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+The Project Gutenberg EBook of Cathedrals and Cloisters of the South of
+France, Volume 1, by Elise Whitlock Rose
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Cathedrals and Cloisters of the South of France, Volume 1
+
+Author: Elise Whitlock Rose
+
+Illustrator: Vida Hunt Frances
+
+Release Date: September 22, 2007 [EBook #22718]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CATHEDRALS AND CLOISTERS ***
+
+
+
+
+Produced by Juliet Sutherland, Marcia Brooks and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+CATHEDRALS AND CLOISTERS OF THE SOUTH OF FRANCE
+
+
+
+
+[Illustration: _Rodez._
+
+"Sheer and straight the pillars rise, ... and arch after arch is lost on
+the shadows of the narrow vaulting of the side-aisle."]
+
+
+
+
+CATHEDRALS
+_and_ CLOISTERS
+OF THE
+SOUTH OF FRANCE
+
+BY
+
+ELISE WHITLOCK ROSE
+
+WITH ILLUSTRATIONS FROM ORIGINAL PHOTOGRAPHS
+
+BY
+
+VIDA HUNT FRANCIS
+
+
+_IN TWO VOLUMES_
+
+_VOLUME I._
+
+G. P. PUTNAM'S SONS
+NEW YORK AND LONDON
+The Knickerbocker Press
+1906
+
+
+
+
+Copyright, 1906
+by
+G. P. PUTNAM'S SONS
+
+
+
+
+PREFACE.
+
+
+For years the makers of this book have spent the summer time in
+wandering about the French country; led here by the fame of some old
+monument, or there by an incident of history. They have found the real,
+unspoiled France, often unexplored by any except the French themselves,
+and practically unknown to foreigners, even to the ubiquitous maker of
+guide-books. For weeks together they have travelled without meeting an
+English-speaking person. It is, therefore, not surprising that they were
+unable to find, in any convenient form in English, a book telling of the
+Cathedrals of the South which was at once accurate and complete. For the
+Cathedrals of that country are monuments not only of architecture and
+its history, but of the history of peoples, the psychology of the
+christianising and unifying of the barbarian and the Gallo-Roman, and
+many things besides, epitomised perhaps in the old words, "the struggle
+between the world, the flesh, and the devil." In French, works on
+Cathedrals are numerous and exhaustive; but either so voluminous as to
+be unpractical except for the specialist--as the volumes of
+Viollet-le-Duc,--or so technical as to make each Cathedral seem one in
+an endless, monotonous procession, differing from the others only in
+size, style, and age. This is distinctly unfair to these old churches
+which have personalities and idiosyncrasies as real as those of
+individuals. It has been the aim of the makers of this book to
+introduce, in photograph and in story,--not critically or exhaustively,
+but suggestively and accurately,--the Cathedral of the Mediterranean
+provinces as it exists to-day with its peculiar characteristics of
+architecture and history. They have described only churches which they
+have seen, they have verified every fact and date where such
+verification was possible, and have depended on local tradition only
+where that was all which remained to tell of the past; and they will
+feel abundantly repaid for travel, research, and patient exploration of
+towers, crypts, and archives if the leisurely traveller on pleasure bent
+shall find in these volumes but a hint of the interest and fascination
+which the glorious architecture, the history, and the unmatched climate
+of the Southland can awaken.
+
+For unfailing courtesy and untiring interest, for free access to private
+as well as to ecclesiastical libraries, for permission to photograph and
+copy, for unbounding hospitality and the retelling of many an old
+legend, their most grateful thanks are due to the Catholic clergy, from
+Archbishop to Curé and Vicar. For rare old bits of information, for
+historical verification, and for infinite pains in accuracy of printed
+matter, they owe warm thanks to Mrs. Wilbur Rose, to Miss Frances Kyle,
+and to Mrs. William H. Shelmire, Jr. For criticism and training in the
+art of photographing they owe no less grateful acknowledgment to Mr.
+John G. Bullock and Mr. Charles R. Pancoast.
+
+E. W. R.
+
+V. H. F.
+
+
+
+
+CONTENTS.
+
+
+                                                          PAGE
+THE SOUTH OF FRANCE
+
+  I. THE SOUTH OF FRANCE                                     3
+
+ II. ARCHITECTURE IN PROVENCE, LANGUEDOC, AND GASCONY       29
+
+
+PROVENCE
+
+  I. THE CATHEDRALS OF THE SEA                              55
+     Marseilles--Toulon--Fréjus--Antibes--Nice
+
+ II. CATHEDRALS OF THE HILL-TOWNS                           72
+     Carpentras--Digne--Forcalquier--Vence--Grasse
+
+III. RIVER-SIDE CATHEDRALS                                 101
+     Avignon--Vaison--Arles--Entrevaux--Sisteron
+
+ IV. CATHEDRALS OF THE VALLEYS                             178
+     Orange--Cavaillon--Apt--Riez--Senez--Aix
+
+
+LANGUEDOC
+
+  I. CATHEDRALS OF THE CITIES                              237
+     Nîmes--Montpellier--Béziers--Narbonne--Perpignan--
+     Carcassonne--Castres--Toulouse--Montauban
+
+
+
+
+Illustrations
+
+
+                                                                    Page
+RODEZ                                                     _Frontispiece_
+    "Sheer and straight the pillars rise, ... and arch
+     after arch is lost on the shadows of the narrow vaulting
+     of the side-aisle."
+
+"CARCASSONNE, THE INVULNERABLE"                                        5
+
+"THE TOWER OF AN EARLY MARITIME CATHEDRAL"--_Agde_                    10
+
+"A NAVE OF THE EARLIER STYLE"--_Arles_                                15
+
+"A NAVE OF THE LATER STYLE"--_Rodez_                                  19
+
+"THE DELICATE CHOIR OF SAINT-NAZAIRE"--_Carcassonne_                  23
+
+"A CLOISTER OF THE SOUTH"--_Elne_                                     27
+
+"A ROMANESQUE AISLE"--_Arles_                                         31
+
+"THE SCULPTURED PORTALS OF SAINT-TROPHIME"--_Arles_                   33
+
+"A GOTHIC AISLE"--_Mende_                                             35
+
+"CORRESPONDING DIFFERENCES IN STYLE"--_Carcassonne_                   39
+
+"FORTIFIED GOTHIC BUILT IN BRICK"--_Albi_                             43
+
+"A CHURCH FORTRESS"--_Maguelonne_                                     45
+
+"STATELY GOTHIC SPLENDOUR"--_Condom_                                  47
+
+ENTREVAUX                                                             52
+    "People gather around the mail-coach as it makes its
+     daily halt before the drawbridge."
+
+"THE NEW CATHEDRAL"--_Marseilles_                                     57
+
+"THE DESECRATION OF THE LITTLE CLOISTER"--_Fréjus_                    65
+
+"THE MILITARY OMEN--THE TOWER"--_Antibes_                             70
+
+"THE INTERIOR OF NOTRE-DAME-DU-BOURG"--_Digne_                        77
+
+"THE INTERIOR HAS NEITHER CLERESTORY NOR TRIFORIUM"--_Digne_          81
+
+"A LARGE SQUARE TOWER SERVED AS A LOOKOUT"--_Forcalquier_             86
+
+"A SUGGESTIVE VIEW FROM THE SIDE-AISLE"--_Forcalquier_                87
+
+"THE OLD ROUND ARCH OF THE BISHOP'S PALACE"--_Vence_                  92
+
+"THE LOW, BROAD ARCHES, AND THE GREAT SUPPORTING PILLARS"--_Vence_    93
+
+"HIGHER THAN THEM ALL STANDS THE CATHEDRAL"--_Grasse_                 97
+
+"THE PONT D'AVIGNON"                                                  99
+
+"THE INTERIOR HAS A SHALLOW, GRACEFULLY BALUSTRADED
+BALCONY"--_Avignon_                                                  103
+
+"THE PORCH, SO CLASSIC IN DETAIL"--AVIGNON                           107
+     From an old print
+
+"NOTRE-DAME-DES-DOMS"--_Avignon_                                     111
+
+"THE TOWER OF PHILIP THE FAIR"--_Villeneuve-les-Avignon_             114
+
+"THE GREAT PALACE"--_Avignon_                                        119
+
+"ON THE BANKS OF A PLEASANT LITTLE RIVER IS VAISON"                  123
+
+"THE RUINED CASTLE OF THE COUNTS OF TOULOUSE"--_Vaison_              125
+
+"THE WHOLE APSE-END"--_Vaison_                                       127
+
+"THE SOUTH WALL, WHICH IS CLEARLY SEEN FROM THE ROAD"--_Vaison_      129
+
+"TWO BAYS OPEN TO THE GROUND"--_Vaison_                              131
+
+"THE GREAT PIERS AND SMALL FIRM COLUMNS"--_Vaison_                   133
+
+"IN THE MIDST OF THE WEALTH OF ANTIQUE RUINS"--_Arles_               135
+
+"THE FAÇADE OF SAINT-TROPHIME"--_Arles_                              137
+
+"RIGHT DETAIL--THE PORTAL"--_Arles_                                  141
+
+"LEFT DETAIL--THE PORTAL"--_Arles_                                   145
+
+"THROUGH THE CLOISTER ARCHES"--_Arles_                               147
+
+"A NAVE OF GREAT AND SLENDER HEIGHT"--_Arles_                        149
+
+"THE BEAUTY OF THE WHOLE"--_Arles_                                   151
+
+"THE GOTHIC WALK"--Cloister--_Arles_                                 153
+
+"THIS INTERIOR"--_Entrevaux_                                         156
+
+"THE ROMANESQUE WALK"--Cloister--_Arles_                             157
+
+"ONE OF THE THREE SMALL DRAWBRIDGES"--_Entrevaux_                    159
+
+"THE PORTCULLIS"--_Entrevaux_                                        160
+
+"A FORT THAT PERCHES ON A SHARP PEAK"--_Entrevaux_                   161
+
+"A TRUE 'PLACE D'ARMES'"--_Entrevaux_                                163
+
+"THE LONG LINE OF WALLS THAT ZIGZAG DOWN THE HILLSIDE"--_Entrevaux_  165
+
+"THE CHURCH TOWER STOOD OUT AGAINST THE ROCKY PEAK"--_Entrevaux_     169
+
+"THE CATHEDRAL IS NEAR THE HEAVY ROUND TOWERS OF
+THE OUTER RAMPARTS"--_Sisteron_                                      172
+
+"THE BRIDGE ACROSS THE DURANCE"--_Sisteron_                          173
+
+"ENTRANCES TO TWO NARROW STREETS"--_Sisteron_                        176
+
+"IT WAS A LOW-VAULTED, SOMBRE LITTLE CLOISTER"--_Cavaillon_          182
+
+"THE CATHEDRAL'S TOWER AND TURRET"--_Cavaillon_                      187
+
+"THE MAIN BODY OF THE CHURCH"--_Apt_                                 191
+
+"THE VIRGIN AND SAINT ANNE--BY BENZONI"--_Apt_                       194
+
+"SAINT-MARTIN-DE-BRÔMES WITH ITS HIGH SLIM TOWER"                    197
+
+"THE FORTIFIED MONASTERY OF THE TEMPLARS"--_near Gréoux_             199
+
+"THE TOWER OF NOTRE-DAME-DU-SIÈGE"--_Riez_                           201
+
+"NOTHING COULD BE MORE QUAINTLY OLD AND MODEST THAN
+THE BAPTISTERY"--_Riez_                                              202
+
+"BETWEEN THE COLUMNS AN ALTAR HAS BEEN PLACED"--Baptistery, _Riez_   203
+
+"THE BEAUTIFUL GRANITE COLUMNS"--_Riez_                              207
+
+"THE MAIL-COACH OF SENEZ"                                            211
+
+"THE OPEN SQUARE"--_Senez_                                           213
+
+"THE PALACE OF ITS PRELATES"--_Senez_                                214
+
+"THE CATHEDRAL"--_Senez_                                             215
+
+"THE CATHEDRAL"--_Senez_                                             218
+
+"TAPESTRIES BEAUTIFY THE CHOIR-WALLS"--_Senez_                       219
+
+"BETWEEN BRANCHES FULL OF APPLE-BLOSSOMS--THE
+CHURCH AS THE CURÉ SAW IT"--_Senez_                                  221
+
+"THE SOUTH AISLE"--_Aix_                                             224
+
+"THE ROMANESQUE PORTAL"--_Aix_                                       225
+
+"THE CLOISTER"--_Aix_                                                227
+
+"THE CATHEDRAL"--_Aix_                                               231
+
+"AN AMPHITHEATRE WHICH RIVALS THE ART OF THE COLISEUM"--_Nîmes_      238
+
+"THE GENERAL EFFECT IS SOMEWHAT THAT OF A
+PORT-COCHÈRE"--_Montpellier_                                         244
+
+"THE FINEST VIEW IS THAT OF THE APSE"--_Montpellier_                 245
+
+"THE CLOCK TOWER IS VERY SQUARE AND THICK"--_Béziers_                248
+
+"THE QUAINT AND PRETTY FOUNTAIN"--_Béziers_                          250
+
+"THE DOOR OF THE CLOISTER"--_Narbonne_                               255
+
+"THIS IS A PLACE OF DESERTED SOLITUDE"--_Narbonne_                   257
+
+"THESE FLYING-BUTTRESSES GIVE TO THE EXTERIOR ITS
+MOST CURIOUS AND BEAUTIFUL EFFECT"--_Narbonne_                       261
+
+"ALL THE OLD BUILDINGS OF THE CITY ARE OF SPANISH
+ORIGIN"--_Perpignan_                                                 265
+
+"THE UNFINISHED FAÇADE"--_Perpignan_                                 267
+
+"THE STONY STREET OF THE HILLSIDE"--_Carcassonne_                    269
+
+"THE ANCIENT CROSS"--_Carcassonne_                                   272
+
+"OFTEN TOO LITTLE TIME IS SPENT UPON THE NAVE"--_Carcassonne_        275
+
+"THE CHOIR IS OF THE XIV CENTURY"--_Carcassonne_                     279
+
+"THE FAÇADE, STRAIGHT AND MASSIVE"--_Carcassonne_                    281
+
+"PERSPECTIVE OF THE ROMANESQUE"--_Carcassonne_                       283
+
+"THE NAVE OF THE XIII CENTURY IS AN AISLE-LESS CHAMBER,
+LOW AND BROADLY ARCHED"--_Toulouse_                                  291
+
+"THE PRESENT CATHEDRAL IS A COMBINATION OF STYLES"--_Toulouse_       294
+
+
+
+
+LIST OF WORKS CONSULTED.
+
+
+BAYET. _Précis de l'Histoire de l'Art._
+
+BODLEY. _France._
+
+BOURG. _Viviers, ses Monuments et son Histoire._
+
+CHOISY. _Histoire de l'Architecture._
+
+COUGNY. _L'Art au Moyen Age._
+
+COOK. _Old Provence._
+
+CORROYER. _L'Architecture romane._
+
+  "          _L'Architecture gothique._
+
+COX. _The Crusades._
+
+DARCEL. _Le Mouvement archéologique relatif au Moyen Age._
+
+DE LAHONDÈS. _L'Église Saint-Etienne, Cathédrale de Toulouse._
+
+DEMPSTER. _Maritime Alps._
+
+DUCÉRÉ. _Bayonne historique et pittoresque._
+
+DURUY. _Histoire de France._
+
+FERREE. _Articles on French Cathedrals appearing in the "Architectural
+Record._"
+
+GARDÈRE. _Saint-Pierre de Condom et ses Constructeurs._
+
+GOULD. _In Troubadour Land._
+
+GUIZOT. _Histoire de France._
+
+  "          _Histoire de la Civilisation en France._
+
+HALLAM. _The Middle Ages._
+
+HARE. _South-eastern France._
+
+  "          _South-western France._
+
+_History of Joanna of Naples, Queen of Sicily_ (_published_ 1824).
+
+HUNNEWELL. _Historical Monuments of France._
+
+JAMES. _A Little Tour through France._
+
+_Le Moyen Age_ (_avec notice par Roger-Milès_).
+
+LARNED. _Churches and Castles of Mediæval France._
+
+LASSERRE, L'ABBÉ. _Recherches historiques sur la Ville d'Alet et son
+ancien Diocèse._
+
+LECHEVALLIER CHEVIGNARD. _Les Styles français._
+
+MACGIBBON. _The Architecture of Provence and the Riviera._
+
+MARLAVAGNE. _Histoire de la Cathédrale de Rodez._
+
+MARTIN. _Histoire de France._
+
+MASSON. _Louis IX and the XIII Century._
+
+  "          _Francis I and the XVI Century._
+
+MÉRIMÉE. _Études sur les Arts au Moyen Age._
+
+MICHELET. _Histoire de France._
+
+MICHELET AND MASSON. _Mediævalism in France._
+
+_Monographie de la Cathédrale d'Albi._
+
+MONTALEMBERT. _Les Moines d'Occident._
+
+MILMAN. _History of Latin Christianity._
+
+PALUSTRE. _L'Architecture de la Renaissance._
+
+PASTOR. _Lives of the Popes._
+
+PENNELL. _Play in Provence._
+
+QUICHERAT. _Mélanges d'Archéologie au Moyen Age._
+
+RENAN. _Études sur la Politique religieuse du Règne de Philippe le Bel._
+
+RÉVOIL. _Architecture romane du Midi de la France._
+
+ROSIERES. _Histoire de l'Architecture._
+
+SCHNASSE. _Geschichte der bildenden Künste._ (_Volume III, etc._)
+
+SENTETZ. _Sainte-Marie d'Auch._
+
+SORBETS. _Histoire d'Aire-sur-l'Adour._
+
+SOULIÉ. _Interesting old novels whose scenes are laid in the South of
+France_:--
+
+  "          "_Le Comte de Toulouse._"
+
+  "          "_Le Vicomte de Béziers._"
+
+  "          "_Le Château des Pyrénées_," _etc._
+
+STEVENSON. _Travels with a Donkey in the Cévennes._
+
+TAINE. _The Ancient Regime._
+
+  "          _Journeys through France._
+
+  "          _Origins of Contemporary France._
+
+  "          _Tour through the Pyrénées._
+
+_'Twixt France and Spain._
+
+VIOLLET-LE-DUC. _Histoire d'une Cathédrale et d'un Hôtel-de-Ville._
+
+_Entretiens sur l'Architecture._
+
+_Dictionnaire raisonné de l'Architecture française du XI^e au XVI^e
+siècle._
+
+
+
+
+The South of France.
+
+
+
+
+I.
+
+THE SOUTH OF FRANCE.
+
+
+If it is only by an effort that we appreciate the valour of Columbus in
+the XV century, his secret doubts, his temerity, how much fainter is our
+conception of the heroism of the early Mediterranean navigators. Steam
+has destroyed for us the awful majesty of distance, and we can never
+realise the immensity of this "great Sea" to the ancients. To Virgil the
+adventures of the "pious Æneas" were truly heroic. The western shores of
+the Mediterranean were then the "end of the earth," and even during the
+first centuries of our own era, he who ventured outside the Straits of
+Gibraltar tempted either Providence or the Devil and was very properly
+punished by falling over the edge of the earth into everlasting
+destruction. "Why," asks a mediæval text-book of science, "is the sun so
+red in the evening?" And this convincing answer follows, "Because he
+looks down upon Hell."
+
+For centuries before the Christian era the South of France, with Spain,
+lay in the unknown west end of the Sea. Along its eastern shores lay
+civilisations hoary with age; Carthage, to the South, was moribund;
+Greece was living on the prestige of her glorious past; while Rome was
+becoming all-powerful. Legend tells that adventurous Phoenicians and
+Greeks discovered the French coasts, that Nîmes was founded by a Tyrian
+Hercules, and Marseilles, about 600 B.C., by a Phoenician trader who
+married a chief's daughter and settled at the mouth of the Rhone. But
+these early settlements were merely isolated towns, which were not
+interdependent;--scarcely more than trading posts. It was Rome who took
+southern Gaul unto herself, and after Roman fashion, built cities and
+towns and co-ordinated them into well-regulated provinces; and it is
+with Roman rule that the connected history of Gaul begins.
+
+From the outset we meet one basic fact, so difficult to realise when
+France is considered as one country, the essential difference between
+the North and the South. Cæsar found in the South a partial Roman
+civilisation ready for his organisation; and old, flourishing cities,
+like Narbonne, Aix, and Marseilles. In the North he found the people
+advanced no further than the tribal stage, and Paris--not even Paris in
+name--was a collection of mud huts, which, from its strategic position,
+he elevated into a camp. The two following centuries, the height of
+Roman dominion in France, accentuated these differences. The North was
+governed by the Romans, never assimilated nor civilised by them. The
+South eagerly absorbed all the culture of the Imperial City; her
+religions and her pleasures, her beautiful Temples and great
+Amphitheatres, finally her morals and effeminacy, till in the II century
+of our era, anyone living a life of luxurious gaiety was popularly said
+to have "set sail for Marseilles." To this day the South boasts that it
+was a very part of Rome, and Rome was not slow to recognise the claim.
+Gallic poets celebrated the glory of Augustus, a Gaul was the master
+of Quintilian, and Antoninus Pius, although born in the Imperial City,
+was by parentage a native of Nîmes.
+
+[Illustration: "CARCASSONNE, THE INVULNERABLE."]
+
+Not to the rude North, but to this society, so pagan, so
+pleasure-loving, came the first missionaries of the new Christian faith,
+to meet in the arenas of Gaul the fate of their fellow-believers in
+Rome, to hide in subterranean caves and crypts, to endure, to persist,
+and finally to conquer. In the III and IV centuries many of the great
+Bishoprics were founded, Avignon, Narbonne, Lyons, Arles, and
+Saint-Paul-trois Châteaux among others; but these same years brought
+political changes which seemed to threaten both Church and State.
+
+Roman power was waning. Tribes from across the Rhine were gathering,
+massing in northern Gaul, and its spirit was antagonistic to the
+contentment of the rich Mediterranean provinces. The tribes were
+brave, ruthless, and barbarous. Peace was galling to their
+uncontrollable restlessness. The Gallo-Romans were artistic, literary,
+idle, and luxurious. They fell, first to milder but heretical foes;
+then to the fierce but orthodox Frank; and the story of succeeding
+years was a chronicle of wars. Like a great swarm of locusts, the
+Saracens--conquerors from India to Spain--came upon the South. They
+took Narbonne, Nîmes, and even Carcassonne, the Invulnerable. They
+besieged Toulouse, and almost destroyed Bordeaux. Other cities,
+perhaps as great as these, were razed to the very earth and even their
+names are now forgotten. Europe was menaced; the South of France was
+all but destroyed.
+
+Again the Frank descended; and like a great wind blowing clouds from a
+stormy sky, Charles Martel swept back the Arabs and saved Christianity.
+Before 740, he had returned a third time to the South, not as a
+deliverer, but for pure love of conquest; and by dismantling Nîmes,
+destroying the maritime cities of Maguelonne and Agde, and taking the
+powerful strongholds of Arles and Marseilles, he paved the way for his
+great descendant who nominally united "all France."
+
+But Charlemagne's empire fell in pieces; and as Carlovingian had
+succeeded Merovingian, so in 987 Capetian displaced the weak descendants
+of the mighty head of the "Holy Roman Empire." The map changed with
+bewildering frequency; and in these changes, the nobles--more stable
+than their kings--grew to be the real lords of their several domains.
+History speaks of France from Clovis to the Revolution as a kingdom; but
+even later than the First Crusade the kingdom lay somewhere between
+Paris and Lyons; the Royal Domain, not France as we know it now. The
+Duchy of Aquitaine, the Duchy of Brittany, Burgundy, the Counties of
+Toulouse, Provence, Champagne, Normandy, and many smaller possessions,
+were as proudly separate in spirit as Norway and Sweden, and often as
+politically distinct as they from Denmark.
+
+In the midst of these times of turmoil the Church had steadily grown.
+Every change, however fatal to North or South, brought to her new
+strength. Confronted with cultured paganism in the first centuries, the
+blood of her martyrs made truly fruitful seed for her victories; and
+later, facing paganism of another, wilder race, she triumphed more
+peacefully in the one supreme conversion of Clovis; and the devotion and
+interest which from that day grew between Church and King, gradually
+made her the greatest power of the country. After the decline of Roman
+culture the Church was the one intellectual, almost peaceful, and
+totally irresistible force. The great lords scorned learning. An Abbot,
+quaintly voicing the Church's belief, said that "every letter writ on
+paper is a sword thrust in the devil's side." When there was cessation
+of war, the occupation of men, from Clovis' time throughout Mediævalism,
+was gone. They could not read; they could not write; the joy of hunting
+was, in time, exhausted. They were restless, lost. The justice meted out
+by the great lords was, too often, the right of might. But at the
+Council of Orléans, in 511, a church was declared an inviolable refuge,
+where the weak should be safe until their case could be calmly and
+righteously judged. The beneficent care of the Church cannot be
+overestimated. Between 500 and 700 she had eighty-three councils in
+Gaul, and scarcely one but brought a reform,--a real amelioration of
+hardships.
+
+Something of the general organisation of her great power in those rude
+times deserves more than the usual investigation. Even in its small
+place in the "Cathedrals and Cloisters of the South of France," it is an
+interesting bit of Church politics and psychology.
+
+The ecclesiastical tradition of France goes back to the very first years
+of the Christian era. Lazarus, Mary Magdalene, Martha, and Mary the
+Mother of James, are only a few of those intimately connected with
+Christ Himself, who are believed to have come into Gaul; and in their
+efforts to systematically and surely establish Christianity, to have
+founded the first French Bishoprics. This is tradition. But even the
+history of the II century tells of a venerable, martyred Bishop of
+Lyons, a disciple of that Polycarp who knew Saint John; and in the III
+century Gaul added no less than fourteen to the Sees she already had.
+Enthusiastic tradition aside, it is evident that the missionary ardour
+of the Gallic priests was intense; and the glory of their early
+victories belongs entirely to a branch of the Church known as "the
+Secular Clergy."
+
+[Illustration: THE TOWER OF AN EARLY MARITIME CATHEDRAL.--AGDE.]
+
+The other great branch, "the Religious Orders," were of later
+institution. From the oriental deserts of the Thebaid, where Saint
+Anthony had early practised the austerities of monkish life, Saint
+Martin drew his inspiration for the monasticism of the West. But it was
+not until the last of the IV century that he founded, near Poitiers, the
+first great monastery in France. The success of this form of pious life,
+if not altogether edifying, was immediate. Devotional excesses were less
+common in the temperate climate of France than under the exciting
+oriental sun, yet that most bizarre of Eastern fanatics, the "Pillar
+Saint," had at least one disciple in Gaul. He--the good Brother
+Wulfailich--began the life of sanctity by climbing a column near Trèves,
+and prepared himself to stand on it, barefooted, through winter and
+summer, till, presumably, angels should bear him triumphantly to heaven.
+But the West is not the East. And the good Bishops of the neighbourhood
+drew off, instead of waiting at the pillar, as an exalted emperor had
+humbly stood beneath that of Saint Simeon Stylites. Far from being
+awe-struck, they were scandalised; and they forced Wulfailich to descend
+from his eminence, and destroyed it. This is one of the first Gallic
+instances of the antagonisms between the "secular" and the "regular"
+branches of the reverend clergy.
+
+Within the French Church from early times, these two great forces were
+arrayed, marching toward the same great end,--but never marching
+together. It is claimed they were, and are, inimical. In theory, in
+ideal, nothing could be further from truth. They were in fact sometimes
+unfriendly; and more often than not mutually suspicious. For the great
+Abbot inevitably lived in a Bishop's See; and with human tempers beneath
+their churchly garb, Abbot and Bishop could not always agree. Now the
+Bishop was lord of the clergy, supreme in his diocese; but should he
+call to account the lowest friar of any monastery, my Lord Abbot replied
+that he was "answerable only to the Pope," and retired to his vexatious
+"imperium in imperio."
+
+The beginning of the VI century saw much that was irregular in monastic
+life. The whole country was either in a state of war or of unrestful
+expectation of war. Many Abbeys were yet to be established; many merely
+in process of foundation. Wandering brothers were naturally beset by the
+dangers and temptations of an unsettled life; and if history may be
+believed, fell into many irregularities and even shamed their cloth by
+licentiousness. Into this disorder came the great and holy Benedict, the
+"learnedly ignorant, the wisely unlearned," the true organiser of
+Western Monachism. Under his wise "Rules" the Abbey of the VI century
+was transformed. It became "not only a place of prayer and meditation,
+but a refuge against barbarism in all its forms. And this home of books
+and knowledge had departments of all kinds, and its dependencies formed
+what we would call to-day a 'model farm.' There were to be found
+examples of activity and industry for the workman, the common tiller of
+the soil, or the land-owner himself. It was a school," continues
+Thierry, "not of religion, but of practical knowledge; and when it is
+considered that there were two hundred and thirty-eight of such schools
+in Clovis' day, the power of the Orders, though late in coming, will be
+seen to have grown as great as that of the Bishops."
+
+From these two branches sprang all that is greatest in the
+ecclesiastical architecture of France. As their strength grew, their
+respective churches were built, and to-day, as a sign of their dual
+power, we have the Abbey and the Cathedral.
+
+The Bishop's church had its prototype in the first Christian meeting
+places in Rome and was planned from two basic ideas,--the part of the
+Roman house which was devoted to early Christian service, and the
+growing exigencies of the ritual itself. At the very first of the
+Christian era, converts met in any room, but these little groups so soon
+grew to communities that a larger place was needed and the "basilica" of
+the house became the general and accepted place of worship. The
+"basilica" was composed of a long hall, sometimes galleried, and a
+hemicycle; and its general outline was that of a letter T. Into this
+purely secular building, Christian ceremonials were introduced. The
+hemicycle became the apse; the gallery, a clerestory; the hall, a
+central nave. Here the paraphernalia of the new Church were installed.
+The altar stood in the apse; and between it and the nave, on either
+side, a pulpit or reading-desk was placed. Bishop and priests sat around
+the altar, the people in the nave. This disposition of clergy, people,
+and the furniture of the sacred office is essentially that of the
+Cathedral of to-day. There were however many amplifications of the first
+type. The basilica form, T, was enlarged to that of a cross; and
+increasingly beautiful architectural forms were evolved. Among the first
+was the tower of the early Italian churches. This single tower was
+doubled in the French Romanesque, often multiplied again by Gothic
+builders, and in Byzantine churches, increased to seven and even nine
+domes. Transepts were added, and as, one by one, the arts came to the
+knowledge of the Middle Ages and the Renaissance, each was pressed into
+the service of the Cathedral builders. The interior became so beautiful
+with carvings, windows of marvellously painted glass, rich tapestries
+and frescoes, that the ritual seemed yearly more impressive and
+awe-inspiring. The old, squat exterior of early days was forgotten in
+new height and majesty, and the Cathedral became the dominant building
+of the city.
+
+Although the country was early christianised, and on the map of
+Merovingian France nearly all the present Cathedral cities of the
+Mediterranean were seats of Bishoprics, we cannot now see all the
+successive steps of the church architecture of the South. The main era
+of the buildings which have come down to us, is the XI-XIV centuries. Of
+earlier types and stages little is known, little remains.
+
+[Illustration: A NAVE OF THE EARLIER STYLE.--ARLES.]
+
+In general, Gallic churches are supposed to have been basilican, with
+all the poverty of the older style. Charlemagne's architects, with San
+Vitale in mind, gave a slight impetus in the far-away chapel at
+Aix-la-Chapelle, and Gregory of Tours tells us that Bishop Perpetuus
+built a "glorious" church at Tours. But his description is meagre. After
+a few mathematical details, he returns to things closer to his
+heart,--the Church's atmosphere of holiness, the emblematic radiance of
+the candle's light, the ecstasy of worshippers who seemed "to breathe
+the air of Paradise." And Saint Gregory's is the religious, uncritical
+spirit of his day, whose interest was in ecclesiastical establishment
+rather than ecclesiastical architecture. Churches there were in numbers;
+but they were not architectural achievements. Their building was like
+the planting of the flag; they were new outposts, signs of an advance of
+the Faith. With this missionary spirit in the Church, with priests still
+engaged in christianising and monks in establishing themselves on their
+domains, with a very general ignorance of art, with the absorbing
+interest of the powerful and great in warfare, and the very great
+struggle among the poor for existence, architecture before the X century
+had few students or protectors. France had neither sufficient political
+peace nor ecclesiastical wealth for elaborate church structures. No
+head, either of Church or State, had taste and time enough to inaugurate
+such works.
+
+Many causes have combined to destroy such churches as then existed. If
+they escaped the rasings and fires of a siege, they were often destroyed
+by lightning, or decayed by years; and some of the fragments which
+endured to the XIII century were torn down to make room for more
+beautiful buildings.
+
+It was the XI and XII centuries which saw the important beginnings of
+the great Cathedrals of both North and South. These were the years when
+religion was the dominant idea of the western world,--when everything,
+even warfare, was pressed into its service. Instead of devastating their
+own and their neighbour's country, Christian armies were devastating the
+Holy Land; doing to the Infidel in the name of their religion what he,
+in the name of his, had formerly done to them. The capture of Jerusalem
+had triumphantly ended the First Crusade; the Church was everywhere
+victorious, and the Pope in actual fact the mightiest monarch of the
+earth. These were the days when Peter the Hermit's cry, "God wills it,"
+aroused the world, and aroused it to the most diverse accomplishments.
+
+One form of this activity was church building; but there were other
+causes than religion for the general magnificence of the effort. Among
+these was communal pride, the interesting, half-forgotten motive of much
+that is great in mediæval building.
+
+The Mediævalism of the old writers seems an endless pageant, in which
+indefinitely gorgeous armies "march up the hill and then march down
+again;" in newer histories this has disappeared in the long struggle of
+one class with another; and in neither do we reach the individual, nor
+see the daily life of the people who are the backbone of a nation. Yet
+these are the people we must know if we are to have a right conception
+of the Cathedral's place in the living interest of the Middle Ages. For
+the Bishop's church was in every sense a popular church. The Abbey was
+built primarily for its monks, and the Abbey-church for their meditation
+and worship. The French Cathedral was the people's, it was built by
+their money, not money from an Abbey-coffer. It did not stand, as the
+Cathedral of England, majestic and apart, in a scholarly close; it was
+in the open square of the city; markets and fairs were held about it;
+the doors to its calm and rest opened directly on the busiest, every-day
+bustle. It is not a mere architectural relic, as its building was never
+a mere architectural feat. It is the symbol of a past stage of life, a
+majestic part of the picture we conjure before our mind's eye, when we
+consider Mediævalism.
+
+[Illustration: A NAVE OF THE LATER STYLE.--RODEZ.]
+
+Such a picture of a city of another country and of the late Middle Ages
+exists in the drama of Richard Wagner's Meistersinger; and his Nuremberg
+of the XVI century, with changes of local colour, is the type of all
+mediæval towns. General travel was unknown. The activity of the great
+roads was the march of armies, the roving of marauders, the journeys of
+venturesome merchants or well-armed knights. Not only roads, but even
+streets were unsafe at night; and after the sun had set he who had gone
+about freely and carelessly during the day, remained at home or ventured
+out with much caution. When armies camped about her walls, the city was
+doubtless much occupied with outside happenings. But when the camp broke
+up and war was far away, her shoemaker made his shoes, her goldsmith,
+fine chains and trinkets, her merchants traded in the market-place.
+Their interests were in street brawls, romancings, new "privileges," the
+work or the feast of the day--in a word town-topics. Yet being as other
+men, the burghers also were awakened by the energy of the age, and
+instead of wasting it in adventures and wars, their interest took the
+form of an intense local pride, narrow, but with elements of grandeur,
+seldom selfish, but civic.
+
+This absence of the personal element is nowhere better illustrated than
+in Cathedral building. Of all the really great men who planned the
+Cathedrals of France, almost nothing is known; and by searching, little
+can be found out. Who can give a dead date, much less a living fact,
+concerning the life of that Gervais who conceived the great Gothic
+height of Narbonne? Who can tell even the name of him who planned the
+sombre, battlemented walls of Agde, or of that great man who first saw
+in poetic vision the delicate choir of Saint-Nazaire in Carcassonne?
+Artists have a well-preserved personality,--cathedral-builders, none.
+Robert of Luzarches who conceived the "Parthenon of all Gothic
+architecture," and the man who planned stately Sens and the richness of
+Canterbury, are as unknown to us as the quarries from which the stones
+of their Cathedrals were cut. It is not the Cathedral built by Robert of
+Luzarches belonging to Amiens, as it is the Assumption by Rubens
+belonging to Antwerp. It is scarcely the Cathedral of its patron, Saint
+Firmin. It is the Cathedral of Amiens.
+
+[Illustration: "THE DELICATE CHOIR OF SAINT-NAZAIRE."--CARCASSONNE.]
+
+We hear many learned disquisitions on the decay of the art of church
+building. Lack of time in our rushing age, lack of patience, decline of
+religious zeal, or change in belief, these are some of the popular
+reasons for this architectural degeneracy. Strange as it may seem none
+of these have had so powerful an influence as the invention of printing.
+The first printing-press was made in the middle of the XV
+century,--after the conception of the great Cathedrals. In an earlier
+age, when the greatest could neither read nor write and manuscripts even
+in monasteries were rare, sculpture and carving were the layman's books,
+and Cathedrals were not only places of worship, they were the
+people's religious libraries where literature was cut in stone.
+
+In the North, the most unique form of this literature was the drama of
+the Breton Calvaries, which portrayed one subject and one only,--the
+"Life and Passion of Christ," taken from Prophecy, Tradition, and the
+Gospels. Cathedrals, both North and South, used the narrative form. They
+told story after story; and their makers showed an intimate knowledge of
+Biblical lore that would do credit to the most ardent theological
+student. At Nîmes, by no means the richest church in carvings, there are
+besides the Last Judgment and the reward of the Evil and the
+Righteous,--which even a superficial Christian should know,--many of the
+stories of the Book of Genesis. At Arles, there is the Dream of Jacob,
+the Dream of Joseph, the Annunciation, the Nativity, Purification,
+Massacre of the Innocents, the Flight into Egypt; almost a Bible in
+stone. In these days of books and haste few would take the trouble to
+study such sculptured tales. But their importance to the unlettered
+people of the Middle Ages cannot be overestimated; and the incentive to
+magnificence of artistic conception was correspondingly great.
+
+The main era of Cathedral building is the same all over France. But with
+the general date, all arbitrary parallel between North and South
+abruptly ends. The North began the evolution of the Gothic, a new form
+indigenous to its soil; the South continued the Romanesque, her
+evolution of a transplanted style, and long knew no other. She had grown
+accustomed to give northward,--not to receive; and it was the reign of
+Saint Louis before she began to assimilate the architectural ideas of
+the Isle de France and to build in the Gothic style, it was admiration
+for the newer ideals which led the builders of the South to change such
+of their plans as were not already carried out, and to try with these
+foreign and beautiful additions, to give to their churches the most
+perfect form they could conceive.
+
+And thus, from a web of Fate, in which, as in all destinies, is the
+spinning of many threads, came the Cathedrals and Cloisters of the
+South. Are they greater than those of the North? Are they inferior to
+them? It is best said, "Comparison is idle." Who shall decide between
+the fir-trees and the olives--between the beautiful order of a northern
+forest and the strange, astounding luxuriance of the southern tangle?
+Which is the better choice--the well-told tale of the Cathedrals of the
+North, with their procession of kingly visitors, or the almost untold
+story of the Cathedrals of the South, where history is still legend,
+tradition, romance--the story of fanatic fervour and still more fanatic
+hate?
+
+[Illustration: A CLOISTER OF THE SOUTH.--ELNE.]
+
+
+
+
+II.
+
+ARCHITECTURE IN PROVENCE, LANGUEDOC, AND GASCONY.
+
+
+No better place can be found than the Mediterranean provinces to
+consider the origins of the earliest southern style. Here Romanesque
+Cathedrals arose in the midst of the vast ruins of Imperial antiquity,
+here they developed strange similarities to foreign styles, domes
+suggesting the East, Greek motives recalling Byzantium, and details
+reminiscent of Syria. And here is the battle-field for that great army
+who decry or who defend Roman influences. Some would have us believe
+that the Romanesque dome is expatriated from the East; others, that it
+is naturalised; others, that it is native. The plan of the Romanesque
+dome differs very much from that of the Byzantine, yet the general
+conception seems Eastern. If conceivable in the Oriental mind, why not
+in that of the West? And yet, in spite of some native peculiarities of
+structure, why should not the general idea have been imported? Who shall
+decide? In a book such as this, mooted questions which involve such
+multitudinous detail and such unprovable argument cannot be discussed.
+
+It is unreasonable to doubt, however, that Roman influences dominated
+the South, herself a product of Roman civilisation; and as in the
+curious ineradicable tendency of the South toward heresy we more than
+suspect a subtle infiltration of Greek and Oriental perversions, so in
+architecture it is logical to infer that Mediterranean traders,
+Crusaders, and perhaps adventurous architects who may have travelled in
+their wake, brought rumours of the buildings of the East, which were
+adopted with original or necessary modifications. Viollet-le-Duc, in
+summing up this much discussed question, has written that "in the
+Romanesque art of the West, side by side with persistent Latin
+traditions, a Byzantine influence is almost always found, evidenced by
+the introduction of the cupola." In the lamentable absence of records of
+the majority of Cathedrals, reasonings of origin must be inductive, and
+more or less imaginative, and have no legitimate place in the scope of a
+book which aims to describe the existing conditions and proven history
+of southern Cathedrals.
+
+[Illustration: A ROMANESQUE AISLE.--ARLES.]
+
+Quicherat, who has had much to say upon architectural subjects, defines
+the Romanesque as an art "which has ceased to be Roman, although it has
+much that is Roman, and that is not yet Gothic, although it already
+presages the Gothic." This is not a very helpful interpretation.
+Romanesque, as it exists in France to-day, is generally of earlier
+building than the Gothic; it is an older and far simpler style. It was
+not a quick, brilliant outburst, like the Gothic, but a long and slow
+evolution; and it has therefore deliberation and dignity, not the
+spontaneity of northern creations; strength, and at times great vigour,
+but not munificence, not the lavishness of art and wealth and adornment,
+of which the younger style was prodigal. Few generalisations are
+flawless, but it may be truly said that Romanesque Cathedrals are
+lacking in splendour; and it will be found in a large majority of cases
+that they are also without the impressiveness of great size; that they
+are almost devoid of shapely windows or stained glass, of notable
+carvings or richness of decorative detail. Their art is a simple art, a
+sober art, and in its nearest approach to opulence--the sculptured
+portals of Saint-Trophime of Arles or Saint-Gilles-de-Languedoc--there
+is still a reserved rather than an exuberant and uncontrolled display of
+wealth.
+
+[Illustration: "THE SCULPTURED PORTALS OF SAINT-TROPHIME."--ARLES.]
+
+By what simple, superficial sign can this architecture be recognised by
+those who are to see it for the first time? It exists "everywhere and
+always" in southern France; but, side by side with the encroachments
+and additions of other styles, how can it be easily distinguished?
+Quicherat writes that the principal characteristic of the Romanesque is
+"la voûte," and the great, rounded tunnel of the roofing is a
+distinction which will be found in no other form. But the easiest of
+superficial distinctions is the arch-shape, which in portal, window,
+vaulting or tympanum is round; wherever the arcaded form is
+used,--always round. With this suggestion of outline, and the universal
+principles of the style, simplicity and dignity and absence of great
+ornamentation, the untechnical traveller may distinguish the Romanesque
+of the South, and if he be akin to the traveller who tells these
+Cathedral tales, the interest and fascination which the old architecture
+awakes, will lead him to discover for himself the many differences which
+are evident between the ascetic strength of the one, and the splendour
+and brilliance of the other.
+
+
+[Sidenote: Provence.]
+
+[Illustration: A GOTHIC AISLE.--MENDE.]
+
+The three provinces which compose the South of France are Provence,
+Languedoc, and Gascony, and of these Provence is, architecturally and
+historically, the first to claim our interest. During the era of
+colonisation it was the most thoroughly romanised, and in the early
+centuries of Christianity the first to fall completely under the
+systematic organisation of the Church. It has a large group of very old
+Cathedrals, and is the best study-ground for a general scrutiny and
+appreciation of that style which the builders of the South assimilated
+and developed until, as it were, they naturalised it and made it one
+of the two greatest forms of architectural expression. Provence does not
+contain the most impressive examples of Romanesque. Two Abbeys of the
+far Norman North are more finished and harmonious representations of the
+art, and Languedoc, in the basilica of Saint-Sernin of Toulouse, has a
+nobler interior than any in the Midi, and many other churches of
+Languedoc and Gascony are most interesting examples of a style which
+belonged to them as truly as to Provence.
+
+Yet it is in this province that the Romanesque is best studied. For here
+the great internecine struggles--both political and religious--of the
+Middle Ages were not as devastating as in Languedoc and Gascony;
+Provence was a sunny land, where Sonnets flourished more luxuriantly
+than did Holy Inquisition. Her churches have therefore been preserved in
+their original form in greater numbers than those of the two other
+provinces. They are of all types of Romanesque, all stages of its
+growth, from the small and simple Cathedrals which were built when
+ecclesiastical exchequers were not overflowing, to the greater ones
+which illustrate very advanced and dignified phases of architectural
+development; and as a whole they exhibit the normal proportion of
+failure and success in an effort toward an ideal.
+
+
+[Sidenote: Languedoc.]
+
+Léon Renier, the learned lecturer of the Collège de France, says: "It is
+remarkable that the changes, the elaborations, the modifications of the
+architecture given by Rome to all countries under her domination were
+conceived in the provinces long before they were reproduced in Italy.
+Rome gave no longer; she received ... a transfusion of a new blood, more
+vital and more rich." In Languedoc, the greater number of monuments of
+this ancient architecture have been destroyed; and those of their
+outgrowth, the later Romanesque, were so repeatedly mutilated that the
+Cathedrals of this province present even a greater confusion of
+originalities, restorations, and additions than those of Provence. To a
+multitude of dates must be added corresponding differences in style.
+Each school of architecture naturally considered that it had somewhat of
+a monopoly of good taste and beauty, or at least that it was an
+improvement on the manner which preceded it; and it would have been too
+much to expect, in ages when anachronisms were unrecognised, that
+churches should have been restored in their consonant, original style.
+Architects of the Gothic period were unable to resist the temptation of
+continuing a Romanesque nave with a choir of their own school, and
+builders of the XVIII century went still further and added a showy Louis
+XV façade to a modest Romanesque Cathedral. Some churches, built in
+times of religious storm and stress, show the preoccupation of their
+patrons or the lack of talent of their constructors; others belong to
+Bishoprics that were much more lately constituted than the Sees of
+Provence, and in these cases the new prelate chose a church already
+begun or completed, and compromised with the demands of episcopal pomp
+by an addition, usually of different style. The numerous changes,
+political and religious, of the Mediævalism of Languedoc, had such
+considerable and diverse influence on the architecture of the
+province that it is not possible, as in Provence, to trace an
+uninterrupted evolution of one style. The Languedocian is generally a
+later builder than the Provençal; he is bolder. Having the Romanesque
+and the Gothic as choice, he chose at will and seemingly at random. He
+had spontaneity, enthusiasm, verve; and when no accepted model pleased
+his taste, he re-created after his own liking. Languedoc has therefore a
+delightful quality that is wanting in Provence; and in her greater
+Cathedrals there is often an originality that is due to genius rather
+than to eccentricity. There is delicate Gothic at Carcassonne, lofty
+Gothic at Narbonne, Sainte-Cécile of Albi is fortified Gothic built in
+brick. The interior of Saint-Sernin of Toulouse is an apotheosis of the
+austere Romanesque, and Saint-Etienne of Agde is a gratifying type of
+the Maritime Church of the Midi.
+
+[Illustration: "CORRESPONDING DIFFERENCES IN STYLE."--CARCASSONNE.]
+
+This Cathedral of the Sea is a fitting example of a peculiar type of
+architecture which exists also in Provence,--a succession of
+fortress-churches that extend along the Mediterranean from Spain to
+Italy like the peaks of a mountain chain. Nothing can better illustrate
+the continuous warrings and raidings in the South of France than these
+strange churches, and their many fortified counterparts inland, in both
+Languedoc and Gascony. Castles and walled towns were not sufficient to
+protect the Southerner from invasions and incursions; his churches and
+Cathedrals, even to the XIV century, were strongholds, more suitable for
+men-at-arms than for priests, and seemingly dedicated to some war-god
+rather than to the gentle Virgin Mother and the Martyr-Saints under
+whose protection they nominally dwelt.
+
+Although most interesting, the military church of the interior is seldom
+the Bishop's church. The maritime church on the contrary is nearly
+always a Cathedral, with strangely curious legends and episodes. The
+French coast of the Mediterranean was the scene of continuous pillage.
+Huns, Normans, Moors, Saracens, unknown pirates and free-booters of all
+nationalities found it very lucrative and convenient to descend on a
+sea-board town, and escape as they had come, easily, their boats loaded
+with booty. "As late as the XII century," writes Barr Ferree,
+"buccaneers gained a livelihood by preying on the peaceful and
+unoffending inhabitants of the villages and cities. The Cathedrals, as
+the most important buildings and the most conspicuous, were strongly
+fortified, both to protect their contents and to serve as strongholds
+for the citizens in case of need. In these churches, therefore,
+architecture assumed its most utilitarian form and buildings are real
+fortifications, with battlemented walls, strong and heavy towers, and
+small windows, and are provided with the other devices of Romanesque
+architecture of a purely military type."
+
+[Illustration: "FORTIFIED GOTHIC BUILT IN BRICK."--ALBI.]
+
+"Time has dealt hardly with them. The kingly power, being entrenched in
+Paris, developed from the Isle de France. The wealth that once enriched
+the fertile lands of the South moved northwards, and the great
+commercial cities of the North became the most important centres of
+activity. Then the southern towns began to decline," and the
+buildings which remain to represent most perfectly the "Church-Fortress"
+are not those of Provence, which are "patched" and "restored," but those
+of Languedoc, Agde, and Maguelonne, and Elne of the near-by country of
+Rousillon.
+
+[Illustration: "A CHURCH FORTRESS."--MAGUELONNE.]
+
+
+[Sidenote: Gascony.]
+
+Gascony, the last of the southern provinces and the farthest from Rome,
+had great prosperity under Imperial dominion. Many patricians emigrated
+there, roads were built, commerce flourished, and as in Provence and
+Languedoc, towns grew into large and well-established cities.
+Christianity made a comparatively early conquest of the province; and
+at the beginning of the IV century, eleven suffragan Bishoprics had been
+established under the Archbishopric of Eauze. Gascony has many old
+Cathedral cities, and has had many ancient Cathedrals; but after the
+fall of the Roman Empire in the V century, a series of wars began which
+destroyed not only the Christian architecture, but almost every trace of
+Roman wealth and culture. Little towers remain, supposed shrines of
+Mercury, protector of commerce and travel; pieces of statues are found;
+but the Temples, the Amphitheatres, the Forums, have disappeared, and
+even more completely, the rude Christian churches of that early period.
+
+Although the province has no Mediterranean coast and could not be
+molested by the marauders of that busy sea, it lay directly upon the
+route of armies between France and Spain; and it is no "gasconading" to
+say that it was for centuries one of the greatest battle-fields of the
+South. Vandals, Visigoths, Franks, Saracens, Normans,--Gascons against
+Carlovingians, North against South, all had burned, raided, and
+destroyed Gascony before the XI century. It is not surprising, then,
+that there are found fewer traces of antiquity here than in Provence and
+Languedoc. Even the few names of decimated cities which survived,
+designated towns on new sites. Eauze, formerly on the Gélise, lay long
+in ruins, and was finally re-built a kilometre inland. Lectoure and Auch
+had long since retired from the river Gers and taken refuge on the hills
+of their present situations, while other cities fell into complete ruin
+and forgetfulness.
+
+[Illustration: STATELY GOTHIC SPLENDOUR.--CONDOM.]
+
+The year 1000, which followed these events, was that of the predicted
+and expected end of the world. The extravagances of Christians at that
+time are well known, the gifts of all property that were made to the
+Church, the abandonment of worldly pursuits, the terrors of many, the
+anxiety of the calmest, the emotional excesses which led people to live
+in trees that they might be near to heaven when the "great trump" should
+sound,--"Mundi fine appropinquante." But the trumpet did not sound, and
+Raoul Glaber, a monk of the XI century, writes that all over Italy and
+the Gaul of his day there was great haste to restore and re-build
+churches, a general rivalry between towns and between countries, as to
+which could build most remarkably. "This activity," says Quicherat, "may
+show a desire to renew alliance with the Creator." It certainly proves
+that the generation of the year 1000 had fresh and new architectural
+ideas.
+
+This was the period of recuperation and re-building for Gascony. The
+monks of the VIII, IX, and X centuries had devoted themselves with zeal
+and success to the cultivation of the soil. They had acquired fertile
+fields, and desiring peace, they had placed themselves in positions
+where their strength would defend them when their holy calling was not
+respected. These monasteries were places of refuge and soon gave their
+name and their protection to the towns and villages which began to
+cluster about them. Except the declining settlements of Roman days,
+Gascony had few towns in the X century; and many of her most important
+cities of to-day owe their foundation, their existence, and their
+prosperity to these Benedictine monasteries. Eauze regained its life
+after the establishment of a convent, and in the XI, XII, and XIII
+centuries, the Abbots of Cîteaux, Bishops, and even lords of the laity,
+occupied themselves in the creation of new cities. Many of the towns of
+mediæval creation possessed broad municipal and commercial privileges,
+they grew to the importance of "communes" and Bishoprics, and some even
+styled themselves "Republics."
+
+Although these were times of much re-building, restoring, and carrying
+out of older plans of ecclesiastical architecture, the XI and XII
+centuries were none the less filled with innumerable private wars, and
+in 1167 began the bloody and persistent struggle with England. The city
+of Aire was at one time reduced to twelve inhabitants, and the horrors
+of the mediæval siege were more than once repeated. In these wars,
+Cathedrals, as well as towns and their inhabitants, were scarred and
+wounded. Hardly had these dissensions ended in 1494, when the Wars of
+Religion commenced under Charles IX, and Gascony was again one of the
+most terrible fields of battle. Here the demoniac enthusiasm of both
+sides exceeded even the terrible exhibitions of Languedoc. The royal
+family of Navarre was openly Protestant and contributed more than any
+others to the military organisations of their Faith. Jeanne d'Albret, in
+1566, wishing to repay intolerance with intolerance, forbade religious
+processions and church funerals in Navarre. The people rose, and the
+next year the Queen was forced to grant toleration to both religions.
