286. St. Julian, 413. St. Juste de Narbonne, 375-379) 535- St. Lizier, 499, 540. St. Lizier, Eglise de, 499, 500, 540. St. Louis de La Rochelle, 82-84, 532- St. Marcellin, 285. St. Marc's at Venice, 56, 87-89, 346, 425. Ste. Marie d'Auch, 432-438, 524. Ste. Marie d'Oloron, 498, 536. Ste. Marie Majeure de Marseilles, 318, 342-349' 534. Ste. Marie Majeure de Toulon, 332-334, 541- St. Mars, 287. Ste. Marthe, 134. St. Martial, 37, 107. St. Martin (Tours), 6i. St. Maurice, 304. St. Maurice d'Angers, 97. St. Maurice de Mirepoix, 501. St. Maurice de Vienne, 179, 184, 186-189, 193, 544- St. Maxine, 324. St. Michel, 142. St. Nazaire de Beziers, 363-367, 526. St. Nazaire de Carcassonne, 57, 319, 449-460, 527. St. Nectaire, 73, 74, 92. St. Odilon de St. Flour, 112-I14, 540. St. Ouen de Rouen, 52. St. Papoul, 496, 497. St. Paul (Narbonne), 37. St. Paul Trois Chateaux, 305- 309, 542. St. Pherade, 430. St. Pierre d'Alet, 350, 351, 522. St. Pierre d'Angouleme, 73, 120- 125, 523- St. Pierre d'Annecy, 252-254, 523- St. Pierre de Mende, 490-494, 534. St. Pierre de Montpellier, 352- 357, 534- St. Pierre de Poitiers, 92-101, 538. St. Pierre de Saintes, 115-117, 539- St. Pierre de St. Claude, 272-274, 540. St. Pons, 42. St. Pons de Tomiers, 500, 501. St. Pothin, 179. St. Privat, 491, 494. St. Prosper, 281. St. Radegonde (Poitiers), 95-98. St. Remy, 235. St. Reparata de Nice, 328-331. St. Restuit, 305. St. Saturnin (Toulouse), 37. St. Sauveur d'Aix, 323-327, 521. St. Siffrein de Carpentras, 221- 225, 528. St. Taurin, 433. St. Theodorit d'Uzes, 245-248, 542. St. Theodule, 303. St. Thomas, 134. St. Trophime, 230, 232. St. Trophime d'Arles, 37, 202, 228-235, 524. St. Valentin, 221. 552 Index St. Valere (Treves), 37. St. Venuste, 359. St. Veran, 301. St. Veran de Cavaillon, 200-203, 528. St. Vincent de Macon, 174-176. St. Vincent de Paul, Statue of, 285. St. Virgil, 230. Saintes, Eutrope de, yj. Saisset, Bernard, 463. Saone, River, 170, 174, 181. Sarlat, 42, 500. Sarlat, Cathedrale de, 540. Savoie, 30, 252, 256, 271. Scott, Sir Walter, 51, 58. Senez, 280. Senlis, 60. Sens, Savinien de, y]. Sevigne, Madame de, 392. Sion, Cathedrale de, 302-304, 540. Sisteron, 281. Sterne, 126, 184. Stevenson, R. L., 23, 30, 135, 249. Strasbourg, 51. Suavis, 464. Suger, Abbot, 51. Talleyrand-Perigord (Bishop of Autun), 46. Tarascon, Castle at, 66. Tarasque, The, 134. Tarbes, 417, 418. Tarbes, L'Eglise de la S6de, 417-419. Tarentaise, 256, 268, 270. Tarn, River, 422. Thevenot, 113. Toulon, 330, 332. Toulon, St. Marie Majeure de, 332-334, 541- Toulouse, 42, 439-441. Toulouse, Musee of, 441, 447. Toulouse, St. Etienne de, 439- 448, 541. Toulouse, St. Saturnin, 37. "Tour Fenestrelle," 247. Touraine, 29,71, 72. Tours, 29. Tours (St. Gatien), 37. Tours (St. Martin), 61. Treaty of Tolentino, 210. Treves (St. Valere), 37. Tricastin, 305, 306. Trinity Church, Boston, 141,346, Tulle, Cathedrale de, 118, 119, 542. Tuscany, T^y Unigenitus, Pope, 45. Urban, Pope, T^y Urban II., 145, 149, 150, 191, 458. Urban V., 354. Uz6s, 245-248. Uz6s, St. Theodorit de, 245-248, 542. Vabres, 42, 499. Vabres, Cathedrale de, 543. Vaison, 226, 227. Vaison, Cathedrale de, 226, 227, 543- Valence, 29. Valence, St. Apollinaire de, 190- 194, 543- Vaucluse, 208. Vaudoyer, Leon, 348. Vehens, Raimond de, 112. Venasque, 222. Vence, 300, 301. Vence, Notre Dame de, 300, 301, 544; Vendee, La, 72. Veronese, Alex., 401. Veyrie, Rene de la, 85. Veyrier, 334. Vic, Dominique de, 434. Vienne, 29, 61, 229, 253, 259, 273, 296. Vienne, St. Maurice, 179, 184, 186-189, 193, 544. Villeneuve-les-Avignon, 213. Villeneuve, Raimond de, 339. VioUet-le-Duc, 88, 131, 146, 377, 442, 452, 455. Viviers, Cathedrale de, 195, 196, 544- Voltaire, 273. 553 Index Werner, Archbishop, 51. Westminster Cathedral, London, 345- William of Wykeham (England), 51- William, Duke of Normandy, 39. Wykeham, William of, 51. Young, Arthur, 24, 208, 256, 273, 464. Ypres, Bishop of, 48. BD -2.16 554 (Jy" , o « c 1-^ 4 ^^ ^. .V 1V o V ;^ ^ > V .^ A .-^ «.^ <^. V • ^ xo-;^ 0' ,0 x^^ A ^ .0 > ^^~^u.V O 0' C^^o ^O-T*. >^"> .0 ^^-^^^ ^ .f^ <^ , .^' <-^" V .>^^ ,V , V' ^ o « o , <^ o"^ • ^ ' ^ - o ^'.'J'' > V •^^ ^^^%\>"/ . '^ o 0' .^ \/ v^^ '^^ -^^ <>. V-^ ^^ A^ , o « « , <^ o"^ • ^ " - o A^ . " '^ . ^^ DOBBS BROS. "oV' .^^ :^^ FLA. >.>" o'.^flM*. ^^.^^^ , ■ RARY BINDING f.JML'GUSTINC ^^ ^^ ^^-'^. 0' A ^^ ^'^ irA"« ""-^..^^ .'