+Later the King of France entered the field and sent an army against the
+Béarnaise Huguenots, Jeanne, in reprisal, called to her aid Montmorency;
+and with a thoroughness born of pious zeal and hatred, each army began
+to burn and kill. All monasteries, all churches, were looted by the
+Protestants; all cities taken by Montluc, head of the Catholics, were
+sacked. Tarbes was devastated by the one, Rabestans by the other, and
+the Cathedral of Pamiers was ruined. With the Massacre of Saint
+Bartholomew, in 1572, the struggle began again, and the League
+flourished in all its malign enthusiasm. "Such disorder as was
+introduced," says a writer of the period, "such pillage, has never been
+seen since war began. Officers, soldiers, followers, and volunteers were
+so overburdened with booty as to be incommoded thereby. And after this
+brigandage, the peasants hereabouts [Bigorre] abandoned their very farms
+from lack of cattle, and the greater number went into Spain."
+
+During long centuries of such religious and political devastation the
+architectural energy of Gascony was expended in replacing churches which
+had been destroyed, and were again to be destroyed or injured. It would
+be unfair to expect of this province the great magnificence which its
+brave, cheerful, and extravagant little people believe it "once
+possessed," or to look, amid such unrest, for the calm growth of any
+architectural style. It is a country of few Cathedrals, of curious
+churches built for war and prayer, and of such occasional outbursts of
+magnificence as is seen in the Romanesque portal of Saint-Pierre of
+Moissac and in the stately Gothic splendour of the Cathedrals at Condom
+and at Bayonne. It is a country where Cathedrals are surrounded by the
+most beautiful of landscapes, and where each has some legend or story of
+the English, the League, of the Black Prince, or the Lion-hearted, of
+Henry IV, still adored, or of Simon de Montfort, still execrated, where
+the towns are truly historic and the mountains truly grand.
+
+
+
+
+Provence.
+
+
+
+
+I.
+
+THE CATHEDRALS OF THE SEA.
+
+
+[Sidenote: Marseilles.]
+
+Perhaps a Phoenician settlement, certainly a Carthaginian mart, later a
+Grecian city, and in the final years of the pagan era possessed by the
+Romans, no city of France has had more diverse influences of antique
+civilisation than Marseilles, none responded more proudly to its ancient
+opportunities; and not only was it commercially wealthy and renowned,
+but so rich in schools that it was called "another, a new Athens." It
+was also the port of an adventurous people, who founded Nice, Antibes,
+la Ciotat, and Agde, and explored a part of Africa and Northern Europe;
+and at the fall of the Roman Empire it became, by very virtue of its
+riches and safe harbour, the envy and the prey of a succession of
+barbaric and "infidel" invaders. In the Middle Ages it had all the
+vicissitudes of wars and sieges to which a great city could be
+subjected. It had a Viscount, and from very early days, a Bishop; it was
+at one time part of the Kingdom of Arles; and later it recognised the
+suzerainty of the Counts of Provence. When these lords were warring or
+crusading, it took advantage of their absence or their troubles and
+governed itself through its Consuls; became a Provençal Republic after
+the type of the Italian cities and other towns of the Mediterranean
+country; treated with the Italian Republics on terms of perfect
+equality; and although finally annexed to France by the wily Louis of
+the Madonnas, its people were continually haunted by memories of their
+former independence, and not only struggled for municipal rights and
+liberties, but took sides for or against the most powerful monarchs of
+continental history as if they had been a resourceful country rather
+than a city. It succored the League, defied Henry IV and Richelieu; and
+treating Kings in trouble as cavalierly as declining Counts, Marseilles
+tried at the death of Henry III to secede from France and recover its
+autonomy under a Consul, Charles de Cazaulx. Promptly defeated, it still
+continued to think independently, and struggle, as best it might, for
+freedom of administration; and although from the time of Pompey to that
+of Louis XIV it has had an ineradicable tendency to stand against the
+government, it has survived the results of all its contumacies, its
+plagues, wars, and sieges, and the destructiveness of its phase of the
+Revolution, when it had a Terror of its own. Notwithstanding modern
+rivals in the Mediterranean, Marseilles is to-day one of the largest and
+most prosperous of French cities. Built in amphitheatre around the bay,
+it is beautiful in general view, its streets bustle with commercial
+activity, and its vast docks swarm with workmen. The storms of the past
+have gone over Marseilles as the storms of nature over its sea, have
+been as passionate, and have left as little trace. Instead of Temples,
+Forum, and Arena, there are the Palais de Longchamps, the Palais de
+Justice, and the Christian Arch of Triumph. Instead of the muddy and
+unhealthy alley-ways of Mediævalism, there are broad streets and wide
+boulevards, and in spite of its antiquity Marseilles is a city of
+to-day, in monuments, aspect, spirit, and even in class distinction.
+"Here," writes Edmond About, "are only two categories of people, those
+who have made a fortune and those who are trying to make one, and the
+principal inhabitants are parvenus in the most honourable sense of the
+word."
+
+[Illustration: _Entrevaux._
+
+People gather around the mail-coach as it makes its daily halt before
+the drawbridge.]
+
+[Illustration: THE NEW CATHEDRAL.--MARSEILLES.]
+
+"In the most honourable sense of the word," the Cathedral of Marseilles
+is also typical of the city, "parvenue." Its first stone was placed by
+Prince Louis Napoleon in 1852, and as the modern has overgrown the
+classic and mediæval greatness of Marseilles, so the new "Majeure" has
+eclipsed, if it has not yet entirely replaced, the old Cathedral; and
+except the stern Abbey-church of Saint-Victor, an almost solitary relic
+of true mediæval greatness, it is the finest church of the city.
+
+The new Cathedral and the old stand side by side; the one strong and
+whole, the other partly torn down, scarred and maimed as a veteran who
+has survived many wars. Even in its ruin, it is an interesting type of
+the maritime Provençal church, but so pitiably overshadowed by its
+successor that the charm of its situation is quite lost, and few will
+linger to study its three small naves, the defaced fresco of the dome,
+or even the little chapel of Saint-Lazare, all white marble and carving
+and small statues, scarcely more than a shallow niche in the wall, but
+daintily proportioned, and a charming creation of the Renaissance. Fewer
+still of those who pause to study what remains of the old "Majeure,"
+will stay to reconstruct it as it used to be, and realise that it had
+its day of glory no less real than that of the new church which replaces
+it. In its stead, Saint-Martin's, and Saint-Cannat's sometimes called
+"the Preachers," have been temporarily used for the Bishop's services.
+But now that the greater church, the Assumption of the Blessed Virgin
+Mary, has been practically completed, it has assumed, once and for all,
+the greater rank, and a Cathedral of Marseilles still stands on its
+terrace in full view of the sea. Tradition has it that a Temple of Baal
+once stood on this site and later, a Temple to Diana; that Lazarus came
+in the I century, converted the pagan Marseillais and built a Christian
+Cathedral here. A more critical tradition says that Saint Victor first
+came as missionary, Bishop, and builder. All these vague memories of
+conversion, more or less accurate, all the legends of an humble and
+struggling Christianity, seem buried by this huge modern mass. It is not
+a church struggling and militant, but the Church Established and
+Triumphant. It is a vast building over four hundred and fifty feet long,
+preceded by two domed towers. Its transepts are surmounted at the
+crossing by a huge dome whose circumference is nearly two hundred feet,
+a smaller one over each transept arm, and others above the apsidal
+chapels. The exterior is built with alternate layers of green Florentine
+stone and the white stone of Fontvieille; and the style of the church,
+variously called French Romanesque, Byzantine, and Neo-Byzantine, is
+very oriental in its general effect.
+
+An arcade between the two towers forms a porch, the entrance to the
+interior whose central nave stretches out in great spaciousness. The
+lateral naves, in contrast, are exceedingly narrow and have high
+galleries supported by large monolithic columns. These naves are
+prolonged into an ambulatory, each of whose chapels, in consonance with
+the Cathedral's colossal proportions, is as large as many a church. The
+building stone of the interior is grey and pink, with white marble used
+decoratively for capitals and bases; and these combinations of tints
+which would seem almost too delicate, too effeminate, for so large a
+building, are made rich and effective by their very mass, the gigantic
+sizes which the plan exacts. All that artistic conception could produce
+has been added to complete an interior that is entirely oriental in its
+luxury of ornamentation, half-oriental in style, and without that sober
+majesty which is an inherent characteristic of the most elaborate styles
+native to Western Christianity. Under the gilded dome is a rich
+baldaquined High Altar, and through the whole church there is a
+magnificence of mosaics, of mural paintings, and of stained glass that
+is sumptuous. Mosaics line the arches of the nave and the pendentives,
+and form the flooring; and in the midst of this richness of colour the
+grey pillars rise, one after the other in long, shadowy perspective,
+like the trees of a stately grove.
+
+In planning this new Provençal Cathedral its architects did not attempt
+to reproduce, either exactly or in greater perfection, any maritime type
+which its situation on the Mediterranean might have suggested, nor were
+they inspired by any of the models of the native style; and perhaps, to
+the captious mind, its most serious defect is that its building has
+destroyed not only an actual portion of the old Majeure, but an historic
+interest which might well have been preserved by a wise restoration or
+an harmonious re-building. And yet, with the large Palace of the
+Archbishop on the Port de la Joliette near-by, the statue of a devoted
+and loving Bishop in the open square, and the majestic Cathedral of
+Sainte-Marie-Majeure itself, the episcopacy of Marseilles has all the
+outward and visible signs of strength and glory and power.
+
+
+[Sidenote: Toulon.]
+
+Toulon, although a foundation of the Romans, owes its rank to-day to
+Henry IV, to Richelieu, and to Louis XIV's busy architect, Vauban. It is
+the "Gibraltar of France," a bright, bustling, modern city.
+Sainte-Marie-Majeure, one of its oldest ecclesiastical names, is a title
+which belonged to churches of both the XI and XII centuries; but in the
+feats of architectural gymnastics to which their remains have been
+subjected, and in the wars and vicissitudes of Provence, these buildings
+have long since disappeared.
+
+A few stones still exist of the XI century structure, void of form or
+architectural significance, and the ancient name of Sainte-Marie-Majeure
+now protects a Cathedral built in the most depressing style of the
+industrious Philistines of the XVII and XVIII centuries. It is not a
+Provençal nor a truly "maritime" church, it is not a fortress nor a
+defence, nor a work of any architectural beauty. It has blatancy, size,
+pretension,--a profusion of rich incongruities; and although religiously
+interesting from its chapels and shrines, it is architecturally
+obtrusive and monstrous.
+
+The vagaries of the architects who began in 1634 to construct the
+present edifice, are well illustrated in the changes of plan to which
+they subjected this unfortunate church. The length became the breadth,
+the isolated chapel of the Virgin, part of the main building; the choir,
+another chapel; and the High Altar was removed from the eastern to the
+northern end, where a new choir had been built for its reception. This
+confusion of plan was carried out with logical confusion of style and
+detail. The façade has Corinthian columns of the XVII century; the nave
+is said to be "transition Gothic," the choir is decorated with mural
+paintings, and the High Altar, a work of Révoil, adds to the banalities
+of the XVII and XVIII centuries a rich incongruity of which the XIX has
+no reason to be proud. The whole interior is so full of naves of unequal
+length, and radiating chapels, of arches of differing forms, tastes, and
+styles, that it defies concise description and is unworthy of serious
+consideration. Provence has modest Cathedrals of small architectural
+significance, but except Sainte-Réparate of Nice, it has none so chaotic
+and commonplace as Sainte-Marie-Majeure of Toulon.
+
+
+[Sidenote: Fréjus.]
+
+Fréjus, which claims to be "the oldest city in France," was one of the
+numerous trading ports of the Phoenician, and later, during the period
+of her civic grandeur, an arsenal of the Roman navy. Her most
+interesting ruins are the Coliseum, the Theatre, the old Citadel, and
+the Aqueduct, suggestions of a really great city of the long-gone past.
+Fréjus lost prestige with the decadence of the Empire, and after a
+destruction by the Saracens in the X century, Nature gave the blow which
+finally crushed her when the sea retreated a mile, and her old Roman
+light-house was left to overlook merely a long stretch of barren, sandy
+land. Owing to this stranded, inland position, she has escaped both the
+dignity of a modern sea-port and the prostitution of a Rivieran resort,
+and is a little dead city, the seat of an ancient Provençal "Cathedral
+of the Sea." This Cathedral is largely free from XVII and XVIII century
+disfigurements; and the pity is that having escaped this, a French
+church's imminent peril, it should have become so built around that the
+character of the exterior is almost lost. The façade is severely plain,
+an uninteresting re-building of 1823, but the carved wood of its portals
+is beautiful. The towers, as in other maritime Cathedrals of Provence,
+recall the perils and dangers of their days; and these towers of Fréjus,
+although none the less practically defensive, have a more churchly
+appearance than those of Antibes, Grasse, and Vence. Over the vestibuled
+entrance rises the western tower. Its heavy, rectangular base is the
+support of a super-structure which was replaced in the XVI century by
+one more in keeping with conventional ecclesiastical models. Then the
+windows of the base, whose rounded arches are still traceable, were
+walled in; and the new octagonal stage with high windows of its own was
+completed by a tile-covered spire. The more interesting tower is that
+which surmounts the apse. This was the lookout, facing the sea, the
+really vital defence of the church. Its upper room was a storage place
+for arms and ammunition, and on the side which faces the city was open,
+with a broad, pointed arch. Above, the tower ends in machiolated
+battlements and presents a very strong and stern front seaward, perhaps
+no stronger, but more artistic and grim than towers of other Provençal
+Cathedrals.
+
+The entrance of the church is curiously complicated. To the left is the
+little baptistery; directly before one, a narrow stairway which leads to
+the Cloister; and on the right, a low-arched vestibule which opens into
+the nave of the Cathedral. The interior of Saint-Etienne is dark and
+somewhat gloomy, but that is an inherent trait of a fortress-church, for
+every added inch of window-opening brought an ell of danger. The nave is
+unusually low and broad, and its buttressed piers are of immense weight,
+ending severely in a plain, moulded band. On these great piers rest the
+cross-vaults of the roof and the broad arches of the wall. The north
+aisle, disproportionately narrow, is a later addition. Behind the altar
+is a true Provençal apse, shallow and rectangular, and beyond its
+rounded roof opens the smaller half-dome. Architecturally, this is an
+interesting interior; but the traveller who has not time to spend in
+musings will fail to see it in its original intention;--cold, severely
+plain, heavy, with perhaps too many arch-lines, but sober and simple. A
+futile wooden wainscot now surrounds the church and breaks its wall
+space, liberal coats of whitewash conceal the building material, and
+taking from the church the severity of its stone, give it an appearance
+of poor deprecatory bareness.
+
+[Illustration: "THE DESECRATION OF THE LITTLE CLOISTER."--FRÉJUS.]
+
+Near the entrance of the Cathedral is its most ancient portion, the
+baptistery, formerly a building apart, but now an integral part of the
+church itself. It is perhaps the most interesting Christian monument in
+Fréjus, a reminder of those early centuries when, in France as in Italy,
+the little baptistery was the popular form of Christian architectural
+expression. Here it has the very usual octagonal shape; the arches are
+upheld by grayish columns of granite with capitals of white marble, and
+in the centre stands the font. Between the columns are small
+recesses, alternately rectangular and semi-domed, and above all, is a
+modern dome and lantern. Structurally interesting, and reminiscent of
+the stately baptistery of Aix, the effect of this little chamber, like
+the church's interior, is marred by the whitewashes from whose
+industrious brushes nothing but the grayish columns have escaped. And
+here again, the traveller who would see the builders' work, free from
+the disfigurements of time, must pause and imagine.
+
+Yet even imagination seems powerless before the desecration of the
+little Cloister. Charming it must have been to have entered its quiet
+walks, with their slender columns of white marble, to have seen the
+quaint old well in the little, sun-lit close. Now, between the slender
+columns, boards have been placed which shut out light and sun. The
+traveller sat down on an old wheel-barrow, waiting till he could see in
+the dim and misty light. All around him was forgetfulness of the
+Cloister's holy uses; signs of desecration and neglect. One end of the
+cloister-walk was a thoroughfare, where the wheel-barrow had worn its
+weary way; and even in the deserted corners there was the dust and dirt
+of a work-a-day world. The beautiful little capitals of the slender
+columns rose from among the boards, clipped and worn; above, he dimly
+saw the curious wooden ceiling which would seem to have taken the place
+of the usual stone vaulting; through chinks of the plank-wall he caught
+glimpses of a little close; and at length, having seen the most
+melancholy of "Cathedrals of the Sea," in its disguise of whitewash,
+decay, and misuse, he went his way.
+
+
+[Sidenote: Antibes.]
+
+That part of the southern coast of France called the Riviera seems now
+only to evoke visions of the most beautiful banality; of a life more
+artificial than the stage--which at least aims to present
+reality--transplanted to a scene of such incomparable loveliness that
+Nature herself adds a new and exquisite sumptuousness to the luxury of
+civilisation. The Riviera means a land of many follies and every
+vice;--each folly so delicious, each vice so regal, they seem to be
+sought and desired of all men. Where else can be seen in such careless
+magnificence Dukes of Russia with their polish of manner and their
+veiled insolence; Englishmen correct and blasé; Americans a bit
+vociferous and truly amused; great ladies of all ages and manners;
+adventurers high and low; and the beautiful, sparkling women of no name,
+bravely dressed and barbarously jewelled? Such is the Riviera of to-day;
+the life imposed upon it by hordes of foreign idlers in a land whose
+warmth and luxuriance may have lent itself but too easily to the vicious
+and frivolous pleasures for which they have made it notorious, but a
+land which has no native history that is effeminate, nor any so unworthy
+as its exotic present. "The Riviera" may be Nice, Beaulieu, and their
+like, but the Provençal Mediterranean and its neighbouring territory
+have been the fatherland of warriors in real mail and of princes of real
+power, of the Emperor Pertinax of pagan times, of those who fought
+successfully against Mahmoud and Tergament, and of many Knights of
+Malta, long the "Forlorn Hope" of Christendom.
+
+Discreetly hidden from vulgar eyes that delight in the architecture of the
+modern caravanserai, are the ruins of these older days--Amphitheatres,
+Fountains, Temples, and Aqueducts of the Romans; the Castles, Abbeys,
+and Cathedrals of mediæval times. Here are the larger number, if not the
+most interesting, of those curious churches of the sea, which protected
+the French townsman of the Mediterranean coast from the rapacity of
+sea-rovers and pirates, and many more orthodox enemies of the Middle Ages.
+
+From the great beauty of its situation, the small city of Antibes is
+at once a type of the old régime and of the new. Lying on the sea,
+with a background of snow-capped mountains, it has not entirely
+escaped the fate of Nice; neither has it yet lost all its old
+Provençal characteristics. It is a pathetic compromise between the
+quaint reality of the old and the blatancy of the new. The little
+parish church is of the very far past, having lost its Cathedral rank
+over six hundred years ago to Sainte-Marie in Grasse, a town scarcely
+younger than its own. It is the type of the church of this coast, with
+its unpretentious smallness, its strength, and its disfiguring
+restorations; and it is, especially in comparison with Vence and
+Grasse, of small architectural interest. The façade, and the double
+archway which connects the church and the tower, are of the
+unfortunate XVIII century, the older exterior is monotonous, and the
+interior, an unpleasing confusion of forms.
+
+[Illustration: "THE MILITARY OMEN--THE TOWER." ANTIBES.]
+
+The real interest of the little Cathedral is its ancient military
+strength, neither very grand nor very imposing, but very real to the
+enemy who hundreds of years ago hurled himself against the hard, plain
+stones. From this view-point, the mannered façade and the inharmonious
+interior matter but little. Toward the foe, whose sail might have arisen
+on the horizon at any moment, the protecting church presented the heavy
+rounded walls and safely narrowed windows of its three apses, and behind
+them the military omen of the severe, rectangular tower. High in every
+one of its four sides, seaward and landward, was a window, from which
+many a watcher must have looked and strained anxious eyes. This is the
+significance of the little sea-side Cathedral, this the story its tower
+suggests. And now when the sea is sailed by peaceful ships, and the
+Cathedral only a place of pious worship, the tower with its gaping
+windows is the only salient reminder of the ancient dignity of the
+church; the reminder to an indifferent generation of the days when
+Antibes fulfilled to Christians the promise of her old, pagan name,
+Antipolis, "sentinel" of the perilous sea.
+
+
+[Sidenote: Nice.]
+
+The situation of its Cathedral reveals a Nice of which but little is
+written, the city of a people who live in the service of those whose
+showy, new villas and hotels stretch along the promenades and lie dotted
+on the hills in the Nice of "all the world." Besides this exotic city,
+there is "the Nice of the Niçois," a small district of dark, crowded
+streets that are too full of the sordid struggles of competing
+work-people to be truly picturesque. Here, in the XVI century,
+when the Citadel of Nice was enlarged and the Cathedral of
+Sainte-Marie-de-l'Assomption destroyed, the Church of Sainte-Réparate
+was re-built, and succeeded to the episcopal rank. Standing on a little
+open square, surrounded by small shops and the poor homes of
+trades-folk, it seems in every sense a church of the people. Here the
+native Niçois, gay, industrious, mercurial, and dispossessed of his
+town, may feel truly at home. Finished in the most exuberant rococo
+style, it is an edifice from which all architectural or religious
+inspiration is conspicuously absent. It is a revel of luxurious bad
+taste; a Cathedral in Provence, a Cathedral by the Sea, but neither
+Provençal nor Maritime,--rather a product of that Italian taste which
+has so profoundly vitiated both the morals and the architecture of all
+the Riviera.
+
+
+
+
+II.
+
+CATHEDRALS OF THE HILL-TOWNS.
+
+
+[Sidenote: Carpentras.]
+
+Carpentras is a busy provincial town, the terminus of three diminutive
+railroads and of many little, lumbering, dust-covered stages. It stands
+high on a hill, and from the boulevards, dusty promenades under
+luxuriant shade-trees, which circle the town as its walls formerly did,
+there is an extended view over the pretty hills and valleys of the
+neighbouring country. At one end of the town the Hospital rises, an
+immense, bare, and imposing edifice of the XVIII century, built by a
+Trappist Bishop; and at the other is the Orange Gate, the last tower of
+the old fortifications. Between these historic buildings and the
+encircling boulevards are the narrow streets and irregular,
+uninteresting buildings of the city itself. It is strange indeed that so
+isolated a place, which seems only a big, bustling country-town, should
+have been of importance in the Middle Ages, and that bits of its
+stirring history must have caused all orthodox Europe to thrill with
+horror. Stranger still would be the forgetfulness of modern writers, by
+whom Carpentras is seldom mentioned, were it not that the city's real
+history is that of the Church political, a story of strange manners and
+happenings, rather than a step in the vital evolution towards our own
+time.
+
+In the Middle Ages Carpentras was an episcopal city, the capital of the
+County Venaissin, governed by wealthy, powerful, and ambitious Bishops,
+who took no small interest in worldly aggrandisement. Passing by gift to
+the Papacy, after the sudden death of Clement V it was selected as the
+place of the Conclave which was to elect his successor. The members were
+assembled in the great episcopal Palace, when Bertrand de Goth, a nephew
+of the dead Pope, claiming to be an ally of the French prelates against
+the Italians in the Conclave, arrived from a successful looting of the
+papal treasury at Montreux to pillage in Carpentras. He and his
+mercenaries massacred the citizens and burned the Cathedral. The
+episcopal Palace caught fire, and their Eminences--in danger of their
+lives--were forced to squeeze their sacred persons through a hole which
+their followers made in the Palace wall and fly northward.
+
+This unfortunate raid left Carpentras with many ruins and a demolished
+Cathedral, deserted by those in whose cause she had unwittingly
+suffered. The new Pontiff was safely elected in Lyons, and upon his
+return to the papal seat of Avignon he administered Carpentras by a
+"rector," and it continued as it had been before, the political capital
+of the County. During the reigns of succeeding Popes it was apparently
+undisturbed by dangerous honours, until the accession of the Anti-Pope,
+Benedict XIII. So great was this prelate's delight in the city that he
+reserved to himself the minor title of her Bishop, re-built her walls,
+and was the first patron of the present and very orthodox Cathedral,
+Saint-Siffrein. By a curious destiny, the church had this false prelate
+not only as its first patron, but as its first active supporter; and in
+1404 he sent Artaud, Archbishop of Arles, in his name, to lay its first
+stone.
+
+Wars and rumours of wars soon possessed the province. Benedict fled, and
+through unrest and lack of money the work of Cathedral building was
+greatly hindered. In the meantime the ruins of the former Cathedral seem
+to have been gradually disintegrating, and in 1829 the last of its
+Cloister was destroyed, to be replaced by prison cells; and now only the
+choir dome and a suggestion of the nave exist, partly forming the
+present sacristy. From these meagre remains and from writings of the
+time, it may be fairly inferred that Saint-Pierre was a Cathedral of the
+type of Avignon and Cavaillon and the old Marseillaise Church of La
+Majeure, and that, architecturally considered, it was a far more
+important structure than Saint-Siffrein. With this depressing knowledge
+in mind the traveller was confronted with a sight as depressing--the
+present Cathedral itself.
+
+Fortunately, churches of a period antedating the XVII century are seldom
+so uninteresting. Nothing more meagre nor dreary can be conceived than
+the façade with its three, poor, characterless portals. They open on a
+large vaulted hall, with chapels in its six bays and a small and narrow
+choir. The principal charm of the interior is negative; its dim misty
+light, by concealing a mass of tasteless decorations and the poverty and
+bareness of the whole architectural scheme, gives to the generous height
+and size of the room an atmosphere of subdued and mysterious
+spaciousness. The south door is the one bit of this Gothic which passes
+the commonplace. Set in a poor, plain wall, the portal has a graceful
+symmetry of design; and its few carved details, probably limited by the
+artistic power of its builder, are so simple and chaste that they do not
+inevitably suggest poverty of conception. The tympanum holds an exotic
+detail, a defaced and insignificant fresco of the Coronation of the
+Virgin; and on the pier which divides the door-way stands a very
+charming statue of Our Lady of Snows, blessing those who enter beneath
+her outstretched hands.
+
+This simple portal, and indeed the whole church, is a significant
+example of Provençal Gothic, a style so foreign to the genius of the
+province that it could produce only feeble and attenuated examples of
+the art. Compared with its northern prototypes, it is surprisingly
+tentative; and awkward, unaccustomed hands seem to have built it after
+most primitive conceptions.
+
+
+[Sidenote: Digne.]
+
+Well outside the Alpine city of Digne, and almost surrounded by graves,
+stands a small and ancient church which is seldom opened except for the
+celebration of Masses for the Dead. Coffin-rests stand always before the
+altar, and enough chairs for the few that mourn. There are old
+candlesticks for the tapers of the church's poor, and hidden in the
+shadows of the doors, a few broken crosses that once marked graves,
+placed, tenderly perhaps, above those who were alive some years ago and
+who now rest forgotten; on battered wood, one can still read a baby's
+age, an old man's record, and the letters R. I. P.
+
+In this strange, melancholy destiny of Notre-Dame-du-Bourg there seems
+to be a peculiar fitness. The mutability of time, forgetfulness, and at
+length neglect, which death suggests, are brought to mind by this old
+church. Once the Cathedral of Digne, but no longer Cathedral, it stands
+almost alone in spite of its honours and its venerable age. After the
+desecration by the Huguenots, its episcopal birthright was given to a
+younger and a larger church; the city has moved away and clusters about
+its new Cathedral, Saint-Jérome; and Notre-Dame-du-Bourg is no longer on
+a busy street, but near the dusty high-road, amid the quiet of the
+country and the hills.
+
+Parts of its crypt and tower may antedate 900, but the church itself was
+re-built in the XII and XIII centuries. The course of time has brought
+none of the incongruities which have ruined many churches by the
+so-called restorations of the last three hundred years, and although its
+simple Romanesque is sadly unrepaired, it is a delight to come into the
+solitude and find an unspoiled example of this stanch old style.
+
+[Illustration: THE INTERIOR OF NOTRE-DAME-DU-BOURG.--DIGNE.]
+
+The Romanesque shows forth its great solidity in the exterior of its
+churches, and nowhere more than in Digne's deserted Cathedral. Flat
+buttresses line the walls, the transepts are square and plain, and on
+either side the façade wall is upheld by a formidable support. This
+severity of line is not greatly modified by the deep recesses of a few
+windows; nor is the tower--which lost its spire three hundred years
+ago--of less sober construction, less solidly built. Below the
+overhanging eaves of a miserable roof and the curious line of the nave
+vault which projects through the wall, is a round window with a frame of
+massive rolls and hollows; and below this again, under a narrow sloping
+covering, is the deep arch of the Cathedral's porch. This, in its prime,
+must have been the church's ornamental glory. Beneath the outer arch,
+which is continued to the buttresses by half-arches, are the great
+roll-mouldings that twist backward to a plain tympanum. Capitals still
+support these massive curves of stone, but the niches in which the
+columns formerly stood are empty, and grinning lions, lying on the
+ground, no longer support the larger columns of the plain arch. All
+stands in solemn decay.
+
+The traveller entered a battered, brass-nailed door and saw before him
+the stretch of a single, empty nave, a choir beneath whose lower vault
+are three small windows, and on either side the archways which he knew
+must lead to narrow transepts. In the south side, plain, rounded windows
+give a glimmering light, and over each projects an arch, the modest
+decoration of the walls. Far above rises the tunnel-vault, whose sheer
+height is grandly dignified; the arches rest on roughly carved capitals,
+and the outer rectangle of the piers is displaced for half a column. The
+rehearsal of these most simple details seems but the writing of "the
+letter which killeth," and not the portrayal of the spirit that seems to
+live within these walls. Details which seem so poorly few when read, are
+nobly so when seen. This small old church has a true religious
+stateliness, and it seemed as if a priest should bring the
+Sanctuary-light which says, "The Lord is in His holy temple."
+
+Saint-Jérome was built between 1490 and 1500, a hundred years before its
+episcopal elevation, and forms a most complete antithesis to
+Notre-Dame-du-Bourg which it supplanted in 1591. Where Notre-Dame is
+small, Saint-Jérome is large, where the old church is simple, the newer
+one is either pretentious or sumptuous, and where the one is Romanesque,
+the other is Gothic.
+
+The present Cathedral stands on the heights of the city; and from one
+side or another its clean, straight walls can be seen in all their large
+angularity and absence of architectural significance. Towers rise
+conventionally above the façade; and a big broad flight of white stone
+steps leads to three modern portals that have been built in an
+economical imitation of the sculptured richness of the XIII century.
+
+The interior, also Gothic, has neither clerestory nor triforium, and its
+naves are covered by a vaulting which springs broadly from the round,
+supporting piers. The conception is not noble, it has no simplicity, and
+no more of spiritual suggestion than a Madonna of Titian; but the space
+of the nave is so largely generous and the new polychrome so richly
+toned that the church has majesty of space and harmony, deep lights and
+subdued colourings; it is large and sumptuous with the munificence of a
+Veronese canvas, a singular and most curious contrast to the cold
+severity of its outer walls.
+
+[Illustration: "THE INTERIOR HAS NEITHER CLERESTORY NOR
+TRIFORIUM."--DIGNE.]
+
+Before the High Altar of this Church lies buried one whose spirit
+suggests the Christ, a Bishop, yet a simple priest, whose life deserves
+more words than does the whole of Saint-Jérome, once his
+Cathedral-church. He was a Curé of Brignoles, one of those keen, yet
+simple-hearted and hard-working priests who often bless Provençal towns.
+He had no great ambitions, no patronage, no ties except a far-off
+brother who was an upstart general of that most upstart Emperor,
+Napoleon. One day while the priest was pottering in his little
+garden,--as Provençal Curés love to dig and work,--a letter was handed
+him, marked "thirty sous of postage due." He was outraged. His shining
+old soutane fell from the folds in which he had prudently tucked it, he
+shrugged his shoulders and protested,--"A great expense indeed for a
+trivial purpose. Where should he find another thirty sous for his poor?
+He never wrote letters. Therefore by no argument of any school of logic
+could he be compelled to receive them. Obviously this was not for him."
+The unexpected letter was one for which his brother had asked and which
+Napoleon had signed, a decree which made him Bishop.
+
+Long afterwards this simple, saintly prelate saved a man from crime, and
+history relates that this same man died at Waterloo as a good and
+faithful soldier fighting for the fatherland. His benefactor, that loyal
+servant of Christ and His Church, soon followed him in death, and unlike
+many a Saint whom this earth forgets his memory lives on, not only in
+the little city of the snow-clad Alps, but in the hearts of those who
+read of his good deeds. For Monseigneur Miollis of Digne is truly
+Monseigneur Bienvenu of "Les Misérables," and only the soldier of
+Waterloo was glorified in Jean Valjean.
+
+
+[Sidenote: Forcalquier.]
+
+If it is difficult to picture sleepy, stately Aix as one of the most
+brilliant centres of mediæval Europe, and the garrisoned castle of
+Tarascon filled with the gay courtiers and fair ladies of King René's
+Court, it will be almost impossible to walk in the smaller Provençal
+"cities," and see in imagination the cavalcades of mailed soldiers who
+clattered through the streets on their way to the castle of some
+near-by hill-top, my lord proudly distinguishable by his mount or the
+length of his plume, a delicate Countess languishing between the
+curtains of her litter, or a more sprightly one who rode her palfrey and
+smiled on the staring townsfolk. It is almost impossible to conceive
+that the four daughters of Raymond Bérenger, a Queen of the Romans, of
+France, of Naples, and of England, were brought up in the castle of the
+little hillside hamlet of Saint-Maime Dauphin. Provence is quiet, rural,
+provincial; a land of markets, busy country inns, and farms; not of
+modern greatness nor of modern renown. Its children are a fine and busy
+race, no less strong and fine than in the land's more stirring times,
+but they live their years of greatness in other, "more progressive"
+parts of France, and the Provençal genius, which remains very native to
+the soil, is broadly known to fame as "French." Like some rich old wine
+hidden in the cellars of the few, Provence lies safely ensconced behind
+Avignon and Arles, and only the epicures of history penetrate her hills.
+
+Her mediæval ruins seem to belong to a past almost as dead and ghostly
+as her Roman days, and to realise her Middle Ages, one must leave the
+busy people in the town below, climb one of the hills, and sitting
+beside the crumbling walls of some great tower or castle, watch the hot
+sun setting behind the low mountains and lighting in a glow the bare
+walls of some other ruined stronghold on a neighbouring height. The
+shadows creep into the valleys, the rocks grow grey and cold, and the
+clusters of trees beside them become darkly mysterious. Then far beneath
+a white thread seems to appear, beginning at the valley's entrance and
+twisting along its length until it disappears behind another hill. This
+is the road; and by the time the eye has followed its long course,
+daylight has grown fainter. Then Provence takes on a long-lost
+splendour. To those who care to see, cavalcades of soldiers or of
+hunters come home along the road, castles become whole and frowning, the
+dying sun casts its light through their gaping window-holes, as light of
+nightly revels used to shine, and a phantom Mediævalism appears.
+
+One of the powerful families of the country, the Counts of Forcalquier,
+sprang from the House of Bérenger in the XI century, and a hundred and
+fifty years later, grown too great, were crushed by the haughty parent
+house. More than one hill of Eastern Provence has borne their tall
+watchtowers, more than one village owed them allegiance, and a large
+town in the hills was their capital and bore their name. And yet not a
+ruined tower that overlooks the Provençal mountains, not a village,
+gate, or castle--Manosque or old Saint-Maime,--but speaks more vividly
+of the old Counts than does Forcalquier, formerly their city, now a mere
+country town which has lost prestige with its increasing isolation, many
+of its inhabitants by plagues and wars, and almost all of its
+picturesque Mediævalism through the destructiveness of sieges.
+
+Long before this day of contented stagnancy, in 1061, when Forcalquier,
+fortified, growing, and important, claimed many honours, Bishop Gérard
+Caprérius of Sisteron had given the city a Provost and a Chapter, and
+created the Church of Saint-Mary, co-cathedral with that of Notre-Dame
+of Sisteron. Not contented with this honour, Forcalquier demanded and
+received a Bishopric of her own. Her hill was then crowned by a Citadel,
+her Cathedral stood near-by, her walls were intact. Now the Citadel is
+replaced by a peaceful pilgrims' chapel, the walls are gone, Saint-Mary,
+ruined in the siege of 1486, is recalled only by a few weed-covered
+stumps and bits of wall, and its title was given to Notre-Dame in the
+lower part of the town.
+
+No Cathedral is a sadder example of architectural failure than
+Notre-Dame of Forcalquier because it has so many of the beginnings of
+real beauty and dignity, so many parts of real worthiness that have been
+unfortunately combined in a confused and discordant whole. If, of all
+little cities of Provence, Forcalquier is one of the least unique and
+least holding, its Cathedral is also one of the least satisfying. It is
+not beautiful in situation nor in its own essential harmony, and the
+fine but tantalising perspectives of its interior may be found again in
+happier churches.
+
+The exterior shows to a superlative degree that general tendency of
+Provençal exteriors to be without definite or logical proportions. A
+large, square tower, heavier than that of Grasse, served as a lookout, a
+tall, thin little turret served as a belfry. In the façade there is a
+Gothic portal which notwithstanding its entire mediocrity is the chief
+adornment of the outer walls. They are irregular and uncouth to a degree
+and their only interesting features are at the eastern end. Here the
+smaller, older apses on either side betray the church's early origin.
+The central apse, evidently of the same dimensions as the Romanesque one
+originally designed, was re-built in severe, rudimentary Gothic. Looking
+at this shallow apse alone, and following its plain lines until they
+meet those of the big tower, there is a straight simplicity that is
+almost fine,--but this is one mere detail in a large and barren whole,
+and the Cathedral-seeker turns to the nearest entrance.
+
+[Illustration: "A LARGE, SQUARE TOWER SERVED AS A
+LOOKOUT."--FORCALQUIER.]
+
+[Illustration: "A SUGGESTIVE VIEW FROM THE SIDE AISLE."--FORCALQUIER.]
+
+The first glimpse of the interior is so relieving that one is not quick
+to notice its lack of architectural unity. The few windows give a soft
+light, and the brown of the stone has a mellowness that is both rich and
+reposeful. If the Cathedral could have been finished in the style of the
+first bays of the nave, it would have been a nobly dignified example of
+the Romanesque. Could it have been re-built in the slender Gothic of the
+last bay, it would have been an exquisite example of Provençal Gothic.
+Rather largely planned, its old form of tunnel vaulting and the fine
+curve of its nave arches and heavy piers are in violent contrast to the
+Gothic bay, with its pointed arch, its clustered columns and carved
+capitals, which, even with the shallow choir and its long, slim windows,
+is too slight a portion of the Cathedral to have independence or real
+beauty. From its ritualistic position, it is the culminating point of
+the church, and its discord with the Romanesque is unpleasantly
+insistent. The side aisles, which were built in the XVII century, are
+low, agreeable walks ending in the chapels of the smaller apses. They
+are neither very regular nor very significant; but they give the church
+pleasant size and perspectives, and by avoiding the unduly large and
+shining modern chandeliers which hang between the nave arches, one gets
+from these side aisles the suggestive views which show only too well
+what true and good architectural ideas were brought to confusion in the
+re-building, the additions, and the restorations of the centuries. In
+painting, anachronisms may be quaint or even amusing; but in
+architecture, they are either grotesque or tragic, and in a church of
+such fine suggestiveness as Notre-Dame at Forcalquier, one is haunted by
+lingering regrets for what might and should have been.
+
+
+[Sidenote: Vence.]
+
+A founder of the French Academy and one of its first immortal forty was
+Antoine Godeau, "the idol of the Hôtel Rambouillet." His mind was
+formed, as it were, by one of the most clever women of that brilliantly
+foolish coterie, he sang frivolous sonnets to a beautiful red-haired
+mistress whom he sincerely admired, and when he entered Holy Church,
+none of his charming friends believed that he would do more than modify
+the proper and agreeable conventionalities of his former life. They
+thought that he would add to the grace of his worldly manner the suavity
+of the ecclesiastic, that he would choose a pulpit of Paris, and that,
+sitting at his feet, they could enjoy the elegant phrases with which he
+would embellish a refined and delicately attenuated religion. But an
+aged prelate of the far South judged the new priest differently, he had
+sounded the heart of the man who, at the age of thirty, had quietly
+renounced a flattering, admiring world; and his dying prayer to
+Richelieu was that Godeau should succeed him in the See of Vence. The
+keen worldly wisdom of the Cardinal confirmed the old Bishop's more
+spiritual insight, and Godeau was named Bishop of the neighbouring
+Grasse.
+
+Far away in his mountain-city of flower gardens and sweet odours, the
+new Bishop wrote to his Parisian friends that, for his part, he "found
+more thorns than orange-blossoms." The Calvinists, from the rock of
+Antibes, openly defied him; in spite of the vehement opposition of their
+Chapters and against his will, the Bishoprics of Grasse and Vence were
+united, and he was made the Bishop of the two warring, discontented
+Sees. He was stoned at Vence; and even his colleague in temporal power,
+the Marquis of Villeneuve, showed himself as insolent as he dared. At
+length the King came to his aid, and being given his choice of the Sees,
+Godeau immediately left "the perfumed wench," as he called Grasse, and
+chose to live and work among his one-time enemies of Vence. This gentle
+and courageous prelate is typical of the long line of wise men who ruled
+the Church in the tight little city of the Provençal hills. From Saint
+Véran the wonder-worker, and Saint Lambert the tender nurse of lepers,
+to the end, they were men noted for bravery, goodness, and learning, and
+it was not till the Revolution that one was found--and fittingly the
+last--who, hating the "Oath" and fearing the guillotine, fled his See.
+
+This city of good Bishops was founded in the dim, pagan past of Gaul.
+From a rocky hill-top, its inhabitants had watched the burning of their
+first valley-town and they founded the second Vence on that height of
+safety to which they had escaped with their lives. Here, far above the
+Aurelian road, the Gallic tribes had a strong and isolated camp. Then
+the prying Romans found them out, and priests of Mars and Cybele
+replaced those of the cruder native gods, and they, in turn, gave way to
+the apostle of the Christians. Where a temple stood, a church was built;
+and unlike many early saints who looked upon old pagan images as homes
+of devils and broke them into a thousand pieces with holy wrath and
+words of exorcism, the prelate of Vence buried an image of a vanquished
+god under each and every pillar of his church, in sign of Christian
+triumph.
+
+These early days of the Faith were days of growth for the little city,
+and she prospered in her Mediævalism. High on her hill, she was too
+difficult of access to suffer greatly from marauding foes, and hidden
+from the sea, she did not excite the cupidity of the Mediterranean
+rovers. When Antibes and Nice were sacked, her little ledge of rock was
+safe; and people crowded thick and fast behind her walls, until no
+bee-hive swarmed so thick with bees as her few streets with citizens.
+Here were arts and occupations, burghers and charters, riches and
+liberties. Here came the Renaissance, and Vence had eager, if not famous
+sculptors, painters, and organ-builders, and a family of artists whom
+even the dilettante Francis I deigned to patronise.
+
+Such memories of a busy, energetic past seem fairy-tales to those who
+walk to-day about the dark and narrow streets of Vence. She scarcely has
+outgrown her ancient walls, her civic life is dead, and in her virtual
+isolation from the modern world she lives a dreary, quiet old age.
+
+The old Cathedral, Notre-Dame, lies in the heart of the town; and takes
+one back along the years, far past the Renaissance, to those grim
+mediæval days when even churches were places of defence. It is a low,
+unimpressive building, said to have been built on the site of the Roman
+Temple in the IV century. Enlarged or re-built in the X century, it was
+then long and narrow, a Latin cross. But in the XII century, deep, dark
+bays were added; in the XV, tribunes were built, the form of the apse
+was changed to an oval and it was decorated in an inharmonious style;
+and a hundred years ago the nave vault was re-built in an ellipse.
+
+[Illustration: "THE OLD ROUND ARCH OF THE BISHOP'S PALACE."--VENCE.]
+
+In the side wall there is a low portal of a late, decadent style, which
+opens on the little square, but there is no real façade; and to see the
+church, the traveller passed under the old round arch of the Bishop's
+Palace, through a small, damp street to another tinier square where the
+apse and tower stand. The little Cathedral-churches of Provence are
+always simply built, but here a rectangle, a low gabled roof, a small,
+round-headed window in the wall, would have been architectural bareness
+if a high, straight tower had not crowned it all. This crenellated tower
+is a true type of its time, square, yet slim and strong, and crudely
+graceful as some tall young poplar of the plains beneath. In the XI and
+XII centuries, its early days, it was the city's lookout. Families lived
+high up in its walls, and the traveller could imagine, in this little
+old, deserted square, the crowds who gathered round the tower's base,
+and called for news of enemies and battle as moderns gather about the
+more prosaic bulletin of printed news. He could see them surging,
+peering up; and from above he almost heard the watcher's cry, "They're
+coming on,"--with the great answering howl beneath, and the rush to
+arms. Or, "They pass us by," and then what breaking into little laughing
+groups, what joy, what dancing, and what praying, that lasted far into
+the evening hours.
+
+[Illustration: "THE LOW, BROAD ARCHES AND THE GREAT, SUPPORTING
+PILLARS."--VENCE.]
+
+The traveller came back in thought to modern times and went into the
+church, that church of five low naves and many restorations, that
+product of most diverse fancies. It is painted in lugubrious white, and
+its pillars have false bases in a palpable imitation of veined red
+marble. Its pure and early form, the Latin cross, is gone, its fine old
+stalls are hidden in a gallery, and at the altar Corinthian columns
+desecrate its ancient Romanesque. Yet in spite of the incongruities the
+atmosphere of the church is truly that of its dim past. There are the
+low broad arches, the great, supporting pillars that are massive
+buttresses; there is the simple practicality of a style that aimed at a
+protecting strength rather than at any art of beauty; there is the
+semi-darkness of the small, safe windows, and the little, guarded space
+where the praying few increased a thousand-fold in times of danger. This
+is, in spite of all defects, the small Provençal church where in days of
+peace cloudy incense slowly circled round the shadowy forms of chanting
+priests, and where in times of war a crowd of frightened women and their
+children prayed in safety for the men who sallied forth to fight in
+their defence.
+
+
+[Sidenote: Grasse.]
+
+He who is unloving of the past may well rush by its treasures in a
+puffing automobile, he who is bored by olden thoughts can hurry on by
+rail, but the man who wishes to know the old hill-towns of France, to
+see them as they seemed to their makers, and realise their one-time
+magnificence and strength, must walk from one town to the next, and
+climb their steep heights; must see great towers rise before him, great
+walls loom above him, and realise how grandly strong these places were
+when it was man to man and sword to sword, strength against strength. He
+must arrive, dust-covered, at the cities' gates or drive into their
+narrow streets on the small coach which still passes through,--for they
+are of the times when great men rode and peasants walked and steam was
+all unknown. Then he will realise how very large the world once was, how
+far from town to town; and once within those high, protecting walls, he
+will understand why the citizen of mediæval days found in his town a
+world sufficient to itself, and why he was so often well content to
+spend his life at home.
+
+The power and the force of an isolated, self-concentrated interest is
+well illustrated in the history of the free cities of the Middle Ages,
+and Grasse may be counted one of these. Counts she had in name; but the
+Bérengers and Queen Jeanne had granted her charters which she had the
+power to keep; she was once wealthy enough to declare war with Pisa, and
+in the XII century the leaders of her self-government were "Consuls by
+the grace of God alone." Therefore when Antibes continued to be greatly
+menaced by blasphemous pirates, the Bishopric was removed to Grasse,
+rich, strong, and safe behind the hills, where it endured from 1244,
+through all the perils of the centuries, until by a pen-stroke Napoleon
+wiped it out in 1801.
+
+[Illustration: "HIGHER THAN THEM ALL STANDS THE CATHEDRAL."--GRASSE.]
+
+To come to Grasse on foot or in the stage, will well repay the traveller
+of old-fashioned moods and fancies. Afar, her houses seem to crowd
+together, as they used to crowd within the walls, her red roofs rise
+fantastically one above the other, and higher than them all stands the
+Cathedral with its firm, square tower. Such must have been old Grasse,
+perched on the summit of her hill. But once inside the town, these
+illusions cease. Here are the hotels and the Casino of a thermal
+station, and the factories of a new world. The traveller finds that the
+broad upper boulevards are filled with tourists and smart English
+visitors; and in the narrow streets pert factory-hands come noisily from
+work. Still he climbs on toward the Cathedral, through tortuous streets
+and little alley-ways. And in the gloomiest of them all there is no
+odour of a stale antiquity, but the perfume of a garden-full of roses,
+of a thousand orange-blossoms, and of locusts, honey-sweet, and he
+begins to think himself enchanted. He feels the dark, old houses are
+unreal, as if, instead of cobble-stones beneath his feet, there must be
+the soft and tender grass of Araby the Blest. Such is the magic of a
+trade, the perfume industry of Grasse that for so many hundreds of years
+has made her meanest streets full of refreshing fragrance.
+
+Breathless from the climb, the traveller stepped at length into the
+little square, before a most ungainly Cathedral. "Chiefly built in the
+XII century," it may have been, but so bedizened by the Renaissance that
+its heavy old Provençal walls and massive pillars seem to exist merely
+as supports for additions or unreasonable decorations of a poor Italian
+style. A certain Monseigneur of the XVII century re-built the choir in a
+deep, rectangular form; another prelate enlarged the church proper and
+ruined it by constructing a tribune over the aisles, and desiring the
+revenues of a new burial-place, he ordered Vauban to accomplish the
+daring construction of a crypt. Still another Bishop with like
+architectural tastes built a large new chapel which opens from the south
+aisle; and with these additions and XVIII century changes in the façade,
+the original style of the church was obscured. In spite of the pitiful
+remains of dignity which its three aisles, its firm old pillars, and its
+height still give to the interior, it is as a whole so mean a building
+that it has fittingly lost the title of Cathedral.
+
+[Illustration: THE "PONT D'AVIGNON."]
+
+
+
+
+III.
+
+RIVER-SIDE CATHEDRALS.
+
+
+[Sidenote: Avignon.]
+
+Everything which surrounds the Cathedral of Avignon, its situation, its
+city, its history, is so full of romance and glamour that it is only
+after very sober second thought one realises that the church itself is
+the least of the papal buildings which majestically overtower the Rhone,
+or of those royal ruins which face them as proudly on the opposite bank
+of the river. Yet no church in Provence is richer in tradition, and in
+history more romantic than tradition.
+
+The foundation of this church goes back to the first Avignon, a small
+colony of river-fishermen which gave way before the Romans, who
+established a city, Avernio, on the great rocky hill two hundred feet
+above the Rhone. Some hundreds of years later the first Christian
+missionaries to Gaul landed near the mouth of this river,--Mary the
+mother of James, Saint Sara the patron of gypsies, Lazarus, his sister
+Martha, and Saint Maximin. Before these storm-tossed Saints lay the fair
+and pagan country of Provence, the scene of their future mission; and if
+tradition is to be further believed, each went his way, to work mightily
+for the sacred cause. Maximin lived in the town that bears his name,
+Lazarus became the first Bishop of Marseilles, and Saint Martha ascended
+the Rhone as far as Avignon and built near the site of the present
+Cathedral an oratory in honour of the Virgin "then living on the earth."
+Two early churches, of which this chapel was perhaps a part, were
+destroyed in the Saracenic sieges of the VIII century; an inscription in
+the porch of the present Cathedral records the very interesting mediæval
+account of its re-building and re-consecration nearly a hundred years
+later. It was, so runs the tale, the habit of a devout woman to pray in
+the church every night; and after the Cathedral had been finished by the
+generous aid of Charlemagne, she happened there at midnight, and
+witnessed the descent of Christ in wondrous, shining light. There at the
+High Altar, surrounded by ministering angels, he dedicated the Cathedral
+to His Mother, Our Lady of Cathedrals; and so it has been called to the
+present day. If it is an impossible and ungrateful task to disprove that
+the re-construction, or at least the re-founding of this Cathedral was
+the work of Charlemagne, so munificent a patron and dutiful a son of the
+Church, to prove it is equally impossible. A martyrology of the XI
+century speaks of a dedication in 1069, but as this ceremony had been
+preceded by another extensive re-building, and was followed by many
+other changes, the oldest portions of the present church are to be most
+accurately ascribed to the XI, XII, and XIV centuries. The additions of
+the centuries following the papal return to Rome have greatly changed
+the appearance of the church. A large chapel, built in 1506, gives
+almost a northern nave. In 1671, Archbishop Ariosto thought the interior
+would be gracefully improved by a Renaissance gallery which should
+encircle the entire nave from one end of the choir to the other. To
+accomplish this new work, the old main piers below the gallery were cut
+away, the wall arches were changed, and columns and piers, almost
+entirely new, arose to support a shallow, gracefully balustraded balcony
+and its bases of massive carving. Nine years later a new Archbishop
+added to the north side a square XVII century chapel, richly ornamental
+in itself, but entirely out of harmony with the fundamental style of the
+church. Other chapels, less distinguished, which have been added from
+time to time, line the nave both north and south, and all are excrescent
+to the original plan. Of the exterior, only the façade retains its
+primitive character. The side-walls, "entirely featureless," as has been
+well said, "reflect only the various periods of the chapels which have
+been added to the Cathedral," and the apse was re-built in 1671, in a
+heavy, uninteresting form.
+
+[Illustration: "THE INTERIOR HAS A SHALLOW, GRACEFULLY BALUSTRADED
+BALCONY."--AVIGNON.]
+
+These additions, superimposed ornamentations, and rebuildings, together
+with the very substantial substructure of the primitive Cathedral, form
+to-day a small church of unimpressive, conglomerate style, and except
+for its history, unnoteworthy. It is therefore a church whose interest
+is almost wholly of the past; and the traveller goes back in
+imagination, century after century, to the era of Papal residency, when
+the Cathedral was not only ecclesiastically important, but
+architecturally in its best and purest form. This church, which Clement
+V found on his removal to Avignon, and which may still be easily traced,
+was of the simple, primitive Provençal style. No dates of that period
+are sufficiently accurate to rely upon; but its interest lies not so
+much in chronology as in its portrayal of the general type. The interior
+is the usual little hall church of the XI century, with its aisle-less
+nave of five bays, and plain piers supporting a tunnelled roof, with
+double vault arches. Beyond the last bay, over the choir, is the
+Cathedral's octagonal dome, and from the rounded windows of its lantern
+comes much of the light of the interior, which is sombre and without
+other windows of importance.
+
+The façade is architecturally one of the most significant parts of the
+church. Above the portal the wall is supported on either side by plain
+heavy buttresses, and directly continued by the solid bulk of the tower.
+In 1431 this tower replaced the original one which fell in the
+earthquake of 1405. It is conjecturally similar, a heavy rectangle which
+quite overweighs the church; plain, with its stiff pilasters and two
+stories of rounded windows; without grace or proper proportion, but
+pleasing by the unblemished severity of its lines. Above the balustrade
+with which the tower may be properly said to terminate, the religious
+art of the XIX century has erected as its contribution to the Cathedral
+a series of steps, an octagon, and a colossal, mal-proportioned statue
+of the Virgin. These additions are inharmonious; and the finest part of
+the façade is the porch, so classic in detail that it was formerly
+supposed to be Roman, a work of the Emperor Constantine. Like the rest
+of the church, its general structure is plain and somewhat severe, with
+small, richly carved details, in this instance closely Corinthian. The
+rounded portal of entrance is an entablature, enclosed as it were by
+two supporting columns; and above, in the pointed pediment, is a
+circular opening curiously foreshadowing that magnificent development of
+the North--the rose-window. Passing through the vestibule, whose
+tunnel-vault supports the tower, the minor portal appears, almost a
+replica of the outer door, and the whole forms an unusual mode of
+entrance, graceful in detail, ponderous in general effect. Far behind
+the tower of the façade rises the last significant feature of the
+exterior, the little lantern. It is an octagon with Doric and Corinthian
+motifs, continuing the essential characteristics of the interior, and
+exceedingly typical of Provence.
+
+[Illustration: "THE PORCH SO CLASSIC IN DETAIL."--AVIGNON. _From an old
+print._]
+
+Into this church, with its few, unusually classic details, its
+Provençal simplicity, its very modest size and plainness, the
+munificence of papal pomp was introduced. This was in 1308, an era of
+papal storm and stress. Not ten years before, Boniface VIII, with the
+tradition of Canossa spurring his haughty ambitions, had launched a bull
+against Philip III, whom he knew to be a bad king and whom he was to
+find an equally bad, rebellious Christian. "God," said the Prelate, from
+Rome, "has constituted us, though unworthy, above kings and kingdoms, to
+seize, destroy, disperse, build, and plant in His name and by His
+doctrine. Therefore, do not persuade thyself that thou hast no superior,
+and that thou art not subject to the head of the ecclesiastical
+hierarchy; he who thinks thus is insensate, he who maintains it is
+infidel."
+
+Past indeed was the time of Henry of Germany, long past the proud day
+when a Pope received an Emperor who knelt and waited in the snow. Philip
+burned the Bull; and to prevent other like fulminations, sent an agent
+into Italy. Gathering a band, he found the aged Pontiff at Anagni, his
+birthplace, seated on a throne, crowned with the triple crown, the Cross
+in one hand and in the other Saint Peter's Keys, the terrible Keys of
+Heaven and Hell. They called on him to abdicate, but Boniface thought of
+Christ his Lord, and cried out in defiant answer, "Here is my neck, here
+is my head. Betrayed like Jesus Christ, if I must die like him, I will
+at least die Pope." For reply, Sciarra Colonna, one of his own Roman
+Counts, struck him in the face. Buffeted by a noble, and openly defied
+by a king, Boniface died "of shame and anger." A month later, this same
+king rejoiced, if nothing more, at the death of the Pope's successor;
+and in the dark forests of Saint-Jean-d'Angély, Philip bargained and
+sold the great Tiara to a Gascon Archbishop who, if Villani speaks
+truly, "threw himself at the royal feet, saying, 'It is for thee to
+command and for me to obey; such will ever be my disposition!'" As was
+not unnatural, the will of the French king was that the Pope should
+remain within the zone of royal influence. So Clement lived at Bordeaux
+and at Poitiers, and finally retired to the County of Venaissin which
+the Holy See possessed by right, and established the pontifical court at
+Avignon.
+
+This transfer of the papal residence to Avignon has left many and deep
+traces on the history of French Catholicism. The Holy See was no longer
+far remote; the French ecclesiastic desirous of promotion had no
+dangerous mountains to traverse, no strange city to enter, no foreign
+Pontiff to besiege, ignorant or indifferent to his claims. The next
+successor of Saint Peter would logically be a Frenchman, and there was
+not only a possibility, but a probability for every man of note, that he
+might be either the occupant of the Sacred Chair or its favoured
+supporter. So Avignon became a city of priests as Rome had been before
+her; and as France was the richest country in Europe and the Church
+regally wealthy, splendour, luxury, and constant religious spectacles
+rejoiced the city, and Bishop, Archbishop, and Abbot, brazenly
+neglecting the duties of their Sees, lived here and were seldom "in
+residence." Every one had a secret ambition. Of such a situation, the
+Popes were not slow to reap the benefits. Difference of wealth, which
+brought difference of position, counted much and was keenly felt. Abbots
+of smaller monasteries found themselves inferior to Bishops, especially
+in freedom from papal interference; while from the inherent wealth and
+power of their foundations, the heads of the great monasteries ranked
+sometimes with Archbishops, sometimes even with Cardinals. The Pope had
+the right to elevate an Abbey or a Priory into a Bishopric, and those
+who could offer the "gratification" or the "provocative," might
+reasonably hope for the desired elevation which at once increased their
+local importance, belittled a neighbouring diocese, and freed them to
+some extent from the direct intermeddling of the Pope. The applications
+for such an increase of power became numerous, and by 1320 a number of
+Benedictine Abbeys had been made Bishoprics. Their creation greatly
+decreased the direct and intimate power of the Papacy, but temporarily
+increased the papal treasury; and John XXII, who left ten million pieces
+of silver and fifteen million in gold with his Florentine bankers, seems
+to have thought philosophically, "After us, the deluge."
+
+[Illustration: NOTRE-DAME-DES-DOMS.--AVIGNON]
+
+Another favourite diplomatic and financial device, which was invented by
+these famous Popes of Avignon, was the system of the "Commende," which
+enabled relatives of nobles and all those whom it was desirable to
+placate, not alone ecclesiastics, but mere laymen and bloody barons, to
+become "Commendatory Abbots" or "Commendatory Priors," and to receive at
+least one-third of the monastery's revenues, without being in any way
+responsible for the monastery's welfare. This care was left to a
+Prior or a Sub-prior, a sort of clerical administrator who, crippled in
+means and in influence, was sometimes unable, sometimes unwilling, to
+carry out the duties and beneficences of past ages, and who was always
+the victim of a great injustice. The depths of uselessness to which this
+infamous practice reduced monastic establishments may be inferred, when
+it is remembered that before the XVIII century the famous Abbey of La
+Baume had had thirteen Commendatory Abbots, and that the bastards of
+Louis XIV were Commendatory Priors in their infancy.
+
+The Popes found the Commende useful, not only as a means of income, but
+as a method--at once secure and lucrative--of gaining to their cause the
+great feudal lords of France, and making the power of these lords an
+added buffer, as it were, between Avignon and the grasping might of the
+French Kings. For although the Popes were under "the special protection"
+of the Kings, it was as sheep under the special protection of a shearer,
+and they found that they must protect themselves against a too "special"
+and royal fleecing. For they did not always agree that--
+
+    "'Tis as goodly a match as match can be
+    To marry the Church and the fleur-de-lis
+    Should either mate a-straying go,
+    Then each--too late--will own 'twas so.'"
+
+[Illustration: "THE TOWER OF PHILIP THE FAIR."--VILLENEUVE-LES-AVIGNON.]
+
+Haunted by the humiliation of their heaven-sent power, caged in
+"Babylonish captivity," it is conceivable that the Popes were too
+occupied or, perhaps too distracted, to object to the unsuitable
+modesty of Notre-Dame-des-Doms. When a Pope swept forth from his
+Cathedral, new-crowned, to give "urbis et orbi" his first pontifical
+benediction, his eye glanced, it is true, on the crowds prostrate before
+him, before the church, awed and breathless; but it fell lingeringly--it
+was irresistibly drawn--across the swift Rhone to the town of the kings
+who had defied his power, to the royal city of Villeneuve, and to the
+strong tower of Philip the Fair, standing proudly in the sunlight. Would
+it be thought strange if their thoughts wandered, or if the portraits of
+the "French Popes" which hang about the Cathedral walls at Avignon,
+show more worldly preoccupation than is becoming to the successors of
+Saint Peter and Vicars of Christ?
+
+Little indeed in the days of their residency did the Popes add to
+Notre-Dame-des-Doms. A fragile, slender marvel of Gothic architecture,
+the tomb of John XXII, was placed in the nave before the altar; and a
+monument to Benedict XII was raised in the church. But their Holinesses
+incited others in Avignon to good works so successfully that Rabelais
+laughingly called it the "Ringing city" of churches, convents, and
+monasteries. The bells of Saint-Pierre, Saint-Symphorien, Saint-Agricol,
+Sainte-Claire, and Saint-Didier chimed with those of chapels and
+religious foundations; the Grey Penitents, Black Penitents, and White
+Penitents, priests, and nuns walked the streets, and Avignon grew truly
+papal. Clement V and his successors proceeded to the safeguarding of
+their temporal welfare in truly noble fashion; and scarcely fifty years
+later they had become so well pleased with their new residence that the
+magnificent Clement VI refused to leave in spite of the supplications of
+Petrarch and Rienzi and a whole deputation of Romans.
+
+During the reign of this Pontiff, the Papal Court became one of the
+gayest in Christendom. Clement was frankly, joyously voluptuous; and his
+life seems one moving pageant in which luxurious banquets, beautiful
+women, and ecclesiastical pomps succeeded each other. The lovely
+Countess of Turenne sold his preferments and benefices, the immense
+treasure of John XXII was his, and he showered such benefits on a
+grateful family that of the five Cardinals who accompanied his corpse
+from Avignon, one was his brother, one his cousin, and three his
+nephews; and that the Huguenots who violated his tomb at La-Chaise-Dieu,
+should have used his skull as a wine-cup, seems an horrible, but not an
+unfitting mockery. It was in vain that Petrarch hotly wrote, "the Pope
+keeps the Church of Jesus Christ in shameful exile." The desire for
+return to Rome had passed.
+
+Avignon was not an original nor a plenary possession of the Holy
+Fathers, but "the fairest inheritance of the Bérengers," and it was from
+that family that half of the city had to be wrested--or obtained. Now
+the lords of Provence were Kings of Naples and Sicily, and therefore
+vassals of the Holy See. For when the Normans took these Southern states
+from the Greeks and thereby incurred the jealousy of all Italy, they had
+warily placed themselves under the protection of the Pope and agreed to
+hold their new possessions as a papal investiture. It happened at this
+time that the vassal of the Pope in Naples and in Sicily was the
+beauteous "Reino Joanno," the heiress of Provence. What she was no
+writer could describe in better words than these, "with extreme beauty,
+with youth that does not fade, red hair that holds the sunlight in its
+tangles, a sweet voice, poetic gifts, regal peremptoriness, a Gallic
+wit, genuine magnanimity, and rhapsodical piety, with strange indecorum
+and bluntness of feeling under the extremes of splendour and misery,
+just such a lovely, perverse, bewildering woman was she, great
+granddaughter of Raymond-Bérenger, fourth Count of Provence,--the pupil
+of Boccaccio, the friend of Petrarch, the enemy of Saint Catherine of
+Siena, the most dangerous and most dazzling woman of the XIV century. So
+typically Provençal was this Queen's nature, that had she lived some
+centuries later, she might have been Mirabeau's sister. The same
+'terrible gift of familiarity,' the same talent of finding favour and
+swaying popular assemblages, the same sensuousness, bold courage, and
+great generosity were found in this early orphaned, thrice widowed
+heiress of Provence. To this day, the memory of the Reino Joanno lives
+in her native land, associated with numbers of towers and fortresses,
+the style of whose architecture attests their origin under her reign. It
+says much for her personal fascinations that far from being either
+cursed or blamed she is still remembered and praised. The ruins of
+Gremaud, Tour Drainmont, of Guillaumes, and a castle near Roccaspervera,
+all bear her name: at Draguignan and Flagose, they tell you her canal
+has supplied the town with water for generations: in the Esterels, the
+peasants who got free grants of land, still invoke their benefactress.
+At Saint-Vallier, she is blessed because she protected the hamlet near
+the Siagne from the oppression of the Chapters of Grasse and Lérins. At
+Aix and Avignon her fame is undying because she dispelled some
+robber-bands; at Marseilles she is popular because she modified and
+settled the jurisdiction of Viscounts and Bishops. Go up to Grasse and
+in the big square where the trees throw a flickering shadow over the
+street-traders, you will see built in a vaulted passage a flight of
+stone steps, steps which every barefoot child will tell you belong to
+the palace of 'La Reino Joanno.' Walls have been altered, gates have
+disappeared, but down those time-worn steps once paced the liege lady of
+Provence, the incomparable 'fair mischief' whose guilt ... must ever
+remain one of the enigmas of history." This "enigma" has strange
+analogies to one which has puzzled and impassioned the writers of many
+generations, the mystery of that other "fair mischief" of a later
+century, Mary Queen of Scots. Like Mary, Jeanne was accused of the
+murder of her young husband, and being pressed by the vengeance of his
+brother--no less a person than the King of Hungary,--she decided to
+retreat to her native Provence and appeal to the Pope, her gallant and
+not over-scrupulous suzerain. "Jeanne landed at Ponchettes," continues
+the writer who has so happily described her, "and the consuls came to
+assure her of their devotion. 'I come,' replied the heiress, whose wit
+always suggested a happy phrase, 'to ask for your hearts and nothing but
+your hearts.' As she did not allude to her debts, the populace threw up
+their caps; the Prince de Monaco, just cured of his wound at Crécy,
+placed his sword at her service; and the Baron de Bénil, red-handed from
+a cruel murder, besought her patronage which, perhaps from a
+fellow-feeling, she promised with great alacrity. At Grasse she won all
+hearts and made many more promises, and finally, arriving at Avignon,
+she found Clement covetous of the city and well-disposed to her. Yet
+morality obliged him to ask an explanation of her recent change of
+husbands, and before three Cardinals, whom he appointed to be her
+judges, the Queen pleaded her own cause. Not a blush tinged her cheek,
+no tremor altered her melodious voice as she stood before the red-robed
+Princes of the Church and narrated, in fluent Latin, the story of the
+assassination of Andrew, the death of her child, and her marriage with
+the murderer, Louis of Tarento, who stood by her side. The wily Pope
+noted behind her the proud Provençal nobles, the Villeneuves and
+d'Agoults, the de Baux and the Lescaris, who brought the fealty of the
+hill-country, and who did not know that, having already sold her jewels
+to the Jews, their fair Queen was covenanting with the Pope for Avignon.
+The formal trial ended, the Pontiff solemnly declared the Queen to be
+guiltless,--and she granted him the city for eighty thousand pieces of
+gold."
+
+[Illustration: "THE GREAT PALACE."--AVIGNON.]
+
+Clement enjoyed ownership in the same agreeable manner as his
+predecessors, "without the untying of purse-strings." Perhaps he used
+the purse's contents for the more pressing claim of the great Palace of
+which he built so large a part; perhaps he handed it, still filled, to
+Innocent VI who built the famous fortifications of Avignon and protected
+himself against the marauding "White Companies," perhaps it was still
+untouched when Bertrand du Guesclin and his Grand Company stood before
+the gate and demanded "benediction, absolution, and two hundred thousand
+pounds." "What!" the Pope is said to have cried, "must we give
+absolution, which here in Avignon is paid for, and then give money
+too--it is contrary to reason!" Du Guesclin replied to the bearer of
+these words, "Here are many who care little for absolution, and much for
+money,"--and Urban yielded.
+
+Gregory XI, the last of the "French Popes," returned to Rome, and at his
+death the "Great Schism" followed;--Clement VII, in Avignon, was
+recognised by France, Spain, Scotland, Sicily, and Cyprus; Urban VI, in
+Rome, by Italy, Austria, and England. The County Venaissin was ravaged
+by wars and the pests that come in their train. At length the
+Avignonnais, who had not enjoyed greater peace under their anointed
+rulers than under worldling Counts, rose against Pierre de Luna, the
+"Anti-pope" Benedict XIII, who fled. From that time no Pontiff entered
+the gates, and the city was administered by papal legates. In later
+days, in spite of the sacred character of its rulers and his own
+undoubted orthodoxy, Louis XIV seized Avignon several times; and Louis
+XV, in unfilial vengeance for the excommunication of the Duke of Parma,
+took possession of the city. But it was not until after the beginning
+of the French Revolution, in 1791, that the Avignonnais themselves
+arose, chased the Vice-Legate of the Pope from the city, and appealed
+for union with France; and it was at this period that the Chapel of
+Sainte-Marthe, the Cloister, and the Chapter House were swept away. Thus
+ended the temporal power of the Papacy in France, planned for worldly
+profit and carried out with many sordid compromises;--a residency
+unnoted for great deeds or noble intentions and whose close marked the
+"Great Schism."
+
+To-day papal Avignon is become French Avignon, a pleasant city where the
+Provençal sun is hot and where the Mistral whistles merrily. Above the
+banks of the Rhone the simple Cathedral stands, with its priests still
+garbed in papal red, its Host still carried under the white papal
+panoply. Here also is the great Palace of the Popes, "which is indeed,"
+says Froissart, "the strongest and most magnificent house in the world."
+And yet its grim walls suggest neither peace nor rest; and to him who
+recalls, this great, impressive pile tells neither of glories nor of
+triumphs. Bands of unbelieving Pastoureaux marched toward it; soldiers
+of the "White Companies" and soldiers of du Guesclin gazed mockingly at
+it; it was the prison of Rienzi, and the home of the harassed Popes who
+had ever before them, just across the river, the menacing tower of that
+"fair king" who had led them into "Babylonish captivity."
+
+
+[Sidenote: Vaison.]
+
+On the banks of a pleasant little river among the Provençal hills is
+Vaison, one of the ancient Gallic towns which became entirely romanised;
+and many illustrious families of the Empire had summer villas there as
+at Arles and Orange. Barbarians of one epoch or another have devastated
+Vaison of all her antique treasures, except the remains of an
+Amphitheatre on the Puymin Hill. Germanic tribes who swooped down in
+early centuries destroyed her villas and her greater buildings; and
+vandals of a later day have scattered her sculptures and her tablets
+here and there. Some are in the galleries of Avignon; a Belus, the only
+one found in France, was sent to the Museum of Saint-Germain; and in the
+multitude of treasures in the British Museum, the most beautiful of all
+her statues, a Diadumenus, is artistically lost. In the days when it
+still adorned the city, during the reign of the Emperor Gallienus,
+Vaison was christianised by Saint Ruf, her Bishopric was founded, and in
+337 the first General Council of the Church held in Gaul assembled here.
+Another Council in the V century, and still another in the VI, are proof
+of her continued importance.
+
+[Illustration: "ON THE BANKS OF A PLEASANT LITTLE RIVER IS VAISON."]
+
+[Illustration: "THE RUINED CASTLE OF THE COUNTS OF TOULOUSE."--VAISON.]
+
+Among the first of Gallo-Roman cities, she was also among the first to
+suffer. Chrocus and his horde who sacked Orange, seized her Bishop and
+murdered him; and Alains, Vandals, and Burgundians, following in their
+wake, brought disaster after disaster to the cities lying near the
+Rhone. Vaison, by miracle, did not lose her prestige. In the X and XI
+centuries she built her fine Cathedral with its Cloisters, and in 1179
+she was still great enough to excite the covetousness of Raymond VI,
+Count of Toulouse. This magnificent and ambitious prince built a castle
+on a height above the city, and as he had before terrorised my Lord
+Bishop of Carpentras, so now he seized the anointed person of Bérenger
+de Reilhane, who was not only Vaison's Bishop, but her temporal prince
+as well. Bérenger was a sufficiently powerful personage to make an
+outcry which re-echoed throughout Christendom; the Pope and the Emperor
+came to his aid; and in the Abbey Church of Saint-Gilles-du-Gard,
+Raymond VI did solemn penance, and, before receiving absolution, was
+publicly struck by the Papal Legate with a bundle of birch rods. Above
+the Bishop's Palace the great castle still loomed in menace, but on that
+day Bérenger de Reilhane triumphed and Vaison was at peace.
+
+It was a peace which presaged her quiet, uneventful downfall. For other
+interests were growing stronger in the country, other cities grew where
+she stood still, and in the XIV century, when Avignon became the seat of
+papal power, Vaison had passed from the world's history. Her Bishopric
+endured till 1801, but her doings are worthy only of provincial
+chronicles and to-day she is but a little country town, served by the
+stage-coach. She still lies on both banks of the river; the "high city,"
+with long rows of deserted houses, climbs the side of the steep hill and
+is dominated by the ruins of the great castle, which Richelieu
+destroyed. The "lower city," which is the busier of the two, lies on the
+opposite bank; and on its outskirts, in a little garden-close, almost
+surrounded by the fields, is the Cathedral,--solitary, lonely, and old.
+
+[Illustration: "THE WHOLE APSE-END."--VAISON.]
+
+[Illustration: "THE SOUTH WALL WHICH IS CLEARLY SEEN FROM THE
+ROAD."--VAISON.]
+
+The decoration of the exterior is slight, a dentiled cornice and a
+graceful foliated frieze extend along the top of the side-walls, which
+although most plainly built, are far from being severely angular or
+gaunt and have a quaint and pleasing harmony of line. The west front is
+so featureless that it scarcely deserves the title of façade. The south
+wall, which is clearly seen from the road, has a small portal and plain
+buttresses that slope at the top. The central apse is rectangular and
+heavy, the little southern apse is short and round, and that of the
+north is tall and thin as a pepper-box. Behind them rise the pointed
+roof of the nave and the heavy tower. The whole apse-end is constructed
+in most picturesque irregularity, and the new red of the roof-tiles and
+sombre grey of the old stone add greatly to its charm.
+
+Unlike many churches of its period Notre-Dame of Vaison is three-aisled.
+Slender, narrow naves, whose tunnel vaults are not extremely lofty, end
+in small circular apses. The nave is a short one of three irregular
+bays, and over the last, which precedes the choir, is the little
+eight-sided dome, which instead of projecting above the roof is
+curiously placed a little lower than the tunnel vaulting of the other
+bays. The High Altar, which originally belonged to an older church, is
+well placed in the simple choir; for it belongs in style, if not in
+actual fact, to the first centuries of the Faith; and in the
+semi-darkness behind the altar, the old episcopal throne still stands
+against the apse's wall, in memory of the custom of the Church's early
+days. The low arches of the aisles, the dim lighting of the church, its
+simple ornaments of classic bands and little capitals, its slight
+irregularities of form and carvings, make an interior of fine and strong
+antique simplicity.
+
+A little door in the north wall leads to the Cloisters, which are
+happily in a state of complete restoration, and not as a modern writer
+has described them, "practically a ruin." The wall which overlooks them
+has an inscription that adjures the Canons to "bear with patience the
+north aspect of their cells." The short walks have tunnel vaults with
+cross-vaults in the corners and in parts of the north aisle. Great piers
+and small, firm columns support the outer arches; and on the exterior of
+the Cloister the little arches of the columns are enclosed in a large
+round arch. Many of the capitals are uncarved, some of the piers have
+applied columns, but many are ornamented in straight cut lines. On one
+side, two bays open to the ground, forming an entrance-way into the
+pretty close, where the bushy tops of a few tall trees cast flickering
+shadows on the surrounding walls and the little grassy square.
+
+[Illustration: "TWO BAYS OPEN TO THE GROUND."--VAISON.]
+
+[Illustration: "THE GREAT PIERS AND SMALL FIRM COLUMNS."--VAISON.]
+
+The Cloister is small and simple in its rather heavy grace. Noise and
+unrest seem far from it, and underneath its solid rounded vault is peace
+and shelter from the world. And in its firm solidity of architecture
+there is the spirit of a perfect quiet, a tranquil charm which must
+insensibly have calmed many a restless spirit that chafed beneath the
+churchly frock, and fled within its walls for refuge and for helpful
+meditation.
+
+Few Provençal Cathedrals have the interest of Vaison and its Cloister.
+Lying in the forgotten valley of the Ouvèze, in an old-fashioned town,
+all its surroundings speak of the past and its atmosphere is quite
+unspoiled. The church itself has been spared degenerating restorations;
+and although it has no sumptuousness as at Marseilles, no grandeur as at
+Arles, no stirring history as the churches that lay near the sea,
+although it is one of the smallest and most venerable of them all, no
+Cathedral of the Southland has so great an architectural dignity and
+merit with so ancient and so quaint a charm.
+
+
+[Sidenote: Arles.]
+
+In the midst of the wealth of antique ruins, near the Theatre, the
+Coliseum, and the Forum of this "little Rome of the Gauls," stands a
+noble monument of the ruder ages of Christianity, the Cathedral,
+Saint-Trophime. Here Saint Augustine, apostle to England, was
+consecrated; here three General Councils of the Church were held, here
+the Donatists were doomed to everlasting fire, and here the Emperor
+Constantine, from his summer palace on the Rhone, must have come to
+"assist" at Mass. The building in which these solemn scenes of the early
+Church were enacted soon disappeared and was replaced by the present one
+whose older walls Révoil attributes to the IX century. The present
+Cathedral's first documentary date is 1152, in the era of the Republic
+of Arles. The name of Saint-Etienne was changed, and the body of
+Saint-Trophime, carried in state from the ruined Church of the
+Aliscamps, was buried under a new altar and he was solemnly proclaimed
+the Patron of the richest and most majestic church in all Provence.
+
+[Illustration: "IN THE MIDST OF THE WEALTH OF ANTIQUE RUINS."--ARLES.]
+
+[Illustration: THE FAÇADE OF SAINT-TROPHIME.--ARLES.]
+
+Nearly eight hundred years later a traveller stood before the portal of
+this church. In the midst of his delighted study he suddenly felt the
+attraction of a pair of watchful eyes, and turned to find a peasant
+woman gazing fixedly at him. In her strange fascination she had placed
+beside her, on the ground, two huge melons and a mammoth cabbage, and
+her wizened hands were folded before her, Sunday-fashion. She was a
+little witch of a woman, old and bent and brown.
+
+"Yes, my good gentleman," she said, "I have been looking at you,--five
+whole minutes of the clock, and much good it has done me. In these days
+of books and such fine learning there is not enough time spent before
+our door; and I who pass by it every day, year in, year out, I have
+watched well, and only two except yourself have ever studied it. The
+foreigners come with red books and look at them more than at the door
+itself,--they stay perhaps three minutes, and go off, shaking their wise
+heads. Our people, passing every day, see but a door, a place for going
+in and coming out." She paused for breath.
+
+"And what do you see?" asked the traveller.
+
+"You ask me?" She smiled wisely. "But you know, since you are standing
+here and looking too. Listen!" And her old eyes began to gleam. "I'll
+tell you of a time before you were born. I was a child then; and we
+marched here every Sunday, other little girls and myself, and we stood
+before this door. And the nuns--it was often Sister Mary Dolorosa--told
+us the stories of these stones. See! Here is Our Lord Who loves all
+mankind, but has to judge us too;--and there is Saint-Trophime. But I
+cannot read, Monsieur. An old peasant woman has no time for such fine
+things, and you will laugh at me for telling you what you have in your
+books,--but I have them all here, here in my heart, and many a time I
+too come to refresh my old memory, and to pray. Those pictures tell
+great lessons to those that have eyes to see them. Well, well-a-day, I
+must pick up my melons and begone, for I have taken up your time and
+said too much. But you will excuse it in an old woman who is good for
+little else than talking now."
+
+They parted in true French fashion, with "expressions of mutual esteem,"
+and the traveller turned to the portal which was still fulfilling its
+ancient mission of teaching and of making beautiful the House of God.
+Applied to a severe façade typical of the plainness of Provençal outer
+walls, this is one of the noblest works of Mediævalism, the richest and
+most beautiful portal of the South of France; and no others in the Midi,
+except those of Saint-Gilles-du-Gard and Moissac, are worthy of
+comparison with it. In boldness and intellectuality of conception it
+excels many of the northern works and equals the finest of them. For the
+builder of the northern portal seems to have held closely to one
+architectural form, the beautiful convention of the Gothic style; and
+within that door he placed, in a more or less usual way, the subjects
+which the Church had sanctioned. In nearly every case the treatment of
+the subject is subordinated to the general architectural plan and
+symmetry. At Saint-Trophime there was the limit of space, the axiom that
+a door must be a door, and doubtless many allowable subjects. But within
+these necessary bounds the unknown sculptor recognised few
+conventionalities. The usual place for the portrayal of the Last
+Judgment, the tympanum, was too small for his conception of the scene;
+the pier that divides his door-way was not built to support the statue
+of the church's patron saint; he had a multitude of fancies, and instead
+of curbing them in some beautiful conventionality of form, as one feels
+great northern builders often did, this artist made a frame within which
+his ideas found free play, and, forcing conventionality to its will, his
+genius justified itself. For not only is the portal as a whole, full of
+dignity and true symmetry, but its details are thoughtfully worked out.
+They show, with the old scholastic form of his Faith, the grasp of the
+unknown master's mind, the intellectuality of his symbolism, and few
+portals grow in fascination as this one, few have so interesting an
+originality.
+
+[Illustration: RIGHT DETAIL, PORTAL.--ARLES.]
+
+In design it is simple, in execution incomparably rich. The principal
+theme of the Last Judgment has Christ seated on a throne as the central
+figure, and about him are the symbols of the four Evangelists. This is
+the treatment of the tympanum. Underneath, Patriarchs, Saints, Just, and
+Condemned form the beautiful frieze. The Apostles are seated; and to
+their left is an angel guarding the gates of Paradise against two
+Bishops and a crowd of laymen who have yet to fully expiate their sins
+in Purgatory. Behind them, naked, with their feet in the flames, are
+those condemned to everlasting Hell; and still beyond is a lower depth
+where souls are already half-consumed in hideous fires. On the Apostles'
+extreme right is the beginning of our human history, the Temptation of
+Adam and Eve; and marching toward the holy men, on this same side, is
+the long procession of those Redeemed from Adam's fall, clothed in
+righteousness. An angel goes before them, and hands a small child--a
+ransomed soul--to Abraham, Isaac, and Jacob. The end panels treat the
+last phases of the dominant theme;--a mammoth angel in the one weighs
+the souls of the dead; and an equally awe-inspiring devil in the other
+is preparing to cast two of the Lost into a sea of fire.
+
+The remainder of the portal tells of many subjects, and represents much
+of the theological symbolism of its time. Light, graceful columns, with
+delicately foliated capitals and bases rich with meaning sculptures,
+divide the lower spaces into niches, and in these niches stand statues
+of Apostles and of Saints, each having his story, each his peculiar
+attributes; and about these chief figures are carved rich designs,
+strange animals, and numberless short stories of the Bible. Above there
+is a small, subsidiary frieze; below, the pedestals which tell the tale
+of those who stand upon them. The figures have life and meaning, if not
+a true plasticity; and in this portal there is instruction, variety, and
+majesty, wealth of allegory and subtle symbols for those who love
+religious mysteries, and splendour of sculpture for those who come in
+search of Art.
+
+There are those to whom a simple beauty does not appeal. After the
+richness of the portal's carving, the interior of Saint-Trophime is to
+them "far too plain;" in futile comparison with the Cloister's grace, it
+is found "too severe;" and one author has written that only "when the
+refulgence of a Mediterranean sun glances through a series of long
+lances, ... then and then only does the Cathedral of Saint-Trophime
+offer any inducement to linger within its non-impressive walls."
+
+It may not be denied that, together with nearly all the Cathedrals of
+Provence, this interior has suffered from the addition of inharmonious
+styles. The most serious of these is its Gothic choir of the XV century,
+which a certain Cardinal Louis Allemand applied to the narrower
+Romanesque naves. With irregular ambulatory, chapels of various sizes,
+and a general incongruity of plan, this construction has no
+architectural importance except that of a prominent place in the
+church's worship. The remaining excrescences, Gothic chapels, Ionic
+pilasters, elliptical tribune, and the like, are happily hidden along
+the side aisles or in the transepts; and during the restoration of
+Révoil the naves were relieved of the disfiguring "improvements" of the
+XVII century, and stand to-day in much of their fine old simplicity.
+Beyond the fifth bay, and rising in the tower, is the dome of dignified
+Provençal form that rests on the lower arches of the crossing. Small
+clerestory windows cast sheets of pale light on the plain piers,
+rectangular and heavy, that rise to support a tunnel vault and divide
+the church into three naves of great and slender height.
+
+The stern, ascetic style of the XI and XII centuries has given the nave
+piers mere small, plain bands as capitals, and for churchly decoration
+has allowed only a moulding of acanthus leaves placed high and unnoticed
+at the vaulting's base. There is no pleasing detail and no charming
+fancy; but a fine, exquisite loftiness, a faultless balance of
+proportion, are in this severe interior, and its solemn and majestic
+beauty is not surpassed in the Southern Romanesque.
+
+[Illustration: LEFT DETAIL, PORTAL.--ARLES.]
+
+Beyond the south transept, a short passage and a few steps lead to the
+Cloisters, the most famous of Provence, perhaps of France. Large,
+graceful, and magnificent in wealth of carving, they have yet none of
+the poetic charms that linger around many a smaller Cloister. The
+vaultings are not more beautiful than other vaults less known; although
+they have the help of the great piers, the little, slender columns seem
+too light to support so much expanse of roof, and even the church's
+tower, square and high, looks dwarfed when seen across the close. The
+very spaciousness is solitary, and the long vista of the walks conduces
+to vague wonderings rather than to peaceful hours of thought. It has not
+the dreamy solitude of Vaison, nor the bright beauty of Elne's little
+close, nor any of the sunny cheerfulness that brightens the decaying
+walls of Cahors.
+
+[Illustration: THROUGH THE CLOISTER-ARCHES.--ARLES.]
+
+The marvel of these Cloisters is the sculptured decorations of their
+piers and columns. Those of the XII century are the richest, but each of
+the later builders seems to have vied as best he might, in wealth of
+conception and in lavishness of detail, with those who went before, and,
+even in enforced re-building, the addition of the Gothic to the
+Romanesque has not destroyed the harmony of the effect. In all the
+sculptors' schemes, the outer of the double columns were given foliated
+patterns or a few, simple symbols, and the outer of the piers were
+channelled and conventionally cut; and although the fancy of the
+sculptor is marvellously subtle and full of grace, his greatest art was
+reserved for the capitals of the inner columns and the inner faces of
+the piers, which meditating priests would see and study. The symbolism
+authorised by Holy Church, the history of precursors of Our Lord, the
+incidents of His life and the more dramatic doings of the Saints, all
+these are carved with greatest love of detail and of art; and in them
+the least arduous priest could find themes for a whole year of
+meditation, the least enthusiastic of travellers, a thousand quaint and
+interesting fancies and imaginations. It is not so much the beauty of
+the whole effect that is entrancing in these Cloisters, nor that most
+subtle influence, the good or evil spirit of a past which lingers round
+so many ancient spots, as that mediæval thought and mediæval genius that
+found expression in these myriad fine examples of the sculptor's art.
+
+[Illustration: "A NAVE OF GREAT AND SLENDER HEIGHT."--ARLES.]
+
+[Illustration: "THE BEAUTY OF THE WHOLE."--ARLES.]
+
+Alexandre Dumas has written of Arles: "Roman monuments form the soil;
+and about them, at their feet, in their shadow, in their crevasses, a
+second Gothic city has sprung--one knows not how--by the vegetative
+force of the religious civilisation of Saint Louis. Arles is the
+Mecca of archæologists." It is also the Mecca of those who love to
+study people and customs, for, in spite of the railroad, and the
+consequent influx of "foreign French," it has preserved the old
+græco-roman-saracenic type which has made its beautiful women so
+justly famous, and, underneath its Provençal gaieties, their classic
+origins may easily be traced. One should see the Roman Theatre, the
+solitary Aliscamps, by moonlight, the busy market in the early day,
+the Cathedral at a Mass, and a fête at any time,--for
+
+    "When the fête-days come, farewell the swath and labour,
+      And welcome revels underneath the trees,
+      And orgies in the vaulted hostelries,
+    Bull-baitings, never-ending dances, and sweet pleasures."
+
+
+[Sidenote: Entrevaux.]
+
+The most celebrated fortified town in France is the Cité of Carcassonne,
+yet, even in the days of its practical strength, it was scarcely a type.
+It was rather a marvel, a wonder,--the "fairest Maid of Languedoc," "the
+Invincible." And now the citadel is almost deserted. The inhabitants are
+so few that weeds grow in their streets, and one who walks there in the
+still mid-day feels that all this completion of architecture, these
+walls, perfect in every stone, may be an enchanted vision, a mirage; he
+more than half believes that the cool of the sunset will dispel the
+illusion, and he will find himself on a pleasant little hill of
+Languedoc, looking down upon the commonplace "Lower City" of
+Carcassonne.
+
+At Entrevaux there is no suggestion of illusion. This is not a
+show-place that once was real; it is one of a hundred little
+agglomerations of the French Middle Ages. They had no great name to
+uphold; no riches to expend in impregnable walls and towers. They clung
+fearfully together for self-preservation, built ramparts that were as
+strong as might be, and dared not laugh at the "fortunes of war." Except
+that there is safety outside the walls, and a tiny post and telegraph
+office within, they are now as they were in those dangerous days. The
+fortress of Carcassonne is dead; but in the back country of Provence,
+Entrevaux is living, and scarcely a jot or tittle of its Mediævalism is
+lost. Among high rocks that close around it on every side, where,
+according to the season, the Chalvagne trickles or plunges into the
+river Var, and dominated by a fort that perches on a sharp peak, is the
+strangest of old Provençal towns.
+
+[Illustration: THE GOTHIC WALK, CLOISTER.--ARLES.]
+
+The founding of the tiny episcopal city was after this wise. Toward the
+close of the XIV century, in a time of plagues, Jewish persecutions, the
+growth of heresies, and the uncurbed ravages of free-booters, the city
+of Glandèves, seat of an ancient Bishopric, was destroyed. The living
+remnant abandoned its desolate ruins. Searching for a stronger, safer
+home, they chose a site on the left bank of the Var, and commenced the
+building of Entrevaux. The Bishop accompanied his flock, and although he
+retained the old title of Glandèves, in memory of the antiquity of the
+See and its lost city, the Cathedral-church was established at
+Entrevaux.
+
+The first edifice, Saint-Martin's, built shortly after the founding of
+the town, has long been destroyed; and the second, begun in 1610, to the
+honour of the Assumption of the Blessed Virgin Mary, held episcopal rank
+until the See was disestablished by the great Concordat. Although this
+Cathedral was built in the XVII century, a date perilously near that of
+decadence in French ecclesiastical architecture, it was situated in so
+obscure a corner of Provence that its plan was unaffected by innovating
+ideas; it is of the old native type, a building of stout walls and heavy
+buttresses, a single tower, square and straight, and a tunnel-vaulted
+room, the place of congregation. This interior, with no beautiful
+details that may not be found in other churches, has as many of the
+defects of the Italian school as the treasury could afford,--marble
+columns, frescoes, gilding, and other rococo decorations which show that
+the people of Entrevaux had no higher and no better tastes than those of
+Nice; and that the old, simple purity of the church's form was rather a
+matter of ignorance or necessity than of choice. The attraction of the
+episcopal church pales before the quaint delight of the episcopal city,
+and it is as part of the general civic defence that it shares in the
+interest of Entrevaux.
+
+[Illustration: "THIS INTERIOR."--ENTREVAUX.]
+
+[Illustration: THE ROMANESQUE WALK, CLOISTER.--ARLES.]
+
+[Illustration: "ONE OF THREE SMALL DRAWBRIDGES."--ENTREVAUX.]
+
+[Illustration: "THE PORTCULLIS."--ENTREVAUX.]
+
+Leaving the train at the nearest railroad station, the traveller
+followed the winding Var, and he had scarcely walked four miles when he
+saw, across the river, the sharp peak with its fort, and the long lines
+of walls that zigzag down the hillside till they reach the crowded roofs
+that are clustered closely, in charming irregularity, near the bank.
+Along the water's edge, the only part of the town that is not protected
+by rocks and hills, there is another line of stout walls and two heavy,
+jutting bastions. From a mediæval point of view Entrevaux looks strong
+indeed. The only means of entrance, now as in those olden days, is by
+one of three small drawbridges, and so narrow is every street of the
+town that no wagon is allowed to cross, for if it made the passage of
+the bridge it would be caught hard and fast between the houses. As the
+traveller put foot on the drawbridge he felt as though he were a petty
+trader or wandering minstrel, or some other figure of the Middle Ages,
+entering for a few hours' traffic or a noon-day's rest, and when he
+paused under the low arch of the portcullis-gate, people stared at him
+as they do at a stranger in little far-off towns. Once inside, he turned
+into a street, and was immediately obliged to step into a door-way, for
+a man leading a horse was approaching, and they needed all its breadth.
+Houses, several stories high, bordered these incredibly dark, narrow
+ways, and some of the upper windows had the diminutive balconies so dear
+to the South. It was a bright, hot day, but the sun seldom peeped into
+these streets; and in the shops the light was dull at mid-day. As he
+thought of the men and women of Mediævalism, who did not dare to wander
+in the fields beyond the town, because their safety lay within its
+ramparts, suddenly, the little public squares of walled towns appeared
+in all the real significance of their light and breadth and sunshine.
+Space is precious in Entrevaux, and open places are few. There is one
+where the hotels and cafés are found, another across the drawbridge
+behind the Cathedral-tower, and a tiny one before the church itself.
+This is the most curious of them all; for, far from being a "Place de la
+Cathédrale," it is a true "Place d'Armes." Near the portals, on whose
+wooden doors the mitre and insignia of papal favour are carved, a few
+steps lead to a narrow ledge where archers could stand and shoot from
+the loop-holes in the walls. As the traveller sat on this ledge and
+wondered what scenes had been enacted here, how many deadly shots had
+sped from out the holes, what crowds of excited townsfolk had gathered
+in the church, what grave words of exhortation and of blessing had been
+spoken from the altar or the threshold by anxious prelate, robed and
+mitred for the Mass of Supplication to a God of Battles, an humble
+funeral appeared,--a priest, a peasant bearing a black wooden Cross with
+the name of the deceased painted on it, a rope-bound coffin carried by
+hot and sorrowing women, and a little procession of friends. The pomps
+and vanities of the past disappeared as a mist from the traveller's
+mind, and he saw Entrevaux as it really is, without the comforts of this
+world's goods, without the greatness of a Bishopric, a small Provençal
+village whose perfection of quaintness--so charming to him who passes
+on--means hardship and discomfort to those who have been born and must
+live and die there.
+
+[Illustration: "A FORT THAT PERCHES ON A SHARP PEAK."--ENTREVAUX.]
+
+[Illustration: "A TRUE PLACE D'ARMES."--ENTREVAUX.]
+
+And yet so potent is that charm, when the traveller re-crossed the
+drawbridge and looked up at the sharp teeth of the portcullis that may
+still fall and bite, when he had passed out on the high-road and turned
+again and again to watch the fading sunlight on the tangled mass of
+roofs, the illusion had returned. The bastions stood out in bold relief,
+the church tower with its crenellated top stood out against the rocky
+peaks, the sun fell suddenly behind the hill, and the traveller felt
+himself again a minstrel wandering in a mediæval night.
+
+[Illustration: "THE LONG LINES OF WALLS THAT ZIGZAG DOWN THE
+HILLSIDE."--ENTREVAUX.]
+
+
+[Sidenote: Sisteron.]
+
+The traveller is curious,--frankly curious. Almost every time that he
+enters a Cathedral, his memory recalls the words of Renan, "these
+splendid marvels are almost always the blossoming of some little
+deceit," and after he has feasted his eye, he thinks of history and of
+details, and of Renan, prejudiced but well-informed, and wonders what
+was here the "little deceit." At Grasse, he had longed for the papers a
+certain lawyer has, which tell much of the city's life a hundred and
+fifty years ago, and at Sisteron, he sat by the Durance, wondering how
+he could induce a kind and good old lady of a remote corner of Provence
+to lend him an ancient manuscript, which even the gentle Curé said she
+"obstinately" refused to "impart." Blessed are they who can be satisfied
+with guide-books, as his friends who had visited Avignon and Arles,
+Tarascon and the Saintes-Maries-de-la-Mer, and had seen Provence to
+their entire edification while he was merely peering about
+Notre-Dame-des-Doms and the Fort Saint-André. Of a more indolent and
+leisurely turn of mind, he suffers--and perhaps justly--the penalty of
+his joyous idleness, for even lawyers and good ladies with hidden papers
+are rare. Revolutionary sieges, fires, and a wise discretion have led to
+the destroying of many a fine old page, and it is often in vain one goes
+to these decaying cities of Provence. "We see," he said, gesticulating
+dejectedly, "we see their towers and their walls, but if we say we know
+that place, how many times do we deceive ourselves. It is too often as
+though we claimed to know the life and thought and passions of a man
+from looking on his grave."
+
+But--to consider what we may know. Sisteron is an old Roman city, most
+strongly and picturesquely built in a narrow defile of the Durance. On
+one side the river is the high, bare rock of La Baume; on the other, a
+higher rock where houses, supporting each other by outstretched
+buttresses, seem to cling to the sheer hillside as shrubs in mountain
+crevasses, and are dominated and protected by a large and formidable
+fortress-castle that crowns the very top of the peak. The town walls are
+almost gone; the fortress is abandoned; since the Revolution there are
+no longer Bishops in Sisteron; but the old town has lost little of its
+war-like and romantic atmosphere of days when it commanded an important
+pass, and when the way across the Durance was guarded by a drawbridge,
+and a big portcullis that now stands in rusty idleness.
+
+[Illustration: "THE CHURCH TOWER STOOD OUT AGAINST THE ROCKY
+PEAKS."--ENTREVAUX.]
+
+It is claimed that the Bishopric of this stronghold was founded in the
+IV century, and grew and flourished mightily, until the Bishop dwelt
+securely on his rock, his Brother of Gap had a "box" on the opposite
+bank, the Convent of the little Dominican Sisters was further up the
+river, and, besides this busy ecclesiastical life, there was the world
+of burghers in the town and its Convent of Ursulines. Here came once
+upon a time a sprightly lady who added a thousand lively interests. This
+was Louise de Cabris, sister of the great Mirabeau, "who, when a mere
+girl, had been married to the Marquis de Cabris. Part knave, part fool,
+the vices of de Cabris sometimes ended in attacks of insanity. His
+marriage with one who united the violence of the Mirabeaus to the
+license of the Vassans was unfortunate; ... and after Louise began to
+reign in the big dark house of the Cours of Grasse, life never lacked
+for incidents." Matters were not mended by the arrival of her brother,
+twenty-four and wild, and supposed to be living under a "lettre de
+cachet" in the sleepy little town of Manosque. The two were soon
+embroiled in so outrageous a scandal that their father, who loved a
+quarrel for its own sake, sided with the prosecution; and declaring that
+"no children like his had ever been seen under the sun," took out a
+"lettre de cachet" for Louise, who was sent up to Sisteron, where he
+requested her to "repent of her sins at leisure in the Convent of the
+Ursulines." Inheriting a brilliant, restless wit and unbridled morals,
+her life with the stupid, vicious Marquis had not improved her natural
+disposition, and she soon set Sisteron agog. On pretence of business all
+the lawyers flocked to see her; and with no pretence at all the garrison
+flocked in their train. When the Ursulines ventured to remonstrate, she
+diverted them with such anecdotes of gay adventure as were never found
+between the pages of their prayer-books. Finally the whole town was
+divided into two camps; her foes called her "a viper," and many an eye
+peered into the dark streets, many a head was judiciously hidden behind
+bowed shutters, to see who went toward the Convent; till by wit and
+scheming and after some months of most surprising incident, Louise
+carried her point, left the good Ursulines to a well-merited repose,
+and returned to the Castle of Mirabeau,--to laugh at the townsfolk of
+Sisteron.
+
+[Illustration: "THE CATHEDRAL IS NEAR THE HEAVY, ROUND TOWERS OF THE
+OUTER RAMPARTS."--SISTERON.]
+
+[Illustration: "THE BRIDGE ACROSS THE DURANCE."--SISTERON.]
+
+When in the city, the prelates occupied their Castle of the Citadel with
+the high lookouts and defences, far from their Cathedral, which is in
+the lower town near the heavy, round towers of the ramparts. This
+church, which has been very slightly and very judiciously restored, is
+of unknown date, probably of the XII century, it is faithful to the
+native architectural tradition, and in some details more interesting
+than many of the Provençal Cathedrals. Its exterior is small and low.
+There are the familiar, friendly little apses of the Romanesque; near
+them, above the east end of the north aisle, the squat tower with a
+modest, modern spire; and at its side, above the roof-line, is the
+octagon that stands over the dome. All this structure is unaffectedly
+simple. The walls and buttresses which enclose the aisles are plain, and
+it is only by comparison with this architectural Puritanism that the
+façade may be considered ornate. Near the top of its wall, which is
+supported by sturdy piers, are three round windows, with deep, splayed
+frames. The largest of them is directly above the high, slender portal
+that is somewhat reminiscent of the Italian influence, so elaborately
+marked further up the valley, at Embrun. The rounded arch of the
+door-way and its pointed gable are repeated, on either side, in a
+half-arch and half-gable. An allegorical animal, in relief, stands above
+the central arch, and a few columns with delicate capitals complete the
+adornment of the entrance-way, which, in spite of being the most
+decorative part of the church, is most discreet.
+
+Nine steps lead down into an interior that is small, very usually
+planned, and much defaced by XVII century gilt--yet is essentially
+dignified and impressive. Eliminate the tawdry altars, take away the
+stucco Saints and painted Virgins, let the chapels be mere shadowy
+corners in the dark perspective, and the little church appears like the
+meeting-place of the Faithful of an early Christianity. Its nave and
+each of the narrow side aisles rise to round tunnel-vaults; there are
+but five bays, and the last is covered by a small, octagonal dome. The
+whole church is built of a dark stone that is almost black, its lighting
+is very dim, and centres in the little apses where the holiest statues
+stand and the most sacred rites are celebrated; and the worshippers,
+shrouded in twilight, have more of the atmosphere of mystery than is
+usual in the Cathedrals of Provence, the subtle influence of quiet
+shadowy darkness that is so potent in the churches of the Spanish
+borderland.
+
+[Illustration: "ENTRANCES TO TWO NARROW STREETS."--SISTERON.]
+
+Many will pass through Sisteron and enjoy its rugged strength, its
+sun-lit days, its narrow streets, and the peaks that stand out in solemn
+sternness against the dark blue sky at night. Notre-Dame-de-Pomeriis has
+none of the salient beauty of any of these, and to appreciate its
+ancient charm, it must not be forgotten that the Provençal Cathedral has
+not the distinction of size or the elaboration of the greater Cathedrals
+of Gascony, that it is far removed from the fine originalities of
+Languedoc, that it is conventional, and, as it were, clannish, and that
+its highest dignity is in a simple quiet that is never awe-full. There
+is, in truth, more than one church of this country that needs the
+embellishment of its history to make it truly interesting. But
+Notre-Dame of Sisteron is not of these. It is not the big, empty shell
+of Carpentras, nor the little rough Cathedral of Orange. It is the
+smaller, more perfect one, of finer inspiration, which the many will
+pass by, the few enjoy.
+
+
+
+
+IV.
+
+CATHEDRALS OF THE VALLEYS.
+
+
+[Sidenote: Orange.]
+
+Lying on the Rhone, and almost surrounded by the papal Venaissin, is a
+tiny principality of less than forty thousand acres. This small state
+has given title to more than one distinguished European who never
+entered its borders, and who was alien to it not only in birth, but in
+language and family. So great was the fame of its rulers that this
+small, isolated strip of land suffered for their principles, and
+probably owes to them much of its devastation in the terrible Wars of
+Religion. From the well-known convictions of the Princes of Orange, the
+country was always counted a refuge for heretics of all shades, and in
+1338 they were in sufficient force to demolish the tower of the
+Cathedral. Later in history, Charles IX declared William of Nassau "an
+outlaw" and his principality "confiscate"; and in 1571, there was a
+three days' massacre of Protestants. In spite of this horrid orgy the
+Reformers rose again in might and soon prevented all celebration of
+Catholic rites. Refugees fleeing from the Dragonnades of Dauphiné and of
+the Cévennes poured into the principality; and when the Princes of
+Orange were strong enough to protect their state, its Catholics lived
+restricted lives; but when the Protestant power waned, Kings and
+Captains of France raided the land in the name of the Church. And at
+the death of William of Orange, King of England, Louis XIV seized the
+capital of the state, razed its great palace and its walls, and after
+the Treaty of Utrecht had awarded the principality to the French crown,
+treated the defenceless Huguenots with the same impartial cruelty he had
+meted to their fellow-believers in other parts of the kingdom. Orange's
+changes in religious fate are not unlike those of Nîmes, with this
+essential difference, that here Catholicism has conquered triumphantly.
+Where ten worship in the little Protestant temple, a thousand throng to
+the Mass.
+
+Both in history and its monumental Roman ruins, the capital of this
+province, Orange, is one of the richest cities of the Southland, but its
+Cathedral is very poor and mean. The plan is one of the simplest of the
+Provençal conceptions, a "hall basilica," archæologically interesting,
+but in its present state of patch and repair, architecturally
+commonplace and unbeautiful. In spite of Protestant attacks and Catholic
+restorations, the XI century type has been maintained, a rectangle whose
+plain double arches support a tunnel vault and divide the interior into
+four bays. The piers are heavy and severe; and between them are alcoves,
+used as chapels. The choir, narrower than the nave, is preceded by the
+usual dome, and beyond it is a little unused apse, concealed from the
+rest of the interior by a wall. Unimportant windows built with
+distinctly utilitarian purpose successfully light this small, simple
+room, and no kindly shadow hides its bareness or diminishes the unhappy
+effect of the paintings which disfigure the walls. The Cathedral's
+exterior is so surrounded by irregular old houses that the traveller had
+discovered it with some difficulty. It has little that is worthy of
+description, and after having entered by a conspicuously poor
+Renaissance portal only to go out under an uninteresting modern one, he
+found himself lost in wonder that the Cathedral-builders of
+Notre-Dame-de-Nazareth should have utterly failed in a town which
+offered them such inspiring suggestions as the great Arch of Triumph and
+the still greater Imperial Theatre, besides all the other remains of
+Roman antiquity which, long after the building of Notre-Dame, the
+practical Maurice of Orange demolished for the making of his mediæval
+castle.
+
+
+[Sidenote: Cavaillon.]
+
+It was growing dusk, of a spring evening, when the traveller arrived at
+Cavaillon and wandered about the narrow streets and came upon the
+Cathedral. Glimpses of an interesting dome and a turret-tower had
+appeared once or twice above the house-tops, leading him on with
+freshened interest, and there was still light enough for many first
+impressions when he arrived before the low cloister-door. But here was
+no place for peaceful meditation. An old woman, coiffed and bent,
+brushed past him as she entered, a chair in each hand; and as he effaced
+himself against the church wall, a younger woman went by, also
+chair-laden. Two or three others came, talking eagerly, little girls in
+all stages of excitement ran in and out, and little boys came and went,
+divided between assumed carelessness and a feeling of unusual
+responsibility. Then a priest appeared on the threshold, not in
+meditation, but on business. Another, old and heavy, and panting,
+hurried in; and through the cloister-door, Monsieur le Curé, breviary in
+hand, prayed watchfully. A little fellow, running, fell down, and the
+priest sprang to lift him; the child was too small not to wish to cry,
+but too much in haste to stop for tears. The priest watched him with a
+kindly shrug and a smile as he ran on;--there was no time for laughing
+or crying, there was time for nothing but the mysterious matter in hand.
+
+"What is it?" the traveller finally asked.
+
+"Ah, Monsieur, to-morrow is the day of the First Communion. We all have
+just prayed, just confessed, in the church; and our parents are
+arranging their places. For to-morrow there will be crowds--everybody.
+You too, Monsieur, are coming perhaps? The Mass is at half-past six."
+
+Such was the living interest of the place that the traveller moved away
+without any very clear architectural impression of the Cathedral, except
+of the curiously narrow bell-turret and of the height of the dome.
+
+He did not see the early Mass, but toward ten wandered again to the
+Cathedral and entered the cloister-door. It was a low-vaulted, sombre
+little Cloister which all the chattering, animated crowds could not
+brighten. Formerly two sides were gated off, and priests alone walked
+there. The other sides were public passage-ways to the church. Now only
+the iron grooves of the gates of separation remain, and the four walks
+were thronged with people. Little girls in the white dresses of their
+First Communion, veiled and crowned with roses, were hurrying to their
+places; an old grandmother, with her arm around one of the little
+communicants, knelt by a column, gazing up to the Virgin of the
+cloister-close; proud and anxious parents led their children into
+church, and friends met and kissed on both cheeks. In one corner, an old
+woman was driving a busy trade in penny-worths of barley candy.
+Diminutive altar-boys in white lace cassocks and red, fur-trimmed
+capes, offered religious papers for sale. It was a harvest day for
+beggars, and "for the love of the good God" many a sou was given into
+feeble dirty hands.
+
+[Illustration: "IT WAS A LOW-VAULTED, SOMBRE LITTLE CLOISTER."
+CAVAILLON.]
+
+For a time the traveller walked about the Cloister, so tiny and worn a
+Cloister that on any other day it must have seemed melancholy indeed. So
+low a vaulting is not often found, massive and rounded and seeming to
+press, lowering, above the head. The columns, which help to support its
+weight, are short and heavy and thick, so worn that their capitals are
+sometimes only suggestive and sometimes meaningless. On one side the
+carving is distinctly Corinthian; on another altogether lacking. Between
+the columns, one could glance into a close so small that ten paces would
+measure its length. It was a charming little spot, all filled with
+flowers and plants that told of some one's constant, tender care. From
+above the nodding flowers and leaves rose the statue of the Madonna and
+the Child.
+
+The tolling bell called laggards to Mass. With them, the traveller
+entered the church, and found it so crowded that it was only after
+receiving many knocks from incoming children, and sundry blows on the
+head and shoulders from ladies who carried their chairs too carelessly,
+after minutes of time and a store of patience, that he finally reached a
+haven, a corner of the Chapel of Saint-Véran. There, under the care of
+the Cathedral's Patron, he escaped further injuries and assisted at a
+long, interesting ceremony.
+
+Mass had already begun, but the voice of the priest and the answering
+organ were lost in the movement of excited friends, the murmur of
+questions, and the clatter of nailed shoes on the stone floor. A Suisse,
+halberd in hand, and gorgeous in tri-cornered hat and the red and gold
+of office, kept the aisle-ways open with firm but kind insistence; and
+the priests who were directing the children in the body of the church,
+were wise enough to overlook the disorder, which was not irreverence,
+but interest. For days, everybody had been thinking of this ceremony;
+everybody wanted "good places." But few found them. For the little nave
+of the church was chiefly given up to the communicants. They sat on long
+benches, facing each other. The boys, sixty or seventy of them, were
+nearest the Altar; the girls, even more numerous, nearest the door. A
+young priest walked between the rows of boys and the old, panting Father
+directed the girls.
+
+The whole interior of the church, at whose consecration no less a
+prelate than Pope Innocent IV had presided, is small and its plan is
+essentially of the Provençal type. The high tunnel vault rests, like
+that of Orange, on double arches; and as the nave is very narrow and its
+light very dim, the church seems lofty, sombre, and impressive, with a
+very serious dignity which its detail fails to carry out. The chapels,
+which lie between the heavy buttresses, are dim recesses which increase
+the darkened effect of the interior. Of the ten, only three differ
+essentially from the general plan; and although of the XVII century,
+their style is so severe and they are so ill-lighted that they do not
+greatly debase the church. The choir is entered from under a rounded
+archway, and its dome is loftier than the nave and much more beautiful
+than the semi-dome of the apse, whose roof, in these practical modern
+times, has been windowed.
+
+That which almost destroys the effect of the church's fine lines and
+would be intolerable in a stronger light, is the mass of gilt and
+polychrome with which the interior is covered. The altars are
+monstrously showy, the walls and buttresses are coloured, and even the
+interesting, sculptured figures beneath the corbels have been carefully
+tinted. The dead arise with appropriate mortuary pallor, the halo of
+Christ is pure gold, and all the draperies of God and His saints are in
+true, primary shadings.
+
+From the contemplation of this misuse of paint, and of a sadly misplaced
+inner porch of the XVII century, the traveller's attention was recalled
+to the old priest. His hand was raised, the eye of every little girl was
+fixed on him and instantly, in their soft, shrill voices, they began the
+verse of a hymn. The traveller glanced down the nave. Every boy was on
+his feet, white ribbons hanging bravely from the right arm, the Crown of
+Thorns correctly held in one white-gloved hand, a Crucifix fastened with
+a bow of ribbon to the coat lapel. Every eye was on the young priest,
+who also raised his hand. Then they sang, as the girls had sung, and
+with a right lusty will. And then, under the guiding hands, both boys
+and girls sang together. There was a silence when their voices died
+away, and from the altar a deep voice slowly chanted "Ite; missa est,"
+and the High Mass of the First Communion Day was over.
+
+Outside, little country carts stood near the church, and fathers and
+brothers in blue blouses were waiting for the little communicants who
+had had so long and so exciting a morning. Walking about with the
+crowds, the traveller saw an exterior whose façade was plainly
+commonplace and whose bare lateral walls were patched, and crowded by
+other walls. Finally he came upon the apse, the most interesting part of
+the church's exterior; and he leaned against a café wall and looked
+across the little square.
+
+Externally, the apse of Saint-Véran has five sides, and each side seems
+supported by a channelled column. The capitals of these columns are
+carved with leaves or with leaves and grotesques; on them round arches
+rest; and above is a narrow foliated cornice. In relieving contrast to
+the artificial classicism of the Renaissance of the interior, the
+feeling of this apse is quite truly ancient and pagan, and it is not
+less unique nor less charming because it is placed against a plain,
+uninteresting wall. The eye travelling upward, above the choir-dome,
+meets the lantern with its rounded windows and pointed roof, and by its
+side the high little bell-turret which completes a curious exterior; an
+exterior which is interesting and even beautiful in detail, but
+irregular and heterogeneous as a whole.
+
+The Cathedral of Cavaillon is one of many possibilities. Although small
+like those of its Provençal kindred, it has more dignity than Orange,
+more simplicity of interior line than the present Avignon, and it is to
+be regretted that it should have suffered no less from restoration than
+from old age.
+
+[Illustration: THE CATHEDRAL'S TOWER AND TURRET.--CAVAILLON.]
+
+
+[Sidenote: Apt.]
+
+Few of the Cathedral-churches of the Midi are without holy relics, but
+none is more famous, more revered, and more authentic a place of
+pilgrimage than the Basilica of Apt. It came about in this way, says
+local history. When Martha, Lazarus, and the Holy Marys of the Gospels
+landed in France, they brought with them the venerated body of Saint
+Anne, the Virgin's Mother; and Lazarus, being a Bishop, kept the holy
+relic at his episcopal seat of Marseilles. Persecutions arose, and
+dangers innumerable; and for safety's sake the Bishop removed Saint
+Anne's body to Apt and sealed it secretly in the wall. For centuries,
+Christians met and prayed in the little church, unconscious of the
+wonder-working relic hidden so near them; and it was only through a
+miracle, in Charlemagne's time and some say in his presence, that the
+holy body was discovered. This is the history which a sacristan recites
+to curious pilgrims as he leads them to the sub-crypt.
+
+The sub-crypt of Sainte-Anne, one of the earliest of Gallo-Roman
+"churches," is not more than a narrow aisle; its low vault seems to
+press over the head; the air is damp and chill; and the one little
+candle which the patient sacristan moves to this side and to that, shows
+the plain, un-ornamented stone-work and the undoubted masonry of Roman
+times. It was part of the Aqueduct which carried water to the Theatre in
+Imperial days, and had become a chapel in the primitive Christian era.
+At the end which is curved as a choir is a heavy stone, used as an
+altar; and high in the wall is the niche where the body of the church's
+patron lay buried for those hundreds of years. It is a gloomy, cell-like
+place, most curious and most interesting; and as the traveller saw faith
+in the earnest gaze of some of his fellow-visitors, and doubt in the
+smiles of others, he wondered what ancient ceremonials, secret Masses,
+or secret prayers had been said in this tiny chamber, and what rows of
+phantom-like worshippers had filed in and out the dark corridor.
+
+Directly above is the higher upper crypt of the church, a diminutive but
+true choir, with its tiny altar and ambulatory,--a jewel of the
+Romanesque, heavy and plain and beautifully proportioned, with columns
+and vaulting in perfect miniature. This, from its absolute purity of
+style, is the most interesting part of the church; and being a crypt, it
+is also the most difficult to see. In vain the sacristan ran from side
+to side with his little candle, in vain the traveller gazed and
+peered,--the little church was full of shadows and mysteries, dark and
+lost under the weight of the great choir above.
+
+[Illustration: "THE MAIN BODY OF THE CHURCH."--APT.]
+
+Even the main body of the church, above ground, is dimly lighted by
+small, rounded windows above the arches of the nave, and from the dome
+of Saint Anne's Chapel. Doubtless, on Sundays after High Mass, when the
+great doors are opened, the merry sun of Provence casts its cheerful
+rays far up the nave. But this is a church which is the better for its
+shadows. A Romanesque aisle of the IX or X century, built by that same
+Bishop Alphant who had seen the construction of the little crypt church,
+a central nave of the XI century, Romanesque in conception, and a north
+aisle of poor Provençal Gothic make a large but inharmonious
+interior. Restoration following restoration, chapels of the XVIII
+century, new vaultings, debased and conglomerate Gothic, and spectacular
+decorations of gilded wood have destroyed the architectural value and
+real beauty of the Cathedral's interior. Yet in the dim light, which is
+the light of its every-day life, the great height of the church and its
+sombre massiveness are not without impressiveness.
+
+The exterior dominates the city, but it is so hopelessly confused and
+commonplace that its natural dignity is lost. The heavy arch which
+supports the clock tower forms an arcade across a narrow street and
+makes it picturesque without adding dignity to the church itself. The
+walls are unmeaning, often hidden by buildings, and there is not a
+portal worthy of description. There is the dome of Saint Anne's Chapel
+with a huge statue of the Patron, and the lantern of the central dome
+ending in a pointed roof; but each addition to the exterior seems only
+an ignorant or a spiteful accentuation of the general architectural
+confusion.
+
+To the faithful Catholic, the interest of Sainte-Anne of Apt lies in its
+wonderful and glorious relics. Here are the bodies of Saint Eléazer and
+Sainte Delphine his wife, a couple so pious that every morning they
+dressed a Statue of the Infant Jesus, and every night they undressed it
+and laid it to rest in a cradle. There is also the rosary of Sainte
+Delphine whose every bead contained a relic; and before the Revolution
+there were other treasures innumerable. During many years Apt has been
+the pilgrim-shrine of the Faithful, and great and small offerings of
+many centuries have been laid before the miracle-working body of the
+Virgin's sainted Mother.
+
+[Illustration: THE VIRGIN AND SAINT ANNE. _By Benzoni._]
+
+The most famous of those who came praying and bearing gifts was Anne of
+Austria, whose petition for the gift of a son, an heir for France, was
+granted in the birth of Louis XIV. In gratitude, the Queen enriched the
+church by vestments wrought in thread of gold and many sacred ornaments;
+and at length she commanded Mansart to replace the little chapel in
+which she had prayed, by a larger and more sumptuous one, a somewhat
+uninteresting structure in the showy style of the XVII century, which is
+now the resting-place of Saint Anne. In this chapel is the most
+beautiful of the church's treasures which, strange to say, is a piece of
+modern sculpture given by the present "Monseigneur of Avignon." It is
+small, and badly placed on a marble altar of discordant toning, with a
+draped curtain of red gilt-fringed velvet for its background. Yet in
+spite of these inartistic surroundings it has lost none of its tender
+charm. Seated, with a scroll on her knees, the aged mother is earnestly
+teaching the young Virgin who stands close by her side. The slender old
+hand with its raised forefinger emphasises the lesson, and the loving
+expression of the wrinkled, ascetic face, the attentiveness of the
+Virgin and her slim young figure, make a touching picture, and a
+beautiful example of the power of the modern chisel. Yet faith in
+shrines and miraculous power is not, in this XX century, as pure nor as
+universal as in the days of the past; and Faith, in Provençal Apt which
+possesses so large a part of the Saint's body, is not as simple, and
+therefore not as strong as in Breton Auray which has but a part of her
+finger. Republicanism in the south country is not too friendly to the
+Church, kings and queens no longer come with prodigal gifts, and
+Sainte-Anne of Apt has not the peasant strength of Sainte-Anne of Auray.
+And in spite of the great feast-day of July, in spite of Aptoisian
+pride, in spite of the devotion and prayers of faithful worshippers, the
+Cathedral of Apt is a church of past rather than of present glories.
+
+
+[Sidenote: Riez.]
+
+Just as the church-bells were chiming the morning Angelus, and the warm
+sun was rising on a day of the early fall, a traveller drove out of old
+Manosque. He had no gun,--therefore he had not come for the hunting; he
+had no brass-bound, black boxes, and therefore could not be a "Commis."
+What he might be, he well knew, was troubling the brain of the
+broad-backed man sitting before him, who, with many a long-drawn
+"Ou-ou-u-u-" was driving a fat little horse. But native courtesy
+conquered natural curiosity and they drove in silence to the long, fine
+bridge that spans the river of evil repute:
+
+    "Parliament, Mistral, and Durance
+    Are the three scourges of Provence."
+
+At that time of year, however, the Durance usually looks peaceable and
+harmless enough; half its great bed is dry and pebbly, and the water
+that rushes under the big arches of the bridge is not great in volume.
+But the size and strength of the bridge itself and certain huge rocks,
+placed for a long distance on either side of the road, are significant
+of floods and of the spring awakening of the monstrous river that, like
+Doctor Jekyll and Mr. Hyde, has two lives.
+
+[Illustration: "SAINT-MARTIN-DE-BRÔMES WITH ITS HIGH, SLIM TOWER."]
+
+[Illustration: "THE FORTIFIED MONASTERY OF THE TEMPLARS."--(NEAR
+GRÉOUX).]
+
+The road wound about the low hills of the Alps, past a massive,
+fortified monastery of the Templars whose windows gape in ruin; past
+Saint-Martin-de-Brômes with its high, slim, crenellated watch-tower;
+past many quiet little villages where in the old times, Taine says,
+"Good people lived as in an eagle's nest, happy as long as they were not
+slain--that was the luxury of the feudal times." Between these villages
+lay vast groves of the grey-green olive-trees, large flourishing farms,
+and, further still, the bleak mountains of the Lower Alps. It was toward
+them the driver was turning, for rising above a smiling little valley,
+surrounded by fields of ripened grain, lay Riez. A donjon stands above a
+broken wall, on the hillside houses cluster around a church's spire, and
+alone, on the top of the hill, stands the little Chapel of Saint-Maxime,
+the only relic of the Great Seminary that was destroyed by the
+Revolutionists of '89. Here, after the destruction of one of the several
+Cathedrals of Riez, the Bishop celebrated Masses, but the little chapel
+was never consecrated a Cathedral. It has been recently restored and
+re-built in an uninteresting style,--the exterior is bare to ugliness,
+the interior so painted that the six old Roman columns which support the
+choir are overwhelmed by the banality of their surroundings. The plateau
+on which the chapel is built is now almost bare; olive-trees grow to its
+edges and there is no trace of the Seminary that was once so full of
+active life. The traveller, sitting in the shade of the few pine-trees,
+looked over the broad view toward the peaks whose bare rocks rise with
+awful sternness, and the little hills that stand between them and the
+valley, till finally his eyes wandered to the town beneath, and the
+firm, broad roads which approach it from every direction. For Riez,
+although in the lost depths of Provence, far from railways and tourists,
+is a bee-hive of industry, largely supplying the necessities of these
+secluded little towns. Its hat-making, rope factories, and tanneries are
+quite important; the shops of its main streets are not without a
+tempting attractiveness, and there is all the provincial stateliness of
+Saint-Remy with much less stagnancy.
+
+Riez was the Albece Reiorum Apollinarium in the Colonia Julia Reiorum of
+the Romans, but there are very few traces of the city with this
+high-sounding name. The whole atmosphere of the little town is XII
+century. Two of its old gates, part of the wall, and the crenellated
+tower still stand, with ruined convents and monasteries of Capuchins,
+Cordeliers, and Ursulines; and it may be inferred from the remains of
+the Bishop's Palace and the broad promenade which was one of its
+avenues, and from the episcopal château at Montagnac, that
+ecclesiastical state was not less worthily upheld at Riez than in the
+other Sees of the South of France.
+
+Many difficulties, however, had beset the Cathedral-building prelates.
+Their first church, Notre-Dame-du-Siège, dating partly from the
+foundation of the See in the IV century, partly from the X and XII
+centuries, was destroyed by storm and flood, and its site near the
+treacherous little river being considered too perilous, a new Cathedral
+of Notre-Dame-du-Siège and Saint-Maxime was begun; and it was then that
+the Bishops celebrated temporarily at Saint-Maxime's on the hill.
+
+During the Revolution the See was suppressed; the church has been much
+re-built and changed; so that only a tower which is part of the present
+Notre-Dame-du-Siège, and the traces of the earliest foundation near the
+little Colostre, remain to tell of the different Cathedrals of Riez.
+
+[Illustration: "THE TOWER OF NOTRE-DAME-DU-SIÈGE."--RIEZ.]
+
+Near the site of the oldest church is one of the few monuments of a very
+early Christianity which have escaped the perils of time. It is of
+unknown date, and although it is said to have been part of the Cathedral
+which stood between it and the river, it appears to have been always an
+independent and separate building. The peasants say that in the memory
+of their forefathers it was used as a chapel, they call it indefinitely
+"the Pantheon," "the Temple," or "the Chapel of Saint-Clair," but it was
+almost certainly a baptistery of that curious and beautiful type which
+was abandoned so early in the evolution of Christian architecture.
+
+[Illustration: "NOTHING COULD BE MORE QUAINTLY OLD AND MODEST THAN THE
+BAPTISTERY."--RIEZ.]
+
+Following the road which his innkeeper pointed out, the traveller became
+so absorbed in the busy movement of the communal threshing-ground, the
+arrival of the yellow grain, the women who were wielding pitchforks, and
+the horses moving in circles, with solemn rhythm, that he nearly passed
+a low building, the object of his search. Nothing could be more quaintly
+old and modest than the baptistery of Riez. It is a small square
+building of rough cemented stone whose stucco has worn away. The roof is
+tiled, and from out a flattened dome, blades of grass sprout sparsely. A
+tiny bell-turret and an arch in the front wall complete the
+ornamentation of this humble, diminutive bit of architecture, and except
+that it is different from the usual Provençal manner of construction,
+one would pass many times without noticing it.
+
+[Illustration: "BETWEEN THE COLUMNS AN ALTAR HAS BEEN
+PLACED."--BAPTISTERY, RIEZ.]
+
+Walking down the steps which mark the differences that time has made in
+the levels of the ground and entering a small octagonal hall, one of the
+most interesting interiors of Provence meets the eye. "Each of its four
+sides," writes Jules de Laurière, "which correspond to the angles of the
+outer square, has a semicircular apse built in the walls themselves. The
+eight columns, placed in a circle about the centre of the edifice,
+divide it into a circular nave and a central rotunda, and support eight
+arches which, in turn, support an octagonal drum, and above this is the
+dome." This room is of simple and charming architectural conception, and
+even in melancholy ruin, it has much beauty. It gains in comparison with
+the re-constructed baptisteries of Provence, for something of a
+primitive character has been preserved to which such modern altars and
+XVII century trappings as those of Aix and Fréjus are fatal. Under the
+heavy dust there is visible an unhappy coating of whitewash, traces of a
+fire still blacken the walls, fragments of Roman sculpture are scattered
+about, and between the columns a pagan altar has been placed for
+safe-keeping. The columns themselves are of pagan construction, and as
+they differ somewhat in size and capitals, it is not improbable that
+they came from the ruins of several of the great public buildings of
+Riez. At the time of the baptistery's construction, the barbaric
+invasion had begun, and these Roman monuments may have been in ruins;
+but in any case, it was a pious and justifiable custom of Christians to
+take from pagan structures, standing or fallen, stones and pillars that
+would serve for building churches to the "one, true God." The pillars
+procured for this laudable purpose at Riez, with their beautiful, carved
+capitals, gave the little baptistery its one decoration, and far from
+disturbing the simplicity of its style, they add a slenderness and
+height and harmony to a room which, without them, would be too stiffly
+bare. In the rotunda which they form, excavations have brought to light
+a baptismal pool, and conduits which brought to it sufficient quantities
+of water for the immersion--whole or partial--that was part of the
+baptismal service of the early Church. But the archæological work has
+abruptly ceased, and it is to be deeply regretted that here, in this
+deserted place, where the Church desires no present restorations in
+accordance with particular rites or modern styles of architecture, there
+should not be a complete rehabilitation, a baptistery restored to the
+actual state of its own era.
+
+[Illustration: "THE BEAUTIFUL GRANITE COLUMNS."--RIEZ.]
+
+Wandering across the fields, with the re-constructive mania strong upon
+him, the traveller came across the beautiful granite columns which with
+their capitals, bases, and architraves of marble, are the last standing
+monument of Riez's Roman greatness. Fragments of sculpture, bits of
+stone set in her walls, exist in numbers; but they are too isolated, too
+vague, to suggest the lost beauty and grandeur which these lonely
+columns express. He gazed at them in wonder. Was he stepping where once
+had been a grand and busy Forum, was he looking at the Temple of some
+great Roman god? The voices of the threshers sounded cheerily, the
+Provençal sun shone bright and warm, but one of the greatest of
+mysteries was before him,--the silent mystery of a dead past that had
+once been a living present. He sat by the river, and tossed pebbles into
+its shallow waters; the slanting rays of the sun gave the columns
+delicate tints, old yellows and greys and violets, and at length, as
+evening fell, they seemed to grow higher and whiter in the paler light,
+until they looked like lonely funereal shafts, recalling to the memory
+of forgetful man, Riez's long-dead greatness.
+
+
+[Sidenote: Senez.]
+
+In the comfortable civilisation of France, the stage-coach usually
+begins where the railroad ends; and however remote a destination or
+tedious a journey, an ultimate and safe arrival is reasonably certain.
+This was the reflection which cheered the traveller when he began to
+search for Senez, an ancient city of the Romans which was christianised
+in the early centuries and enjoyed the rank of Bishopric until the
+Revolution of '89. In spite of this dignified rank and the tenacity of
+an ancient foundation, it lies so far from modern ken that even worthies
+who live fifty miles away could only say that "Senez is not much of a
+place, but it doubtless may be found ten--perhaps fifteen--or even
+twenty kilometres behind the railroad."
+
+"If Monsieur alighted at Barrême, probably the mail for Senez would be
+left there too. And where letters go, some man or beast must carry
+them, and one could always follow."
+
+With these vague directions, the traveller set gaily out for Barrême,
+where a greater than he had spent one bleak March night on the anxious
+journey from Elba to Paris. The town shows no trace of Napoleon's
+hurried visit. It looks a mere sleepy hamlet, and when the traveller
+left the train he had already decided to push his journey onward.
+
+"To Senez?" A man stepped up in answer to his inquiry. "Certainly there
+was a way to get there, the mail-coach started in an hour. And a hotel?
+A very good hotel--not Parisian perhaps, but hot food, a bottle of good
+wine, and a clean bed. Could one desire more on this earth?"
+
+The traveller thought not, and left the station--to stand transfixed
+before the most melancholy conveyance that ever bore the high-sounding
+name of "mail-coach." A little wagon in whose interior six thin persons
+might have crowded, old windows shaking in their frames, the remains of
+a coat of yellow paint, and in front a seat which a projecting bit of
+roof protected from the sun,--this was the mail-coach of Senez, drawn by
+a dejected, small brown mule, ragged with age, and a gaunt white horse
+who towered above him. To complete the equipage, this melancholy pair
+were hitched with ropes.
+
+In due course of time the driver came, hooked an ancient tin box marked
+"Lettres" to the dash-board, threw in a sacking-bag, and cap in hand,
+invited the traveller to mount with him "where there was air." The long
+whip cracked authoritatively, the postilion, a beautiful black dog,
+jumped to the roof, and the mail-coach of Senez, with rattle and creak,
+started on its scheduled run.
+
+"Houp-là, thou bag of lazy bones done up in a brown skin! Ho-là, thou
+whited sepulchre, thinkest thou I will get out and carry thee? Take this
+and that."
+
+[Illustration: "THE MAIL-COACH OF SENEZ."]
+
+On either side the whip hit the road ferociously, but the old beasts of
+burden shook their philosophic heads and slowly jogged on, knowing well
+they would not be touched.
+
+The hot sun of Provence, which "drinks a river as man drinks a glass of
+wine," shone on the long, white "route nationale" that stretched out in
+well-kept monotony through a valley which might well have been named
+"Desolation." On either hand rose mountains that were great masses of
+bare, seared rocks, showing the ravages of forgotten glaciers; the soil
+that once covered them lay at their feet. Scarcely a shrub pushed out
+from the crevices, and even along the road, the few thin poplars found
+the poorest of nourishment.
+
+Crossing a small bridge, there came into view an ancient village, a mere
+handful of clustered wooden roofs, irregular, broken, and decayed.
+
+"It was a city in the days when we were Romans," said the Courier, "and
+they say that there are treasures underneath our soil. But who can tell
+when people talk so much? And certainly two sous earned above ground buy
+hotter soup than one can gain in many a search for twenty francs below."
+
+He whipped up for a suitable and striking entry into town, turned into a
+lane, and with much show of difficulty in reining up, stood before the
+"hotel."
+
+The traveller, having descended, entered a room that might have been the
+subject of a quaint Dutch canvas. He saw a low ceiling, smoky walls,
+long rows of benches, a sanded floor, and pine-board tables that
+stretched back to an open door; and through the open door, the pot
+swinging above the embers of the kitchen fire. The mistress of the inn,
+a strong white-haired woman of seventy, came hurrying in to greet her
+guest. "It was late," she said, and quickly put a basin full of water, a
+new piece of soap, and a fresh towel on a chair near the kitchen door;
+and as the traveller prepared himself for dinner he heard the crackling
+of fresh boughs upon the fire and the cheerful singing of the pot.
+Little lamps were lighted, and when he came to his table's end, he found
+good country wine and a steaming cabbage-soup. Others came in to dine
+and smoke and talk, and later from his bed-room window, he saw their
+ghostly figures moving up and down the unlighted streets and heard them
+say good-night. The inn-door was noisily and safely barred, and when the
+retreating footsteps and the voices had died away, the quiet of the dark
+remained unbroken until a watchman, with flickering lantern, passed, and
+cried aloud "All's well."
+
+[Illustration: "THE OPEN SQUARE."--SENEZ.]
+
+Next morning the sun shone brightly on Senez, and the traveller hurried
+to the open square. A horse, carrying a farmer's boy, meandered slowly
+by, a chicken picked here and there, and water trickled slowly from the
+tiny faucet of the village fountain.
+
+[Illustration: "THE PALACE OF ITS PRELATES."--SENEZ.]
+
+In this quiet spot, near the lonely desolation of the hills, is the
+Cathedral. The Palace of its prelates, which is opposite, is now a
+farm-house where hay-ricks stand in the front yard, and windows have
+been walled up because Provençal winds are cold and glass is dear.
+
+[Illustration: THE CATHEDRAL.--SENEZ.]
+
+Looking at this residence, one would think that the last Bishops of
+Senez were insignificant priests, steeped in country wine and country
+stagnancy. But such a supposition is very far from true. For we know
+that in the XVIII century, Jean Soannen, Bishop of the city, was called
+before a Council at Embrun to answer a charge of resistance to the
+far-famed Bull "Unigenitus," and so strong were his convictions and so
+great his loyalty to his conscience, that he resisted the Council as
+well as the Bull, and was deprived of his See as a Jansenist and
+recalcitrant, and exiled to the Abbey of La-Chaise-Dieu. In quiet Senez
+there must always have been time for reflection, and one can imagine the
+bitter struggle of this brave man as he walked the rooms of the Palace,
+as he crossed and re-crossed the small square to the Cathedral. One can
+imagine his wrestling with God and his conscience every time that he
+celebrated a Mass for the people before the Cathedral's altar. One can
+understand the bitter fight between two high ideals, irreconcilable in
+his life,--that of work in God's vineyard or of doctrinal purity as he
+saw it. He had to choose between them, this Bishop of Senez, and when he
+left the town to answer the summons of the Council at Embrun, his heart
+must have been sore within him, he must have said farewell to many
+things. Few decisions can be more serious than the renunciation of
+family and home for the service of God, few more solemn than the
+struggles between the flesh and the spirit; but no more pathetic picture
+can exist than that sad figure of Jean Soannen; for he had renounced
+family and the world, and for the sake of "accepted truth" which was
+false to him, endured helpless, solitary insignificance under the
+espionage of suspicious and unfriendly monks. The traveller remembered
+his tomb, that tomb in a small chapel near the foot of the stair-case in
+the famous Abbey far-away, and sighing, hoped that in his mournful
+exile, the Bishop may have realised that "they also serve who only stand
+and wait."
+
+The Bull Unigenitus, which caused his downfall, is believed to have
+caused, during the last years of Louis XIV's bigotry, the persecution of
+thirty thousand respectable, intelligent, and orderly Frenchmen. De
+Noailles, several Bishops, and the Parliament of Paris refused to accept
+it, though they stopped short of open rebellion, and even Fénélon
+"submitted" rather than acceded to it. This famous and vexatious
+document was an unhappy emanation of Pope Clement XIII. Hard pressed by
+his faithful supporters, the Jesuits, he promulgated it in 1713, and it
+condemns with great explicitness one hundred and one propositions which
+are taken from Quesnel's Jansenistic "Réflexions morales sur le Nouveau
+Testament." The Jesuits held the Jansenists in a horror which the
+Jansenists reciprocated; the Pope owed almost too heavy a debt of
+gratitude to the order of Saint Ignatius and was constrained to repay.
+But the Bull, instead of procuring peace, brought the greatest
+affliction and desolation of mind to His Holiness, and when later, the
+French envoy asked him why he had condemned such an odd number of
+propositions, the Pope seizing his arm burst into tears.
+
+"Ah Monsieur Amelot! Monsieur Amelot! What would you have me do? I
+strove hard to curtail the list, but Père Le Tellier"--Louis XIV's last
+confessor and a devoted Jesuit--"had pledged his word to the King that
+the book contained more than one hundred errors, and with his foot on my
+neck, he compelled me to prove him right. I condemned only one more!"
+
+The Cathedral of Senez is an humble village church where frank and
+simple poverty exists with the remains of ancient splendour. It is
+small, as are all churches of its style, and although it does not lack a
+homely dignity, it is a modest work of XII century Romanesque, and the
+sonorous title of its consecration in 1242, "the Assumption of the
+Blessed Virgin Mary," suggests an impressiveness which the Cathedral
+never had.
+
+Two heavy buttresses that support the façade wall are reminiscent of the
+more majestic Notre-Dame-du-Bourg of Digne, and on them rest the ends of
+a pointed gable-roof. Between these buttresses, the wall is pierced by a
+long and graceful round-arched window, and below the window is the
+single, pointed portal whose columns are gone and whose delicate
+foliated carvings and mouldings are sadly worn away. A sun-dial painted
+on the wall tells the time of day, and at the gable's sharpest point a
+saucy little angel with a trumpet in his mouth blows with the wind.
+
+[Illustration: THE CATHEDRAL.--SENEZ.]
+
+Entering the little portal, the traveller saw the poor wooden benches of
+the congregation massed together, and beyond them, the stalls of
+long-departed Canons. In front of these old stalls, stood the church's
+latest luxury, a melodeon, and above them hung the tapestries of its
+richer past. Tapestries also beautify the choir-walls, and on either
+side, are the narrow transepts and the apses of a good old style. There
+are also poor and tawdry altars which stand in strange, pitiable
+contrast with the old walls and the fine tunnel vaulting, the dignified
+architecture of the past.
+
+[Illustration: "TAPESTRIES BEAUTIFY THE CHOIR WALLS."--SENEZ.]
+
+Leaving the interior, where a solitary peasant knelt in prayer, the
+traveller saw side-walls bare as the mountains round about, the squat
+tower that rises just above the roof, and coming to the apse-end he
+found the presbytery garden. From the garden, beyond the fallen gate, he
+saw the church as the Curé saw it, the three round apses with their
+little columns, the smaller decorative arches of the cornices, the
+pointed roof, and between branches full of apple blossoms, the softened
+lines of the low square tower. Here, trespassing, the Curé found him.
+And after they had walked about the town, and talked the whole day long
+of the great world which lay so far beyond, they went into the little
+garden as the sun was going down, and fell to musing over coffee cups.
+The priest was first to speak.
+
+"Perhaps, buried under those old church walls, lie proofs of our early
+history, the stones of some old Temple, or statues of its gods; for we
+were once Sanitium, a Roman city in a country of six Roman roads.
+Perhaps all around us were great monuments of pagan wealth, a Mausoleum
+near these bare old rocks like that which stands in loneliness near
+Saint-Remy, Villas, Baths, or Triumphal Arches."
+
+The keen eyes softened, as he continued in gentle irony, "Down in this
+little valley of the Asse de Blieux, our town seems far away from any
+scene in which the great ones of earth took part. Although I know that
+it is true, it often seems to me a legend that the gay and gallant
+Francis I, rushing to a mad war, stopped on his way to injure us; and
+that four hundred years ago a band of Huguenots raved around our old
+Cathedral, and tried to pull it to the ground."
+
+"And do you think it can be true," the traveller asked, "that Bishops
+held mysterious prisoners in that tower for most dreary lengths of
+time?"
+
+[Illustration: "BETWEEN BRANCHES FULL OF APPLE-BLOSSOMS, THE CHURCH AS
+THE CURÉ SAW IT."--SENEZ.]
+
+The Curé smiled, and shook his white head. "That is a story which the
+peasants tell,--an old tradition of the land. It may be true, since
+priests are mortal men and doubtless dealt with sinners." He smiled
+indulgently. "Through the many years I have been here, I have often
+wondered about all these things, but it is seldom I can speak my
+thoughts. Sometimes when I am here alone, I lose the sense of present
+things and seem to see the phantoms of the past. Then the dusk comes on,
+as it is coming now; the night blots Senez from my sight as fate has
+blotted out its record from history,--and I realise that our human
+memory is in vain."
+
+
+[Sidenote: Aix.]
+
+The old Cathedral of Saint-Sauveur at Aix is not one of those rarely
+beautiful churches where a complete and restful homogeneity delights the
+eye, nor is it a church of crude and shocking transitions. It is rather
+a well-arranged museum of ecclesiastical architecture, where, in
+sufficient historical continuity and harmony, many Provençal conceptions
+are found, and the evolution of Provençal architecture may be very
+completely followed. As in all collections, the beauty of Saint-Sauveur
+is not in a general view or in any glance into a long perspective, but
+in a close and loving study of the details it encloses; and so charming,
+so really beautiful are many of the diverse little treasures of Aix,
+that such study is better repaid here than in any other Provençal
+Cathedral. For this is one of the largest Cathedrals of the province,
+and the buildings which form the ecclesiastical group are most
+complete. With its baptistery, Cloister, church, and arch-episcopal
+Palace, it is not only of many epochs and styles, but of many historical
+uncertainties, and the hypotheses of its construction are enough to daze
+the most hardened archæologist.
+
+[Illustration: "THE SOUTH AISLE."--AIX.]
+
+The oldest part of the Cathedral is the baptistery, and the date of its
+origin is unknown. Much of its character was lost in a restoration of
+the XVII century, but its old round form, the magnificent Roman columns
+of granite and green marble said to have been part of the Temple to
+Apollo, give it an atmosphere of dignity and an ancient charm that even
+the XVII century--so potent in architectural evil--was unable to
+destroy.
+
+[Illustration: THE ROMANESQUE PORTAL.]
+
+In 1060, after the destructive vicissitudes of the early centuries,
+Archbishop Rostaing d'Hyères issued a pastoral letter appealing to
+the Faithful to aid him in the re-building of a new Cathedral; and it
+may be reasonably supposed that the nave which is at present the south
+aisle, the baptistery, and the Cloisters were the buildings that were
+dedicated less than fifty years later. They are the only portions of the
+church which can be ascribed to so early a period, and with the low door
+of entrance, the single nave and the adjoining cloister-walk, they
+constitute the usual plan of XI century Romanesque. Considering this as
+the early church, in almost original form, it will be seen that the
+portal is a very interesting example of the Provençal use not only of
+Roman suggestion, but of the actual fragments of Roman art which had
+escaped the invader; that the south aisle, in itself a completed
+interior, bears a close resemblance to Avignon; and that the Cloister,
+although now very worn and even defaced, must have been one of the
+quaintest and most delicate, as it is one of the tiniest, in Provence.
+Three sides of its arcades support plain buildings of a later date; the
+fourth stands free, as if in ruin. Little coupled columns, some
+slenderly circular, some twisted, and some polygonal, rest on a low
+wall; piers, very finely and differently carved, are at each of the
+arcade angles; the little capitals of the columns were once beautifully
+cut, and even the surfaces of the arches have small foliated disks and
+rosettes and are finished in roll and hollow. Unfortunately, a very
+large part of this detail-work is so defaced that its subjects are
+barely suggested, some are so eaten away that they are as desolate of
+beauty as the barren little quadrangle; and the whole Cloister seems to
+have reached the brink of that pathetic old age which Shakespeare has
+described, and that another step in the march of time would leave it
+"sans everything."
+
+[Illustration: THE CLOISTER.--AIX.]
+
+About two hundred years later, in 1285, the Archbishop of Aix found the
+Cathedral too unpretending for the rank and dignity of the See, and he
+began the Gothic additions. Like many another prelate his ambitions were
+larger than his means; and the history of Saint-Sauveur from the XIII to
+the XIX century, is that oft-told tale of new indulgences offered for
+new contributions, halts and delays in construction, emptied treasuries,
+and again, appeals and fresh efforts. The beginnings of the enlarged
+Cathedral were architecturally abrupt. The old nave, becoming the south
+aisle, was connected with the new by two small openings; it retained
+much of its separateness and in spite of added chapels much actual
+isolation. The Gothic nave, the north aisle and its many chapels, the
+apse, and the transepts, whose building and re-construction stretched
+over the long period between the XIII and XVII centuries, are
+comparatively regular, uniform, and uninteresting. The most ambitious
+view is that of the central nave, whose whole length is so little broken
+by entrances to the side aisles, that it seems almost solidly enclosed
+by its massive walls. Here in Gothic bays, are found those rounded,
+longitudinal arches which belong to the Romanesque and to some structure
+whose identity is buried in the mysterious past. The choir, with its
+long, narrow windows, and clusters of columnettes, is very pleasing, and
+its seven sides, foreign to Provence, remind one of Italian and Spanish
+constructive forms and take one's memory on strange jaunts, to the
+far-away Frari in Venice and the colder Abbey of London. From the choir
+of Saint-Sauveur two chapels open; and one of them is a charming bit of
+architecture, a replica in miniature of the mother-apse itself. The
+paintings of this mother-apse are neutral, its glass has no claim to
+sumptuousness, and the stalls are very unpretending; but above them hang
+tapestries ascribed to Matsys, splendid hangings of the Flemish school
+that were once in old Saint Paul's.
+
+With these beautiful details the rich treasure-trove of the interior is
+exhausted, and one passes out to study the details of the exterior. The
+Cathedral's single tower, which rises behind the façade line, was one of
+the parts that was longest neglected,--perhaps because a tower is less
+essential to the ritual than any other portion of an ecclesiastical
+building. Begun in 1323, the work dragged along with many periods of
+absolute idleness, until 1880, when a balustrade with pinnacles at each
+angle was added to the upper octagonal stage, and the building of the
+tower was thus ended. The octagon with its narrow windows rests on a
+plain, square base that is massively buttressed. It is a pleasant,
+rather than a remarkable tower, and one's eye wanders to the more
+beautiful façade. Here, encased by severely plain supports, is one of
+the most charming portals of Provençal Gothic. Decorated buttresses
+stand on either side of a large, shallow recess which has a high and
+pointed arch, and in the centre, a slim pier divides the entrance-way
+into two parts, pre-figuring the final division of the Just and the
+Unjust. A multitude of finely sculptured statues were formerly hidden in
+niches, under graceful canopies, and in the hundred little nooks and
+corners which lurk about true Gothic portals. Standing Apostles and
+seated Patriarchs, baby cherubs peering out, and the more dramatic
+composition of the tympanum--the Transfiguration,--all lent a dignity
+and wealth to Saint-Sauveur. Unfortunately many of these sculptures were
+torn from their crannies in the great Revolution; and it is only a few
+of the heavenly hosts,--the gracious Madonna, Saint Michael, and the
+Prophets,--that remain as types of those that were so wantonly
+destroyed. The low, empty gables that sheltered lost statues, their
+slender, tapering turrets, and the delicate outer curve of the arch, are
+of admirable, if not imposing, composition. The portal's wooden doors,
+protected by plain casings, abound in carvings partly Renaissance,
+partly Gothic. The Sibyls and Prophets stand under canopies, surrounded
+by foliage, fruits, and flowers, or isolated from each other by little
+buttresses or pilasters. This Gothic portal quite outshines, in its
+graceful elaboration, the smaller door which stands near it, in the
+simpler and not less potent charm of the Romanesque. And side by side,
+these portals offer a curiously interesting comparison of the essential
+differences and qualities of their two great styles. If the Romanesque
+of Saint-Sauveur is far surpassed at Arles and Digne and Sisteron,
+nowhere in Provence has Gothic richer details; and if the noblest of
+Provençal creations must be sought in other little cities, the lover of
+architectural comparisons, of details, of the many lesser things rather
+than of the harmony of a single whole, will linger long in Aix.
+
+[Illustration: THE CATHEDRAL.--AIX.]
+
+The old city itself shows scarcely a trace of the many historic dramas
+of which it has been the scene,--the lowering tragedy of the Vaudois
+time,--the bright, gay comedy of good king René's Court,--the shorter
+scenes of Charles V's occupation,--the Parliament's struggle with
+Richelieu and Mazarin,--the day of the fiery Mirabeau,--the grim
+melodrama of the Revolution,--all have passed, and time has destroyed
+their monuments almost as completely as the Saracens destroyed those of
+the earlier Roman days. Only a few, unformed fragments of the great
+Temple of Apollo remain in the walls of Saint-Sauveur. The earliest
+Cathedral, Sainte-Marie-de-la-Seds, has entirely disappeared, the old
+thermal springs are enclosed by modern buildings, and only the statue of
+"the good King René" and the Church of the Knights of Malta give to Aix
+a faint atmosphere of its past distinction. Who would dream that here
+were the homes of the elegant and lettered courtiers of King René's
+brilliant capital, who would think that this town was the earliest Roman
+settlement in Gaul, the Aquæ Sextiæ of Baths, Temples, Theatres, and
+great wealth? Aix is a stately town, a provincial capital which Balzac
+might well have described--with old, quiet streets that are a little
+dreary, with a fine avenue shaded by great trees in whose shadows a few
+fountains trickle, with lines of little stages that come each day from
+the country,--a city whose life is as far in spirit from the near-by
+modernity of Marseilles as it is from that of Paris, as quaintly and
+delightfully provincial as that other little Provençal city, the
+Tarascon of King René and of Tartarin.
+
+
+
+
+Languedoc.
+
+
+
+
+I.
+
+CATHEDRALS OF THE CITIES.
+
+
+[Sidenote: Nîmes.]
+
+Entering Languedoc from the valley of the Rhone, the Cathedral-lover is
+doomed to disappointment in the city of Nîmes. All that intense,
+intra-mural life of the Middle Ages seems to have passed this city by,
+and its traces, which he is so eager to find, prove to be neither
+notable nor beautiful.
+
+[Illustration: "AN AMPHITHEATRE WHICH RIVALS THE ART OF THE
+COLISEUM."--NÎMES.]
+
+The great past of Nîmes is of a more remote antiquity than the Cathedral
+Building Ages. A small but exquisite Temple, a Nymphæum, Baths, parts of
+a fine Portal, Roman walls, and an Amphitheatre which rivals the art of
+the Coliseum,--these are the ruins of Nîmean greatness. She was
+essentially a city of the Romans, and that, even to-day, she has not
+lost the memory of her glorious antiquity was well illustrated in 1874,
+when the Nîmois, with much pomp and civic pride, unveiled a statue to
+"their fellow-countryman," the Emperor Antoninus Pius. These are the
+memories in which Nîmes delights. Yet her history of later times, if not
+glorious, is full of strange and curious interest. Like all the ancient
+cities of the South, she fell into the hands of many a wild and alien
+foe, and at length in 737, Charles Martel arrived at her gates. Grossly
+ignorant of art, no thing of beauty that stood in his path escaped fire
+and axe; and smoke-marks along the arena walls show to-day how narrowly
+they escaped the irreparable destruction which had wiped out the Forum,
+the Capitol, the Temple, the Baths, and all the magnificence of Roman
+Narbonne. To both the early and the later Middle Ages, Roman remains had
+scarcely more meaning than they had for the Franks. The delicate Temple
+of Trajan's wife, scorned for its pagan associations, was used as a
+stable, a store-house, and, purified by proper ceremonials, it even
+became a Christian church. The Amphitheatre has had a still stranger
+destiny. To a mediæval Viscount, it was naturally inconceivable as a
+place of amusement, and as naturally, he saw in its walls a stronghold
+where he could live as securely as ever lord in castle. As a fortress
+which successfully defied Charles Martel, it was a place of no mean
+strength, and in 1100 it had become "a veritable hornets' nest, buzzing
+with warriors."
+
+A few years before, Pope Urban II had landed at Maguelonne and ridden to
+Clermont to preach the First Crusade. On his return he stopped at Nîmes
+and held a Council for the same holy purpose. Raymond de Saint-Gilles,
+Count of Toulouse and overlord of Nîmes, travelled there to meet the
+Sovereign Pontiff, and amid the wonderful ferment of enthusiasm which
+the "Holy War" had aroused, the South was pledged anew to this romantic
+and war-like phase of the cause of Christ. Trencavel, Viscount of Nîmes,
+loyal to God and his Suzerain, followed Raymond to Palestine. Its
+natural protectors gone, the city formed a defensive association called
+the "Chevaliers of the Arena." As its name implies, this curious
+fraternity was composed of the soldiers of the ancient amphitheatre.
+Like many others of the time it was semi-military, semi-religious, its
+members bound by many solemn oaths and ceremonies, and thus, by the
+eccentricity of fate, this old pagan playground became a fortress
+consecrated to Christian defence, the scene of many a solemn Mass.
+
+The divisions in the Christian faith, which followed so closely the
+fervours of the Crusades, were most disastrous to Nîmes. From the XIII
+until the XVII centuries, wars of religion were interrupted by
+suspicious and unheeded truces, and these in turn were broken by fresh
+outbursts of embittered contest. An ally of the new "Crusaders" in Simon
+de Montfort's day, Nîmes became largely Protestant in the XVI century;
+and in 1567, as if to avenge the injuries their ancestors had formerly
+inflicted on the Albigenses, the Nîmois sacked their Bishop's Palace and
+threw all the Catholics they could find down the wells of the town. This
+celebration of Saint Michael's Day was repaid at the Massacre of Saint
+Bartholomew. The wise Edict of Nantes brought a truce to these
+hostilities,--its revocation, new persecutions and flights. A hundred
+years later the Huguenots were again in force, and, aided by the unrest
+of the Revolution, successfully massacred the Catholics of the city; and
+during the "White Terror" of 1815 the Catholics arose and avenged
+themselves with equal vigour. When it is remembered that this savage and
+vindictive spirit has characterised the Nîmois of the last six hundred
+years, it is scarcely surprising that they should prefer to dwell on the
+remote antiquity of their city rather than on the unedifying episodes of
+her Christian history.
+
+Between the glories of her paganism and the disputes of Christians, the
+Faith has struggled and survived; but in the Cathedral-building era,
+religious enthusiasm was so often expended in mutual fury and reprisals
+that neither time nor thought was left for that common and gentle
+expression of mediæval fervour, ecclesiastical architecture. And the
+Church of Notre-Dame-et-Saint-Castor, which would seem to have suffered
+from the neglect and ignorance of both patrons and builders, is one of
+the least interesting Cathedrals in Languedoc.
+
+A graceful gallery of the nave, which also surrounds the choir, is the
+notable part of the interior, and the insignificance of the exterior is
+relieved only by a frieze of the XI and XII centuries. On this frieze is
+sculptured, in much interesting detail, the Biblical stories of the
+early years of mankind; but it is unfortunately placed so high on the
+front wall that it seems badly proportioned to the façade, and as a
+carved detail it is almost indistinguishable. As has been finely said
+the whole church is "gaunt" and unbeautiful; it is a depressing mixture
+of styles, Roman, Romano-Byzantine, and Gothic; and in studying its one
+fine detail, a photograph or a drawing is much more satisfactory than an
+hour's tantalising effort to see the original.
+
+
+[Sidenote: Montpellier.]
+
+Montpellier is "an agreeable city, clean, well-built, intersected by
+open squares with wide-spread horizons, and fine, broad boulevards, a
+city whose distinctive characteristics would appear to be wealth, and a
+taste for art, leisure, and study." The "taste" and the "art" are
+principally those of the pseudo-classic style, an imitation of "ancient
+Greece and imperial Rome," which the French of the XVIII century carried
+to such unpleasant excess. The general characteristics of the imitation,
+size and bombast, are well epitomised in the principal statue of
+Montpellier's fine Champ de Mars, which represents the high-heeled and
+luxurious Louis XIV in the unfitting armour of a Roman Imperator,
+mounted on a huge and restive charger. Such affectation in architectural
+subjects is the death-blow to all real beauty and originality, and
+Montpellier has gained little from its Bourbon patrons except a series
+of fine broad vistas. No city could offer greater contrast to the
+ancient and dignified classicism of Nîmes.
+
+If the mediæval origin of Montpellier were not well known, one would
+believe it the creation of the Renaissance, and the few narrow, tortuous
+streets of the older days recall little of its intense past, when the
+city grew as never before nor since, when scholars of the genius of
+Petrarch and the wit of Rabelais sought her out, when she belonged to
+Aragon or Navarre and not to the King of France. This is the interesting
+Montpellier.
+
+In the XIII century, she had a University which the Pope formally
+sanctioned, and a school of medicine founded by Arabian physicians which
+rivalled that of Paris. More significant still to Languedoc, her
+prosperity had begun to overshadow that of the neighbouring Bishopric of
+Maguelonne, and a bitter rivalry sprang up between the two cities. From
+the first Maguelonne was doomed. She had no schools that could rival
+those of Montpellier; she ceased to grow as the younger city increased
+in fame and size, till even history passed her by, and the stirring
+events of the times took place in the streets of her larger and more
+prosperous neighbour. Finally she was deserted by her Bishops, and no
+longer upheld by their episcopal dignity, her fall was so overwhelming
+that to-day her mediæval walls have crumbled to the last stone and only
+a lonely old Cathedral remains to mark her greatness. In 1536 my Lord
+Bishop, with much appropriate pomp and ceremony, rode out of her gates
+and entered those of Montpellier as titular Bishop for the first time.
+
+He did not find the townsmen so elated by the new dignity of the city as
+to have broken ground for a new Cathedral, nor did he himself seem
+ambitious, as his predecessors of Maguelonne had been, to build a church
+worthy of his rank. However, as a Bishop must have a Cathedral-church,
+the chapel of the Benedictine monastery was chosen for this honour and
+solemnly consecrated the Cathedral of Saint-Pierre of Montpellier. This
+chapel had been built in the XIV century, and at the time of these
+episcopal changes, only the nave was finished. It was, however, Gothic;
+and as this style had become much favoured by the South at this late
+period, the Bishop must have believed that he had the beginning of a
+very fine and admirable Cathedral. In the religious wars which followed
+1536, succeeding prelates found much to distract them from any further
+building; the Cathedral itself was so injured that such attention as
+could be spared from heretics to mere architectural details was devoted
+to necessary restorations and reconstructions, and the finished
+Saint-Pierre of to-day is an edifice of surprising modernity.
+
+In the interior, the nave and aisles are partially of old construction,
+but the beautiful choir is the XIX century building of Révoil. Of the
+exterior, the entire apse is his also, and as the portal of the south
+wall was built in 1884 and the northern side of the Cathedral is
+incorporated in that of the Bishop's Palace, only the tower and the
+façade are mediæval.
+
+[Illustration: "ITS GENERAL EFFECT IS SOMEWHAT THAT OF A
+PORTE-COCHÉRE."--MONTPELLIER.]
+
+None of the towers have much architectural significance, either of
+beauty or originality. In comparison with the decoration of the façade
+they make but little impression. This decoration has more original
+incongruity than any detail ever applied to façade, Gothic or
+Romanesque, and is an extreme example of the license which southern
+builders allowed themselves in their adaptation of the northern style.
+It is a vagary, and has appealed to some Anglo-Saxon travellers, but
+French authorities, almost without dissent, allude to it apologetically
+as "unpardonable." Its general effect is somewhat that of a
+porte-cochère, whose roofing, directly attached to the front wall, is
+gothically pointed, and supported by two immense pillars. The pillars
+end in cones that resemble nothing in the world so much as sugar-loaves,
+and the whole structure is marvellously unique. Yet strange to say, the
+effect of the façade, with the smoothness and roundness of its pillars
+and the uncompromising squareness of its towers, while altogether bad,
+is not altogether unpleasing. Standing before it the traveller was both
+bewildered and fascinated as he saw that even in the extravagance of
+their combinations, the builders, with true southern finesse, had
+avoided both the grotesque and the monstrous.
+
+[Illustration: "THE FINEST VIEW IS THAT OF THE APSE."--MONTPELLIER.]
+
+As a whole, Saint-Pierre is a fine Cathedral; through many stages of
+building, enlarging, and re-constructing, its style has remained
+consonant; but the general impression is not altogether harmonious. The
+perspective of the western front, which should be imposing, is destroyed
+by a hill which slopes sharply up before the very portal. The façade is
+attached to the immense, unbroken wall of the old episcopal Palace, and
+the majesty, which is a Cathedral's by very virtue of its height alone,
+is entirely destroyed by a seemingly interminable breadth of wall.
+Reversing the natural order of things, the finest view is that of the
+apse. And this modern part is, in reality, the chief architectural glory
+of this comparatively new Cathedral and its comparatively modern town.
+
+
+[Sidenote: Béziers.]
+
+"You have only to look from a distance at any old-fashioned
+Cathedral-city and you will see in a moment the mediæval relations
+between Church and State. The Cathedral is the city. The first object
+you catch sight of as you approach is the spire tapering into the sky,
+or the huge towers holding possession of the centre of the
+landscape--majestically beautiful--imposing by mere size. As you go
+nearer, the pinnacles are glittering in the tints of the sunset, when
+down below among the streets and lanes twilight is darkening. And even
+now, when the towns are thrice their ancient size, ... the Cathedral is
+still the governing force in the picture, the one object which possesses
+the imagination, and refuses to be eclipsed." These words are the
+description of Béziers as it is best and most impressively seen. From
+the distance, the Cathedral and its ramparts rise in imposing mass, a
+fine example of the strength, pride, and supremacy of the Church.
+
+As we approach, the Cathedral grows much less imposing, and its façade
+gives the impression of an unpleasant conglomeration of styles. It is
+not a fortress church, yet it was evidently built for defence; it is
+Gothic, yet the lightness and grace of that art are sacrificed to the
+massiveness and resistive strength, imperatively required by southern
+Cathedrals in times of wars and bellicose heretics. The whole building
+seems a compromise between necessity and art.
+
+It is, however, a notable example of the Gothic of the South, and of the
+modifications which that style invariably underwent, through the
+artistic caprice of its builders, or the political fore-sight of their
+patrons, the Bishops.
+
+The façade of Saint-Nazaire of Béziers has a Gothic portal of good but
+not notable proportions, and a large and beautiful rose-window. As if to
+protect these weaker and decorative attempts, the builder flanked them
+with two square towers, whose crenellated tops and solid, heavy walls
+could serve as strongholds. Perhaps to reconcile the irreconcilable,
+crenellations joining the towers were placed over the rose-window, and
+at either end of the portal, a few inches of Gothic carving were cut in
+the tower-wall. The result is frank incongruity. And the traveller left
+without regret, to look at the apse. It cannot be denied that the
+clock-tower which comes into view is very square and thick; but in spite
+of that it has a simple dignity, and as the apse itself is not florid,
+this proved to be the really pleasing detailed view of the Cathedral.
+The open square behind the church is tiny, and there one can best see
+the curious grilled iron-work, which in the times of mediæval outbreaks
+protected the fine windows of the choir and preserved them for future
+generations of worshippers and admirers. It was after noon when the
+traveller finished his investigations of Saint-Nazaire; and as the
+southern churches close between twelve and two, he took déjeuner at a
+little café near-by and patiently waited for the hour of re-opening. Had
+there been nothing but the interior to explore, he could not have spent
+two hours in such contented waiting. But there was a Cloister,--and on
+the stroke of two he and the sacristan met before the portal.
+
+[Illustration: "THE CLOCK-TOWER IS VERY SQUARE AND THICK."--BÉZIERS.]
+
+In describing their "monuments," French guide-books confine themselves
+to facts, and the adjectives "fine" and "remarkable"; they are almost
+always strictly impersonal, and the traveller who uses them as a
+cicerone, has a sense of unexpected discovery, a peculiar elation, in
+finding a monument of rare beauty; but he is never subjected to that
+disappointed irritation which comes when one stands before the
+"monument" and feels that one's expectations have been unduly
+stimulated. The Cloister of Béziers is a "fine monument," but as he
+walked about it, the traveller felt no sense of elation. He found a
+small Cloister, Gothic like the Cathedral, with clustered columns and
+little ornamentation. It was not very completely restored, and had a
+sad, melancholy charm, like a solitary sprig of lavender in an old
+press, or a rose-leaf between the pages of a worn and forgotten Missal.
+In the Cloister-close, stands a Gothic fountain; but the days when its
+waters dropped and tinkled in the stillness, when their sound mingled
+with the murmured prayers and slow steps of the priests,--those days are
+long forgotten. The quaint and pretty fountain is now dry and
+dust-covered; while about it trees and plants and weeds grow as they
+may, and bits of the Cloister columns have fallen off, and niches are
+without their guarding Saints.
+
+[Illustration: "THE QUAINT AND PRETTY FOUNTAIN."--BÉZIERS.]
+
+By contrast, the Cathedral itself seems full of life. Its interior is an
+aisle-less Gothic room, whose fine height and emptiness of column or
+detail give it an appearance of vast and well-conceived proportions.
+Except the really beautiful windows of the choir, which are a study in
+themselves, there is very little in this interior to hold the mind; one
+is lost in a pleasant sense of general symmetry. As the traveller was
+sitting in the nave, a few priests filed into the choir, and began, in
+quavering voices, to intone their prayers, and in the peacefulness of
+the church, in the trembling monotony of the weak, old voices, his
+thoughts wandered to the stirring history which had been lived about the
+Cathedral, and within its very walls. For Béziers was and had always
+been a hot-bed of heretics. Here in the IV century, long before the
+building of the Cathedral, the Emperor Constantius II forced the
+unwilling Catholic Bishops of Gaul to join their heretical Aryan
+brethren in Council; here the equally heretical Visigoths gave new
+strength to the dissenters; and here, again, after centuries of
+orthodoxy which Clovis had imposed, a new centre of religious storm was
+formed. It was about this period, the XII and XIV centuries, that the
+Cathedral was built; and it is perhaps because of the strength of those
+French protestants against the Church of Rome, the Albigenses, that its
+essentially Gothic style was so confused by military additions. At the
+beginning of the troublous times of which these towers are reminders,
+Raymond-Roger of Trencavel, the gallant and romantic Lord of
+Carcassonne, was also Viscount of Béziers; and contrary to the fanatical
+enthusiasm of his day, was much disposed toward religious toleration;
+therefore in the early wars of Catholics and Protestants the city of
+Béziers became the refuge not only for the terrified Faithful of the
+surrounding country, but for many hunted Protestants. In the XIII
+century, the zeal of the Catholic party, reinforced by the political
+interests of its members, grew most hot and dangerous. Saint Dominic had
+come into the South; and in his fearful, fiery sermons, he not only
+prophesied that the Albigenses would swell the number of the damned at
+the Day of Judgment, but also advocated that, living, they should know
+the hell of Inquisition. Partisans of the Catholic Faith were solemnly
+consecrated "Crusaders" by Pope Innocent III, and wore the cross in
+these Wars of Extermination as they had worn it in the Holy Wars of
+Palestine. In 1209 their army advanced against Béziers, and from out
+their Councils the leaders sent the Bishop of the city to admonish his
+flock.
+
+All the inhabitants were summoned to meet him, and they gathered in the
+choir and transepts of the Cathedral,--the only parts which were
+finished at that time. One can imagine the anxious citizens crowding
+into the church, the coming of the angered prelate, whose state and
+frown were well calculated to intimidate the wavering, and the tense
+silence as he passed, with grave blessing, to the altar. In a few words,
+he advised them of their peril, spiritual and material; he told them he
+knew well who was true and who false to the Church, that he had, in
+written list, the very names of the heretics they seemed to harbour.
+Then he begged them to deliver those traitors into his hands, and their
+city to the Legate of the Holy Father. In fewer words came their answer;
+"Venerable Father, all that are here are Christians, and we see amongst
+us only our brethren." Such words were a refusal, a heinous sin, and
+dread must have been written on every face, as without a word or sign of
+blessing, the outraged Bishop swept from the church and returned to the
+camp of their enemy.
+
+The Crusaders' Councils were stormy; for some of the nobles wished to
+save the Catholics, others cried out for the extermination of the whole
+rebellious place, and finally the choleric Legate, Armand-Amaury, Abbot
+of Cîteaux, could stand it no longer, and cried out fiercely, "Kill them
+all! God will know His own." The words of their Legate were final, the
+army attacked the city, and--as Henri Martin finely writes,--"neither
+funeral tollings nor bell-ringings, nor Canons in all their priestly
+robes could avail, all were put to the sword; not one was saved, and it
+was the saddest pity ever seen or heard." The city was pillaged, was
+fired, was devastated and burned "till no living thing remained."
+
+"No living thing remained" to tell the awful tale, and yet with time and
+industry, a new and forgetful Béziers has risen to all its old prestige
+and many times its former size; the Cathedral alone was left, and its
+most memorable tale to our day is not that of the abiding peace of the
+Faith, but that of the terrible travesty of religion of the
+twenty-second of July, hundreds of years ago.
+
+
+[Sidenote: Narbonne.]
+
+"Narbonne is still mighty and healthful, if one is to judge from the
+activities of the present day; is picturesque and pleasing, and far more
+comfortably disposed than many cities with a more magnificently imposing
+situation." These words, which were running in the traveller's mind,
+grew more and more derisive, more and more ironical, as he walked about
+Narbonne. Not in all the South of France had he seen a city so
+depressing. Her decline has been continuous for the long five hundred
+years since the Roman dykes gave way and she was cut off from the sea.
+Agde, almost as old, displays the decline of a dignified, retired old
+age; Saint-Gilles-du-Gard was as dirty, but not a whit as pretentious;
+Nîmes was majestically antique; Narbonne, simply sordid.
+
+It is sad to think that over two thousand years ago she was a second
+Marseilles, that she was the first of Rome's transalpine colonies, and
+that under Tiberius her schools rivalled those of the Capital of the
+world. It is sadder to think that all the magnificence of Roman luxury,
+of sculptured marble--a Forum, Capitol, Temples, Baths, Triumphal
+Arches,--stood where dreary rows of semi-modern houses now stand. It is
+almost impossible to believe in the lost grandeur of this city, and that
+it was veritably under the tutelage of so great and superb a god as
+Mars.
+
+The eventful Christian period of Narbonne was very noted but not very
+long. Her melancholy decay began as early as the XIV century. Of her
+great antiquity nothing is left but a few hacked and mutilated carvings;
+of her ambitious Mediævalism, nothing but an unfinished group of
+ecclesiastical buildings. Long gone is the lordly "Narbo" dedicated to
+Mars, gone the city of the Latin poet, whose words repeated to-day in
+her streets are a bitter mockery, and gone the stronghold of mediæval
+times. There remains a rare phenomenon for cleanly France,--a dirty
+city, whose older sections are reminiscent of unbeautiful old age,
+decrepit and unwashed; and whose newly projected boulevards are
+distinguished by tawdry and pretentious youth.
+
+In the midst of this city, stands a group of mediæval churchly
+buildings, the Palace of the prelate, his Cathedral, and an adjoining
+Cloister. They are all either neglected, unfinished, or re-built; but
+are of so noble a plan that the traveller feels a "divine wrath" that
+they should never have reached their full grandeur of completion, that
+this great architectural work should have been begun so near the close
+of the city's prosperity, and that in spite of several efforts it has
+never been half completed. It is as if a fatality hung over the whole
+place, and as if all the greatness Narbonne had conceived was
+predestined to destruction or incompletion.
+
+[Illustration: "THE DOOR OF THE CLOISTER."--NARBONNE.]
+
+Of the three structures, the least interesting is the former Palace of
+the Archbishops. This is now the Hôtel-de-Ville, and as all the body of
+the structure between the towers of the XII century was built in our day
+by Viollet-le-Duc, very little of the old Palace can properly be said to
+exist. Besides its two principal towers, a smaller one, a gate, and a
+chapel remain. Viollet-le-Duc has constructed the Hôtel-de-Ville after
+the perfectly appropriate style of the XIII century, but its stone is so
+new and its atmosphere so modern and republican that the traveller left
+it without regret and made his way up the dark, steep, badly-paved
+alley-way which leads to the door of the Cloister.
+
+This Cloister, which separated the Palace from the Cathedral, is now
+dreary and desolate and neglected. Like the Cathedral, it is Gothic,
+with sadly decaying traces of graceful ornament. The little plot of
+enclosed ground, which should be planted in grass or with a few flowers,
+is a mere dirt court, tramped over by the few worshippers who enter the
+Cathedral this way. Two or three trees grow as they will, gnarled or
+straight. The sense of peaceful melancholy which the traveller had felt
+in the Cloister of Béziers is wanting here. This is a place of deserted
+solitude; and with a sigh for the beauty that might have been, the
+traveller crossed the enclosure and entered the church by the
+cloister-door.
+
+[Illustration: "THIS IS A PLACE OF DESERTED SOLITUDE."--NARBONNE.]
+
+Architecturally dissimilar, the fate of this Cathedral is not unlike
+that of Beauvais. Each was destined to have a completed choir, and each
+to remain without a nave. At Beauvais the addition of transepts adds
+very materially to the beauty of the Cathedral. At Narbonne no transepts
+exist. There is simply a choir, which makes a very singular disposition
+of the church both religious and architectural. Entering the gates which
+lead from the ambulatory to the choir, the traveller found that
+Benediction had just begun. On his immediate right, before the altar all
+aglow with lights, were the officiating priests and the altar-boys; on
+his left, in the choir, was the congregation in the Canons' stalls;
+and at the back, as at the end of a nave, rose the organ.
+
+The traveller walked about the ambulatory, and leaning against the
+farthest wall, tried to view the church, only to be baffled. There was
+no perspective. The ambulatory is very narrow and the choir-screen very
+high. The impressions he formed were partly imaginative, partly
+inductive; and the clearest one was that of sheer height, straight,
+superhuman height that is one of the unmatchable glories of French
+Gothic. Here the traveller thought again of Beauvais, and wished as he
+had so often wished in the northern Cathedral and with something of the
+same intensity, that this freedom and majesty of height might have been
+gloriously continued and completed in the nave. Such a church as his
+imagination pictured would have been worthy of a place with the best of
+northern Gothic. Now it is a suggestion, a beginning of greatness; and
+its chief glory lies in the simplicity and directness of its height.
+Clustered columns rise plainly to the pointed Gothic roof. There is so
+marked an absence of carving that it seems as if ornamentation would
+have been weakening and trammelling. It is not bareness, but beautiful
+firmness, which refreshes and uplifts the heart of man as the sight of
+some island mountain rising sheer from the sea.
+
+The exterior of the Cathedral, imposing from a distance, is rather
+complicated in its unfinished compromise of detail. In the XV century,
+two towers were built which flank the western end as towers usually
+flank a façade; and this gives the church a foreshortened effect. Of
+real façade there is none, and the front wall which protects the choir
+is plainly temporary. In front of this wall there are portions of the
+unfinished nave, stones and other building materials, a scaffolding, and
+a board fence; and the only pleasure the traveller could find in this
+confusion was the fancy that he had discovered the old-time appearance
+of a Cathedral in the making.
+
+The apse is practically completed, and one has the curious sensation
+that it is a building without portals. Having no façade, it has none of
+the great front entrances common to the Gothic style; neither has it the
+usual lateral door. The choir is entered by the temporary doors of the
+pseudo-façade; the ambulatory is entered through the Cloister, or a
+pretty little Gothic door-way which if it were not the chief entrance of
+the church, would properly seem to have been built for the clergy rather
+than for the people who now use it. If these portals are strangely
+unimportant, their insignificance does not detract materially from the
+stateliness of the apse, which is created by its great height--one
+hundred and thirty feet in the interior measurement--and the magnificent
+flying-buttresses.
+
+These flying-buttresses give to the exterior its most curious and
+beautiful effect. They are a form of Gothic seldom attempted in the
+South, and exist here in a rather exceptional construction. Over the
+chapels which surround the apse rise a series of double-arched supports,
+the outer ones ending in little turrets with surmounting crenellations.
+On these supports, after a splendid outward sweep, rest the abutments of
+the flying arches. These have a fine sure grace and withal a lightness
+that relieves the heaviness imposed on the church by the towers and the
+immense strength of the body of the apse. They are the chief as well as
+the most salient glory of the exterior, and give to the Cathedral its
+peculiar individuality.
+
+[Illustration: "THESE FLYING-BUTTRESSES GIVE TO THE EXTERIOR ITS MOST
+CURIOUS AND BEAUTIFUL EFFECT."--NARBONNE.]
+
+Apart from its buttresses, Saint-Just has little decorative style. Its
+crenellations and turrets are military and forceful, not ornate. For the
+church had its defensive as truly as its religious purpose, and formerly
+was united on the North with the fortifications of the Palace, and
+contributed to the protection of its prelates as well as to their
+arch-episcopal prestige.
+
+In spite of the fostering care of the French government, the Palace, the
+Cloister, and the Cathedral seem in the hands of strangers. The
+traveller who had longed to see them in their finished magnificence
+realised the futility of this wish, but he turned away with another as
+vain, that he might have known them even in incompletion, when they were
+in the hands of the Church, when the Archbishop still ruled in his
+Palace, when the Canons prayed in the Cloister, and the Cathedral was
+still a-building.
+
+
+[Sidenote: Perpignan.]
+
+Perpignan, like Elne, is in Rousillon. The period of her most brilliant
+prosperity was that of the Majorcan dominion in the XII century. Later
+she reverted to Aragon, and was still so fine a city that for two
+hundred years France coveted and sought her, until she finally yielded
+to the greedy astuteness of Richelieu and became formally annexed to
+the kingdom of Louis XIII. Perpignan is a gay little town, much affected
+by the genius and indolence of the Spanish race. Morning is work-time,
+noon-tide is siesta, but afternoon and evening were made for pleasure;
+and every bright day, when the sun begins to cast shadows, people fill
+the narrow, shady streets and walk along the promenade by the shallow
+river, under the beautiful plane-trees. The pavements in front of the
+cafés are filled with little round tables, and here and there small
+groups of men idle cheerfully over tiny glasses of liqueur and cups of
+cool, black coffee; perhaps they talk a little business, certainly they
+gossip a great deal. Noisy little teams filled with merry people run
+down from the Promenade to the sea-shore; and after an hour's dip,
+almost in the shadow of the tall Pyrénées, the same merry people return,
+laughing, to a cooler Perpignan. In the evening, they seek the bright
+cafés and the waiters run busily to and fro among the crowded little
+tables; the narrow streets, imperfectly lighted, are full of moving
+shadows, and through the open church-doors, candles waver in the fitful
+draught, and quiet worshippers pass from altar to altar in penance or in
+supplication.
+
+All the old buildings of the city are of Spanish origin. The prison is
+the brick, battlemented castle of a Majorcan Sancho, the Citadel is as
+old, and the Aragonese Bourse is divided between the town-hall and the
+city's most popular café.
+
+The Cathedral of Saint-Jean, which faces a desolate, little square, was
+also begun in Majorcan days and under that Sancho who ruled in 1324. At
+first it was merely a church; for Elne had always been the seat of the
+Bishopric of Rousillon, and although the town had suffered from many
+wars and had long been declining, it was not shorn of its episcopal
+glory until there was sufficient political reason for the act. This
+arose in 1692, and was based on the old-time French and Spanish claims
+to the same county to which these two cities belonged.
+
+[Illustration: "ALL OF THE OLD BUILDINGS OF THE CITY ARE OF SPANISH
+ORIGIN."--PERPIGNAN.]
+
+Over a hundred years before Charles VIII had plenarily ceded to
+Ferdinand and Isabella all power in Rousillon, even that shadowy feudal
+Suzerainty with which, in default of actual possession, many a former
+French king had consoled himself and irritated a royal Spanish brother.
+Ferdinand and Isabella promptly visited their new possessions, and made
+solemn entry into Perpignan. Unfortunately the Inquisition came in their
+train, and the unbounded zeal of the Holy Office brought the Spanish
+rule which protected it into ever-increasing disfavour. In vain Philip
+III again bestowed on Perpignan the title of "faithful city," which she
+had first received from John of Aragon for her loyal resistance to Louis
+XI; in vain he ennobled several of her inhabitants and transferred to
+her, from Elne, the episcopal power. The city was ready for new and
+kinder masters than the Most Catholic Kings, and in 1642 the French were
+received as liberators.
+
+During all these years the Cathedral had grown very slowly. Commenced in
+1324, over a century elapsed before the choir was finished and the
+building of the nave was not begun until a hundred years later. The High
+Altar, a Porch, and the iron cage of the tower were added with equal
+deliberation, and even to-day it is still unfinished. The most beautiful
+part is the strongly buttressed apse; the poorest, the unfinished
+façade, which has been very fitly described as "plain and mean." Looking
+disconsolately at it from the deserted square, scarcely tempted to go
+nearer, the traveller was astounded at the thought that for several
+centuries this unsightly wall had stared on generations of worshippers
+without goading them into any frenzy of action,--either destructive or
+constructive. His only comfort lay in the scaffolding which was building
+around it, and which seemed to promise better things.
+
+[Illustration: "THE UNFINISHED FAÇADE."--PERPIGNAN.]
+
+The interior of the Cathedral is very large and lofty. It is without
+aisles and the chapels are discreetly hidden between the piers. Far
+above one's head curves the ribbed Gothic vaulting, and all around is
+unbroken space that ends in darkness or the vague outline of an altar,
+dimly lighted by a flickering candle. The walls are painted in rich,
+sombre colours, and the light comes very gently through the good old
+stained-glass windows. It is a southern church, dark, cool, and somewhat
+mysterious; quite foreign to the glare and heat of reality. People are
+lost in its solemn vastness, and even with many worshippers it is a
+solitude where most holy vigils could be kept, a mystic place where the
+southern imagination might well lose itself in such sacred ardours as
+Saint Theresa felt. The traveller liked to linger here; in the day-time
+when he peered vainly at the re-redos of Soler de Barcelona, at
+Mass-time, when the lighted altar-candles glimmered over its fine old
+marble, but best of all he liked to come at night. Those summer nights
+in Rousillon were hot and full of the murmur of voices. The Cathedral
+was the only silent place; more full than ever of the mysterious--the
+felt and the unseen. As one entered, the sanctuary light shone as a star
+out of a night of darkness; in a near-by chapel, a candle sputtered
+itself away, and a woman--whether old or young one could not
+see--lighted a fresh taper. Sometimes a man knelt and told his beads,
+sometimes two women entered and separated for their differing needs and
+prayers. Sometimes one sat in meditation, or knelt, unmoving, for a
+space of time; once a child brought a new candle to Saint Antony; always
+some one came or some one went, until the hour of closing. Then, the
+bell was rung, the door shut by a hand but dimly seen, and the last few
+watchers went out--across the little square, down this street or that,
+until they were lost in the darkness of the summer's night.
+
+[Illustration: "THE STONY STREET OF THE HILLSIDE."--CARCASSONNE.]
+
+
+[Sidenote: Carcassonne.]
+
+The train puffed into the station at Carcassonne, and the impatient
+traveller, throwing his bags into an hotel omnibus, asked for the
+Cathedral and walked eagerly on that he might the more quickly "see in
+line the city on the hill," "the castle walls as grand as those of
+Babylon," and "gaze at last on Carcassonne." His mind was full of the
+poem, and faithfully following directions, he hurried through clean,
+narrow streets until he came at length, not upon a poetic vision of
+battlemented walls and towers, but on the most prosaic of boulevards and
+the Church of Saint-Michel which has been the Cathedral since 1803, a
+large, uncouth building with a big, unfinished tower. There is no façade
+portal, and a small door-way in the north side leads into the great
+vaulted hall, one of the most usual and commonplace forms of the Gothic
+interior of the South. This room, which is painted, receives light from
+a beautiful rose-window at the West, and a series of small roses, like
+miniatures of the greater one, are cut in the upper walls of the nave;
+and little chapels, characterised by the same heavy monotony which hangs
+like a pall over the whole Cathedral, are lost in the church's capacious
+flanks.
+
+[Illustration: "THE ANCIENT CROSS."--CARCASSONNE.]
+
+Having lost much of his enthusiasm, the traveller asked for the old--he
+had almost said the "real"--Cathedral, and with new directions, he
+started afresh. Leaving the well-built, agreeable, commonplace "Lower
+city" of the plain, he came to the bridge, and there, sitting on its
+parapet, near the ancient Cross, he feasted his longing eyes on that
+perfect vision of Mediævalism. The high, arid, and almost isolated hill
+of the Cité stood before him, and at the top rose battlements and
+flanking towers in double range, bristling, war-like, and strong; yet
+beautiful in their mass of uneven, peaked tower-roofs and crenellations.
+He climbed wearily up the stony street of the hillside, and as he passed
+through the open gate, he realised that Hunnewell had written truly when
+he said "Carcassonne is a romance of travel." For he went into a town
+so quiet, into streets so still, so weed-grown, and lonely, and yet so
+well built, that he felt as a "fairy prince" who has penetrated into
+some enchanted castle, and it seemed as if the inhabitants were asleep
+in the upper rooms, behind those bowed windows, and as if, when the
+mysterious word of disenchantment should be uttered, all would come
+trooping forth, men-at-arms hurrying to clean their rusty swords, old
+women trudging along to fill their dusty pitchers at the well, and
+younger women staring from doors and windows to see the stranger within
+their streets.
+
+The Cadets de Gascogne knew the city before the evil spell of modern
+times was cast about it. They know and miss it now. And although they
+may no longer wear the plumed hat and clanking sword of their ancestors,
+the spirit beneath their more conventional garb is as gay and daring as
+that of Cadets more picturesque. They have conceived a plan as exciting
+as any old adventure, an idea which they present to the world, not as
+Cyrano, their most famous member, was wont to convey his thoughts at the
+end of a sword, but none the less dexterously and delightfully. This
+plan, like the magic word of the traveller's fancy, is to make the old
+Carcassonne live again, not as the traveller had timidly imagined, in
+time of peace, but in the stirring times of war and battle, and its
+magic word is "the siege of Carcassonne." Truly it is but a matter of
+bengal lights, blank cartridges, and fire-crackers, though for the
+matter of that, Cinderella's coach was but a pumpkin, yet the effect was
+none the less real.
+
+[Illustration: "OFTEN, TOO LITTLE TIME IS SPENT UPON THE
+NAVE."--CARCASSONNE.]
+
+On the evening of "the siege," a rare, great fête, the forces of the
+Cadets with their lights and ammunition are in the "upper town", and
+long before dark, their friends and every inhabitant of the country for
+miles around have gathered in the houses which face the Cité, on the
+bridges, and along the banks of the little Aude. As the sunlight fades
+and the shadows creep along, a strange feeling of expectancy comes over
+everybody, a hush, almost a dread of danger. The towers on the hill-top
+loom dark against the sky and the battlements bristle in the moonlight,
+no sound comes from the Cité, and it seems to lay in unconcerned
+security. Memories of besieging armies which have vainly encamped in
+this valley return to the traveller's mind, memories of the treacheries
+of Simon de Montfort, and he wonders if any "crusading" sentinel ever
+paced where he now stands watching along the Aude, if any spy or even
+the terrible Simon himself had ever crept so near the walls to
+reconnoitre. Suddenly every one is startled by the sound of distant
+shots, which are repeated nearer the walls. Every one peers into the
+darkness. There is no sign of life on wall or tower, the attacking force
+must still be climbing the hill, out of range of the stones and burning
+oil of the defenders. More shots are fired, and now there are answering
+shots from the besieged; and so naturally does the din increase, that
+one can follow, by listening, the progress of the attack and the slow,
+sure gain of the invader. Some of the illusion of the anxiety and mental
+tension which war brings, steals over the watching crowd, and they
+breathlessly await the outcome of the struggle. The attacking party is
+now seen under the walls--now on them--they throw wads of burning
+cotton, which are at first extinguished. They still gain--they fire the
+walls in several places; and the defenders, who can be seen in the
+flashes of light, run frantically to the danger spots; but they are
+gradually overcome, beaten back by the intensity of the heat. Flames now
+burst forth from a tower; there is an explosion, and the fire curls and
+creeps along the walls unchecked. Another explosion follows, another
+burst of flames which soar higher and higher. The men of the Cité seem
+still more frantic and powerless. All the towers now stand out in bold
+relief,--as if they were just about to crumble into the seething mass
+below. Roofs within the walls are on fire, and finally a red tongue
+licks the turret of the Cathedral. In a few seconds its walls are
+hideously aglow, and the people in the valley--although they know the
+truth--groan aloud, so real is the illusion. The nave lines of the
+Cathedral are silhouetted as it burns, the fires along the walls growing
+brighter, spread gradually at first,--then rapidly, and the whole Cité
+is the prey of great, waving clouds of flame and smoke. Men and women,
+as if fascinated by this lurid and magnificent destruction, press
+forward to get the last view of the Cathedral's lovely rose, or the
+peaked roof of some tower which is dear to them. But slowly the deep red
+flames are growing paler, less strong, and less high. Then the glare,
+too, begins to die away; the fire turns to smoke and the light becomes
+grey and misty. "It is all over," some one whispers, and with backward
+glances at the charred, smoldering hill-top, they turn silently towards
+home.
+
+A few, sitting on the stone parapet of the bridge, remain to talk of the
+evening's magic, of the inspiration of the Cadets de Gascogne, and other
+scenes which their memory suggests, of wars and rumours of other wars.
+And when at length they turn to go, they see the moonlight on the
+glimmering Aude, the peaceful lower city, and above, Carcassonne--the
+Invincible--rising from her ashes.
+
+[Illustration: "THE CHOIR IS OF THE XIV CENTURY."--CARCASSONNE.]
+
+[Illustration: "THE FAÇADE--STRAIGHT AND MASSIVE."--CARCASSONNE.]
+
+The Cathedral of the Cité is worthy of great protecting walls and there
+are few churches whose destruction would have been so sad a blow to the
+architecture of the Midi. Saint-Nazaire is typical at once of the
+originality of the southern builders, of their idealism, and their
+joyous freedom from conventional thrall. The façade, straight, and
+massive, has the frowning severity of an old donjon wall. Its towers are
+solid masses of heavy stone; instead of spires, there are crenellations;
+instead of graceful flying-buttresses at the sides, there are solid,
+upright supports on the firm, plain side-walls. This is the true old
+Romanesque. A few steps further, and the apse appears, as great a
+contrast to the body of the church as a bit of Mechlin lace to a
+coat-of-mail. A little tower with gargoyles, another with a fine-carved
+turret, windows whose delicate traceries could be broken by a blow, and
+an upper balustrade which would have been as easily crushed as an
+egg-shell in the hands of the lusty Huguenots,--these are the ornaments
+of its wall, as true XIV century Gothic as the nave is XII century
+Romanesque. It is sadly disappointing to find the Cloisters in
+uninteresting ruin, but the church within is so full of great beauty
+that all other things are unimportant. The windows glow in the glory
+of their glass, and the tombs, especially those of the lower Chapel
+of the Bishop, are wonderfully carved. The first burial place of de
+Montfort, terrible persecutor of his Church's foes, lies near the High
+Altar, and in the wall, there is a rude bas-relief representing his
+siege of Toulouse. All these admirable details are puny in comparison
+with the interior which contains them. It is to be feared that often,
+too little time is spent upon the nave. Even in mid-day, lighted by the
+southern sun, its beautiful, severe lines are mellowed but little, and
+one turns too instinctively to the Gothic, the greater lightness beyond.
+Yet it is a nave of exceedingly fine, rugged strength, and to pass on
+lightly, to belittle it in comparison with its brighter choir, is to
+wantonly miss in the great round columns, the heavy piers, and the dark
+tunnel vaulting, the conception of generations of men who had ever
+before their mind--and literally believed--"A mighty fortress is our
+God." The choir is of the XIV century, a day when the "beauty of
+holiness" seems to have been the Cathedral architect's ideal. Delicate,
+clustered columns from which Saints look down, long windows beautifully
+veined, a glorious rose at each transept's end, and high vault arches
+springing with a slender pointed grace, all these are of exquisite
+proportions; and the brilliant stained-glass adds a softening warmth of
+colour, but not too great a glow, to the cold fragility of the shafts of
+stone. Nothing in the Gothic art of the South, little of Gothic
+elsewhere, is more thoughtfully and lovingly wrought than this choir of
+Saint-Nazaire, and few churches in the Romanesque form are more finely
+constructed than its nave. On the exterior, the Gothic choir and the
+Romanesque nave are so different in style it seems they must be,
+perforce, antagonistic, that the grace of the Gothic must make
+Romanesque plainness appear dull, or that the noble simplicity of the
+rounded arch must cause the Gothic arches, here so particularly tall and
+slender, to seem almost fragile and undignified. In reality, this
+juxtaposition of the styles has justified itself; and passing from one
+to the other, the traveller is more impressed by the subtle analogies
+they suggest than by the differences of their architectural forms. On
+week-days, when the church is empty, they seem to prefigure the two
+ideals of the religion which they serve--the stern, self-conquering
+asceticism of a Saint Dominic, and the exquisite, radiant visions which
+Saint Cecelia saw when heavenly music was vouchsafed her. Or, if one has
+time to fancy further, the nave is the epic of its great religion; the
+choir, a song which is the expression of most delicate aspiration, most
+tender worship. On Sunday, when to this beauty of the godly habitation
+is added all the beauty of worship, the music of the oldest organs in
+France, slow-moving priests in gorgeous vestments, sweet smelling
+incense, chants, and prayers of a most majestic ritual, one is tempted
+to read into these stones symbolical meanings,--as if the heavy nave,
+where the dim praying figures kneel, were typical of their life of
+struggle--and their glances altarward, where all is light and beauty,
+presaged their final coming into the presence and glory of God.
+
+[Illustration: PERSPECTIVE OF THE ROMANESQUE.--CARCASSONNE.]
+
+Hunnewell has finely written, that "while the passions and the terrors
+of a fierce, rude age made unendurable the pleasant land where we may
+travel now so peacefully, ... and while Religion, grown political,
+forgot the mercy of its Lord and ruled supreme, ... an earnest faith and
+consecrated genius were creating some of the noblest tributes man has
+offered to his Creator," and it may be truly said that of these one of
+the noblest is the church begun in that most cruel age of Saint Dominic
+and de Montfort, in the very heart of the country they laid waste, in
+the city which one conquered by ruse and the other tortured by
+inquisition, the old Cathedral of Saint-Nazaire in Carcassonne.
+
+
+[Sidenote: Castres.]
+
+In the VII century Castres, which had been the site of a Roman camp,
+became that of a Benedictine Abbey; and around this foundation, as about
+so many others, a town grew through the Middle Ages, and came safely to
+prosperity and importance. Untrue to its early protectors and in
+opposition to the fervent orthodoxy of the neighbouring city of Albi,
+Castres became a Protestant stronghold, and its fortunes rose and fell
+with the chances of religious wars. It was, perhaps, one of the most
+intrepid and obstinate of all the centres of heresy, and the centuries
+of struggle seem only to have strengthened the fierceness of its faith.
+In 1525, when the Duke de Rohan was absent and a royal army again
+summoned it to submission and conversion, the Duchess had herself
+carried from a sick bed to the gate of the city which was threatened,
+and it is related that the inhabitants of all classes, men, women, and
+children, without distinction of sex or age, armed themselves and rushed
+victoriously to her aid. Thirty-five years later, their children sacked
+churches, destroyed altars and images, and drove out monks and nuns.
+
+Bellicose incidents make history a thrilling story, but they are
+accompanied by such material destruction that they too often rob a city
+of its greatest treasures, and leave it, as far as architectural
+interest is concerned, an arid waste. Such a place is Castres,
+prosperous, industrial, historically dramatic, but actually commonplace.
+Old houses, picturesque and mouldy, with irregular, overhanging eaves,
+lean along the banks of the little river as they are wont to line the
+banks of every old stream of the Midi, and they are nearly all the
+remains of Castres' Mediævalism. For her streets are well-paved,
+trolleys pass to and fro, department stores are frequent, and that most
+modern of vehicles, the automobile, does not seem anachronistic. No
+building could be more in harmony with the city's atmosphere of
+uninteresting prosperity than its Cathedral, and he who enters in search
+of beauty and repose, is doomed to miserable disappointment.
+
+Confronted in the XIV century by a growing heresy, John XXII devised,
+among other less Christian methods of combat, that of the creations of
+Sees, whose power and dignity of rank should check the progress of the
+enemies of the Church; and in 1317, that year which saw the beginning of
+so many of these new Sees, the old Benedictine Abbey of Castres, lying
+in the very centre of Protestantism, was created a Bishopric. The
+century, if unpropitious to Catholicism, was favourable to architecture,
+the Abbey was of ancient foundation, and from either of these facts, a
+fine Cathedral might reasonably be hoped for,--a dim Abbey-church whose
+rounded arches are lost in the gloom of its vaulting, or a bit of
+southern Gothic which the newly consecrated prelate might have
+ambitiously planned. But the Cathedral of Saint-Benoît is neither of
+these, for it was re-constructed in the XVII century, the XVII century
+in all its confusion of ideas, all its lack of taste, all its travesty
+of styles. There is the usual multitude of detail, the usual
+unworthiness. Portals which have no beauty, an expanse of unfinished
+façade, dark, ugly walls whose bareness is not sufficiently hidden by
+the surrounding houses, heavy buttresses, ridiculously topped off by
+globes of stone,--such are the salient features of the exterior of
+Saint-Benoît.
+
+The "spaciousness" of the interior has given room, if not for an
+impartial representation, at least for a reminder of all the styles of
+architecture to which the XVII century was heir. There is the
+Renaissance conception of the antique in the ornamental columns; in the
+rose-window, there is a tribute to the Gothic; the tradition of the
+South is maintained by a coat of colours--many, if subdued; and the
+ground plan of nave and side-chapels might be called Romanesque.
+Although the vaulting is high and the room large, there is no
+simplicity, no beauty, no artistic virtue in this interior.
+
+Opposite the church is the episcopal Palace which Mansart built, a large
+construction that serves admirably as a City Hall. Behind it, along the
+river, are the charming gardens designed by Le Nôtre, where Bishops
+walked and meditated, looking upon their not too faithful city of
+Castres. Upon this very ground was the ancient Abbey and close of the
+Benedictines; and as if in memory of these monkish predecessors, Bishop
+and builder of the XVII century left in an angle of the Palace the old
+Abbey-tower. This is the treasure of Castres' past, a Romanesque belfry
+with the pointed roofing of the campanile of Italy, heavy in comparison
+with their grace, and stout and strong.
+
+
+[Sidenote: Toulouse.]
+
+Toulouse is one of the most charming cities of the South of France. It
+is also one of the largest; but in spite of its size, it is neither
+noisy nor stupidly conventional; it is, on the contrary, an ideal
+provincial "capital," where everything, even the climate, corresponds to
+our preconceived and somewhat romantic ideal of the southern type. When
+the wind blows from the desert it comes with fierce and sudden passion,
+the sun shines hot, and under the awnings of the open square, men fan
+themselves lazily during a long lunch hour. Under this appearance of
+semi-tropical languor, there is the persistent energy of the great
+southern peoples, an energy none the less real because it is broken by
+the long siestas, the leisurely meal-times, and the day-time idling,
+which seem so shiftless and so strange to northern minds. This is the
+energy, however, which has made Toulouse a rich, opulent city,--a city
+with broad boulevards, open squares, and fine buildings, and a city of
+the gay Renaissance rather than of the stern Middle Ages. Yet for
+Toulouse the Middle Ages were a dark time. What could be gotten by the
+sword was taken by the sword, and even the mind of man, in that gross
+age, was forced and controlled by the agony of his body. It is a time
+whose most peaceful outward signs, the churches, have been preserved to
+Toulouse, and the war-signs, towers, walls, and fortifications,
+dungeons, and the torture-irons of inquisition, are now--and
+wisely--hidden or destroyed. Of the fierce tragedies which were played
+in Toulouse, even to the days of the great Revolution, few traces
+remain,--the stern, orthodox figure of Simon de Montfort, and of Count
+Raymond, his too politic foe, and the anguish of the Crusaders' siege,
+the bent form of Jean Calas and the shrewd, keen face of Voltaire, who
+vindicated him from afar, these memories seem dimmed; and those which
+live are of light-hearted troubadours and gaily dressed ladies of the
+city of the gay, insouciant Renaissance to whom an auto-da-fè was a gala
+between the blithesome robing of the morning and the serenade in the
+moonlight. Fierce and steadfast, sentimentally languishing, dying for a
+difference of faith, or dying as violently to avenge the insult of a
+frown or a lifted eye-brow, such are the Languedocians whom Toulouse
+evokes, near to the Gascons and akin to them. Here is the Académie des
+Jeux-Floreaux, the "College of Gay Wit" which was founded in the XIV
+century, and still distributes on the third of every May prizes of gold
+and silver flowers to poets, and writers of fine prose; and here are
+many "hôtels" of the Renaissance, rich and beautiful homes of the old
+Toulousan nobility whose courts are all too silent. Here is the Hôtel du
+Vieux-Raisin, the Maison de Pierre, and the Hôtel d'Assézat where Jeanne
+d'Albret lived; and near-by is a statue of her son, the strongest,
+sanest, and most debonnaire of all the great South-men, Henry of
+Navarre. Here in Toulouse is indeed material for a thousand fancies.
+
+[Illustration: "THE NAVE OF THE XIII CENTURY IS AN AISLE-LESS CHAMBER,
+LOW AND BROADLY ARCHED."--TOULOUSE.]
+
+And here the Cathedral-seeker, who had usually had the proud task of
+finding the finest building in every city he visited, was doomed to
+disappointment. In vain he tried to console himself with the fact that
+Toulouse had had two Cathedrals. Of one there was no trace; in the
+other, confusion; and he was met with the axiom, true in architecture
+as in other things, that two indifferent objects do not make one good
+one. The "Dalbade," formerly the place of worship of the Knights of
+Malta, has a more elegant tower; the Church of the Jacobins a more
+interesting one; the portal of the old Chartreuse is more beautiful; the
+Church of the Bull, more curious; and the Basilica of Saint-Sernin so
+interesting and truly glorious that the Cathedral pales in colourless
+insignificance.
+
+Some cities of mediæval France possessed, at the same time, two
+Cathedrals, two bodies of Canons, and two Chapters under one and the
+same Bishop. Such a city was Toulouse; and until the XII century,
+Saint-Jacques and Saint-Etienne were rival Cathedrals. Then, for some
+reason obscure to us, Saint-Jacques was degraded from its episcopal rank
+and remained a simple church until 1812 when it was destroyed. The
+present Cathedral of Saint-Etienne is a combination of styles and a
+violation of every sort of architectural unity, and realises a confusion
+which the most perverse imagination could scarcely have conceived.
+According to every convention of building, the Cathedral is not only
+artistically poor, but mathematically insupportable. The proportions are
+execrable; and the interior, the finest part of the church, reminds one
+irresistibly of a good puzzle badly put together. The weak tower is a
+sufficient excuse for the absence of the other; from the tower the roof
+slopes sharply and unreasonably, and the rose-window is perched, with
+inappropriate jauntiness, to the left of the main portal. The whole
+structure is not so much the vagary of an architect as the sport of
+Fate, the self-evident survival of two unfitting façades. Walking
+through narrow streets, one comes upon the apse as upon another church,
+so different is its style. It is disproportionately higher than the
+façade; instead of being conglomerate, it is homogeneous; instead of a
+squat appearance, uninterestingly grotesque, it has the dignity of
+height and unity. And although it is too closely surrounded by houses
+and narrow streets, and although a view of the whole apse is entirely
+prevented by the high wall of some churchly structure, it is the only
+worthy part of the exterior and, by comparison, even its rather timid
+flying-buttresses and insignificant stone traceries are impressive.
+
+[Illustration: "THE PRESENT CATHEDRAL IS A COMBINATION OF
+STYLES."--TOULOUSE.]
+
+The nave of the early XIII century is an aisle-less chamber, low and
+broadly arched. As the eye continues down its length, it is met by the
+south aisle of the choir,--opening directly into the centre of the nave.
+Except for this curiously bad juxtaposition, both are normally
+constructed, and each is of so differing a phase of Gothic that they
+give the effect of two adjoining churches. The choir was begun in the
+late XII century, on a new axis, and was evidently the commencement of
+an entire and improved re-construction. In spite of the poorly planned
+restoration in the XVII century, the worthy conception of this choir is
+still realised. It is severe, lofty Gothic, majestic by its own
+intrinsic virtue, and doubly so in comparison with the uncouth
+puzzle-box effect of the whole. Its unity came upon the traveller with a
+shock of surprise, relieving and beautiful, and after he had walked
+about its high, narrow aisles and refreshed his disappointed vision, he
+left the Cathedral quickly--looking neither to the right nor to the
+left, without a trace of the temptation of Lot's wife, to "glance
+backward."
+
+
+[Sidenote: Montauban.]
+
+Although Montauban was founded on the site of a Roman station, the Mons
+Albanus, it is really a city of the late Middle Ages, re-created, as it
+were, by Alphonse I., Count of Toulouse in 1144. And it was even a
+greater hot-bed of heretics than Béziers. Incited first by hatred of
+the neighbouring monks of Le Moustier, and then by the bitter agonies of
+the Inquisition, it became fervently Albigensian, and as fervently
+Huguenot; and even now it has many Protestant inhabitants and a
+Protestant Faculty teaching Theology.
+
+The Montauban of the present day is busy and prosperous, very prettily
+situated on the turbid little Tarn. In spite of her constant loyalty to
+the Huguenot cause, perhaps partly because of it, she has had three
+successive Cathedrals; Saint-Martin, burned in 1562; the Pro-cathedral
+of Saint-Jacques; and, finally, Notre-Dame, the present episcopal
+church, a heavy structure in the Italian style of the XVIII century.
+Large and light and bare, the nudeness of the interior is uncouth, and
+the stiff exterior, decorated with statues, impresses one as pleasantly
+as clothes upon crossed bean-poles. It is artificial and mannered; the
+last of the City Cathedrals of Languedoc and the least. If the notorious
+vices of the XVIII century were as bad as its style of ecclesiastical
+architecture, they must have been indeed monstrous.
+
+
+
+
+END OF VOLUME I.
+
+
+
+
+
+End of the Project Gutenberg EBook of Cathedrals and Cloisters of the South
+of France, Volume 1, by Elise Whitlock Rose
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+      The Project Gutenberg eBook of Cathedrals And Cloisters Of The South Of France, by Elise Whitlock Rose.
+    </title>
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+
+The Project Gutenberg EBook of Cathedrals and Cloisters of the South of
+France, Volume 1, by Elise Whitlock Rose
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Cathedrals and Cloisters of the South of France, Volume 1
+
+Author: Elise Whitlock Rose
+
+Illustrator: Vida Hunt Frances
+
+Release Date: September 22, 2007 [EBook #22718]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CATHEDRALS AND CLOISTERS ***
+
+
+
+
+Produced by Juliet Sutherland, Marcia Brooks and the Online
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+</pre>
+
+
+
+<h1>CATHEDRALS AND CLOISTERS<br />OF THE SOUTH OF FRANCE</h1>
+
+<div class="figcenter"><a href="images/cover.jpg">
+<img src="images/cover_t.jpg" alt="" title="cover"/></a></div>
+<div class="figcenter"><span class="caption">Front Cover</span></div>
+<hr style="width: 25%;" />
+
+<a name="frontis" id="frontis"></a>
+<div class="figcenter"  style="width: 331px">
+<img src="images/frontis.jpg" width="331" height="500" alt="" title="Frontis"/></div>
+<div class="figcenter"><span class="caption"><i>Rodez</i>.<br />
+&ldquo;Sheer and straight the pillars rise, ...<br />
+and arch after arch is lost on the shadows of<br />
+the narrow vaulting of the side-aisle.&rdquo;</span>
+<span class="totoi"><a href="#toi">[To List]</a></span>
+</div>
+<hr style="width: 25%;" />
+
+
+<h1>CATHEDRALS<br />
+<i>and</i> CLOISTERS</h1>
+<h4>OF THE</h4>
+<h1>SOUTH OF FRANCE</h1>
+
+<h3>BY</h3>
+
+<h2>ELISE WHITLOCK ROSE</h2>
+
+<h5>WITH ILLUSTRATIONS FROM ORIGINAL PHOTOGRAPHS</h5>
+
+<h4>BY</h4>
+
+<h3>VIDA HUNT FRANCIS</h3>
+
+
+<h4><i>IN TWO VOLUMES</i><br />
+<i>VOLUME I</i>.</h4>
+
+<center>G. P. PUTNAM'S SONS<br />
+NEW YORK AND LONDON<br />
+The Knickerbocker Press<br />
+1906</center>
+
+<hr style="width: 25%;" />
+<center>Copyright, 1906<br />
+by<br />
+G. P. PUTNAM'S SONS</center>
+
+<hr style="width: 25%;" />
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+
+<p>For years the makers of this book have spent the summer time in
+wandering about the French country; led here by the fame of some old
+monument, or there by an incident of history. They have found the real,
+unspoiled France, often unexplored by any except the French themselves,
+and practically unknown to foreigners, even to the ubiquitous maker of
+guide-books. For weeks together they have travelled without meeting an
+English-speaking person. It is, therefore, not surprising that they were
+unable to find, in any convenient form in English, a book telling of the
+Cathedrals of the South which was at once accurate and complete. For the
+Cathedrals of that country are monuments not only of architecture and
+its history, but of the history of peoples, the psychology of the
+christianising and unifying of the barbarian and the Gallo-Roman, and
+many things besides, epitomised perhaps in the old words, &ldquo;the struggle
+between the world, the flesh, and the devil.&rdquo; In French, works on
+Cathedrals are numerous and exhaustive; but either so voluminous as to
+be unpractical except for the specialist&mdash;as the volumes of
+Viollet-le-Duc,&mdash;or so technical as to make each Cathedral seem one in
+an endless, monotonous procession, differing from the others only in
+size, style, and age. This is distinctly unfair to these old churches
+which have personalities and idiosyncrasies as real as those of
+individuals. It has been the aim of the makers of this book to
+introduce, in photograph and in story,&mdash;not critically or exhaustively,
+but suggestively and accurately,&mdash;the Cathedral of the Mediterranean
+provinces as it exists to-day with its peculiar characteristics of
+architecture and history. They have described only churches which they
+have seen, they have verified every fact and date where such
+verification was possible, and have depended on local tradition only
+where that was all which remained to tell of the past; and they will
+feel abundantly repaid for travel, research, and patient exploration of
+towers, crypts, and archives if the leisurely traveller on pleasure bent
+shall find in these volumes but a hint of the interest and fascination
+which the glorious architecture, the history, and the unmatched climate
+of the Southland can awaken.</p>
+
+<p>For unfailing courtesy and untiring interest, for free access to private
+as well as to ecclesiastical libraries, for permission to photograph and
+copy, for unbounding hospitality and the retelling of many an old
+legend, their most grateful thanks are due to the Catholic clergy, from
+Archbishop to Cur&eacute; and Vicar. For rare old bits of information, for
+historical verification, and for infinite pains in accuracy of printed
+matter, they owe warm thanks to Mrs. Wilbur Rose, to Miss Frances Kyle,
+and to Mrs. William H. Shelmire, Jr. For criticism and training in the
+art of photographing they owe no less grateful acknowledgment to Mr.
+John G. Bullock and Mr. Charles R. Pancoast.</p>
+<p style="text-align: right;">E. W. R.</p>
+<p style="text-align: right;">V. H. F.</p>
+
+
+
+<hr style="width: 65%;" />
+<a name="toc" id="toc"></a>
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+<ul>
+<li><a href="#PREFACE">PREFACE</a></li>
+<li style="list-style: none"><br /></li>
+<li><a href="#LIST_OF_WORKS_CONSULTED">LIST OF WORKS CONSULTED.</a></li>
+<li style="list-style: none"><br /></li>
+<li><a href="#Illustrations">ILLUSTRATIONS.</a></li>
+<li style="list-style: none"><br /></li>
+<li><span class="ralign">PAGE</span></li>
+<li style="list-style: none"><br /></li>
+<li><span class="smcap"><b>The South of France</b></span></li>
+<li><span style="margin-left: 2em;">I. <span class="smcap">The South of France</span></span><span class="ralign"><a href="#Page_3">3</a></span></li>
+<li><span style="margin-left: 2em;">II. <span class="smcap">Architecture in Provence, Languedoc, qnd Gascony</span></span><span class="ralign"><a href="#Page_29">29</a></span></li>
+<li style="list-style: none"><br /></li>
+<li><span class="smcap"><b>Provence</b></span></li>
+<li><span style="margin-left: 2em;">I. <span class="smcap">The Cathedrals of the Sea</span></span><span class="ralign"><a href="#Page_55">55</a></span></li>
+<li><span style="margin-left: 4em;">Marseilles&mdash;Toulon&mdash;Fr&eacute;jus&mdash;Antibes&mdash;Nice</span></li>
+<li><span style="margin-left: 2em;">II. <span class="smcap">Cathedrals Of The Hill-towns</span></span><span class="ralign"><a href="#Page_72">72</a></span></li>
+<li><span style="margin-left: 4em;">Carpentras&mdash;Digne&mdash;Forcalquier&mdash;Vence&mdash;Grasse</span></li>
+<li><span style="margin-left: 2em;">III.<span class="smcap">River-side Cathedrals</span></span><span class="ralign"><a href="#Page_101">101</a></span></li>
+<li><span style="margin-left: 4em;">Avignon&mdash;Vaison&mdash;Arles&mdash;Entrevaux&mdash;Sisteron</span></li>
+<li><span style="margin-left: 2em;">IV. <span class="smcap">Cathedrals of the Valleys</span></span><span class="ralign"><a href="#Page_178">178</a></span></li>
+<li><span style="margin-left: 4em;">Orange&mdash;Cavaillon&mdash;Apt&mdash;Riez&mdash;Senez&mdash;Aix</span></li>
+<li style="list-style: none"><br /></li>
+<li><span class="smcap"><b>Languedoc</b></span></li>
+<li><span style="margin-left: 2em;">I. <span class="smcap">Cathedrals of the Cities</span></span><span class="ralign"><a href="#Page_237">237</a></span></li>
+<li><span style="margin-left: 4em;">N&icirc;mes&mdash;Montpellier&mdash;B&eacute;ziers&mdash;Narbonne&mdash;Perpignan&mdash;</span></li>
+<li><span style="margin-left: 4em;">Carcassonne&mdash;Castres&mdash;Toulouse&mdash;Montauban</span></li>
+</ul>
+
+
+<hr style="width: 65%;" />
+<a name="toi" id="toi"></a>
+<h2><a name="Illustrations" id="Illustrations"></a>Illustrations</h2>
+
+<ul>
+<li><span class="ralign">Page</span></li>
+<li style="list-style: none"><br /></li>
+<li><span class="smcap">Rodez</span><span class="ralign"><a href="#frontis">Frontispiece</a></span></li>
+<li><span style="margin-left: 2em;">&ldquo; Sheer and straight the pillars rise, ...</span></li>
+<li><span style="margin-left: 2em;">and arch after arch is lost on the shadows of</span></li>
+<li><span style="margin-left: 2em;">the narrow vaulting of the side-aisle.&rdquo;</span></li>
+<li>&ldquo;<span class="smcap">Carcassonne, the invulnerable</span>&rdquo;<span class="ralign"><a href="#Page_5">5</a></span></li>
+<li>&ldquo;<span class="smcap">The Tower of an early maritime Cathedral</span>&rdquo;&mdash;<i>Agde</i><span class="ralign"><a href="#Page_10">10</a></span></li>
+<li>&ldquo;<span class="smcap">A nave of the earlier style</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_15">15</a></span></li>
+<li>&ldquo;<span class="smcap">A nave of the later style</span>&rdquo;&mdash;<i>Rodez</i><span class="ralign"><a href="#Page_19">19</a></span></li>
+<li>&ldquo;<span class="smcap">The delicate choir of Saint-Nazaire</span>&rdquo;&mdash;<i>Carcassonne</i><span class="ralign"><a href="#Page_23">23</a></span></li>
+<li>&ldquo;<span class="smcap">A cloister of the South</span>&rdquo;&mdash;<i>Elne</i><span class="ralign"><a href="#Page_27">27</a></span></li>
+<li>&ldquo;<span class="smcap">A Romanesque aisle</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_31">31</a></span></li>
+<li>&ldquo;<span class="smcap">The sculptured portals of Saint-trophime</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_33">33</a></span></li>
+<li>&ldquo;<span class="smcap">A Gothic aisle</span>&rdquo;&mdash;<i>Mende</i><span class="ralign"><a href="#Page_35">35</a></span></li>
+<li>&ldquo;<span class="smcap">Corresponding differences in style</span>&rdquo;&mdash;<i>Carcassonne</i><span class="ralign"><a href="#Page_39">39</a></span></li>
+<li>&ldquo;<span class="smcap">Fortified Gothic built in brick</span>&rdquo;&mdash;<i>Albi</i><span class="ralign"><a href="#Page_43">43</a></span></li>
+<li>&ldquo;<span class="smcap">A church fortress</span>&rdquo;&mdash;<i>Maguelonne</i><span class="ralign"><a href="#Page_45">45</a></span></li>
+<li>&ldquo;<span class="smcap">Stately Gothic splendour</span>&rdquo;&mdash;<i>Condom</i><span class="ralign"><a href="#Page_47">47</a></span></li>
+<li><span class="smcap">Entrevaux</span><span class="ralign"><a href="#Page_52">52</a></span></li>
+<li><span style="margin-left: 2em;">&ldquo;People gather around the mail-coach as it makes its</span></li>
+<li><span style="margin-left: 2em;">daily halt before the drawbridge.&rdquo;</span></li>
+<li>&ldquo;<span class="smcap">The new Cathedral</span>&rdquo;&mdash;<i>Marseilles</i><span class="ralign"><a href="#Page_57">57</a></span></li>
+<li>&ldquo;<span class="smcap">The desecration of the little cloister</span>&rdquo;&mdash;<i>Fr&eacute;jus</i><span class="ralign"><a href="#Page_65">65</a></span></li>
+<li>&ldquo;<span class="smcap">The military omen&mdash;the tower</span>&rdquo;&mdash;<i>Antibes</i><span class="ralign"><a href="#Page_70">70</a></span></li>
+<li>&ldquo;<span class="smcap">The interior of Notre-dame-du-bourg</span>&rdquo;&mdash;<i>Digne</i><span class="ralign"><a href="#Page_77">77</a></span></li>
+<li>&ldquo;<span class="smcap">The interior has neither clerestory nor triforium</span>&rdquo;&mdash;<i>Digne</i><span class="ralign"><a href="#Page_81">81</a></span></li>
+<li>&ldquo;<span class="smcap">A large square tower served as a lookout</span>&rdquo;&mdash;<i>Forcalquier</i><span class="ralign"><a href="#Page_86">86</a></span></li>
+<li>&ldquo;<span class="smcap">A suggestive view from the side-aisle</span>&rdquo;&mdash;<i>Forcalquier</i><span class="ralign"><a href="#Page_87">87</a></span></li>
+<li>&ldquo;<span class="smcap">The old round arch of the Bishop's Palace</span>&rdquo;&mdash;<i>Vence</i><span class="ralign"><a href="#Page_92">92</a></span></li>
+<li>&ldquo;<span class="smcap">The low, broad arches, and the great supporting pillars</span>&rdquo;&mdash;<i>Vence</i><span class="ralign"><a href="#Page_93">93</a></span></li>
+<li>&ldquo;<span class="smcap">Higher than them all stands the Cathedral</span>&rdquo;&mdash;<i>Grasse</i><span class="ralign"><a href="#Page_97">97</a></span></li>
+<li>&ldquo;<span class="smcap">The pont d'Avignon</span>&rdquo;<span class="ralign"><a href="#Page_99">99</a></span></li>
+<li>&ldquo;<span class="smcap">The interior has a shallow, gracefully balustraded balcony</span>&rdquo;&mdash;<i>Avignon</i><span class="ralign"><a href="#Page_103">103</a></span></li>
+<li>&ldquo;<span class="smcap">The porch, so classic in detail</span>&rdquo;&mdash;<i>AVIGNON</i><span class="ralign"><a href="#Page_107">107</a></span></li>
+<li><span style="margin-left: 2em;">From an old print</span></li>
+<li>&ldquo;<span class="smcap">Notre-Dame-des-Doms</span>&rdquo;&mdash;<i>Avignon</i><span class="ralign"><a href="#Page_111">111</a></span></li>
+<li>&ldquo;<span class="smcap">The Tower of Philip the Fair</span>&rdquo;&mdash;<i>Villeneuve-les-Avignon</i><span class="ralign"><a href="#Page_114">114</a></span></li>
+<li>&ldquo;<span class="smcap">The great Palace</span>&rdquo;&mdash;<i>Avignon</i><span class="ralign"><a href="#Page_119">119</a></span></li>
+<li>&ldquo;<span class="smcap">On the banks of a pleasant little river is Vaison</span>&rdquo;<span class="ralign"><a href="#Page_123">123</a></span></li>
+<li>&ldquo;<span class="smcap">The ruined castle of the Counts of Toulouse</span>&rdquo;&mdash;<i>Vaison</i><span class="ralign"><a href="#Page_125">125</a></span></li>
+<li>&ldquo;<span class="smcap">The whole apse-end</span>&rdquo;&mdash;<i>Vaison</i><span class="ralign"><a href="#Page_127">127</a></span></li>
+<li>&ldquo;<span class="smcap">The south wall, which is clearly seen from the road</span>&rdquo;&mdash;<i>Vaison</i><span class="ralign"><a href="#Page_129">129</a></span></li>
+<li>&ldquo;<span class="smcap">Two bays open to the ground</span>&rdquo;&mdash;<i>Vaison</i><span class="ralign"><a href="#Page_131">131</a></span></li>
+<li>&ldquo;<span class="smcap">The great piers and small firm columns</span>&rdquo;&mdash;<i>Vaison</i><span class="ralign"><a href="#Page_133">133</a></span></li>
+<li>&ldquo;<span class="smcap">In the midst of the wealth of antique ruins</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_135">135</a></span></li>
+<li>&ldquo;<span class="smcap">The fa&ccedil;ade of saint-trophime</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_137">137</a></span></li>
+<li>&ldquo;<span class="smcap">Right detail&mdash;the portal</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_141">141</a></span></li>
+<li>&ldquo;<span class="smcap">Left detail&mdash;the portal</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_145">145</a></span></li>
+<li>&ldquo;<span class="smcap">Through the cloister arches</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_147">147</a></span></li>
+<li>&ldquo;<span class="smcap">A nave of great and slender height</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_149">149</a></span></li>
+<li>&ldquo;<span class="smcap">The beauty of the whole</span>&rdquo;&mdash;<i>Arles</i><span class="ralign"><a href="#Page_151">151</a></span></li>
+<li>&ldquo;<span class="smcap">The Gothic walk</span>&rdquo;&mdash;Cloister&mdash;<i>Arles</i><span class="ralign"><a href="#Page_153">153</a></span></li>
+<li>&ldquo;<span class="smcap">This interior</span>&rdquo;&mdash;<i>Entrevaux</i><span class="ralign"><a href="#Page_156">156</a></span></li>
+<li>&ldquo;<span class="smcap">The Romanesque walk</span>&rdquo;&mdash;Cloister&mdash;<i>Arles</i><span class="ralign"><a href="#Page_157">157</a></span></li>
+<li>&ldquo;<span class="smcap">One of the three small drawbridges</span>&rdquo;&mdash;<i>Entrevaux</i><span class="ralign"><a href="#Page_159">159</a></span></li>
+<li>&ldquo;<span class="smcap">The Portcullis</span>&rdquo;&mdash;<i>Entrevaux</i><span class="ralign"><a href="#Page_160">160</a></span></li>
+<li>&ldquo;<span class="smcap">A fort that perches on a sharp peak</span>&rdquo;&mdash;<i>Entrevaux</i><span class="ralign"><a href="#Page_161">161</a></span></li>
+<li>&ldquo;<span class="smcap">A true 'Place d'Armes'</span>&rdquo;&mdash;<i>Entrevaux</i><span class="ralign"><a href="#Page_163">163</a></span></li>
+<li>&ldquo;<span class="smcap">The long line of walls that zigzag down the hillside</span>&rdquo;&mdash;<i>Entrevaux</i><span class="ralign"><a href="#Page_165">165</a></span></li>
+<li>&ldquo;<span class="smcap">The church tower stood out against the rocky peak</span>&rdquo;&mdash;<i>Entrevaux</i><span class="ralign"><a href="#Page_169">169</a></span></li>
+<li>&ldquo;<span class="smcap">The Cathedral is near the heavy round towers of the outer ramparts</span>&rdquo;&mdash;<i>Sisteron</i><span class="ralign"><a href="#Page_172">172</a></span></li>
+<li>&ldquo;<span class="smcap">The bridge across the Durance</span>&rdquo;&mdash;<i>Sisteron</i><span class="ralign"><a href="#Page_173">173</a></span></li>
+<li>&ldquo;<span class="smcap">Entrances to two narrow streets</span>&rdquo;&mdash;<i>Sisteron</i><span class="ralign"><a href="#Page_176">176</a></span></li>
+<li>&ldquo;<span class="smcap">It was a low-vaulted, sombre little cloister</span>&rdquo;&mdash;<i>Cavaillon</i><span class="ralign"><a href="#Page_182">182</a></span></li>
+<li>&ldquo;<span class="smcap">The Cathedral's tower and turret</span>&rdquo;&mdash;<i>Cavaillon</i><span class="ralign"><a href="#Page_187">187</a></span></li>
+<li>&ldquo;<span class="smcap">The main body of the church</span>&rdquo;&mdash;<i>Apt</i><span class="ralign"><a href="#Page_191">191</a></span></li>
+<li>&ldquo;<span class="smcap">The Virgin and Saint Anne&mdash;by Benzoni</span>&rdquo;&mdash;<i>Apt</i><span class="ralign"><a href="#Page_194">194</a></span></li>
+<li>&ldquo;<span class="smcap">Saint-Martin-de-Br&ocirc;mes with its high slim tower</span>&rdquo;<span class="ralign"><a href="#Page_197">197</a></span></li>
+<li>&ldquo;<span class="smcap">The fortified Monastery of the Templars</span>&rdquo;&mdash;<i>near Gr&eacute;oux</i><span class="ralign"><a href="#Page_199">199</a></span></li>
+<li>&ldquo;<span class="smcap">The tower of Notre-Dame-du-Si&egrave;ge</span>&rdquo;&mdash;<i>Riez</i><span class="ralign"><a href="#Page_201">201</a></span></li>
+<li>&ldquo;<span class="smcap">Nothing could be more quaintly old and modest than the Baptistery</span>&rdquo;&mdash;<i>Riez</i><span class="ralign"><a href="#Page_202">202</a></span></li>
+<li>&ldquo;<span class="smcap">Between the columns an altar has been placed</span>&rdquo;&mdash;Baptistery, <i>Riez</i><span class="ralign"><a href="#Page_203">203</a></span></li>
+<li>&ldquo;<span class="smcap">The beautiful granite columns</span>&rdquo;&mdash;<i>Riez</i><span class="ralign"><a href="#Page_207">207</a></span></li>
+<li>&ldquo;<span class="smcap">The mail-coach of senez</span>&rdquo;<span class="ralign"><a href="#Page_211">211</a></span></li>
+<li>&ldquo;<span class="smcap">The open square</span>&rdquo;&mdash;<i>Senez</i><span class="ralign"><a href="#Page_213">213</a></span></li>
+<li>&ldquo;<span class="smcap">The palace of its prelates</span>&rdquo;&mdash;<i>Senez</i><span class="ralign"><a href="#Page_214">214</a></span></li>
+<li>&ldquo;<span class="smcap">The Cathedral</span>&rdquo;&mdash;<i>Senez</i><span class="ralign"><a href="#Page_215">215</a></span></li>
+<li>&ldquo;<span class="smcap">The Cathedral</span>&rdquo;&mdash;<i>Senez</i><span class="ralign"><a href="#Page_218">218</a></span></li>
+<li>&ldquo;<span class="smcap">Tapestries beautify the choir-walls</span>&rdquo;&mdash;<i>Senez</i><span class="ralign"><a href="#Page_219">219</a></span></li>
+<li>&ldquo;<span class="smcap">Between branches full of apple-blossoms&mdash;the church as the cur&eacute; saw it</span>&rdquo;&mdash;<i>Senez</i><span class="ralign"><a href="#Page_221">221</a></span></li>
+<li>&ldquo;<span class="smcap">The south aisle</span>&rdquo;&mdash;<i>Aix</i><span class="ralign"><a href="#Page_224">224</a></span></li>
+<li>&ldquo;<span class="smcap">The Romanesque portal</span>&rdquo;&mdash;<i>Aix</i><span class="ralign"><a href="#Page_225">225</a></span></li>
+<li>&ldquo;<span class="smcap">The cloister</span>&rdquo;&mdash;<i>Aix</i><span class="ralign"><a href="#Page_227">227</a></span></li>
+<li>&ldquo;<span class="smcap">The Cathedral</span>&rdquo;&mdash;<i>Aix</i><span class="ralign"><a href="#Page_231">231</a></span></li>
+<li>&ldquo;<span class="smcap">An amphitheatre which rivals the art of the Coliseum</span>&rdquo;&mdash;<i>N&icirc;mes</i><span class="ralign"><a href="#Page_238">238</a></span></li>
+<li>&ldquo;<span class="smcap">The general effect is somewhat that of a port-coch&egrave;re</span>&rdquo;&mdash;<i>Montpellier</i><span class="ralign"><a href="#Page_244">244</a></span></li>
+<li>&ldquo;<span class="smcap">The finest view is that of the apse</span>&rdquo;&mdash;<i>Montpellier</i><span class="ralign"><a href="#Page_245">245</a></span></li>
+<li>&ldquo;<span class="smcap">The clock tower is very square and thick</span>&rdquo;&mdash;<i>B&eacute;ziers</i><span class="ralign"><a href="#Page_248">248</a></span></li>
+<li>&ldquo;<span class="smcap">The quaint and pretty fountain</span>&rdquo;&mdash;<i>B&eacute;ziers</i><span class="ralign"><a href="#Page_250">250</a></span></li>
+<li>&ldquo;<span class="smcap">The door of the cloister</span>&rdquo;&mdash;<i>Narbonne</i><span class="ralign"><a href="#Page_255">255</a></span></li>
+<li>&ldquo;<span class="smcap">This is a place of deserted solitude</span>&rdquo;&mdash;<i>Narbonne</i><span class="ralign"><a href="#Page_257">257</a></span></li>
+<li>&ldquo;<span class="smcap">These flying-buttresses give to the exterior its most curious and</span></li>
+<li><span style="margin-left: 2em;" class="smcap">beautiful effect&rdquo;&mdash;<i>Narbonne</i></span><span class="ralign"><a href="#Page_261">261</a></span></li>
+<li>&ldquo;<span class="smcap">All the old buildings of the city are of Spanish origin</span>&rdquo;&mdash;<i>Perpignan</i><span class="ralign"><a href="#Page_265">265</a></span></li>
+<li>&ldquo;<span class="smcap">The unfinished fa&ccedil;ade</span>&rdquo;&mdash;<i>Perpignan</i><span class="ralign"><a href="#Page_267">267</a></span></li>
+<li>&ldquo;<span class="smcap">The stony street of the hillside</span>&rdquo;&mdash;<i>Carcassonne</i><span class="ralign"><a href="#Page_269">269</a></span></li>
+<li>&ldquo;<span class="smcap">The ancient Cross</span>&rdquo;&mdash;<i>Carcassonne</i><span class="ralign"><a href="#Page_272">272</a></span></li>
+<li>&ldquo;<span class="smcap">Often too little time is spent upon the nave</span>&rdquo;&mdash;<i>Carcassonne</i><span class="ralign"><a href="#Page_275">275</a></span></li>
+<li>&ldquo;<span class="smcap">The choir is of the xiv century</span>&rdquo;&mdash;<i>Carcassonne</i><span class="ralign"><a href="#Page_279">279</a></span></li>
+<li>&ldquo;<span class="smcap">The fa&ccedil;ade, straight and massive</span>&rdquo;&mdash;<i>Carcassonne</i><span class="ralign"><a href="#Page_281">281</a></span></li>
+<li>&ldquo;<span class="smcap">Perspective of the Romanesque</span>&rdquo;&mdash;<i>Carcassonne</i><span class="ralign"><a href="#Page_283">283</a></span></li>
+<li>&ldquo;<span class="smcap">The nave of the xiii century is an aisle-less chamber, low and</span></li>
+<li><span style="margin-left: 2em;"><span class="smcap">broadly arched</span></span>&rdquo;&mdash;<i>Toulouse</i><span class="ralign"><a href="#Page_291">291</a></span></li>
+<li>&ldquo;<span class="smcap">The present Cathedral is a combination of styles</span>&rdquo;&mdash;<i>Toulouse</i><span class="ralign"><a href="#Page_294">294</a></span></li>
+</ul>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIST_OF_WORKS_CONSULTED" id="LIST_OF_WORKS_CONSULTED"></a>LIST OF WORKS CONSULTED.</h2>
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr><td align='left'><span class="smcap">Bayet.</span></td><td align='left'><i>Pr&eacute;cis de l'Histoire de l'Art</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Bodley.</span></td><td align='left'><i>France</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Bourg.</span></td><td align='left'><i>Viviers, ses Monuments et son Histoire</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Choisy.</span></td><td align='left'><i>Histoire de l'Architecture</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Cougny.</span></td><td align='left'><i>L'Art au Moyen Age</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Cook.</span></td><td align='left'><i>Old Provence</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Corroyer.</span></td><td align='left'><i>L'Architecture romane</i>.</td></tr>
+<tr><td>"</td><td align='left'><i>L'Architecture gothique</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Cox.</span></td><td align='left'><i>The Crusades</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Darcel.</span></td><td align='left'> <i>Le Mouvement arch&eacute;ologique relatif au Moyen Age</i>.</td></tr>
+<tr><td align='left'><span class="smcap">&Egrave;s.</span></td><td align='left'><i>L'&Eacute;glise Saint-Etienne, Cath&eacute;drale de Toulouse</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Dempster.</span></td><td align='left'> <i>Maritime Alps</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Duc&eacute;r&eacute;.</span></td><td align='left'> <i>Bayonne historique et pittoresque</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Duruy. </span></td><td align='left'><i>Histoire de France</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Ferree. </span></td><td align='left'><i>Articles on French Cathedrals appearing in the &ldquo;Architectural Record</i>.&rdquo;</td></tr>
+<tr><td align='left'><span class="smcap">Gard&egrave;re.</span> </td><td align='left'><i>Saint-Pierre de Condom et ses Constructeurs</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Gould.</span> </td><td align='left'><i>In Troubadour Land</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Guizot.</span></td><td align='left'><i>Histoire de France</i>.</td></tr>
+<tr><td align='center'>"</td><td align='left'><i>Histoire de la Civilisation en France</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Hallam.</span></td><td align='left'><i>The Middle Ages</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Hare.</span></td><td align='left'><i>South-eastern France</i>.</td></tr>
+<tr><td align='center'>"</td><td align='left'><i>South-western France</i>.</td></tr>
+<tr><td>&mdash;</td><td align='left'><i>History of Joanna of Naples, Queen of Sicily</i> (<i>published</i> 1824).</td></tr>
+<tr><td align='left'><span class="smcap">Hunnewell.</span></td><td align='left'><i>Historical Monuments of France</i>.</td></tr>
+<tr><td align='left'><span class="smcap">James.</span></td><td align='left'><i>A Little Tour through France</i>.</td></tr>
+<tr><td>&mdash;</td><td align='left'><i>Le Moyen Age</i> (<i>avec notice par Roger-Mil&egrave;s</i>).</td></tr>
+<tr><td align='left'><span class="smcap">Larned</span>.</td><td align='left'><i>Churches and Castles of Medi&aelig;val France</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Lasserre, L'abb&eacute;.</span></td><td align='left'><i>Recherches historiques sur la Ville d'Alet et son ancien Dioc&egrave;se</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Lechevallier</span></td></tr>
+<tr><td align='left'><span style="margin-left: 1em;"><span class="smcap">Chevignard.</span></span></td><td align='left'><i>Les Styles fran&ccedil;ais</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Macgibbon.</span></td><td align='left'><i>The Architecture of Provence and the Riviera</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Marlavagne.</span></td><td align='left'><i>Histoire de la Cath&eacute;drale de Rodez</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Martin.</span></td><td align='left'><i>Histoire de France</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Masson.</span></td><td align='left'><i>Louis IX and the XIII Century</i>.</td></tr>
+<tr><td align='center'>"</td><td align='left'><i>Francis I and the XVI Century</i>.</td></tr>
+<tr><td align='left'><span class="smcap">M&eacute;rim&eacute;e.</span></td><td align='left'><i>&Eacute;tudes sur les Arts au Moyen Age</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Michelet.</span></td><td align='left'><i>Histoire de France</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Michelet and</span></td></tr>
+<tr><td align='left'><span style="margin-left: 1em;" class="smcap">Masson.</span></td><td align='left'><i>Medi&aelig;valism in France</i>.</td></tr>
+<tr><td>&mdash;</td><td align='left'><i>Monographie de la Cath&eacute;drale d'Albi</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Montalembert.</span></td><td align='left'><i>Les Moines d'Occident</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Milman.</span></td><td align='left'><i>History of Latin Christianity</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Palustre.</span></td><td align='left'><i>L'Architecture de la Renaissance</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Pastor.</span></td><td align='left'><i>Lives of the Popes</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Pennell.</span></td><td align='left'><i>Play in Provence</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Quicherat.</span></td><td align='left'><i>M&eacute;langes d'Arch&eacute;ologie au Moyen Age</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Renan.</span></td><td align='left'><i>&Eacute;tudes sur la Politique religieuse du R&egrave;gne de Philippe le Bel</i>.</td></tr>
+<tr><td align='left'><span class="smcap">R&eacute;voil.</span></td><td align='left'><i>Architecture romane du Midi de la France</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Rosieres.</span></td><td align='left'><i>Histoire de l'Architecture</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Schnasse.</span></td><td align='left'><i>Geschichte der bildenden K&uuml;nste</i>. (<i>Volume III, etc</i>.)</td></tr>
+<tr><td align='left'><span class="smcap">Sentetz.</span></td><td align='left'><i>Sainte-Marie d'Auch</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Sorbets.</span></td><td align='left'><i>Histoire d'Aire-sur-l'Adour[Pg 17]</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Souli&eacute;.</span></td><td align='left'><i>Interesting old novels whose scenes are laid in the South of France</i>:&mdash;</td></tr>
+<tr><td align='center'>"</td><td align='left'>&ldquo;<i>Le Comte de Toulouse</i>.&rdquo;</td></tr>
+<tr><td align='center'>"</td><td align='left'>&ldquo;<i>Le Vicomte de B&eacute;ziers</i>.&rdquo;</td></tr>
+<tr><td align='center'>"</td><td align='left'>&ldquo;<i>Le Ch&acirc;teau des Pyr&eacute;n&eacute;es</i>,&rdquo; <i>etc</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Stevenson.</span></td><td align='left'><i>Travels with a Donkey in the C&eacute;vennes</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Taine.</span></td><td align='left'><i>The Ancient Regime</i>.</td></tr>
+<tr><td align='center'>"</td><td align='left'><i>Journeys through France</i>.</td></tr>
+<tr><td align='center'>"</td><td align='left'><i>Origins of Contemporary France</i>.</td></tr>
+<tr><td align='center'>"</td><td align='left'><i>Tour through the Pyr&eacute;n&eacute;es</i>.</td></tr>
+<tr><td>&mdash;</td><td align='left'><i>'Twixt France and Spain</i>.</td></tr>
+<tr><td align='left'><span class="smcap">Viollet-le-Duc.</span></td><td align='left'><i>Histoire d'une Cath&eacute;drale et d'un H&ocirc;tel-de-Ville</i>.</td></tr>
+<tr><td align='center'>"</td><td align='left'><i>Entretiens sur l'Architecture</i>.</td></tr>
+<tr><td align='center'>"</td><td align='left'><i>Dictionnaire raisonn&eacute; de l'Architecture fran&ccedil;aise du XI<sup>e</sup> au XVI<sup>e</sup> si&egrave;cle</i>.</td></tr>
+</tbody></table></div>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2>The South of France.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>I.</h2><p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<span class="totoc"><a href="#toc">Top</a></span>
+
+<h3>THE SOUTH OF FRANCE.</h3>
+
+
+<p>If it is only by an effort that we appreciate the valour of Columbus in
+the XV century, his secret doubts, his temerity, how much fainter is our
+conception of the heroism of the early Mediterranean navigators. Steam
+has destroyed for us the awful majesty of distance, and we can never
+realise the immensity of this &ldquo;great Sea&rdquo; to the ancients. To Virgil the
+adventures of the &ldquo;pious &AElig;neas&rdquo; were truly heroic. The western shores of
+the Mediterranean were then the &ldquo;end of the earth,&rdquo; and even during the
+first centuries of our own era, he who ventured outside the Straits of
+Gibraltar tempted either Providence or the Devil and was very properly
+punished by falling over the edge of the earth into everlasting
+destruction. &ldquo;Why,&rdquo; asks a medi&aelig;val text-book of science, &ldquo;is the sun so
+red in the evening?&rdquo; And this convincing answer follows, &ldquo;Because he
+looks down upon Hell.&rdquo;</p>
+
+<p>For centuries before the Christian era the South of France, with Spain,
+lay in the unknown west end of the Sea. Along its eastern shores lay
+civilisations hoary with age; Carthage, to the South, was moribund;
+Greece was living on the prestige of her glorious past; while Rome was
+becoming all-powerful. Legend tells that adventurous Ph&oelig;nicians and
+Greeks discovered the French coasts, that N&icirc;mes was<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> founded by a Tyrian
+Hercules, and Marseilles, about 600 <span class="smcap">B.C.</span>, by a Ph&oelig;nician trader who
+married a chief's daughter and settled at the mouth of the Rhone. But
+these early settlements were merely isolated towns, which were not
+interdependent;&mdash;scarcely more than trading posts. It was Rome who took
+southern Gaul unto herself, and after Roman fashion, built cities and
+towns and co-ordinated them into well-regulated provinces; and it is
+with Roman rule that the connected history of Gaul begins.</p>
+
+<p>From the outset we meet one basic fact, so difficult to realise when
+France is considered as one country, the essential difference between
+the North and the South. C&aelig;sar found in the South a partial Roman
+civilisation ready for his organisation; and old, flourishing cities,
+like Narbonne, Aix, and Marseilles. In the North he found the people
+advanced no further than the tribal stage, and Paris&mdash;not even Paris in
+name&mdash;was a collection of mud huts, which, from its strategic position,
+he elevated into a camp. The two following centuries, the height of
+Roman dominion in France, accentuated these differences. The North was
+governed by the Romans, never assimilated nor civilised by them. The
+South eagerly absorbed all the culture of the Imperial City; her
+religions and her pleasures, her beautiful Temples and great
+Amphitheatres, finally her morals and effeminacy, till in the II century
+of our era, anyone living a life of luxurious gaiety was popularly said
+to have &ldquo;set sail for Marseilles.&rdquo; To this day the South boasts that it
+was a very part of Rome, and Rome was not slow to recognise the claim.
+Gallic poets celebrated the <span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span>glory of Augustus, a Gaul was the master
+of Quintilian, and Antoninus Pius, although born in the Imperial City,
+was by parentage a native of N&icirc;mes.</p>
+
+<p><span class='pagenum'><a name="Page_5" id="Page_5"></a></span></p>
+<div class="figcenter" style="width: 395px;">
+<img src="images/illus005.jpg" width="395" height="500" alt="" title="CARCASSONNE, THE INVULNERABLE"/>
+<span class="caption">&ldquo;CARCASSONNE, THE INVULNERABLE.&rdquo;</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Not to the rude North, but to this society, so pagan, so
+pleasure-loving, came the first missionaries of the new Christian faith,
+to meet in the arenas of Gaul the fate of their fellow-believers in
+Rome, to hide in subterranean caves and crypts, to endure, to persist,
+and finally to conquer. In the III and IV centuries many of the great
+Bishoprics were founded, Avignon, Narbonne, Lyons, Arles, and
+Saint-Paul-trois Ch&acirc;teaux among others; but these same years brought
+political changes which seemed to threaten both Church and State.</p>
+
+<p>Roman power was waning. Tribes from across the Rhine were gathering,
+massing in northern Gaul, and its spirit was antagonistic to the
+contentment of the rich Mediterranean provinces. The tribes were brave,
+ruthless, and barbarous. Peace was galling to their uncontrollable
+restlessness. The Gallo-Romans were artistic, literary, idle, and
+luxurious. They fell, first to milder but heretical foes; then to the
+fierce but orthodox Frank; and the story of succeeding years was a
+chronicle of wars. Like a great swarm of locusts, the
+Saracens&mdash;conquerors from India to Spain&mdash;came upon the South. They took
+Narbonne, N&icirc;mes, and even Carcassonne, the Invulnerable. They besieged
+Toulouse, and almost destroyed Bordeaux. Other cities, perhaps as great
+as these, were razed to the very earth and even their names are now
+forgotten. Europe was menaced; the South of France was all but
+destroyed.<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
+
+<p>Again the Frank descended; and like a great wind blowing clouds from a
+stormy sky, Charles Martel swept back the Arabs and saved Christianity.
+Before 740, he had returned a third time to the South, not as a
+deliverer, but for pure love of conquest; and by dismantling N&icirc;mes,
+destroying the maritime cities of Maguelonne and Agde, and taking the
+powerful strongholds of Arles and Marseilles, he paved the way for his
+great descendant who nominally united &ldquo;all France.&rdquo;</p>
+
+<p>But Charlemagne's empire fell in pieces; and as Carlovingian had
+succeeded Merovingian, so in 987 Capetian displaced the weak descendants
+of the mighty head of the &ldquo;Holy Roman Empire.&rdquo; The map changed with
+bewildering frequency; and in these changes, the nobles&mdash;more stable
+than their kings&mdash;grew to be the real lords of their several domains.
+History speaks of France from Clovis to the Revolution as a kingdom; but
+even later than the First Crusade the kingdom lay somewhere between
+Paris and Lyons; the Royal Domain, not France as we know it now. The
+Duchy of Aquitaine, the Duchy of Brittany, Burgundy, the Counties of
+Toulouse, Provence, Champagne, Normandy, and many smaller possessions,
+were as proudly separate in spirit as Norway and Sweden, and often as
+politically distinct as they from Denmark.</p>
+
+<p>In the midst of these times of turmoil the Church had steadily grown.
+Every change, however fatal to North or South, brought to her new
+strength. Confronted with cultured paganism in the first centuries, the
+blood of her martyrs made truly fruitful seed for her victories; and
+later,<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> facing paganism of another, wilder race, she triumphed more
+peacefully in the one supreme conversion of Clovis; and the devotion and
+interest which from that day grew between Church and King, gradually
+made her the greatest power of the country. After the decline of Roman
+culture the Church was the one intellectual, almost peaceful, and
+totally irresistible force. The great lords scorned learning. An Abbot,
+quaintly voicing the Church's belief, said that &ldquo;every letter writ on
+paper is a sword thrust in the devil's side.&rdquo; When there was cessation
+of war, the occupation of men, from Clovis' time throughout Medi&aelig;valism,
+was gone. They could not read; they could not write; the joy of hunting
+was, in time, exhausted. They were restless, lost. The justice meted out
+by the great lords was, too often, the right of might. But at the
+Council of Orl&eacute;ans, in 511, a church was declared an inviolable refuge,
+where the weak should be safe until their case could be calmly and
+righteously judged. The beneficent care of the Church cannot be
+overestimated. Between 500 and 700 she had eighty-three councils in
+Gaul, and scarcely one but brought a reform,&mdash;a real amelioration of
+hardships.</p>
+
+<p>Something of the general organisation of her great power in those rude
+times deserves more than the usual investigation. Even in its small
+place in the &ldquo;Cathedrals and Cloisters of the South of France,&rdquo; it is an
+interesting bit of Church politics and psychology.</p>
+
+<div class="figleft" style="width: 282px;">
+<img src="images/illus010.jpg" width="282" height="500" alt="" title="The tower of an early maritime cathedral"/>
+<span class="caption">&ldquo;THE TOWER OF AN EARLY MARITIME CATHEDRAL.&rdquo;&mdash;AGDE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The ecclesiastical tradition of France goes back to the very first years
+of the Christian era. Lazarus, Mary Magdalene, Martha, and Mary the
+Mother of James, are only<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> a few of those intimately connected with
+Christ Himself, who are believed to have come into Gaul; and in their
+efforts to systematically and surely establish Christianity, to have
+founded the first French Bishoprics. This is tradition. But even the
+history of the II century tells of a venerable, martyred Bishop of
+Lyons, a disciple of that Polycarp who knew Saint John; and in the III
+century Gaul added no less than fourteen to the Sees she already had.
+Enthusiastic tradition aside, it is evident that the missionary ardour
+of the Gallic priests was intense; and the glory of their early
+victories belongs entirely to a branch of the Church known as &ldquo;the
+Secular Clergy.&rdquo;</p>
+
+<p>The other great branch, &ldquo;the Religious Orders,&rdquo; were of later
+institution. From the oriental deserts of the Thebaid, where Saint
+Anthony had early practised the austerities of monkish life, Saint
+Martin drew his inspiration for<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> the monasticism of the West. But it was
+not until the last of the IV century that he founded, near Poitiers, the
+first great monastery in France. The success of this form of pious life,
+if not altogether edifying, was immediate. Devotional excesses were less
+common in the temperate climate of France than under the exciting
+oriental sun, yet that most bizarre of Eastern fanatics, the &ldquo;Pillar
+Saint,&rdquo; had at least one disciple in Gaul. He&mdash;the good Brother
+Wulfailich&mdash;began the life of sanctity by climbing a column near Tr&egrave;ves,
+and prepared himself to stand on it, barefooted, through winter and
+summer, till, presumably, angels should bear him triumphantly to heaven.
+But the West is not the East. And the good Bishops of the neighbourhood
+drew off, instead of waiting at the pillar, as an exalted emperor had
+humbly stood beneath that of Saint Simeon Stylites. Far from being
+awe-struck, they were scandalised; and they forced Wulfailich to descend
+from his eminence, and destroyed it. This is one of the first Gallic
+instances of the antagonisms between the &ldquo;secular&rdquo; and the &ldquo;regular&rdquo;
+branches of the reverend clergy.</p>
+
+<p>Within the French Church from early times, these two great forces were
+arrayed, marching toward the same great end,&mdash;but never marching
+together. It is claimed they were, and are, inimical. In theory, in
+ideal, nothing could be further from truth. They were in fact sometimes
+unfriendly; and more often than not mutually suspicious. For the great
+Abbot inevitably lived in a Bishop's See; and with human tempers beneath
+their churchly garb, Abbot and Bishop could not always agree. Now the
+Bishop was<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> lord of the clergy, supreme in his diocese; but should he
+call to account the lowest friar of any monastery, my Lord Abbot replied
+that he was &ldquo;answerable only to the Pope,&rdquo; and retired to his vexatious
+&ldquo;imperium in imperio.&rdquo;</p>
+
+<p>The beginning of the VI century saw much that was irregular in monastic
+life. The whole country was either in a state of war or of unrestful
+expectation of war. Many Abbeys were yet to be established; many merely
+in process of foundation. Wandering brothers were naturally beset by the
+dangers and temptations of an unsettled life; and if history may be
+believed, fell into many irregularities and even shamed their cloth by
+licentiousness. Into this disorder came the great and holy Benedict, the
+&ldquo;learnedly ignorant, the wisely unlearned,&rdquo; the true organiser of
+Western Monachism. Under his wise &ldquo;Rules&rdquo; the Abbey of the VI century
+was transformed. It became &ldquo;not only a place of prayer and meditation,
+but a refuge against barbarism in all its forms. And this home of books
+and knowledge had departments of all kinds, and its dependencies formed
+what we would call to-day a 'model farm.' There were to be found
+examples of activity and industry for the workman, the common tiller of
+the soil, or the land-owner himself. It was a school,&rdquo; continues
+Thierry, &ldquo;not of religion, but of practical knowledge; and when it is
+considered that there were two hundred and thirty-eight of such schools
+in Clovis' day, the power of the Orders, though late in coming, will be
+seen to have grown as great as that of the Bishops.&rdquo;</p>
+
+<p>From these two branches sprang all that is greatest in<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span> the
+ecclesiastical architecture of France. As their strength grew, their
+respective churches were built, and to-day, as a sign of their dual
+power, we have the Abbey and the Cathedral.</p>
+
+<p>The Bishop's church had its prototype in the first Christian meeting
+places in Rome and was planned from two basic ideas,&mdash;the part of the
+Roman house which was devoted to early Christian service, and the
+growing exigencies of the ritual itself. At the very first of the
+Christian era, converts met in any room, but these little groups so soon
+grew to communities that a larger place was needed and the &ldquo;basilica&rdquo; of
+the house became the general and accepted place of worship. The
+&ldquo;basilica&rdquo; was composed of a long hall, sometimes galleried, and a
+hemicycle; and its general outline was that of a letter T. Into this
+purely secular building, Christian ceremonials were introduced. The
+hemicycle became the apse; the gallery, a clerestory; the hall, a
+central nave. Here the paraphernalia of the new Church were installed.
+The altar stood in the apse; and between it and the nave, on either
+side, a pulpit or reading-desk was placed. Bishop and priests sat around
+the altar, the people in the nave. This disposition of clergy, people,
+and the furniture of the sacred office is essentially that of the
+Cathedral of to-day. There were however many amplifications of the first
+type. The basilica form, T, was enlarged to that of a cross; and
+increasingly beautiful architectural forms were evolved. Among the first
+was the tower of the early Italian churches. This single tower was
+doubled in the French Romanesque, often multiplied again<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> by Gothic
+builders, and in Byzantine churches, increased to seven and even nine
+domes. Transepts were added, and as, one by one, the arts came to the
+knowledge of the Middle Ages and the Renaissance, each was pressed into
+the service of the Cathedral builders. The interior became so beautiful
+with carvings, windows of marvellously painted glass, rich tapestries
+and frescoes, that the ritual seemed yearly more impressive and
+awe-inspiring. The old, squat exterior of early days was forgotten in
+new height and majesty, and the Cathedral became the dominant building
+of the city.</p>
+
+<p>Although the country was early christianised, and on the map of
+Merovingian France nearly all the present Cathedral cities of the
+Mediterranean were seats of Bishoprics, we cannot now see all the
+successive steps of the church architecture of the South. The main era
+of the buildings which have come down to us, is the XI-XIV centuries. Of
+earlier types and stages little is known, little remains.</p>
+<p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+
+<div class="figcenter" style="width: 289px;">
+<img src="images/illus015.jpg" width="289" height="500" alt="" title="A NAVE OF THE EARLIER STYLE" />
+<span class="caption">&ldquo;A NAVE OF THE EARLIER STYLE.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">ToList</a></span></div>
+
+<p>In general, Gallic churches are supposed to have been basilican, with
+all the poverty of the older style. Charlemagne's architects, with San
+Vitale in mind, gave a slight impetus in the far-away chapel at
+Aix-la-Chapelle, and Gregory of Tours tells us that Bishop Perpetuus
+built a &ldquo;glorious&rdquo; church at Tours. But his description is meagre. After
+a few mathematical details, he returns to things closer to his
+heart,&mdash;the Church's atmosphere of holiness, the emblematic radiance of
+the candle's light, the ecstasy of worshippers who seemed &ldquo;to breathe
+the air of Paradise.&rdquo; And Saint Gregory's is the religious, uncritical
+spirit of his <span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span>day, whose interest was in ecclesiastical establishment
+rather than ecclesiastical architecture. Churches there were in numbers;
+but they were not architectural achievements. Their building was like
+the planting of the flag; they were new outposts, signs of an advance of
+the Faith. With this missionary spirit in the Church, with priests still
+engaged in christianising and monks in establishing themselves on their
+domains, with a very general ignorance of art, with the absorbing
+interest of the powerful and great in warfare, and the very great
+struggle among the poor for existence, architecture before the X century
+had few students or protectors. France had neither sufficient political
+peace nor ecclesiastical wealth for elaborate church structures. No
+head, either of Church or State, had taste and time enough to inaugurate
+such works.</p>
+
+<p>Many causes have combined to destroy such churches as then existed. If
+they escaped the rasings and fires of a siege, they were often destroyed
+by lightning, or decayed by years; and some of the fragments which
+endured to the XIII century were torn down to make room for more
+beautiful buildings.</p>
+
+<p>It was the XI and XII centuries which saw the important beginnings of
+the great Cathedrals of both North and South. These were the years when
+religion was the dominant idea of the western world,&mdash;when everything,
+even warfare, was pressed into its service. Instead of devastating their
+own and their neighbour's country, Christian armies were devastating the
+Holy Land; doing to the Infidel in the name of their religion what he,
+in the name of his, had formerly<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> done to them. The capture of Jerusalem
+had triumphantly ended the First Crusade; the Church was everywhere
+victorious, and the Pope in actual fact the mightiest monarch of the
+earth. These were the days when Peter the Hermit's cry, &ldquo;God wills it,&rdquo;
+aroused the world, and aroused it to the most diverse accomplishments.</p>
+
+<p>One form of this activity was church building; but there were other
+causes than religion for the general magnificence of the effort. Among
+these was communal pride, the interesting, half-forgotten motive of much
+that is great in medi&aelig;val building.</p>
+
+<p>The Medi&aelig;valism of the old writers seems an endless pageant, in which
+indefinitely gorgeous armies &ldquo;march up the hill and then march down
+again;&rdquo; in newer histories this has disappeared in the long struggle of
+one class with another; and in neither do we reach the individual, nor
+see the daily life of the people who are the backbone of a nation. Yet
+these are the people we must know if we are to have a right conception
+of the Cathedral's place in the living interest of the Middle Ages. For
+the Bishop's church was in every sense a popular church. The Abbey was
+built primarily for its monks, and the Abbey-church for their meditation
+and worship. The French Cathedral was the people's, it was built by
+their money, not money from an Abbey-coffer. It did not stand, as the
+Cathedral of England, majestic and apart, in a scholarly close; it was
+in the open square of the city; markets and fairs were held about it;
+the doors to its calm and rest opened directly on the busiest, every-day
+bustle. It is not a mere architectural relic, as its building was never
+a mere architectural feat. It is the symbol of a past stage of life, a
+majestic part of the picture we conjure before our mind's eye, when we
+consider Medi&aelig;valism.<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
+
+<div class="figcenter" style="width: 266px;">
+<img src="images/illus019.jpg" width="266" height="500" alt="" title="A NAVE OF THE LATER STYLE"/>
+<span class="caption">&ldquo;A NAVE OF THE LATER STYLE.&rdquo;&mdash;RODEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+Such a picture of a city of another country and of the late Middle Ages
+exists in the drama of Richard Wagner's Meistersinger; and his Nuremberg
+of the XVI century, with changes of local colour, is the type of all
+medi&aelig;val towns. General travel was unknown. The activity of the great
+roads was the march of armies, the roving of marauders, the journeys of
+venturesome merchants or well-armed knights. Not only roads, but even
+streets were unsafe at night; and after the sun had set he who had gone
+about freely and carelessly during the day, remained at home or ventured
+out with much caution. When armies camped about her walls, the city was
+doubtless much occupied with outside happenings. But when the camp broke
+up and war was far away, her shoemaker made his shoes, her goldsmith,
+fine chains and trinkets, her merchants traded in the market-place.
+Their interests were in street brawls, romancings, new &ldquo;privileges,&rdquo; the
+work or the feast of the day&mdash;in a word town-topics. Yet being as other
+men, the burghers also were awakened by the energy of the age, and
+instead of wasting it in adventures and wars, their interest took the
+form of an intense local pride, narrow, but with elements of grandeur,
+seldom selfish, but civic.</p>
+
+<p>This absence of the personal element is nowhere better illustrated than
+in Cathedral building. Of all the really<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> great men who planned the
+Cathedrals of France, almost nothing is known; and by searching, little
+can be found out. Who can give a dead date, much less a living fact,
+concerning the life of that Gervais who conceived the great Gothic
+height of Narbonne? Who can tell even the name of him who planned the
+sombre, battlemented walls of Agde, or of that great man who first saw
+in poetic vision the delicate choir of Saint-Nazaire in Carcassonne?
+Artists have a well-preserved personality,&mdash;cathedral-builders, none.
+Robert of Luzarches who conceived the &ldquo;Parthenon of all Gothic
+architecture,&rdquo; and the man who planned stately Sens and the richness of
+Canterbury, are as unknown to us as the quarries from which the stones
+of their Cathedrals were cut. It is not the Cathedral built by Robert of
+Luzarches belonging to Amiens, as it is the Assumption by Rubens
+belonging to Antwerp. It is scarcely the Cathedral of its patron, Saint
+Firmin. It is the Cathedral of Amiens.<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
+
+<div class="figcenter" style="width: 385px;">
+<img src="images/illus023.jpg" width="385" height="500" alt="" title="THE DELICATE CHOIR OF SAINT-NAZAIRE"/>
+<span class="caption">&ldquo;THE DELICATE CHOIR OF SAINT-NAZAIRE.&rdquo;&mdash;CARCASSONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>We hear many learned disquisitions on the decay of the art of church
+building. Lack of time in our rushing age, lack of patience, decline of
+religious zeal, or change in belief, these are some of the popular
+reasons for this architectural degeneracy. Strange as it may seem none
+of these have had so powerful an influence as the invention of printing.
+The first printing-press was made in the middle of the XV
+century,&mdash;after the conception of the great Cathedrals. In an earlier
+age, when the greatest could neither read nor write and manuscripts even
+in monasteries were rare, sculpture and carving were the layman's books,
+and <span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span>Cathedrals were not only places of worship, they were the
+people's religious libraries where literature was cut in stone.</p>
+
+<p>In the North, the most unique form of this literature was the drama of
+the Breton Calvaries, which portrayed one subject and one only,&mdash;the
+&ldquo;Life and Passion of Christ,&rdquo; taken from Prophecy, Tradition, and the
+Gospels. Cathedrals, both North and South, used the narrative form. They
+told story after story; and their makers showed an intimate knowledge of
+Biblical lore that would do credit to the most ardent theological
+student. At N&icirc;mes, by no means the richest church in carvings, there are
+besides the Last Judgment and the reward of the Evil and the
+Righteous,&mdash;which even a superficial Christian should know,&mdash;many of the
+stories of the Book of Genesis. At Arles, there is the Dream of Jacob,
+the Dream of Joseph, the Annunciation, the Nativity, Purification,
+Massacre of the Innocents, the Flight into Egypt; almost a Bible in
+stone. In these days of books and haste few would take the trouble to
+study such sculptured tales. But their importance to the unlettered
+people of the Middle Ages cannot be overestimated; and the incentive to
+magnificence of artistic conception was correspondingly great.</p>
+
+<p>The main era of Cathedral building is the same all over France. But with
+the general date, all arbitrary parallel between North and South
+abruptly ends. The North began the evolution of the Gothic, a new form
+indigenous to its soil; the South continued the Romanesque, her
+evolution of a transplanted style, and long knew no other. She had grown
+accustomed to give northward,&mdash;not to receive;<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> and it was the reign of
+Saint Louis before she began to assimilate the architectural ideas of
+the Isle de France and to build in the Gothic style, it was admiration
+for the newer ideals which led the builders of the South to change such
+of their plans as were not already carried out, and to try with these
+foreign and beautiful additions, to give to their churches the most
+perfect form they could conceive.</p>
+
+<p>And thus, from a web of Fate, in which, as in all destinies, is the
+spinning of many threads, came the Cathedrals and Cloisters of the
+South. Are they greater than those of the North? Are they inferior to
+them? It is best said, &ldquo;Comparison is idle.&rdquo; Who shall decide between
+the fir-trees and the olives&mdash;between the beautiful order of a northern
+forest and the strange, astounding luxuriance of the southern tangle?
+Which is the better choice&mdash;the well-told tale of the Cathedrals of the
+North, with their procession of kingly visitors, or the almost untold
+story of the Cathedrals of the South, where history is still legend,
+tradition, romance&mdash;the story of fanatic fervour and still more fanatic
+hate?<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<div class="figcenter" style="width: 365px;">
+<img src="images/illus027.jpg" width="365" height="500" alt="" title="A CLOISTER OF THE SOUTH"/>
+<span class="caption">&ldquo;A CLOISTER OF THE SOUTH.&rdquo;&mdash;ELNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+<p><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>II.</h2>
+<p><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+<h3>ARCHITECTURE IN PROVENCE, LANGUEDOC, AND GASCONY.</h3>
+<span class="totoc"><a href="#toc">Top</a></span>
+
+<p>No better place can be found than the Mediterranean provinces to
+consider the origins of the earliest southern style. Here Romanesque
+Cathedrals arose in the midst of the vast ruins of Imperial antiquity,
+here they developed strange similarities to foreign styles, domes
+suggesting the East, Greek motives recalling Byzantium, and details
+reminiscent of Syria. And here is the battle-field for that great army
+who decry or who defend Roman influences. Some would have us believe
+that the Romanesque dome is expatriated from the East; others, that it
+is naturalised; others, that it is native. The plan of the Romanesque
+dome differs very much from that of the Byzantine, yet the general
+conception seems Eastern. If conceivable in the Oriental mind, why not
+in that of the West? And yet, in spite of some native peculiarities of
+structure, why should not the general idea have been imported? Who shall
+decide? In a book such as this, mooted questions which involve such
+multitudinous detail and such unprovable argument cannot be discussed.</p>
+
+<p>It is unreasonable to doubt, however, that Roman influences dominated
+the South, herself a product of Roman civilisation; and as in the
+curious ineradicable tendency of the South toward heresy we more than
+suspect a subtle<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> infiltration of Greek and Oriental perversions, so in
+architecture it is logical to infer that Mediterranean traders,
+Crusaders, and perhaps adventurous architects who may have travelled in
+their wake, brought rumours of the buildings of the East, which were
+adopted with original or necessary modifications. Viollet-le-Duc, in
+summing up this much discussed question, has written that &ldquo;in the
+Romanesque art of the West, side by side with persistent Latin
+traditions, a Byzantine influence is almost always found, evidenced by
+the introduction of the cupola.&rdquo; In the lamentable absence of records of
+the majority of Cathedrals, reasonings of origin must be inductive, and
+more or less imaginative, and have no legitimate place in the scope of a
+book which aims to describe the existing conditions and proven history
+of southern Cathedrals.<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p>
+
+<div class="figcenter" style="width: 290px;">
+<img src="images/illus031.jpg" width="290" height="500" alt="" title="A ROMANESQUE AISLE"/>
+<span class="caption">&ldquo;A ROMANESQUE AISLE.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Quicherat, who has had much to say upon architectural subjects, defines
+the Romanesque as an art &ldquo;which has ceased to be Roman, although it has
+much that is Roman, and that is not yet Gothic, although it already
+presages the Gothic.&rdquo; This is not a very helpful interpretation.
+Romanesque, as it exists in France to-day, is generally of earlier
+building than the Gothic; it is an older and far simpler style. It was
+not a quick, brilliant outburst, like the Gothic, but a long and slow
+evolution; and it has therefore deliberation and dignity, not the
+spontaneity of northern creations; strength, and at times great vigour,
+but not munificence, not the lavishness of art and wealth and adornment,
+of which the younger style was prodigal. Few generalisations are
+flawless, but it may be truly said that Romanesque <span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span>Cathedrals are
+lacking in splendour; and it will be found in a large majority of cases
+that they are also without the impressiveness of great size; that they
+are almost devoid of shapely windows or stained glass, of notable
+carvings or richness of decorative detail. Their art is a simple art, a
+sober art, and in its nearest approach to opulence&mdash;the sculptured
+portals of Saint-Trophime of Arles or Saint-Gilles-de-Languedoc&mdash;there
+is still a reserved rather than an exuberant and uncontrolled display of
+wealth.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus033.jpg" width="500" height="384" alt="" title="THE SCULPTURED PORTALS OF SAINT-TROPHIME"/>
+<span class="caption">&ldquo;THE SCULPTURED PORTALS OF SAINT-TROPHIME.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>By what simple, superficial sign can this architecture be recognised by
+those who are to see it for the first time? It exists &ldquo;everywhere and
+always&rdquo; in southern France; but,<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> side by side with the encroachments
+and additions of other styles, how can it be easily distinguished?
+Quicherat writes that the principal characteristic of the Romanesque is
+&ldquo;la vo&ucirc;te,&rdquo; and the great, rounded tunnel of the roofing is a
+distinction which will be found in no other form. But the easiest of
+superficial distinctions is the arch-shape, which in portal, window,
+vaulting or tympanum is round; wherever the arcaded form is
+used,&mdash;always round. With this suggestion of outline, and the universal
+principles of the style, simplicity and dignity and absence of great
+ornamentation, the untechnical traveller may distinguish the Romanesque
+of the South, and if he be akin to the traveller who tells these
+Cathedral tales, the interest and fascination which the old architecture
+awakes, will lead him to discover for himself the many differences which
+are evident between the ascetic strength of the one, and the splendour
+and brilliance of the other.<span class='pagenum'><a name="Page_35" id="Page_35"></a></span></p>
+<div class="figcenter" style="width: 363px;">
+<img src="images/illus035.jpg" width="363" height="500" alt="" title="A GOTHIC AISLE"/>
+<span class="caption">&ldquo;A GOTHIC AISLE.&rdquo;&mdash;MENDE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+
+<div class="sidenoteb">Provence.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>The three provinces which compose the South of France are Provence,
+Languedoc, and Gascony, and of these Provence is, architecturally and
+historically, the first to claim our interest. During the era of
+colonisation it was the most thoroughly romanised, and in the early
+centuries of Christianity the first to fall completely under the
+systematic organisation of the Church. It has a large group of very old
+Cathedrals, and is the best study-ground for a general scrutiny and
+appreciation of that style which the builders of the South assimilated
+and developed until, as it were, <span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>they naturalised it and made it one
+of the two greatest forms of architectural expression. Provence does not
+contain the most impressive examples of Romanesque. Two Abbeys of the
+far Norman North are more finished and harmonious representations of the
+art, and Languedoc, in the basilica of Saint-Sernin of Toulouse, has a
+nobler interior than any in the Midi, and many other churches of
+Languedoc and Gascony are most interesting examples of a style which
+belonged to them as truly as to Provence.</p>
+
+<p>Yet it is in this province that the Romanesque is best studied. For here
+the great internecine struggles&mdash;both political and religious&mdash;of the
+Middle Ages were not as devastating as in Languedoc and Gascony;
+Provence was a sunny land, where Sonnets flourished more luxuriantly
+than did Holy Inquisition. Her churches have therefore been preserved in
+their original form in greater numbers than those of the two other
+provinces. They are of all types of Romanesque, all stages of its
+growth, from the small and simple Cathedrals which were built when
+ecclesiastical exchequers were not overflowing, to the greater ones
+which illustrate very advanced and dignified phases of architectural
+development; and as a whole they exhibit the normal proportion of
+failure and success in an effort toward an ideal.</p>
+
+
+<div class="sidenoteb">Languedoc.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>L&eacute;on Renier, the learned lecturer of the Coll&egrave;ge de France, says: &ldquo;It is
+remarkable that the changes, the elaborations, the modifications of the
+architecture given by Rome to all countries under her domination were
+conceived in<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> the provinces long before they were reproduced in Italy.
+Rome gave no longer; she received ... a transfusion of a new blood, more
+vital and more rich.&rdquo; In Languedoc, the greater number of monuments of
+this ancient architecture have been destroyed; and those of their
+outgrowth, the later Romanesque, were so repeatedly mutilated that the
+Cathedrals of this province present even a greater confusion of
+originalities, restorations, and additions than those of Provence. To a
+multitude of dates must be added corresponding differences in style.
+Each school of architecture naturally considered that it had somewhat of
+a monopoly of good taste and beauty, or at least that it was an
+improvement on the manner which preceded it; and it would have been too
+much to expect, in ages when anachronisms were unrecognised, that
+churches should have been restored in their consonant, original style.
+Architects of the Gothic period were unable to resist the temptation of
+continuing a Romanesque nave with a choir of their own school, and
+builders of the XVIII century went still further and added a showy Louis
+XV fa&ccedil;ade to a modest Romanesque Cathedral. Some churches, built in
+times of religious storm and stress, show the preoccupation of their
+patrons or the lack of talent of their constructors; others belong to
+Bishoprics that were much more lately constituted than the Sees of
+Provence, and in these cases the new prelate chose a church already
+begun or completed, and compromised with the demands of episcopal pomp
+by an addition, usually of different style. The numerous changes,
+political and religious, of the Medi&aelig;valism of Languedoc, had such
+<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span>considerable and diverse influence on the architecture of the
+province that it is not possible, as in Provence, to trace an
+uninterrupted evolution of one style. The Languedocian is generally a
+later builder than the Proven&ccedil;al; he is bolder. Having the Romanesque
+and the Gothic as choice, he chose at will and seemingly at random. He
+had spontaneity, enthusiasm, verve; and when no accepted model pleased
+his taste, he re-created after his own liking. Languedoc has therefore a
+delightful quality that is wanting in Provence; and in her greater
+Cathedrals there is often an originality that is due to genius rather
+than to eccentricity. There is delicate Gothic at Carcassonne, lofty
+Gothic at Narbonne, Sainte-C&eacute;cile of Albi is fortified Gothic built in
+brick. The interior of Saint-Sernin of Toulouse is an apotheosis of the
+austere Romanesque, and Saint-Etienne of Agde is a gratifying type of
+the Maritime Church of the Midi.</p>
+
+<div class="figcenter" style="width: 377px;">
+<img src="images/illus039.jpg" width="377" height="500" alt="" title="CORRESPONDING DIFFERENCES IN STYLE"/>
+<span class="caption">&ldquo;CORRESPONDING DIFFERENCES IN STYLE.&rdquo;&mdash;CARCASSONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>This Cathedral of the Sea is a fitting example of a peculiar type of
+architecture which exists also in Provence,&mdash;a succession of
+fortress-churches that extend along the Mediterranean from Spain to
+Italy like the peaks of a mountain chain. Nothing can better illustrate
+the continuous warrings and raidings in the South of France than these
+strange churches, and their many fortified counterparts inland, in both
+Languedoc and Gascony. Castles and walled towns were not sufficient to
+protect the Southerner from invasions and incursions; his churches and
+Cathedrals, even to the XIV century, were strongholds, more suitable for
+men-at-arms than for priests, and seemingly dedicated to some<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> war-god
+rather than to the gentle Virgin Mother and the Martyr-Saints under
+whose protection they nominally dwelt.</p>
+
+<p>Although most interesting, the military church of the interior is seldom
+the Bishop's church. The maritime church on the contrary is nearly
+always a Cathedral, with strangely curious legends and episodes. The
+French coast of the Mediterranean was the scene of continuous pillage.
+Huns, Normans, Moors, Saracens, unknown pirates and free-booters of all
+nationalities found it very lucrative and convenient to descend on a
+sea-board town, and escape as they had come, easily, their boats loaded
+with booty. &ldquo;As late as the XII century,&rdquo; writes Barr Ferree,
+&ldquo;buccaneers gained a livelihood by preying on the peaceful and
+unoffending inhabitants of the villages and cities. The Cathedrals, as
+the most important buildings and the most conspicuous, were strongly
+fortified, both to protect their contents and to serve as strongholds
+for the citizens in case of need. In these churches, therefore,
+architecture assumed its most utilitarian form and buildings are real
+fortifications, with battlemented walls, strong and heavy towers, and
+small windows, and are provided with the other devices of Romanesque
+architecture of a purely military type.&rdquo;<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus043.jpg" width="500" height="343" alt="" title="FORTIFIED GOTHIC BUILT IN BRICK"/></div>
+<div class="figcenter"><span class="caption">&ldquo;FORTIFIED GOTHIC BUILT IN BRICK.&rdquo;&mdash;ALBI.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>&ldquo;Time has dealt hardly with them. The kingly power, being entrenched in
+Paris, developed from the Isle de France. The wealth that once enriched
+the fertile lands of the South moved northwards, and the great
+commercial cities of the North became the most important centres of
+activity. Then <span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span>the southern towns began to decline,&rdquo; and the
+buildings which remain to represent most perfectly the &ldquo;Church-Fortress&rdquo;
+are not those of Provence, which are &ldquo;patched&rdquo; and &ldquo;restored,&rdquo; but those
+of Languedoc, Agde, and Maguelonne, and Elne of the near-by country of
+Rousillon.<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus045.jpg" width="500" height="373" alt="" title="A CHURCH FORTRESS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;A CHURCH FORTRESS.&rdquo;&mdash;MAGUELONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<div class="sidenoteb">Gascony.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Gascony, the last of the southern provinces and the farthest from Rome,
+had great prosperity under Imperial dominion. Many patricians emigrated
+there, roads were built, commerce flourished, and as in Provence and
+Languedoc, towns grew into large and well-established cities.
+Christianity made a comparatively early conquest of the province;<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> and
+at the beginning of the IV century, eleven suffragan Bishoprics had been
+established under the Archbishopric of Eauze. Gascony has many old
+Cathedral cities, and has had many ancient Cathedrals; but after the
+fall of the Roman Empire in the V century, a series of wars began which
+destroyed not only the Christian architecture, but almost every trace of
+Roman wealth and culture. Little towers remain, supposed shrines of
+Mercury, protector of commerce and travel; pieces of statues are found;
+but the Temples, the Amphitheatres, the Forums, have disappeared, and
+even more completely, the rude Christian churches of that early period.</p>
+
+<p>Although the province has no Mediterranean coast and could not be
+molested by the marauders of that busy sea, it lay directly upon the
+route of armies between France and Spain; and it is no &ldquo;gasconading&rdquo; to
+say that it was for centuries one of the greatest battle-fields of the
+South. Vandals, Visigoths, Franks, Saracens, Normans,&mdash;Gascons against
+Carlovingians, North against South, all had burned, raided, and
+destroyed Gascony before the XI century. It is not surprising, then,
+that there are found fewer traces of antiquity here than in Provence and
+Languedoc. Even the few names of decimated cities which survived,
+designated towns on new sites. Eauze, formerly on the G&eacute;lise, lay long
+in ruins, and was finally re-built a kilometre inland. Lectoure and Auch
+had long since retired from the river Gers and taken refuge on the hills
+of their present situations, while other cities fell into complete ruin
+and forgetfulness.<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus047.jpg" width="500" height="357" alt="" title="STATELY GOTHIC SPLENDOUR"/></div>
+<div class="figcenter"><span class="caption">&ldquo;STATELY GOTHIC SPLENDOUR.&rdquo;&mdash;CONDOM.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>
+The year 1000, which followed these events, was that of the predicted
+and expected end of the world. The extravagances of Christians at that
+time are well known, the gifts of all property that were made to the
+Church, the abandonment of worldly pursuits, the terrors of many, the
+anxiety of the calmest, the emotional excesses which led people to live
+in trees that they might be near to heaven when the &ldquo;great trump&rdquo; should
+sound,&mdash;&ldquo;Mundi fine appropinquante.&rdquo; But the trumpet did not sound, and
+Raoul Glaber, a monk of the XI century, writes that all over Italy and
+the Gaul of his day there was great haste to restore and re-build
+churches, a general rivalry between towns and between countries, as to
+which could build most remarkably. &ldquo;This activity,&rdquo; says Quicherat, &ldquo;may
+show a desire to renew alliance with the Creator.&rdquo; It certainly proves
+that the generation of the year 1000 had fresh and new architectural
+ideas.</p>
+
+<p>This was the period of recuperation and re-building for Gascony. The
+monks of the VIII, IX, and X centuries had devoted themselves with zeal
+and success to the cultivation of the soil. They had acquired fertile
+fields, and desiring peace, they had placed themselves in positions
+where their strength would defend them when their holy calling was not
+respected. These monasteries were places of refuge and soon gave their
+name and their protection to the towns and villages which began to
+cluster about them. Except the declining settlements of Roman days,
+Gascony had few towns in the X century; and many of her most important
+cities of to-day owe their foundation, their existence,<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> and their
+prosperity to these Benedictine monasteries. Eauze regained its life
+after the establishment of a convent, and in the XI, XII, and XIII
+centuries, the Abbots of C&icirc;teaux, Bishops, and even lords of the laity,
+occupied themselves in the creation of new cities. Many of the towns of
+medi&aelig;val creation possessed broad municipal and commercial privileges,
+they grew to the importance of &ldquo;communes&rdquo; and Bishoprics, and some even
+styled themselves &ldquo;Republics.&rdquo;</p>
+
+<p>Although these were times of much re-building, restoring, and carrying
+out of older plans of ecclesiastical architecture, the XI and XII
+centuries were none the less filled with innumerable private wars, and
+in 1167 began the bloody and persistent struggle with England. The city
+of Aire was at one time reduced to twelve inhabitants, and the horrors
+of the medi&aelig;val siege were more than once repeated. In these wars,
+Cathedrals, as well as towns and their inhabitants, were scarred and
+wounded. Hardly had these dissensions ended in 1494, when the Wars of
+Religion commenced under Charles IX, and Gascony was again one of the
+most terrible fields of battle. Here the demoniac enthusiasm of both
+sides exceeded even the terrible exhibitions of Languedoc. The royal
+family of Navarre was openly Protestant and contributed more than any
+others to the military organisations of their Faith. Jeanne d'Albret, in
+1566, wishing to repay intolerance with intolerance, forbade religious
+processions and church funerals in Navarre. The people rose, and the
+next year the Queen was forced to grant toleration to both religions.
+Later the King of<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span> France entered the field and sent an army against the
+B&eacute;arnaise Huguenots, Jeanne, in reprisal, called to her aid Montmorency;
+and with a thoroughness born of pious zeal and hatred, each army began
+to burn and kill. All monasteries, all churches, were looted by the
+Protestants; all cities taken by Montluc, head of the Catholics, were
+sacked. Tarbes was devastated by the one, Rabestans by the other, and
+the Cathedral of Pamiers was ruined. With the Massacre of Saint
+Bartholomew, in 1572, the struggle began again, and the League
+flourished in all its malign enthusiasm. &ldquo;Such disorder as was
+introduced,&rdquo; says a writer of the period, &ldquo;such pillage, has never been
+seen since war began. Officers, soldiers, followers, and volunteers were
+so overburdened with booty as to be incommoded thereby. And after this
+brigandage, the peasants hereabouts [Bigorre] abandoned their very farms
+from lack of cattle, and the greater number went into Spain.&rdquo;</p>
+
+<p>During long centuries of such religious and political devastation the
+architectural energy of Gascony was expended in replacing churches which
+had been destroyed, and were again to be destroyed or injured. It would
+be unfair to expect of this province the great magnificence which its
+brave, cheerful, and extravagant little people believe it &ldquo;once
+possessed,&rdquo; or to look, amid such unrest, for the calm growth of any
+architectural style. It is a country of few Cathedrals, of curious
+churches built for war and prayer, and of such occasional outbursts of
+magnificence as is seen in the Romanesque portal of Saint-Pierre of
+Moissac and in the stately Gothic splendour of the Cathedrals at Condom
+and<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> at Bayonne. It is a country where Cathedrals are surrounded by the
+most beautiful of landscapes, and where each has some legend or story of
+the English, the League, of the Black Prince, or the Lion-hearted, of
+Henry IV, still adored, or of Simon de Montfort, still execrated, where
+the towns are truly historic and the mountains truly grand.
+<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2>Provence.</h2>
+<hr style="width: 65%;" />
+<h2>I.</h2>
+<p><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>
+<span class="totoc"><a href="#toc">Top</a></span></p>
+<h3>THE CATHEDRALS OF THE SEA.</h3>
+
+<div class="sidenoteb">Marseilles.</div>
+<p>Perhaps a Ph&oelig;nician settlement, certainly a Carthaginian mart, later a
+Grecian city, and in the final years of the pagan era possessed by the
+Romans, no city of France has had more diverse influences of antique
+civilisation than Marseilles, none responded more proudly to its ancient
+opportunities; and not only was it commercially wealthy and renowned,
+but so rich in schools that it was called &ldquo;another, a new Athens.&rdquo; It
+was also the port of an adventurous people, who founded Nice, Antibes,
+la Ciotat, and Agde, and explored a part of Africa and Northern Europe;
+and at the fall of the Roman Empire it became, by very virtue of its
+riches and safe harbour, the envy and the prey of a succession of
+barbaric and &ldquo;infidel&rdquo; invaders. In the Middle Ages it had all the
+vicissitudes of wars and sieges to which a great city could be
+subjected. It had a Viscount, and from very early days, a Bishop; it was
+at one time part of the Kingdom of Arles; and later it recognised the
+suzerainty of the Counts of Provence. When these lords were warring or
+crusading, it took advantage of their absence or their troubles and
+governed itself through its Consuls; became a Proven&ccedil;al Republic after
+the type of the Italian cities and other towns<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> of the Mediterranean
+country; treated with the Italian Republics on terms of perfect
+equality; and although finally annexed to France by the wily Louis of
+the Madonnas, its people were continually haunted by memories of their
+former independence, and not only struggled for municipal rights and
+liberties, but took sides for or against the most powerful monarchs of
+continental history as if they had been a resourceful country rather
+than a city. It succored the League, defied Henry IV and Richelieu; and
+treating Kings in trouble as cavalierly as declining Counts, Marseilles
+tried at the death of Henry III to secede from France and recover its
+autonomy under a Consul, Charles de Cazaulx. Promptly defeated, it still
+continued to think independently, and struggle, as best it might, for
+freedom of administration; and although from the time of Pompey to that
+of Louis XIV it has had an ineradicable tendency to stand against the
+government, it has survived the results of all its contumacies, its
+plagues, wars, and sieges, and the destructiveness of its phase of the
+Revolution, when it had a Terror of its own. Notwithstanding modern
+rivals in the Mediterranean, Marseilles is to-day one of the largest and
+most prosperous of French cities. Built in amphitheatre around the bay,
+it is beautiful in general view, its streets bustle with commercial
+activity, and its vast docks swarm with workmen. The storms of the past
+have gone over Marseilles as the storms of nature over its sea, have
+been as passionate, and have left as little trace. Instead of Temples,
+Forum, and Arena, there are the Palais de Longchamps, the Palais de
+Justice, and the <span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span>Christian Arch of Triumph. Instead of the muddy and
+unhealthy alley-ways of Medi&aelig;valism, there are broad streets and wide
+boulevards, and in spite of its antiquity Marseilles is a city of
+to-day, in monuments, aspect, spirit, and even in class distinction.
+&ldquo;Here,&rdquo; writes Edmond About, &ldquo;are only two categories of people, those
+who have made a fortune and those who are trying to make one, and the
+principal inhabitants are parvenus in the most honourable sense of the
+word.&rdquo;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus056a.jpg" width="500" height="351" alt="" title="Entrevaux"/></div>
+<div class="figcenter"><span class="caption"><i>Entrevaux</i>.<br />
+People gather around the mail-coach as it<br />
+makes its daily halt before the drawbridge.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>&ldquo;In the most honourable sense of the word,&rdquo; the Cathedral of Marseilles
+is also typical of the city, &ldquo;parvenue.&rdquo; Its first stone was placed by
+Prince Louis Napoleon in<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> 1852, and as the modern has overgrown the
+classic and medi&aelig;val greatness of Marseilles, so the new &ldquo;Majeure&rdquo; has
+eclipsed, if it has not yet entirely replaced, the old Cathedral; and
+except the stern Abbey-church of Saint-Victor, an almost solitary relic
+of true medi&aelig;val greatness, it is the finest church of the city.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus057.jpg" width="500" height="389" alt="" title="THE NEW CATHEDRAL"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE NEW CATHEDRAL.&rdquo;&mdash;MARSEILLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The new Cathedral and the old stand side by side; the one strong and
+whole, the other partly torn down, scarred and maimed as a veteran who
+has survived many wars. Even in its ruin, it is an interesting type of
+the maritime Proven&ccedil;al church, but so pitiably overshadowed by its
+successor that the charm of its situation is quite lost, and few will
+linger to study its three small naves, the defaced fresco of the dome,
+or even the little chapel of Saint-Lazare, all white marble and carving
+and small statues, scarcely more than a shallow niche in the wall, but
+daintily proportioned, and a charming creation of the Renaissance. Fewer
+still of those who pause to study what remains of the old &ldquo;Majeure,&rdquo;
+will stay to reconstruct it as it used to be, and realise that it had
+its day of glory no less real than that of the new church which replaces
+it. In its stead, Saint-Martin's, and Saint-Cannat's sometimes called
+&ldquo;the Preachers,&rdquo; have been temporarily used for the Bishop's services.
+But now that the greater church, the Assumption of the Blessed Virgin
+Mary, has been practically completed, it has assumed, once and for all,
+the greater rank, and a Cathedral of Marseilles still stands on its
+terrace in full view of the sea. Tradition has it that a Temple of Baal
+once stood on this site and later, a Temple to Diana; that Lazarus<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> came
+in the I century, converted the pagan Marseillais and built a Christian
+Cathedral here. A more critical tradition says that Saint Victor first
+came as missionary, Bishop, and builder. All these vague memories of
+conversion, more or less accurate, all the legends of an humble and
+struggling Christianity, seem buried by this huge modern mass. It is not
+a church struggling and militant, but the Church Established and
+Triumphant. It is a vast building over four hundred and fifty feet long,
+preceded by two domed towers. Its transepts are surmounted at the
+crossing by a huge dome whose circumference is nearly two hundred feet,
+a smaller one over each transept arm, and others above the apsidal
+chapels. The exterior is built with alternate layers of green Florentine
+stone and the white stone of Fontvieille; and the style of the church,
+variously called French Romanesque, Byzantine, and Neo-Byzantine, is
+very oriental in its general effect.</p>
+
+<p>An arcade between the two towers forms a porch, the entrance to the
+interior whose central nave stretches out in great spaciousness. The
+lateral naves, in contrast, are exceedingly narrow and have high
+galleries supported by large monolithic columns. These naves are
+prolonged into an ambulatory, each of whose chapels, in consonance with
+the Cathedral's colossal proportions, is as large as many a church. The
+building stone of the interior is grey and pink, with white marble used
+decoratively for capitals and bases; and these combinations of tints
+which would seem almost too delicate, too effeminate, for so large a
+building, are made rich and effective by their very mass,<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> the gigantic
+sizes which the plan exacts. All that artistic conception could produce
+has been added to complete an interior that is entirely oriental in its
+luxury of ornamentation, half-oriental in style, and without that sober
+majesty which is an inherent characteristic of the most elaborate styles
+native to Western Christianity. Under the gilded dome is a rich
+baldaquined High Altar, and through the whole church there is a
+magnificence of mosaics, of mural paintings, and of stained glass that
+is sumptuous. Mosaics line the arches of the nave and the pendentives,
+and form the flooring; and in the midst of this richness of colour the
+grey pillars rise, one after the other in long, shadowy perspective,
+like the trees of a stately grove.</p>
+
+<p>In planning this new Proven&ccedil;al Cathedral its architects did not attempt
+to reproduce, either exactly or in greater perfection, any maritime type
+which its situation on the Mediterranean might have suggested, nor were
+they inspired by any of the models of the native style; and perhaps, to
+the captious mind, its most serious defect is that its building has
+destroyed not only an actual portion of the old Majeure, but an historic
+interest which might well have been preserved by a wise restoration or
+an harmonious re-building. And yet, with the large Palace of the
+Archbishop on the Port de la Joliette near-by, the statue of a devoted
+and loving Bishop in the open square, and the majestic Cathedral of
+Sainte-Marie-Majeure itself, the episcopacy of Marseilles has all the
+outward and visible signs of strength and glory and power.<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span></p>
+
+<div class="sidenoteb">Toulon.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Toulon, although a foundation of the Romans, owes its rank to-day to
+Henry IV, to Richelieu, and to Louis XIV's busy architect, Vauban. It is
+the &ldquo;Gibraltar of France,&rdquo; a bright, bustling, modern city.
+Sainte-Marie-Majeure, one of its oldest ecclesiastical names, is a title
+which belonged to churches of both the XI and XII centuries; but in the
+feats of architectural gymnastics to which their remains have been
+subjected, and in the wars and vicissitudes of Provence, these buildings
+have long since disappeared.</p>
+
+<p>A few stones still exist of the XI century structure, void of form or
+architectural significance, and the ancient name of Sainte-Marie-Majeure
+now protects a Cathedral built in the most depressing style of the
+industrious Philistines of the XVII and XVIII centuries. It is not a
+Proven&ccedil;al nor a truly &ldquo;maritime&rdquo; church, it is not a fortress nor a
+defence, nor a work of any architectural beauty. It has blatancy, size,
+pretension,&mdash;a profusion of rich incongruities; and although religiously
+interesting from its chapels and shrines, it is architecturally
+obtrusive and monstrous.</p>
+
+<p>The vagaries of the architects who began in 1634 to construct the
+present edifice, are well illustrated in the changes of plan to which
+they subjected this unfortunate church. The length became the breadth,
+the isolated chapel of the Virgin, part of the main building; the choir,
+another chapel; and the High Altar was removed from the eastern to the
+northern end, where a new choir had been built for its reception. This
+confusion of plan was carried out with logical confusion of style and
+detail. The fa&ccedil;ade has<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> Corinthian columns of the XVII century; the nave
+is said to be &ldquo;transition Gothic,&rdquo; the choir is decorated with mural
+paintings, and the High Altar, a work of R&eacute;voil, adds to the banalities
+of the XVII and XVIII centuries a rich incongruity of which the XIX has
+no reason to be proud. The whole interior is so full of naves of unequal
+length, and radiating chapels, of arches of differing forms, tastes, and
+styles, that it defies concise description and is unworthy of serious
+consideration. Provence has modest Cathedrals of small architectural
+significance, but except Sainte-R&eacute;parate of Nice, it has none so chaotic
+and commonplace as Sainte-Marie-Majeure of Toulon.</p>
+
+<div class="sidenoteb">Fr&eacute;jus.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Fr&eacute;jus, which claims to be &ldquo;the oldest city in France,&rdquo; was one of the
+numerous trading ports of the Ph&oelig;nician, and later, during the period
+of her civic grandeur, an arsenal of the Roman navy. Her most
+interesting ruins are the Coliseum, the Theatre, the old Citadel, and
+the Aqueduct, suggestions of a really great city of the long-gone past.
+Fr&eacute;jus lost prestige with the decadence of the Empire, and after a
+destruction by the Saracens in the X century, Nature gave the blow which
+finally crushed her when the sea retreated a mile, and her old Roman
+light-house was left to overlook merely a long stretch of barren, sandy
+land. Owing to this stranded, inland position, she has escaped both the
+dignity of a modern sea-port and the prostitution of a Rivieran resort,
+and is a little dead city, the seat of an ancient Proven&ccedil;al &ldquo;Cathedral
+of the Sea.&rdquo; This Cathedral is<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> largely free from XVII and XVIII century
+disfigurements; and the pity is that having escaped this, a French
+church's imminent peril, it should have become so built around that the
+character of the exterior is almost lost. The fa&ccedil;ade is severely plain,
+an uninteresting re-building of 1823, but the carved wood of its portals
+is beautiful. The towers, as in other maritime Cathedrals of Provence,
+recall the perils and dangers of their days; and these towers of Fr&eacute;jus,
+although none the less practically defensive, have a more churchly
+appearance than those of Antibes, Grasse, and Vence. Over the vestibuled
+entrance rises the western tower. Its heavy, rectangular base is the
+support of a super-structure which was replaced in the XVI century by
+one more in keeping with conventional ecclesiastical models. Then the
+windows of the base, whose rounded arches are still traceable, were
+walled in; and the new octagonal stage with high windows of its own was
+completed by a tile-covered spire. The more interesting tower is that
+which surmounts the apse. This was the lookout, facing the sea, the
+really vital defence of the church. Its upper room was a storage place
+for arms and ammunition, and on the side which faces the city was open,
+with a broad, pointed arch. Above, the tower ends in machiolated
+battlements and presents a very strong and stern front seaward, perhaps
+no stronger, but more artistic and grim than towers of other Proven&ccedil;al
+Cathedrals.</p>
+
+<p>The entrance of the church is curiously complicated. To the left is the
+little baptistery; directly before one, a narrow stairway which leads to
+the Cloister; and on the<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> right, a low-arched vestibule which opens into
+the nave of the Cathedral. The interior of Saint-Etienne is dark and
+somewhat gloomy, but that is an inherent trait of a fortress-church, for
+every added inch of window-opening brought an ell of danger. The nave is
+unusually low and broad, and its buttressed piers are of immense weight,
+ending severely in a plain, moulded band. On these great piers rest the
+cross-vaults of the roof and the broad arches of the wall. The north
+aisle, disproportionately narrow, is a later addition. Behind the altar
+is a true Proven&ccedil;al apse, shallow and rectangular, and beyond its
+rounded roof opens the smaller half-dome. Architecturally, this is an
+interesting interior; but the traveller who has not time to spend in
+musings will fail to see it in its original intention;&mdash;cold, severely
+plain, heavy, with perhaps too many arch-lines, but sober and simple. A
+futile wooden wainscot now surrounds the church and breaks its wall
+space, liberal coats of whitewash conceal the building material, and
+taking from the church the severity of its stone, give it an appearance
+of poor deprecatory bareness.<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+
+<div class="figcenter" style="width: 365px;">
+<img src="images/illus065.jpg" width="365" height="500" alt="" title="THE DESECRATION OF THE LITTLE CLOISTER"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE DESECRATION OF THE LITTLE CLOISTER.&rdquo;&mdash;FR&Eacute;JUS.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Near the entrance of the Cathedral is its most ancient portion, the
+baptistery, formerly a building apart, but now an integral part of the
+church itself. It is perhaps the most interesting Christian monument in
+Fr&eacute;jus, a reminder of those early centuries when, in France as in Italy,
+the little baptistery was the popular form of Christian architectural
+expression. Here it has the very usual octagonal shape; the arches are
+upheld by grayish columns of granite with capitals of white marble, and
+in the centre stands the font. <span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span>Between the columns are small
+recesses, alternately rectangular and semi-domed, and above all, is a
+modern dome and lantern. Structurally interesting, and reminiscent of
+the stately baptistery of Aix, the effect of this little chamber, like
+the church's interior, is marred by the whitewashes from whose
+industrious brushes nothing but the grayish columns have escaped. And
+here again, the traveller who would see the builders' work, free from
+the disfigurements of time, must pause and imagine.</p>
+
+<p>Yet even imagination seems powerless before the desecration of the
+little Cloister. Charming it must have been to have entered its quiet
+walks, with their slender columns of white marble, to have seen the
+quaint old well in the little, sun-lit close. Now, between the slender
+columns, boards have been placed which shut out light and sun. The
+traveller sat down on an old wheel-barrow, waiting till he could see in
+the dim and misty light. All around him was forgetfulness of the
+Cloister's holy uses; signs of desecration and neglect. One end of the
+cloister-walk was a thoroughfare, where the wheel-barrow had worn its
+weary way; and even in the deserted corners there was the dust and dirt
+of a work-a-day world. The beautiful little capitals of the slender
+columns rose from among the boards, clipped and worn; above, he dimly
+saw the curious wooden ceiling which would seem to have taken the place
+of the usual stone vaulting; through chinks of the plank-wall he caught
+glimpses of a little close; and at length, having seen the most
+melancholy of &ldquo;Cathedrals of the Sea,&rdquo; in its disguise of whitewash,
+decay, and misuse, he went his way.<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+
+<div class="sidenoteb">Antibes.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>That part of the southern coast of France called the Riviera seems now
+only to evoke visions of the most beautiful banality; of a life more
+artificial than the stage&mdash;which at least aims to present
+reality&mdash;transplanted to a scene of such incomparable loveliness that
+Nature herself adds a new and exquisite sumptuousness to the luxury of
+civilisation. The Riviera means a land of many follies and every
+vice;&mdash;each folly so delicious, each vice so regal, they seem to be
+sought and desired of all men. Where else can be seen in such careless
+magnificence Dukes of Russia with their polish of manner and their
+veiled insolence; Englishmen correct and blas&eacute;; Americans a bit
+vociferous and truly amused; great ladies of all ages and manners;
+adventurers high and low; and the beautiful, sparkling women of no name,
+bravely dressed and barbarously jewelled? Such is the Riviera of to-day;
+the life imposed upon it by hordes of foreign idlers in a land whose
+warmth and luxuriance may have lent itself but too easily to the vicious
+and frivolous pleasures for which they have made it notorious, but a
+land which has no native history that is effeminate, nor any so unworthy
+as its exotic present. &ldquo;The Riviera&rdquo; may be Nice, Beaulieu, and their
+like, but the Proven&ccedil;al Mediterranean and its neighbouring territory
+have been the fatherland of warriors in real mail and of princes of real
+power, of the Emperor Pertinax of pagan times, of those who fought
+successfully against Mahmoud and Tergament, and of many Knights of
+Malta, long the &ldquo;Forlorn Hope&rdquo; of Christendom.<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span></p>
+
+<p>Discreetly hidden from vulgar eyes that delight in the architecture of
+the modern caravanserai, are the ruins of these older
+days&mdash;Amphitheatres, Fountains, Temples, and Aqueducts of the Romans;
+the Castles, Abbeys, and Cathedrals of medi&aelig;val times. Here are the
+larger number, if not the most interesting, of those curious churches of
+the sea, which protected the French townsman of the Mediterranean coast
+from the rapacity of sea-rovers and pirates, and many more orthodox
+enemies of the Middle Ages.</p>
+
+<p>From the great beauty of its situation, the small city of Antibes is at
+once a type of the old r&eacute;gime and of the new. Lying on the sea, with a
+background of snow-capped mountains, it has not entirely escaped the
+fate of Nice; neither has it yet lost all its old Proven&ccedil;al
+characteristics. It is a pathetic compromise between the quaint reality
+of the old and the blatancy of the new. The little parish church is of
+the very far past, having lost its Cathedral rank over six hundred years
+ago to Sainte-Marie in Grasse, a town scarcely younger than its own. It
+is the type of the church of this coast, with its unpretentious
+smallness, its strength, and its disfiguring restorations; and it is,
+especially in comparison with Vence and Grasse, of small architectural
+interest. The fa&ccedil;ade, and the double archway which connects the church
+and the tower, are of the unfortunate XVIII century, the older exterior
+is monotonous, and the interior, an unpleasing confusion of forms.</p>
+
+<div class="figleft" style="width: 228px;">
+<img src="images/illus070.jpg" width="228" height="500" alt="" title="THE MILITARY OMEN"/>
+<span class="caption">&ldquo;THE MILITARY OMEN&mdash;THE TOWER.&rdquo; ANTIBES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The real interest of the little Cathedral is its ancient military
+strength, neither very grand nor very imposing, but very real to the
+enemy who hundreds of years ago hurled<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> himself against the hard, plain
+stones. From this view-point, the mannered fa&ccedil;ade and the inharmonious
+interior matter but little. Toward the foe, whose sail might have arisen
+on the horizon at any moment, the protecting church presented the heavy
+rounded walls and safely narrowed windows of its three apses, and behind
+them the military omen of the severe, rectangular tower. High in every
+one of its four sides, seaward and landward, was a window, from which
+many a watcher must have looked and strained anxious eyes. This is the
+significance of the little sea-side Cathedral, this the story its tower
+suggests. And now when the sea is sailed by peaceful ships, and the
+Cathedral only a place of pious worship, the tower with its gaping
+windows is the only<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span> salient reminder of the ancient dignity of the
+church; the reminder to an indifferent generation of the days when
+Antibes fulfilled to Christians the promise of her old, pagan name,
+Antipolis, &ldquo;sentinel&rdquo; of the perilous sea.</p>
+
+
+<div class="sidenoteb">Nice.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>The situation of its Cathedral reveals a Nice of which but little is
+written, the city of a people who live in the service of those whose
+showy, new villas and hotels stretch along the promenades and lie dotted
+on the hills in the Nice of &ldquo;all the world.&rdquo; Besides this exotic city,
+there is &ldquo;the Nice of the Ni&ccedil;ois,&rdquo; a small district of dark, crowded
+streets that are too full of the sordid struggles of competing
+work-people to be truly picturesque. Here, in the XVI century, when the
+Citadel of Nice was enlarged and the Cathedral of
+Sainte-Marie-de-l'Assomption destroyed, the Church of Sainte-R&eacute;parate
+was re-built, and succeeded to the episcopal rank. Standing on a little
+open square, surrounded by small shops and the poor homes of
+trades-folk, it seems in every sense a church of the people. Here the
+native Ni&ccedil;ois, gay, industrious, mercurial, and dispossessed of his
+town, may feel truly at home. Finished in the most exuberant rococo
+style, it is an edifice from which all architectural or religious
+inspiration is conspicuously absent. It is a revel of luxurious bad
+taste; a Cathedral in Provence, a Cathedral by the Sea, but neither
+Proven&ccedil;al nor Maritime,&mdash;rather a product of that Italian taste which
+has so profoundly vitiated both the morals and the architecture of all
+the Riviera.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2>II.</h2>
+<p><span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span>
+<span class="totoc"><a href="#toc">Top</a></span></p>
+<h3>CATHEDRALS OF THE HILL-TOWNS.</h3>
+
+<div class="sidenoteb">Carpentras.</div>
+<p>Carpentras is a busy provincial town, the terminus of three diminutive
+railroads and of many little, lumbering, dust-covered stages. It stands
+high on a hill, and from the boulevards, dusty promenades under
+luxuriant shade-trees, which circle the town as its walls formerly did,
+there is an extended view over the pretty hills and valleys of the
+neighbouring country. At one end of the town the Hospital rises, an
+immense, bare, and imposing edifice of the XVIII century, built by a
+Trappist Bishop; and at the other is the Orange Gate, the last tower of
+the old fortifications. Between these historic buildings and the
+encircling boulevards are the narrow streets and irregular,
+uninteresting buildings of the city itself. It is strange indeed that so
+isolated a place, which seems only a big, bustling country-town, should
+have been of importance in the Middle Ages, and that bits of its
+stirring history must have caused all orthodox Europe to thrill with
+horror. Stranger still would be the forgetfulness of modern writers, by
+whom Carpentras is seldom mentioned, were it not that the city's real
+history is that of the Church political, a story of strange manners and
+happenings, rather than a step in the vital evolution towards our own
+time.<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span></p>
+
+<p>In the Middle Ages Carpentras was an episcopal city, the capital of the
+County Venaissin, governed by wealthy, powerful, and ambitious Bishops,
+who took no small interest in worldly aggrandisement. Passing by gift to
+the Papacy, after the sudden death of Clement V it was selected as the
+place of the Conclave which was to elect his successor. The members were
+assembled in the great episcopal Palace, when Bertrand de Goth, a nephew
+of the dead Pope, claiming to be an ally of the French prelates against
+the Italians in the Conclave, arrived from a successful looting of the
+papal treasury at Montreux to pillage in Carpentras. He and his
+mercenaries massacred the citizens and burned the Cathedral. The
+episcopal Palace caught fire, and their Eminences&mdash;in danger of their
+lives&mdash;were forced to squeeze their sacred persons through a hole which
+their followers made in the Palace wall and fly northward.</p>
+
+<p>This unfortunate raid left Carpentras with many ruins and a demolished
+Cathedral, deserted by those in whose cause she had unwittingly
+suffered. The new Pontiff was safely elected in Lyons, and upon his
+return to the papal seat of Avignon he administered Carpentras by a
+&ldquo;rector,&rdquo; and it continued as it had been before, the political capital
+of the County. During the reigns of succeeding Popes it was apparently
+undisturbed by dangerous honours, until the accession of the Anti-Pope,
+Benedict XIII. So great was this prelate's delight in the city that he
+reserved to himself the minor title of her Bishop, re-built her walls,
+and was the first patron of the present and very orthodox Cathedral,
+Saint-Siffrein. By a curious destiny, the church<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> had this false prelate
+not only as its first patron, but as its first active supporter; and in
+1404 he sent Artaud, Archbishop of Arles, in his name, to lay its first
+stone.</p>
+
+<p>Wars and rumours of wars soon possessed the province. Benedict fled, and
+through unrest and lack of money the work of Cathedral building was
+greatly hindered. In the meantime the ruins of the former Cathedral seem
+to have been gradually disintegrating, and in 1829 the last of its
+Cloister was destroyed, to be replaced by prison cells; and now only the
+choir dome and a suggestion of the nave exist, partly forming the
+present sacristy. From these meagre remains and from writings of the
+time, it may be fairly inferred that Saint-Pierre was a Cathedral of the
+type of Avignon and Cavaillon and the old Marseillaise Church of La
+Majeure, and that, architecturally considered, it was a far more
+important structure than Saint-Siffrein. With this depressing knowledge
+in mind the traveller was confronted with a sight as depressing&mdash;the
+present Cathedral itself.</p>
+
+<p>Fortunately, churches of a period antedating the XVII century are seldom
+so uninteresting. Nothing more meagre nor dreary can be conceived than
+the fa&ccedil;ade with its three, poor, characterless portals. They open on a
+large vaulted hall, with chapels in its six bays and a small and narrow
+choir. The principal charm of the interior is negative; its dim misty
+light, by concealing a mass of tasteless decorations and the poverty and
+bareness of the whole architectural scheme, gives to the generous height
+and size of the room an atmosphere of subdued and mysterious
+spaciousness.<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span> The south door is the one bit of this Gothic which passes
+the commonplace. Set in a poor, plain wall, the portal has a graceful
+symmetry of design; and its few carved details, probably limited by the
+artistic power of its builder, are so simple and chaste that they do not
+inevitably suggest poverty of conception. The tympanum holds an exotic
+detail, a defaced and insignificant fresco of the Coronation of the
+Virgin; and on the pier which divides the door-way stands a very
+charming statue of Our Lady of Snows, blessing those who enter beneath
+her outstretched hands.</p>
+
+<p>This simple portal, and indeed the whole church, is a significant
+example of Proven&ccedil;al Gothic, a style so foreign to the genius of the
+province that it could produce only feeble and attenuated examples of
+the art. Compared with its northern prototypes, it is surprisingly
+tentative; and awkward, unaccustomed hands seem to have built it after
+most primitive conceptions.</p>
+
+
+<div class="sidenoteb">Digne.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Well outside the Alpine city of Digne, and almost surrounded by graves,
+stands a small and ancient church which is seldom opened except for the
+celebration of Masses for the Dead. Coffin-rests stand always before the
+altar, and enough chairs for the few that mourn. There are old
+candlesticks for the tapers of the church's poor, and hidden in the
+shadows of the doors, a few broken crosses that once marked graves,
+placed, tenderly perhaps, above those who were alive some years ago and
+who now rest forgotten;<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> on battered wood, one can still read a baby's
+age, an old man's record, and the letters R. I. P.</p>
+
+<p>In this strange, melancholy destiny of Notre-Dame-du-Bourg there seems
+to be a peculiar fitness. The mutability of time, forgetfulness, and at
+length neglect, which death suggests, are brought to mind by this old
+church. Once the Cathedral of Digne, but no longer Cathedral, it stands
+almost alone in spite of its honours and its venerable age. After the
+desecration by the Huguenots, its episcopal birthright was given to a
+younger and a larger church; the city has moved away and clusters about
+its new Cathedral, Saint-J&eacute;rome; and Notre-Dame-du-Bourg is no longer on
+a busy street, but near the dusty high-road, amid the quiet of the
+country and the hills.</p>
+
+<p>Parts of its crypt and tower may antedate 900, but the church itself was
+re-built in the XII and XIII centuries. The course of time has brought
+none of the incongruities which have ruined many churches by the
+so-called restorations of the last three hundred years, and although its
+simple Romanesque is sadly unrepaired, it is a delight to come into the
+solitude and find an unspoiled example of this stanch old style.<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span></p>
+
+<div class="figcenter" style="width: 372px;">
+<img src="images/illus077.jpg" width="372" height="500" alt="" title="THE INTERIOR OF NOTRE-DAME-DU-BOURG"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE INTERIOR OF NOTRE-DAME-DU-BOURG.&rdquo;&mdash;DIGNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The Romanesque shows forth its great solidity in the exterior of its
+churches, and nowhere more than in Digne's deserted Cathedral. Flat
+buttresses line the walls, the transepts are square and plain, and on
+either side the fa&ccedil;ade wall is upheld by a formidable support. This
+severity of line is not greatly modified by the deep recesses of a few
+windows; nor is the tower&mdash;which lost its spire <span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span>three hundred years
+ago&mdash;of less sober construction, less solidly built. Below the
+overhanging eaves of a miserable roof and the curious line of the nave
+vault which projects through the wall, is a round window with a frame of
+massive rolls and hollows; and below this again, under a narrow sloping
+covering, is the deep arch of the Cathedral's porch. This, in its prime,
+must have been the church's ornamental glory. Beneath the outer arch,
+which is continued to the buttresses by half-arches, are the great
+roll-mouldings that twist backward to a plain tympanum. Capitals still
+support these massive curves of stone, but the niches in which the
+columns formerly stood are empty, and grinning lions, lying on the
+ground, no longer support the larger columns of the plain arch. All
+stands in solemn decay.</p>
+
+<p>The traveller entered a battered, brass-nailed door and saw before him
+the stretch of a single, empty nave, a choir beneath whose lower vault
+are three small windows, and on either side the archways which he knew
+must lead to narrow transepts. In the south side, plain, rounded windows
+give a glimmering light, and over each projects an arch, the modest
+decoration of the walls. Far above rises the tunnel-vault, whose sheer
+height is grandly dignified; the arches rest on roughly carved capitals,
+and the outer rectangle of the piers is displaced for half a column. The
+rehearsal of these most simple details seems but the writing of &ldquo;the
+letter which killeth,&rdquo; and not the portrayal of the spirit that seems to
+live within these walls. Details which seem so poorly few when read, are
+nobly so when seen.<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> This small old church has a true religious
+stateliness, and it seemed as if a priest should bring the
+Sanctuary-light which says, &ldquo;The Lord is in His holy temple.&rdquo;</p>
+
+<p>Saint-J&eacute;rome was built between 1490 and 1500, a hundred years before its
+episcopal elevation, and forms a most complete antithesis to
+Notre-Dame-du-Bourg which it supplanted in 1591. Where Notre-Dame is
+small, Saint-J&eacute;rome is large, where the old church is simple, the newer
+one is either pretentious or sumptuous, and where the one is Romanesque,
+the other is Gothic.</p>
+
+<p>The present Cathedral stands on the heights of the city; and from one
+side or another its clean, straight walls can be seen in all their large
+angularity and absence of architectural significance. Towers rise
+conventionally above the fa&ccedil;ade; and a big broad flight of white stone
+steps leads to three modern portals that have been built in an
+economical imitation of the sculptured richness of the XIII century.</p>
+
+<p>The interior, also Gothic, has neither clerestory nor triforium, and its
+naves are covered by a vaulting which springs broadly from the round,
+supporting piers. The conception is not noble, it has no simplicity, and
+no more of spiritual suggestion than a Madonna of Titian; but the space
+of the nave is so largely generous and the new polychrome so richly
+toned that the church has majesty of space and harmony, deep lights and
+subdued colourings; it is large and sumptuous with the munificence of a
+Veronese canvas, a singular and most curious contrast to the cold
+severity of its outer walls.<span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus081.jpg" width="500" height="385" alt="" title="THE INTERIOR HAS NEITHER CLERESTORY NOR TRIFORIUM"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE INTERIOR HAS NEITHER CLERESTORY NOR
+TRIFORIUM.&rdquo;&mdash;DIGNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Before the High Altar of this Church lies buried one whose spirit
+suggests the Christ, a Bishop, yet a simple priest, whose life deserves
+more words than does the whole of Saint-J&eacute;rome, once his
+Cathedral-church. He was a Cur&eacute; of Brignoles, one of those keen, yet
+simple-hearted and hard-working priests who often bless Proven&ccedil;al towns.
+He had no great ambitions, no patronage, no ties except a far-off
+brother who was an upstart general of that most upstart Emperor,
+Napoleon. One day while the priest was pottering in his little
+garden,&mdash;as Proven&ccedil;al Cur&eacute;s love to dig and work,&mdash;a letter was handed
+him, marked &ldquo;thirty sous of postage due.&rdquo; He was outraged. His shining
+old soutane<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> fell from the folds in which he had prudently tucked it, he
+shrugged his shoulders and protested,&mdash;&ldquo;A great expense indeed for a
+trivial purpose. Where should he find another thirty sous for his poor?
+He never wrote letters. Therefore by no argument of any school of logic
+could he be compelled to receive them. Obviously this was not for him.&rdquo;
+The unexpected letter was one for which his brother had asked and which
+Napoleon had signed, a decree which made him Bishop.</p>
+
+<p>Long afterwards this simple, saintly prelate saved a man from crime, and
+history relates that this same man died at Waterloo as a good and
+faithful soldier fighting for the fatherland. His benefactor, that loyal
+servant of Christ and His Church, soon followed him in death, and unlike
+many a Saint whom this earth forgets his memory lives on, not only in
+the little city of the snow-clad Alps, but in the hearts of those who
+read of his good deeds. For Monseigneur Miollis of Digne is truly
+Monseigneur Bienvenu of &ldquo;Les Mis&eacute;rables,&rdquo; and only the soldier of
+Waterloo was glorified in Jean Valjean.</p>
+
+
+<div class="sidenoteb">Forcalquier.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>If it is difficult to picture sleepy, stately Aix as one of the most
+brilliant centres of medi&aelig;val Europe, and the garrisoned castle of
+Tarascon filled with the gay courtiers and fair ladies of King Ren&eacute;'s
+Court, it will be almost impossible to walk in the smaller Proven&ccedil;al
+&ldquo;cities,&rdquo; and see in imagination the cavalcades of mailed soldiers who
+clattered through the streets on their way to the castle of some<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+near-by hill-top, my lord proudly distinguishable by his mount or the
+length of his plume, a delicate Countess languishing between the
+curtains of her litter, or a more sprightly one who rode her palfrey and
+smiled on the staring townsfolk. It is almost impossible to conceive
+that the four daughters of Raymond B&eacute;renger, a Queen of the Romans, of
+France, of Naples, and of England, were brought up in the castle of the
+little hillside hamlet of Saint-Maime Dauphin. Provence is quiet, rural,
+provincial; a land of markets, busy country inns, and farms; not of
+modern greatness nor of modern renown. Its children are a fine and busy
+race, no less strong and fine than in the land's more stirring times,
+but they live their years of greatness in other, &ldquo;more progressive&rdquo;
+parts of France, and the Proven&ccedil;al genius, which remains very native to
+the soil, is broadly known to fame as &ldquo;French.&rdquo; Like some rich old wine
+hidden in the cellars of the few, Provence lies safely ensconced behind
+Avignon and Arles, and only the epicures of history penetrate her hills.</p>
+
+<p>Her medi&aelig;val ruins seem to belong to a past almost as dead and ghostly
+as her Roman days, and to realise her Middle Ages, one must leave the
+busy people in the town below, climb one of the hills, and sitting
+beside the crumbling walls of some great tower or castle, watch the hot
+sun setting behind the low mountains and lighting in a glow the bare
+walls of some other ruined stronghold on a neighbouring height. The
+shadows creep into the valleys, the rocks grow grey and cold, and the
+clusters of trees beside them become darkly mysterious. Then far beneath
+a white<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> thread seems to appear, beginning at the valley's entrance and
+twisting along its length until it disappears behind another hill. This
+is the road; and by the time the eye has followed its long course,
+daylight has grown fainter. Then Provence takes on a long-lost
+splendour. To those who care to see, cavalcades of soldiers or of
+hunters come home along the road, castles become whole and frowning, the
+dying sun casts its light through their gaping window-holes, as light of
+nightly revels used to shine, and a phantom Medi&aelig;valism appears.</p>
+
+<p>One of the powerful families of the country, the Counts of Forcalquier,
+sprang from the House of B&eacute;renger in the XI century, and a hundred and
+fifty years later, grown too great, were crushed by the haughty parent
+house. More than one hill of Eastern Provence has borne their tall
+watchtowers, more than one village owed them allegiance, and a large
+town in the hills was their capital and bore their name. And yet not a
+ruined tower that overlooks the Proven&ccedil;al mountains, not a village,
+gate, or castle&mdash;Manosque or old Saint-Maime,&mdash;but speaks more vividly
+of the old Counts than does Forcalquier, formerly their city, now a mere
+country town which has lost prestige with its increasing isolation, many
+of its inhabitants by plagues and wars, and almost all of its
+picturesque Medi&aelig;valism through the destructiveness of sieges.</p>
+
+<p>Long before this day of contented stagnancy, in 1061, when Forcalquier,
+fortified, growing, and important, claimed many honours, Bishop G&eacute;rard
+Capr&eacute;rius of Sisteron had given the city a Provost and a Chapter, and
+created the<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> Church of Saint-Mary, co-cathedral with that of Notre-Dame
+of Sisteron. Not contented with this honour, Forcalquier demanded and
+received a Bishopric of her own. Her hill was then crowned by a Citadel,
+her Cathedral stood near-by, her walls were intact. Now the Citadel is
+replaced by a peaceful pilgrims' chapel, the walls are gone, Saint-Mary,
+ruined in the siege of 1486, is recalled only by a few weed-covered
+stumps and bits of wall, and its title was given to Notre-Dame in the
+lower part of the town.</p>
+
+<div class="figleft" style="width: 216px;">
+<img src="images/illus086.jpg" width="216" height="300" alt="" title="A LARGE, SQUARE TOWER SERVED AS A LOOK-OUT"/>
+<span class="caption">&ldquo;A LARGE, SQUARE TOWER SERVED AS A
+LOOK-OUT.&rdquo;&mdash;FORCALQUIER.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>No Cathedral is a sadder example of architectural failure than
+Notre-Dame of Forcalquier because it has so many of the beginnings of
+real beauty and dignity, so many parts of real worthiness that have been
+unfortunately combined in a confused and discordant whole. If, of all
+little cities of Provence, Forcalquier is one of the least unique and
+least holding, its Cathedral is also one of the least satisfying. It is
+not beautiful in situation nor in its own essential harmony, and the
+fine but tantalising perspectives of its interior may be found again in
+happier churches.</p>
+
+<p>The exterior shows to a superlative degree that general tendency of
+Proven&ccedil;al exteriors to be without definite or logical proportions. A
+large, square tower, heavier than that of Grasse, served as a lookout, a
+tall, thin little turret served as a belfry. In the fa&ccedil;ade there is a
+Gothic portal which notwithstanding its entire mediocrity is the chief
+adornment of the outer walls. They are irregular and uncouth to a degree
+and their only interesting features are at the eastern end. Here the
+smaller, older apses on<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> either side betray the church's early origin.
+The central apse, evidently of the same dimensions as the Romanesque one
+originally designed, was re-built in severe, rudimentary Gothic. Looking
+at this shallow apse alone, and following its plain lines until they
+meet those of the big tower, there is a straight simplicity that is
+almost fine,&mdash;but this is one mere detail in a large and barren whole,
+and the Cathedral-seeker turns to the nearest entrance.</p>
+
+<div class="figcenter" style="width: 414px;">
+<img src="images/illus087.jpg" width="414" height="500" alt="" title="A SUGGESTIVE VIEW FROM THE SIDE AISLE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;A SUGGESTIVE VIEW FROM THE SIDE AISLE.&rdquo;&mdash;FORCALQUIER.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The first glimpse of the interior is so relieving that one is not quick
+to notice its lack of architectural unity. The few windows give a soft
+light, and the brown of the stone has a mellowness that is both rich and
+reposeful. If the Cathedral could have been finished in the style of the
+first bays of the nave, it would have been a nobly dignified example of
+the Romanesque. Could it have been re-built in the slender Gothic of the
+last bay, it would have been <span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span>an exquisite example of Proven&ccedil;al Gothic.
+Rather largely planned, its old form of tunnel vaulting and the fine
+curve of its nave arches and heavy piers are in violent contrast to the
+Gothic bay, with its pointed arch, its clustered columns and carved
+capitals, which, even with the shallow choir and its long, slim windows,
+is too slight a portion of the Cathedral to have independence or real
+beauty. From its ritualistic position, it is the culminating point of
+the church, and its discord with the Romanesque is unpleasantly<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span>
+insistent. The side aisles, which were built in the XVII century, are
+low, agreeable walks ending in the chapels of the smaller apses. They
+are neither very regular nor very significant; but they give the church
+pleasant size and perspectives, and by avoiding the unduly large and
+shining modern chandeliers which hang between the nave arches, one gets
+from these side aisles the suggestive views which show only too well
+what true and good architectural ideas were brought to confusion in the
+re-building, the additions, and the restorations of the centuries. In
+painting, anachronisms may be quaint or even amusing; but in
+architecture, they are either grotesque or tragic, and in a church of
+such fine suggestiveness as Notre-Dame at Forcalquier, one is haunted by
+lingering regrets for what might and should have been.</p>
+
+<div class="sidenoteb">Vence.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>A founder of the French Academy and one of its first immortal forty was
+Antoine Godeau, &ldquo;the idol of the H&ocirc;tel Rambouillet.&rdquo; His mind was
+formed, as it were, by one of the most clever women of that brilliantly
+foolish coterie, he sang frivolous sonnets to a beautiful red-haired
+mistress whom he sincerely admired, and when he entered Holy Church,
+none of his charming friends believed that he would do more than modify
+the proper and agreeable conventionalities of his former life. They
+thought that he would add to the grace of his worldly manner the suavity
+of the ecclesiastic, that he would choose a pulpit of Paris, and that,
+sitting at his feet, they could enjoy the elegant phrases with which he
+would<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> embellish a refined and delicately attenuated religion. But an
+aged prelate of the far South judged the new priest differently, he had
+sounded the heart of the man who, at the age of thirty, had quietly
+renounced a flattering, admiring world; and his dying prayer to
+Richelieu was that Godeau should succeed him in the See of Vence. The
+keen worldly wisdom of the Cardinal confirmed the old Bishop's more
+spiritual insight, and Godeau was named Bishop of the neighbouring
+Grasse.</p>
+
+<p>Far away in his mountain-city of flower gardens and sweet odours, the
+new Bishop wrote to his Parisian friends that, for his part, he &ldquo;found
+more thorns than orange-blossoms.&rdquo; The Calvinists, from the rock of
+Antibes, openly defied him; in spite of the vehement opposition of their
+Chapters and against his will, the Bishoprics of Grasse and Vence were
+united, and he was made the Bishop of the two warring, discontented
+Sees. He was stoned at Vence; and even his colleague in temporal power,
+the Marquis of Villeneuve, showed himself as insolent as he dared. At
+length the King came to his aid, and being given his choice of the Sees,
+Godeau immediately left &ldquo;the perfumed wench,&rdquo; as he called Grasse, and
+chose to live and work among his one-time enemies of Vence. This gentle
+and courageous prelate is typical of the long line of wise men who ruled
+the Church in the tight little city of the Proven&ccedil;al hills. From Saint
+V&eacute;ran the wonder-worker, and Saint Lambert the tender nurse of lepers,
+to the end, they were men noted for bravery, goodness, and learning, and
+it was not till the Revolution that one was found<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span>&mdash;and fittingly the
+last&mdash;who, hating the &ldquo;Oath&rdquo; and fearing the guillotine, fled his See.</p>
+
+<p>This city of good Bishops was founded in the dim, pagan past of Gaul.
+From a rocky hill-top, its inhabitants had watched the burning of their
+first valley-town and they founded the second Vence on that height of
+safety to which they had escaped with their lives. Here, far above the
+Aurelian road, the Gallic tribes had a strong and isolated camp. Then
+the prying Romans found them out, and priests of Mars and Cybele
+replaced those of the cruder native gods, and they, in turn, gave way to
+the apostle of the Christians. Where a temple stood, a church was built;
+and unlike many early saints who looked upon old pagan images as homes
+of devils and broke them into a thousand pieces with holy wrath and
+words of exorcism, the prelate of Vence buried an image of a vanquished
+god under each and every pillar of his church, in sign of Christian
+triumph.</p>
+
+<p>These early days of the Faith were days of growth for the little city,
+and she prospered in her Medi&aelig;valism. High on her hill, she was too
+difficult of access to suffer greatly from marauding foes, and hidden
+from the sea, she did not excite the cupidity of the Mediterranean
+rovers. When Antibes and Nice were sacked, her little ledge of rock was
+safe; and people crowded thick and fast behind her walls, until no
+bee-hive swarmed so thick with bees as her few streets with citizens.
+Here were arts and occupations, burghers and charters, riches and
+liberties. Here came the Renaissance, and Vence had eager, if not famous
+sculptors,<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> painters, and organ-builders, and a family of artists whom
+even the dilettante Francis I deigned to patronise.</p>
+
+<p>Such memories of a busy, energetic past seem fairy-tales to those who
+walk to-day about the dark and narrow streets of Vence. She scarcely has
+outgrown her ancient walls, her civic life is dead, and in her virtual
+isolation from the modern world she lives a dreary, quiet old age.</p>
+
+<p>The old Cathedral, Notre-Dame, lies in the heart of the town; and takes
+one back along the years, far past the Renaissance, to those grim
+medi&aelig;val days when even churches were places of defence. It is a low,
+unimpressive building, said to have been built on the site of the Roman
+Temple in the IV century. Enlarged or re-built in the X century, it was
+then long and narrow, a Latin cross. But in the XII century, deep, dark
+bays were added; in the XV, tribunes were built, the form of the apse
+was changed to an oval and it was decorated in an inharmonious style;
+and a hundred years ago the nave vault was re-built in an ellipse.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus092.jpg" width="500" height="376" alt="" title="THE OLD ROUND ARCH OF THE BISHOP'S PALACE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE OLD ROUND ARCH OF THE BISHOP'S PALACE.&rdquo;&mdash;VENCE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>In the side wall there is a low portal of a late, decadent style, which
+opens on the little square, but there is no real fa&ccedil;ade; and to see the
+church, the traveller passed under the old round arch of the Bishop's
+Palace, through a small, damp street to another tinier square where the
+apse and tower stand. The little Cathedral-churches of Provence are
+always simply built, but here a rectangle, a low gabled roof, a small,
+round-headed window in the wall, would have been architectural bareness
+if a high, straight tower had not crowned it all. This crenellated tower
+is a true <span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span>type of its time, square, yet slim and strong, and crudely
+graceful as some tall young poplar of the plains beneath. In the XI and
+XII centuries, its early days, it was the city's lookout. Families lived
+high up in its walls, and the traveller could imagine, in this little
+old, deserted square, the crowds who gathered round the tower's base,
+and called for news of enemies and battle as moderns gather about the
+more prosaic bulletin of printed news. He could see them surging,
+peering up; and from above he almost heard the watcher's cry, &ldquo;They're
+coming on,&rdquo;&mdash;with the great answering howl beneath, and the rush to
+arms. Or, &ldquo;They pass us by,&rdquo; and then what breaking into little laughing
+groups, what joy, what dancing, and what praying, that lasted far into
+the evening hours.<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>
+
+<div class="figcenter" style="width: 352px;">
+<img src="images/illus093.jpg" width="352" height="500" alt="" title="THE LOW, BROAD ARCHES AND THE GREAT, SUPPORTING PILLARS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE LOW, BROAD ARCHES AND THE GREAT, SUPPORTING
+PILLARS.&rdquo;&mdash;VENCE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span>
+The traveller came back in thought to modern times and went into the
+church, that church of five low naves and many restorations, that
+product of most diverse fancies. It is painted in lugubrious white, and
+its pillars have false bases in a palpable imitation of veined red
+marble. Its pure and early form, the Latin cross, is gone, its fine old
+stalls are hidden in a gallery, and at the altar Corinthian columns
+desecrate its ancient Romanesque. Yet in spite of the incongruities the
+atmosphere of the church is truly that of its dim past. There are the
+low broad arches, the great, supporting pillars that are massive
+buttresses; there is the simple practicality of a style that aimed at a
+protecting strength rather than at any art of beauty; there is the
+semi-darkness of the small, safe windows, and the little, guarded space
+where the praying few increased a thousand-fold in times of danger. This
+is, in spite of all defects, the small Proven&ccedil;al church where in days of
+peace cloudy incense slowly circled round the shadowy forms of chanting
+priests, and where in times of war a crowd of frightened women and their
+children prayed in safety for the men who sallied forth to fight in
+their defence.</p>
+
+<div class="sidenoteb">Grasse.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>He who is unloving of the past may well rush by its treasures in a
+puffing automobile, he who is bored by olden thoughts can hurry on by
+rail, but the man who wishes to know the old hill-towns of France, to
+see them as they seemed to their<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> makers, and realise their one-time
+magnificence and strength, must walk from one town to the next, and
+climb their steep heights; must see great towers rise before him, great
+walls loom above him, and realise how grandly strong these places were
+when it was man to man and sword to sword, strength against strength. He
+must arrive, dust-covered, at the cities' gates or drive into their
+narrow streets on the small coach which still passes through,&mdash;for they
+are of the times when great men rode and peasants walked and steam was
+all unknown. Then he will realise how very large the world once was, how
+far from town to town; and once within those high, protecting walls, he
+will understand why the citizen of medi&aelig;val days found in his town a
+world sufficient to itself, and why he was so often well content to
+spend his life at home.</p>
+
+<p>The power and the force of an isolated, self-concentrated interest is
+well illustrated in the history of the free cities of the Middle Ages,
+and Grasse may be counted one of these. Counts she had in name; but the
+B&eacute;rengers and Queen Jeanne had granted her charters which she had the
+power to keep; she was once wealthy enough to declare war with Pisa, and
+in the XII century the leaders of her self-government were &ldquo;Consuls by
+the grace of God alone.&rdquo; Therefore when Antibes continued to be greatly
+menaced by blasphemous pirates, the Bishopric was removed to Grasse,
+rich, strong, and safe behind the hills, where it endured from 1244,
+through all the perils of the centuries, until by a pen-stroke Napoleon
+wiped it out in 1801.<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus097.jpg" width="500" height="377" alt="" title="HIGHER THAN THEM ALL STANDS THE CATHEDRAL"/></div>
+<div class="figcenter"><span class="caption">&ldquo;HIGHER THAN THEM ALL STANDS THE CATHEDRAL.&rdquo;&mdash;GRASSE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>To come to Grasse on foot or in the stage, will well repay the traveller
+of old-fashioned moods and fancies. Afar, her houses seem to crowd
+together, as they used to crowd within the walls, her red roofs rise
+fantastically one above the other, and higher than them all stands the
+Cathedral with its firm, square tower. Such must have been old Grasse,
+perched on the summit of her hill. But once inside the town, these
+illusions cease. Here are the hotels and the Casino of a thermal
+station, and the factories of a new world. The traveller finds that the
+broad upper boulevards are filled with tourists and smart English
+visitors; and in the narrow streets pert factory-hands come noisily from
+work. Still he climbs on toward the Cathedral,<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> through tortuous streets
+and little alley-ways. And in the gloomiest of them all there is no
+odour of a stale antiquity, but the perfume of a garden-full of roses,
+of a thousand orange-blossoms, and of locusts, honey-sweet, and he
+begins to think himself enchanted. He feels the dark, old houses are
+unreal, as if, instead of cobble-stones beneath his feet, there must be
+the soft and tender grass of Araby the Blest. Such is the magic of a
+trade, the perfume industry of Grasse that for so many hundreds of years
+has made her meanest streets full of refreshing fragrance.</p>
+
+<p>Breathless from the climb, the traveller stepped at length into the
+little square, before a most ungainly Cathedral. &ldquo;Chiefly built in the
+XII century,&rdquo; it may have been, but so bedizened by the Renaissance that
+its heavy old Proven&ccedil;al walls and massive pillars seem to exist merely
+as supports for additions or unreasonable decorations of a poor Italian
+style. A certain Monseigneur of the XVII century re-built the choir in a
+deep, rectangular form; another prelate enlarged the church proper and
+ruined it by constructing a tribune over the aisles, and desiring the
+revenues of a new burial-place, he ordered Vauban to accomplish the
+daring construction of a crypt. Still another Bishop with like
+architectural tastes built a large new chapel which opens from the south
+aisle; and with these additions and XVIII century changes in the fa&ccedil;ade,
+the original style of the church was obscured. In spite of the pitiful
+remains of dignity which its three aisles, its firm old pillars, and its
+height still give to the interior, it is as a whole so mean a building
+that it has fittingly lost the title of Cathedral.<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus099.jpg" width="500" height="395" alt="" title="PONT D'AVIGNON"/></div>
+<div class="figcenter"><span class="caption">THE &ldquo;PONT D'AVIGNON.&rdquo;</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+
+<p><span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
+<hr style="width: 65%;" />
+<h2>III.</h2>
+<span class="totoc"><a href="#toc">Top</a></span>
+<h3>RIVER-SIDE CATHEDRALS.</h3>
+
+<div class="sidenoteb">Avignon.</div>
+<p>Everything which surrounds the Cathedral of Avignon, its situation, its
+city, its history, is so full of romance and glamour that it is only
+after very sober second thought one realises that the church itself is
+the least of the papal buildings which majestically overtower the Rhone,
+or of those royal ruins which face them as proudly on the opposite bank
+of the river. Yet no church in Provence is richer in tradition, and in
+history more romantic than tradition.</p>
+
+<p>The foundation of this church goes back to the first Avignon, a small
+colony of river-fishermen which gave way before the Romans, who
+established a city, Avernio, on the great rocky hill two hundred feet
+above the Rhone. Some hundreds of years later the first Christian
+missionaries to Gaul landed near the mouth of this river,&mdash;Mary the
+mother of James, Saint Sara the patron of gypsies, Lazarus, his sister
+Martha, and Saint Maximin. Before these storm-tossed Saints lay the fair
+and pagan country of Provence, the scene of their future mission; and if
+tradition is to be further believed, each went his way, to work mightily
+for the sacred cause. Maximin lived in the town that bears his name,
+Lazarus became the first Bishop of Marseilles, and Saint Martha ascended
+the Rhone as far as Avignon<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> and built near the site of the present
+Cathedral an oratory in honour of the Virgin &ldquo;then living on the earth.&rdquo;
+Two early churches, of which this chapel was perhaps a part, were
+destroyed in the Saracenic sieges of the VIII century; an inscription in
+the porch of the present Cathedral records the very interesting medi&aelig;val
+account of its re-building and re-consecration nearly a hundred years
+later. It was, so runs the tale, the habit of a devout woman to pray in
+the church every night; and after the Cathedral had been finished by the
+generous aid of Charlemagne, she happened there at midnight, and
+witnessed the descent of Christ in wondrous, shining light. There at the
+High Altar, surrounded by ministering angels, he dedicated the Cathedral
+to His Mother, Our Lady of Cathedrals; and so it has been called to the
+present day. If it is an impossible and ungrateful task to disprove that
+the re-construction, or at least the re-founding of this Cathedral was
+the work of Charlemagne, so munificent a patron and dutiful a son of the
+Church, to prove it is equally impossible. A martyrology of the XI
+century speaks of a dedication in 1069, but as this ceremony had been
+preceded by another extensive re-building, and was followed by many
+other changes, the oldest portions of the present church are to be most
+accurately ascribed to the XI, XII, and XIV centuries. The additions of
+the centuries following the papal return to Rome have greatly changed
+the appearance of the church. A large chapel, built in 1506, gives
+almost a northern nave. In 1671, Archbishop Ariosto thought the interior
+would be gracefully improved by a Renaissance gallery which should<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span>
+encircle the entire nave from one end of the choir to the other. To
+accomplish this new work, the old main piers below the gallery were cut
+away, the wall arches were changed, and columns and piers, almost
+entirely new, arose to support a shallow, gracefully balustraded balcony
+and its bases of massive carving. Nine years later a new Archbishop
+added to the north side a square XVII century chapel, richly ornamental
+in itself, but entirely out of harmony with the fundamental style of the
+church. Other chapels, less distinguished, which have been added from
+time to time, line the nave both north and south, and all are excrescent
+to the original plan. Of the exterior, only the fa&ccedil;ade retains its
+primitive character. The side-walls, &ldquo;entirely featureless,&rdquo; as has been
+well said, &ldquo;reflect only the various periods of the chapels which have
+been added to the Cathedral,&rdquo; and the apse was re-built in 1671, in a
+heavy, uninteresting form.<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span></p>
+
+<div class="figcenter" style="width: 403px;">
+<img src="images/illus103.jpg" width="403" height="500" alt="" title="THE INTERIOR HAS A SHALLOW, GRACEFULLY BALUSTRADED BALCONY"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE INTERIOR HAS A SHALLOW, GRACEFULLY BALUSTRADED
+BALCONY.&rdquo;&mdash;AVIGNON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>These additions, superimposed ornamentations, and rebuildings, together
+with the very substantial substructure of the primitive Cathedral, form
+to-day a small church of unimpressive, conglomerate style, and except
+for its history, unnoteworthy. It is therefore a church whose interest
+is almost wholly of the past; and the traveller goes back in
+imagination, century after century, to the era of Papal residency, when
+the Cathedral was not only ecclesiastically important, but
+architecturally in its best and purest form. This church, which Clement
+V found on his removal to Avignon, and which may still be easily traced,
+was of the simple, primitive Proven&ccedil;al style. No dates of that period<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span>
+are sufficiently accurate to rely upon; but its interest lies not so
+much in chronology as in its portrayal of the general type. The interior
+is the usual little hall church of the XI century, with its aisle-less
+nave of five bays, and plain piers supporting a tunnelled roof, with
+double vault arches. Beyond the last bay, over the choir, is the
+Cathedral's octagonal dome, and from the rounded windows of its lantern
+comes much of the light of the interior, which is sombre and without
+other windows of importance.</p>
+
+<p>The fa&ccedil;ade is architecturally one of the most significant parts of the
+church. Above the portal the wall is supported on either side by plain
+heavy buttresses, and directly continued by the solid bulk of the tower.
+In 1431 this tower replaced the original one which fell in the
+earthquake of 1405. It is conjecturally similar, a heavy rectangle which
+quite overweighs the church; plain, with its stiff pilasters and two
+stories of rounded windows; without grace or proper proportion, but
+pleasing by the unblemished severity of its lines. Above the balustrade
+with which the tower may be properly said to terminate, the religious
+art of the XIX century has erected as its contribution to the Cathedral
+a series of steps, an octagon, and a colossal, mal-proportioned statue
+of the Virgin. These additions are inharmonious; and the finest part of
+the fa&ccedil;ade is the porch, so classic in detail that it was formerly
+supposed to be Roman, a work of the Emperor Constantine. Like the rest
+of the church, its general structure is plain and somewhat severe, with
+small, richly carved details, in this instance closely Corinthian. The
+rounded portal of entrance<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> is an entablature, enclosed as it were by
+two supporting columns; and above, in the pointed pediment, is a
+circular opening curiously foreshadowing that magnificent development of
+the North&mdash;the rose-window. Passing through the vestibule, whose
+tunnel-vault supports the tower, the minor portal appears, almost a
+replica of the outer door, and the whole forms an unusual mode of
+entrance, graceful in detail, ponderous in general effect. Far behind
+the tower of the fa&ccedil;ade rises the last significant feature of the
+exterior, the little lantern. It is an octagon with Doric and Corinthian
+motifs, continuing the essential characteristics of the interior, and
+exceedingly typical of Provence.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus107.jpg" width="500" height="332" alt="" title="THE PORCH SO CLASSIC IN DETAIL"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE PORCH SO CLASSIC IN DETAIL.&rdquo;&mdash;AVIGNON.<br />
+<small><i>From an old print</i></small></span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Into this church, with its few, unusually classic details,<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> its
+Proven&ccedil;al simplicity, its very modest size and plainness, the
+munificence of papal pomp was introduced. This was in 1308, an era of
+papal storm and stress. Not ten years before, Boniface VIII, with the
+tradition of Canossa spurring his haughty ambitions, had launched a bull
+against Philip III, whom he knew to be a bad king and whom he was to
+find an equally bad, rebellious Christian. &ldquo;God,&rdquo; said the Prelate, from
+Rome, &ldquo;has constituted us, though unworthy, above kings and kingdoms, to
+seize, destroy, disperse, build, and plant in His name and by His
+doctrine. Therefore, do not persuade thyself that thou hast no superior,
+and that thou art not subject to the head of the ecclesiastical
+hierarchy; he who thinks thus is insensate, he who maintains it is
+infidel.&rdquo;</p>
+
+<p>Past indeed was the time of Henry of Germany, long past the proud day
+when a Pope received an Emperor who knelt and waited in the snow. Philip
+burned the Bull; and to prevent other like fulminations, sent an agent
+into Italy. Gathering a band, he found the aged Pontiff at Anagni, his
+birthplace, seated on a throne, crowned with the triple crown, the Cross
+in one hand and in the other Saint Peter's Keys, the terrible Keys of
+Heaven and Hell. They called on him to abdicate, but Boniface thought of
+Christ his Lord, and cried out in defiant answer, &ldquo;Here is my neck, here
+is my head. Betrayed like Jesus Christ, if I must die like him, I will
+at least die Pope.&rdquo; For reply, Sciarra Colonna, one of his own Roman
+Counts, struck him in the face. Buffeted by a noble, and openly defied
+by a king, Boniface died &ldquo;of shame and anger.&rdquo; A month later, this same
+king<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> rejoiced, if nothing more, at the death of the Pope's successor;
+and in the dark forests of Saint-Jean-d'Ang&eacute;ly, Philip bargained and
+sold the great Tiara to a Gascon Archbishop who, if Villani speaks
+truly, &ldquo;threw himself at the royal feet, saying, 'It is for thee to
+command and for me to obey; such will ever be my disposition!'&rdquo; As was
+not unnatural, the will of the French king was that the Pope should
+remain within the zone of royal influence. So Clement lived at Bordeaux
+and at Poitiers, and finally retired to the County of Venaissin which
+the Holy See possessed by right, and established the pontifical court at
+Avignon.</p>
+
+<p>This transfer of the papal residence to Avignon has left many and deep
+traces on the history of French Catholicism. The Holy See was no longer
+far remote; the French ecclesiastic desirous of promotion had no
+dangerous mountains to traverse, no strange city to enter, no foreign
+Pontiff to besiege, ignorant or indifferent to his claims. The next
+successor of Saint Peter would logically be a Frenchman, and there was
+not only a possibility, but a probability for every man of note, that he
+might be either the occupant of the Sacred Chair or its favoured
+supporter. So Avignon became a city of priests as Rome had been before
+her; and as France was the richest country in Europe and the Church
+regally wealthy, splendour, luxury, and constant religious spectacles
+rejoiced the city, and Bishop, Archbishop, and Abbot, brazenly
+neglecting the duties of their Sees, lived here and were seldom &ldquo;in
+residence.&rdquo; Every one had a secret ambition. Of such a situation, the
+Popes<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> were not slow to reap the benefits. Difference of wealth, which
+brought difference of position, counted much and was keenly felt. Abbots
+of smaller monasteries found themselves inferior to Bishops, especially
+in freedom from papal interference; while from the inherent wealth and
+power of their foundations, the heads of the great monasteries ranked
+sometimes with Archbishops, sometimes even with Cardinals. The Pope had
+the right to elevate an Abbey or a Priory into a Bishopric, and those
+who could offer the &ldquo;gratification&rdquo; or the &ldquo;provocative,&rdquo; might
+reasonably hope for the desired elevation which at once increased their
+local importance, belittled a neighbouring diocese, and freed them to
+some extent from the direct intermeddling of the Pope. The applications
+for such an increase of power became numerous, and by 1320 a number of
+Benedictine Abbeys had been made Bishoprics. Their creation greatly
+decreased the direct and intimate power of the Papacy, but temporarily
+increased the papal treasury; and John XXII, who left ten million pieces
+of silver and fifteen million in gold with his Florentine bankers, seems
+to have thought philosophically, &ldquo;After us, the deluge.&rdquo;
+<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span></p>
+
+<div class="figcenter" style="width: 372px;">
+<img src="images/illus111.jpg" width="372" height="500" alt="" title="NOTRE-DAME-DES-DOMS"/></div>
+<div class="figcenter"><span class="caption">NOTRE-DAME-DES-DOMS.&mdash;AVIGNON</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Another favourite diplomatic and financial device, which was invented by
+these famous Popes of Avignon, was the system of the &ldquo;Commende,&rdquo; which
+enabled relatives of nobles and all those whom it was desirable to
+placate, not alone ecclesiastics, but mere laymen and bloody barons, to
+become &ldquo;Commendatory Abbots&rdquo; or &ldquo;Commendatory Priors,&rdquo; and to receive at
+least one-third of the monastery's revenues, without being in any way
+responsible for the <span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span>monastery's welfare. This care was left to a
+Prior or a Sub-prior, a sort of clerical administrator who, crippled in
+means and in influence, was sometimes unable, sometimes unwilling, to
+carry out the duties and beneficences of past ages, and who was always
+the victim of a great injustice. The depths of uselessness to which this
+infamous practice reduced monastic establishments may be inferred, when
+it is remembered that before the XVIII century the famous Abbey of La
+Baume had had thirteen Commendatory Abbots, and that the bastards of
+Louis XIV were Commendatory Priors in their infancy.</p>
+
+<p>The Popes found the Commende useful, not only as a means of income, but
+as a method&mdash;at once secure and lucrative&mdash;of gaining to their cause the
+great feudal lords of France, and making the power of these lords an
+added buffer, as it were, between Avignon and the grasping might of the
+French Kings. For although the Popes were under &ldquo;the special protection&rdquo;
+of the Kings, it was as sheep under the special protection of a shearer,
+and they found that they must protect themselves against a too &ldquo;special&rdquo;
+and royal fleecing. For they did not always agree that&mdash;</p>
+
+<div style="margin-left: 2em;"><div class="poem"><div class="stanza">
+<span class="i0">&ldquo;'Tis as goodly a match as match can be<br /></span>
+<span class="i0">To marry the Church and the fleur-de-lis<br /></span>
+<span class="i0">Should either mate a-straying go,<br /></span>
+<span class="i0">Then each&mdash;too late&mdash;will own 'twas so.'&rdquo;<br /></span>
+</div></div></div>
+<br />
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus114.jpg" width="500" height="408" alt="" title="THE TOWER OF PHILIP THE FAIR"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE TOWER OF PHILIP THE FAIR.&rdquo;&mdash;VILLENEUVE-LES-AVIGNON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Haunted by the humiliation of their heaven-sent power, caged in
+&ldquo;Babylonish captivity,&rdquo; it is conceivable that the Popes were too
+occupied or, perhaps too distracted, to object<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> to the unsuitable
+modesty of Notre-Dame-des-Doms. When a Pope swept forth from his
+Cathedral, new-crowned, to give &ldquo;urbis et orbi&rdquo; his first pontifical
+benediction, his eye glanced, it is true, on the crowds prostrate before
+him, before the church, awed and breathless; but it fell lingeringly&mdash;it
+was irresistibly drawn&mdash;across the swift Rhone to the town of the kings
+who had defied his power, to the royal city of Villeneuve, and to the
+strong tower of Philip the Fair, standing proudly in the sunlight. Would
+it be thought strange if their thoughts wandered, or if the portraits of
+the &ldquo;French Popes&rdquo; which hang about the Cathedral<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span> walls at Avignon,
+show more worldly preoccupation than is becoming to the successors of
+Saint Peter and Vicars of Christ?</p>
+
+<p>Little indeed in the days of their residency did the Popes add to
+Notre-Dame-des-Doms. A fragile, slender marvel of Gothic architecture,
+the tomb of John XXII, was placed in the nave before the altar; and a
+monument to Benedict XII was raised in the church. But their Holinesses
+incited others in Avignon to good works so successfully that Rabelais
+laughingly called it the &ldquo;Ringing city&rdquo; of churches, convents, and
+monasteries. The bells of Saint-Pierre, Saint-Symphorien, Saint-Agricol,
+Sainte-Claire, and Saint-Didier chimed with those of chapels and
+religious foundations; the Grey Penitents, Black Penitents, and White
+Penitents, priests, and nuns walked the streets, and Avignon grew truly
+papal. Clement V and his successors proceeded to the safeguarding of
+their temporal welfare in truly noble fashion; and scarcely fifty years
+later they had become so well pleased with their new residence that the
+magnificent Clement VI refused to leave in spite of the supplications of
+Petrarch and Rienzi and a whole deputation of Romans.</p>
+
+<p>During the reign of this Pontiff, the Papal Court became one of the
+gayest in Christendom. Clement was frankly, joyously voluptuous; and his
+life seems one moving pageant in which luxurious banquets, beautiful
+women, and ecclesiastical pomps succeeded each other. The lovely
+Countess of Turenne sold his preferments and benefices, the immense
+treasure of John XXII was his, and he showered such benefits<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> on a
+grateful family that of the five Cardinals who accompanied his corpse
+from Avignon, one was his brother, one his cousin, and three his
+nephews; and that the Huguenots who violated his tomb at La-Chaise-Dieu,
+should have used his skull as a wine-cup, seems an horrible, but not an
+unfitting mockery. It was in vain that Petrarch hotly wrote, &ldquo;the Pope
+keeps the Church of Jesus Christ in shameful exile.&rdquo; The desire for
+return to Rome had passed.</p>
+
+<p>Avignon was not an original nor a plenary possession of the Holy
+Fathers, but &ldquo;the fairest inheritance of the B&eacute;rengers,&rdquo; and it was from
+that family that half of the city had to be wrested&mdash;or obtained. Now
+the lords of Provence were Kings of Naples and Sicily, and therefore
+vassals of the Holy See. For when the Normans took these Southern states
+from the Greeks and thereby incurred the jealousy of all Italy, they had
+warily placed themselves under the protection of the Pope and agreed to
+hold their new possessions as a papal investiture. It happened at this
+time that the vassal of the Pope in Naples and in Sicily was the
+beauteous &ldquo;Reino Joanno,&rdquo; the heiress of Provence. What she was no
+writer could describe in better words than these, &ldquo;with extreme beauty,
+with youth that does not fade, red hair that holds the sunlight in its
+tangles, a sweet voice, poetic gifts, regal peremptoriness, a Gallic
+wit, genuine magnanimity, and rhapsodical piety, with strange indecorum
+and bluntness of feeling under the extremes of splendour and misery,
+just such a lovely, perverse, bewildering woman was she, great
+granddaughter<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span> of Raymond-B&eacute;renger, fourth Count of Provence,&mdash;the pupil
+of Boccaccio, the friend of Petrarch, the enemy of Saint Catherine of
+Siena, the most dangerous and most dazzling woman of the XIV century. So
+typically Proven&ccedil;al was this Queen's nature, that had she lived some
+centuries later, she might have been Mirabeau's sister. The same
+'terrible gift of familiarity,' the same talent of finding favour and
+swaying popular assemblages, the same sensuousness, bold courage, and
+great generosity were found in this early orphaned, thrice widowed
+heiress of Provence. To this day, the memory of the Reino Joanno lives
+in her native land, associated with numbers of towers and fortresses,
+the style of whose architecture attests their origin under her reign. It
+says much for her personal fascinations that far from being either
+cursed or blamed she is still remembered and praised. The ruins of
+Gremaud, Tour Drainmont, of Guillaumes, and a castle near Roccaspervera,
+all bear her name: at Draguignan and Flagose, they tell you her canal
+has supplied the town with water for generations: in the Esterels, the
+peasants who got free grants of land, still invoke their benefactress.
+At Saint-Vallier, she is blessed because she protected the hamlet near
+the Siagne from the oppression of the Chapters of Grasse and L&eacute;rins. At
+Aix and Avignon her fame is undying because she dispelled some
+robber-bands; at Marseilles she is popular because she modified and
+settled the jurisdiction of Viscounts and Bishops. Go up to Grasse and
+in the big square where the trees throw a flickering shadow over the
+street-traders, you will see built in a vaulted passage a flight<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> of
+stone steps, steps which every barefoot child will tell you belong to
+the palace of 'La Reino Joanno.' Walls have been altered, gates have
+disappeared, but down those time-worn steps once paced the liege lady of
+Provence, the incomparable 'fair mischief' whose guilt ... must ever
+remain one of the enigmas of history.&rdquo; This &ldquo;enigma&rdquo; has strange
+analogies to one which has puzzled and impassioned the writers of many
+generations, the mystery of that other &ldquo;fair mischief&rdquo; of a later
+century, Mary Queen of Scots. Like Mary, Jeanne was accused of the
+murder of her young husband, and being pressed by the vengeance of his
+brother&mdash;no less a person than the King of Hungary,&mdash;she decided to
+retreat to her native Provence and appeal to the Pope, her gallant and
+not over-scrupulous suzerain. &ldquo;Jeanne landed at Ponchettes,&rdquo; continues
+the writer who has so happily described her, &ldquo;and the consuls came to
+assure her of their devotion. 'I come,' replied the heiress, whose wit
+always suggested a happy phrase, 'to ask for your hearts and nothing but
+your hearts.' As she did not allude to her debts, the populace threw up
+their caps; the Prince de Monaco, just cured of his wound at Cr&eacute;cy,
+placed his sword at her service; and the Baron de B&eacute;nil, red-handed from
+a cruel murder, besought her patronage which, perhaps from a
+fellow-feeling, she promised with great alacrity. At Grasse she won all
+hearts and made many more promises, and finally, arriving at Avignon,
+she found Clement covetous of the city and well-disposed to her. Yet
+morality obliged him to ask an explanation of her recent change of
+husbands, and before three Cardinals,<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span> whom he appointed to be her
+judges, the Queen pleaded her own cause. Not a blush tinged her cheek,
+no tremor altered her melodious voice as she stood before the red-robed
+Princes of the Church and narrated, in fluent Latin, the story of the
+assassination of Andrew, the death of her child, and her marriage with
+the murderer, Louis of Tarento, who stood by her side. The wily Pope
+noted behind her the proud Proven&ccedil;al nobles, the Villeneuves and
+d'Agoults, the de Baux and the Lescaris, who brought the fealty of the
+hill-country, and who did not know that, having already sold her jewels
+to the Jews, their fair Queen was covenanting with the Pope for Avignon.
+The formal trial ended, the Pontiff solemnly declared the Queen to be
+guiltless,&mdash;and she granted him the city for eighty thousand pieces of
+gold.&rdquo;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus119.jpg" width="500" height="235" alt="" title="THE GREAT PALACE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE GREAT PALACE.&rdquo;&mdash;AVIGNON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Clement enjoyed ownership in the same agreeable manner as his
+predecessors, &ldquo;without the untying of purse-strings.&rdquo;<span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span> Perhaps he used
+the purse's contents for the more pressing claim of the great Palace of
+which he built so large a part; perhaps he handed it, still filled, to
+Innocent VI who built the famous fortifications of Avignon and protected
+himself against the marauding &ldquo;White Companies,&rdquo; perhaps it was still
+untouched when Bertrand du Guesclin and his Grand Company stood before
+the gate and demanded &ldquo;benediction, absolution, and two hundred thousand
+pounds.&rdquo; &ldquo;What!&rdquo; the Pope is said to have cried, &ldquo;must we give
+absolution, which here in Avignon is paid for, and then give money
+too&mdash;it is contrary to reason!&rdquo; Du Guesclin replied to the bearer of
+these words, &ldquo;Here are many who care little for absolution, and much for
+money,&rdquo;&mdash;and Urban yielded.</p>
+
+<p>Gregory XI, the last of the &ldquo;French Popes,&rdquo; returned to Rome, and at his
+death the &ldquo;Great Schism&rdquo; followed;&mdash;Clement VII, in Avignon, was
+recognised by France, Spain, Scotland, Sicily, and Cyprus; Urban VI, in
+Rome, by Italy, Austria, and England. The County Venaissin was ravaged
+by wars and the pests that come in their train. At length the
+Avignonnais, who had not enjoyed greater peace under their anointed
+rulers than under worldling Counts, rose against Pierre de Luna, the
+&ldquo;Anti-pope&rdquo; Benedict XIII, who fled. From that time no Pontiff entered
+the gates, and the city was administered by papal legates. In later
+days, in spite of the sacred character of its rulers and his own
+undoubted orthodoxy, Louis XIV seized Avignon several times; and Louis
+XV, in unfilial vengeance for the excommunication of the Duke of Parma,
+took possession<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span> of the city. But it was not until after the beginning
+of the French Revolution, in 1791, that the Avignonnais themselves
+arose, chased the Vice-Legate of the Pope from the city, and appealed
+for union with France; and it was at this period that the Chapel of
+Sainte-Marthe, the Cloister, and the Chapter House were swept away. Thus
+ended the temporal power of the Papacy in France, planned for worldly
+profit and carried out with many sordid compromises;&mdash;a residency
+unnoted for great deeds or noble intentions and whose close marked the
+&ldquo;Great Schism.&rdquo;</p>
+
+<p>To-day papal Avignon is become French Avignon, a pleasant city where the
+Proven&ccedil;al sun is hot and where the Mistral whistles merrily. Above the
+banks of the Rhone the simple Cathedral stands, with its priests still
+garbed in papal red, its Host still carried under the white papal
+panoply. Here also is the great Palace of the Popes, &ldquo;which is indeed,&rdquo;
+says Froissart, &ldquo;the strongest and most magnificent house in the world.&rdquo;
+And yet its grim walls suggest neither peace nor rest; and to him who
+recalls, this great, impressive pile tells neither of glories nor of
+triumphs. Bands of unbelieving Pastoureaux marched toward it; soldiers
+of the &ldquo;White Companies&rdquo; and soldiers of du Guesclin gazed mockingly at
+it; it was the prison of Rienzi, and the home of the harassed Popes who
+had ever before them, just across the river, the menacing tower of that
+&ldquo;fair king&rdquo; who had led them into &ldquo;Babylonish captivity.&rdquo;<span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
+
+<div class="sidenoteb">Vaison.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>On the banks of a pleasant little river among the Proven&ccedil;al hills is
+Vaison, one of the ancient Gallic towns which became entirely romanised;
+and many illustrious families of the Empire had summer villas there as
+at Arles and Orange. Barbarians of one epoch or another have devastated
+Vaison of all her antique treasures, except the remains of an
+Amphitheatre on the Puymin Hill. Germanic tribes who swooped down in
+early centuries destroyed her villas and her greater buildings; and
+vandals of a later day have scattered her sculptures and her tablets
+here and there. Some are in the galleries of Avignon; a Belus, the only
+one found in France, was sent to the Museum of Saint-Germain; and in the
+multitude of treasures in the British Museum, the most beautiful of all
+her statues, a Diadumenus, is artistically lost. In the days when it
+still adorned the city, during the reign of the Emperor Gallienus,
+Vaison was christianised by Saint Ruf, her Bishopric was founded, and in
+337 the first General Council of the Church held in Gaul assembled here.
+Another Council in the V century, and still another in the VI, are proof
+of her continued importance.<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus123.jpg" width="500" height="394" alt="" title="ON THE BANKS OF A PLEASANT LITTLE RIVER IS VAISON"/></div>
+<div class="figcenter"><span class="caption">&ldquo;ON THE BANKS OF A PLEASANT LITTLE RIVER IS VAISON.&rdquo;</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+<br />
+<p><span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span></p>
+<div class="figcenter" style="width: 390px;">
+<img src="images/illus125.jpg" width="390" height="500" alt="" title="THE RUINED CASTLE OF THE COUNTS OF TOULOUSE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE RUINED CASTLE OF THE COUNTS OF TOULOUSE.&rdquo;&mdash;VAISON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Among the first of Gallo-Roman cities, she was also among the first to
+suffer. Chrocus and his horde who sacked Orange, seized her Bishop and
+murdered him; and Alains, Vandals, and Burgundians, following in their
+wake, brought disaster after disaster to the cities lying near the
+Rhone. Vaison, by miracle, did not lose her prestige. In the X and XI
+centuries she built her fine Cathedral with its Cloisters, and in 1179
+she was still great enough to excite the covetousness of Raymond VI,
+Count of Toulouse. This magnificent and ambitious prince built a castle
+on a height above the city, and as he had before terrorised my Lord
+Bishop of Carpentras, so now he seized the anointed person of B&eacute;renger
+de Reilhane, who was not only Vaison's Bishop, but her temporal prince
+as well. B&eacute;renger was a sufficiently powerful personage to make an
+outcry which<span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span> re-echoed throughout Christendom; the Pope and the Emperor
+came to his aid; and in the Abbey Church of Saint-Gilles-du-Gard,
+Raymond VI did solemn penance, and, before receiving absolution, was
+publicly struck by the Papal Legate with a bundle of birch rods. Above
+the Bishop's Palace the great castle still loomed in menace, but on that
+day B&eacute;renger de Reilhane triumphed and Vaison was at peace.</p>
+
+<p>It was a peace which presaged her quiet, uneventful downfall. For other
+interests were growing stronger in the country, other cities grew where
+she stood still, and in the XIV century, when Avignon became the seat of
+papal power, Vaison had passed from the world's history. Her Bishopric
+endured till 1801, but her doings are worthy only of provincial
+chronicles and to-day she is but a little country town, served by the
+stage-coach. She still lies on both banks of the river; the &ldquo;high city,&rdquo;
+with long rows of deserted houses, climbs the side of the steep hill and
+is dominated by the ruins of the great castle, which Richelieu
+destroyed. The &ldquo;lower city,&rdquo; which is the busier of the two, lies on the
+opposite bank; and on its outskirts, in a little garden-close, almost
+surrounded by the fields, is the Cathedral,&mdash;solitary, lonely, and old.
+<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span></p>
+
+<div class="figcenter" style="width: 338px;">
+<img src="images/illus127.jpg" width="338" height="500" alt="" title="THE WHOLE APSE-END"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE WHOLE APSE-END.&rdquo;&mdash;VAISON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The decoration of the exterior is slight, a dentiled cornice and a
+graceful foliated frieze extend along the top of the side-walls, which
+although most plainly built, are far from being severely angular or
+gaunt and have a quaint and pleasing harmony of line. The west front is
+so featureless that it scarcely deserves the title of fa&ccedil;ade. The south
+wall, which is clearly seen from the road, has a small portal and plain
+buttresses that slope at the top. The central apse is rectangular and
+heavy, the little southern apse is short and round, and that of the
+north is tall and thin as a pepper-box. Behind them rise the pointed
+roof of the nave and the heavy tower. The whole apse-end is constructed
+in most picturesque irregularity, and the new red<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span> of the roof-tiles and
+sombre grey of the old stone add greatly to its charm.</p>
+
+<div class="figcenter" style="width: 381px;">
+<img src="images/illus129.jpg" width="381" height="500" alt="" title="THE SOUTH WALL WHICH IS CLEARLY SEEN FROM THE ROAD"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE SOUTH WALL WHICH IS CLEARLY SEEN FROM THE ROAD.&rdquo;&mdash;VAISON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Unlike many churches of its period Notre-Dame of Vaison is three-aisled.
+Slender, narrow naves, whose tunnel vaults are not extremely lofty, end
+in small circular apses. The nave is a short one of three irregular
+bays, and over the last, which precedes the choir, is the little
+eight-sided dome, which instead of projecting above the roof is
+curiously placed a little lower than the tunnel vaulting of the other
+bays. The High Altar, which originally belonged to an older church, is
+well placed in the simple choir; for it belongs in style, if not in
+actual fact, to the first centuries of the Faith; and in the
+semi-darkness behind the altar, the old episcopal throne still stands
+against the apse's wall, in memory of the custom of the Church's early
+days. The low arches of the aisles, the dim lighting of the church, its
+simple ornaments of classic bands and little capitals, its slight
+irregularities of form and carvings, make an interior of fine and strong
+antique simplicity.</p>
+
+<p>A little door in the north wall leads to the Cloisters, which are
+happily in a state of complete restoration, and not as a modern writer
+has described them, &ldquo;practically a ruin.&rdquo; The wall which overlooks them
+has an inscription that adjures the Canons to &ldquo;bear with patience the
+north aspect of their cells.&rdquo; The short walks have tunnel vaults with
+cross-vaults in the corners and in parts of the north aisle. Great piers
+and small, firm columns support the outer arches; and on the exterior of
+the Cloister the little arches of the columns are enclosed in a large
+round arch. Many of the capitals are uncarved, some of the piers have
+applied columns, but many are ornamented in straight cut lines. On one
+side, two bays open to the ground, forming an entrance-way into the
+pretty close, where the bushy tops of a few tall trees cast flickering
+shadows on the surrounding walls and the little grassy square.<span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p>
+
+<div class="figcenter" style="width: 397px;">
+<img src="images/illus131.jpg" width="397" height="500" alt="" title="TWO BAYS OPEN TO THE GROUND"/></div>
+<div class="figcenter"><span class="caption">&ldquo;TWO BAYS OPEN TO THE GROUND.&rdquo;&mdash;VAISON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span>
+The Cloister is small and simple in its rather heavy grace. Noise and
+unrest seem far from it, and underneath its solid rounded vault is peace
+and shelter from the world. And in its firm solidity of architecture
+there is the spirit of a perfect quiet, a tranquil charm which must
+insensibly have calmed many a restless spirit that chafed beneath the<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span>
+churchly frock, and fled within its walls for refuge and for helpful
+meditation.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus133.jpg" width="500" height="404" alt="" title="THE GREAT PIERS AND SMALL FIRM COLUMNS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE GREAT PIERS AND SMALL FIRM COLUMNS.&rdquo;&mdash;VAISON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Few Proven&ccedil;al Cathedrals have the interest of Vaison and its Cloister.
+Lying in the forgotten valley of the Ouv&egrave;ze, in an old-fashioned town,
+all its surroundings speak of the past and its atmosphere is quite
+unspoiled. The church itself has been spared degenerating restorations;
+and although it has no sumptuousness as at Marseilles, no grandeur as at
+Arles, no stirring history as the churches that lay near the sea,
+although it is one of the smallest and most venerable of them all, no
+Cathedral of the Southland has so great an architectural dignity and
+merit with so ancient and so quaint a charm.</p>
+
+
+<div class="sidenoteb">Arles.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>In the midst of the wealth of antique ruins, near the Theatre, the
+Coliseum, and the Forum of this &ldquo;little Rome of the Gauls,&rdquo; stands a
+noble monument of the ruder ages of Christianity, the Cathedral,
+Saint-Trophime. Here Saint Augustine, apostle to England, was
+consecrated; here three General Councils of the Church were held, here
+the Donatists were doomed to everlasting fire, and here the Emperor
+Constantine, from his summer palace on the Rhone, must have come to
+&ldquo;assist&rdquo; at Mass. The building in which these solemn scenes of the early
+Church were enacted soon disappeared and was replaced by the present one
+whose older walls R&eacute;voil attributes to the IX century. The present
+Cathedral's first documentary date is 1152, in the era of the Republic
+of Arles. The name of Saint-Etienne was changed, and the body of
+Saint-Trophime, carried in state from the ruined Church of the
+Aliscamps, was buried under a new altar and he was solemnly proclaimed
+the Patron of the richest and most majestic church in all Provence.<span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p>
+
+<div class="figcenter" style="width: 377px;">
+<img src="images/illus135.jpg" width="377" height="500" alt="" title="IN THE MIDST OF THE WEALTH OF ANTIQUE RUINS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;IN THE MIDST OF THE WEALTH OF ANTIQUE RUINS.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span>
+Nearly eight hundred years later a traveller stood before the portal of
+this church. In the midst of his delighted study he suddenly felt the
+attraction of a pair of watchful eyes, and turned to find a peasant
+woman gazing fixedly<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span> at him. In her strange fascination she had placed
+beside her, on the ground, two huge melons and a mammoth cabbage, and
+her wizened hands were folded before her, Sunday-fashion. She was a
+little witch of a woman, old and bent and brown.</p>
+
+<div class="figcenter" style="width: 391px;">
+<img src="images/illus137.jpg" width="391" height="500" alt="" title="THE FA&Ccedil;ADE OF SAINT-TROPHIME"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE FA&Ccedil;ADE OF SAINT-TROPHIME&rdquo;.&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>&ldquo;Yes, my good gentleman,&rdquo; she said, &ldquo;I have been looking at you,&mdash;five
+whole minutes of the clock, and much good it has done me. In these days
+of books and such fine learning there is not enough time spent before
+our door; and I who pass by it every day, year in, year out, I have
+watched well, and only two except yourself have ever studied it. The
+foreigners come with red books and look at them more than at the door
+itself,&mdash;they stay perhaps three minutes, and go off, shaking their wise
+heads. Our people, passing every day, see but a door, a place for going
+in and coming out.&rdquo; She paused for breath.</p>
+
+<p>&ldquo;And what do you see?&rdquo; asked the traveller.</p>
+
+<p>&ldquo;You ask me?&rdquo; She smiled wisely. &ldquo;But you know, since you are standing
+here and looking too. Listen!&rdquo; And her old eyes began to gleam. &ldquo;I'll
+tell you of a time before you were born. I was a child then; and we
+marched here every Sunday, other little girls and myself, and we stood
+before this door. And the nuns&mdash;it was often Sister Mary Dolorosa&mdash;told
+us the stories of these stones. See! Here is Our Lord Who loves all
+mankind, but has to judge us too;&mdash;and there is Saint-Trophime. But I
+cannot read, Monsieur. An old peasant woman has no time for such fine
+things, and you will laugh at me for telling you what you have in your
+books,&mdash;but I have them all here, here in<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span> my heart, and many a time I
+too come to refresh my old memory, and to pray. Those pictures tell
+great lessons to those that have eyes to see them. Well, well-a-day, I
+must pick up my melons and begone, for I have taken up your time and
+said too much. But you will excuse it in an old woman who is good for
+little else than talking now.&rdquo;</p>
+
+<p>They parted in true French fashion, with &ldquo;expressions of mutual esteem,&rdquo;
+and the traveller turned to the portal which was still fulfilling its
+ancient mission of teaching and of making beautiful the House of God.
+Applied to a severe fa&ccedil;ade typical of the plainness of Proven&ccedil;al outer
+walls, this is one of the noblest works of Medi&aelig;valism, the richest and
+most beautiful portal of the South of France; and no others in the Midi,
+except those of Saint-Gilles-du-Gard and Moissac, are worthy of
+comparison with it. In boldness and intellectuality of conception it
+excels many of the northern works and equals the finest of them. For the
+builder of the northern portal seems to have held closely to one
+architectural form, the beautiful convention of the Gothic style; and
+within that door he placed, in a more or less usual way, the subjects
+which the Church had sanctioned. In nearly every case the treatment of
+the subject is subordinated to the general architectural plan and
+symmetry. At Saint-Trophime there was the limit of space, the axiom that
+a door must be a door, and doubtless many allowable subjects. But within
+these necessary bounds the unknown sculptor recognised few
+conventionalities. The usual place for the portrayal of the Last
+Judgment, the tympanum,<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span> was too small for his conception of the scene;
+the pier that divides his door-way was not built to support the statue
+of the church's patron saint; he had a multitude of fancies, and instead
+of curbing them in some beautiful conventionality of form, as one feels
+great northern builders often did, this artist made a frame within which
+his ideas found free play, and, forcing conventionality to its will, his
+genius justified itself. For not only is the portal as a whole, full of
+dignity and true symmetry, but its details are thoughtfully worked out.
+They show, with the old scholastic form of his Faith, the grasp of the
+unknown master's mind, the intellectuality of his symbolism, and few
+portals grow in fascination as this one, few have so interesting an
+originality.</p>
+
+<p><span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus141.jpg" width="500" height="396" alt="" title="RIGHT DETAIL, PORTAL"/></div>
+<div class="figcenter"><span class="caption">&ldquo;RIGHT DETAIL, PORTAL.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>In design it is simple, in execution incomparably rich. The principal
+theme of the Last Judgment has Christ seated on a throne as the central
+figure, and about him are the symbols of the four Evangelists. This is
+the treatment of the tympanum. Underneath, Patriarchs, Saints, Just, and
+Condemned form the beautiful frieze. The Apostles are seated; and to
+their left is an angel guarding the gates of Paradise against two
+Bishops and a crowd of laymen who have yet to fully expiate their sins
+in Purgatory. Behind them, naked, with their feet in the flames, are
+those condemned to everlasting Hell; and still beyond is a lower depth
+where souls are already half-consumed in hideous fires. On the Apostles'
+extreme right is the beginning of our human history, the Temptation of
+Adam and Eve; and marching toward the holy men, on this same side, is
+the long procession of those Redeemed from Adam's fall, <span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span>clothed in
+righteousness. An angel goes before them, and hands a small child&mdash;a
+ransomed soul&mdash;to Abraham, Isaac, and Jacob. The end panels treat the
+last phases of the dominant theme;&mdash;a mammoth angel in the one weighs
+the souls of the dead; and an equally awe-inspiring devil in the other
+is preparing to cast two of the Lost into a sea of fire.</p>
+
+<p>The remainder of the portal tells of many subjects, and represents much
+of the theological symbolism of its time. Light, graceful columns, with
+delicately foliated capitals and bases rich with meaning sculptures,
+divide the lower spaces into niches, and in these niches stand statues
+of Apostles and of Saints, each having his story, each his peculiar
+attributes; and about these chief figures are carved rich designs,
+strange animals, and numberless short stories of the Bible. Above there
+is a small, subsidiary frieze; below, the pedestals which tell the tale
+of those who stand upon them. The figures have life and meaning, if not
+a true plasticity; and in this portal there is instruction, variety, and
+majesty, wealth of allegory and subtle symbols for those who love
+religious mysteries, and splendour of sculpture for those who come in
+search of Art.</p>
+
+<p>There are those to whom a simple beauty does not appeal. After the
+richness of the portal's carving, the interior of Saint-Trophime is to
+them &ldquo;far too plain;&rdquo; in futile comparison with the Cloister's grace, it
+is found &ldquo;too severe;&rdquo; and one author has written that only &ldquo;when the
+refulgence of a Mediterranean sun glances through a series of long
+lances, ... then and then only does the Cathedral<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span> of Saint-Trophime
+offer any inducement to linger within its non-impressive walls.&rdquo;</p>
+
+<p>It may not be denied that, together with nearly all the Cathedrals of
+Provence, this interior has suffered from the addition of inharmonious
+styles. The most serious of these is its Gothic choir of the XV century,
+which a certain Cardinal Louis Allemand applied to the narrower
+Romanesque naves. With irregular ambulatory, chapels of various sizes,
+and a general incongruity of plan, this construction has no
+architectural importance except that of a prominent place in the
+church's worship. The remaining excrescences, Gothic chapels, Ionic
+pilasters, elliptical tribune, and the like, are happily hidden along
+the side aisles or in the transepts; and during the restoration of
+R&eacute;voil the naves were relieved of the disfiguring &ldquo;improvements&rdquo; of the
+XVII century, and stand to-day in much of their fine old simplicity.
+Beyond the fifth bay, and rising in the tower, is the dome of dignified
+Proven&ccedil;al form that rests on the lower arches of the crossing. Small
+clerestory windows cast sheets of pale light on the plain piers,
+rectangular and heavy, that rise to support a tunnel vault and divide
+the church into three naves of great and slender height.</p>
+
+<p>The stern, ascetic style of the XI and XII centuries has given the nave
+piers mere small, plain bands as capitals, and for churchly decoration
+has allowed only a moulding of acanthus leaves placed high and unnoticed
+at the vaulting's base. There is no pleasing detail and no charming
+fancy; but a fine, exquisite loftiness, a faultless balance of
+proportion, are in this severe interior, and its solemn and majestic
+beauty is not surpassed in the Southern Romanesque.<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span></p>
+
+<div class="figcenter" style="width: 340px;">
+<img src="images/illus145.jpg" width="340" height="500" alt="" title="LEFT DETAIL, PORTAL"/></div>
+<div class="figcenter"><span class="caption">&ldquo;LEFT DETAIL, PORTAL.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span>
+Beyond the south transept, a short passage and a few steps lead to the
+Cloisters, the most famous of Provence, perhaps of France. Large,
+graceful, and magnificent in wealth of carving, they have yet none of
+the poetic charms that linger around many a smaller Cloister. The
+vaultings are not more beautiful than other vaults less known; although
+they have the help of the great piers, the little, slender columns seem
+too light to support so much expanse of roof, and even the church's
+tower, square and high, looks dwarfed when seen across the close. The
+very spaciousness is solitary, and the long vista of the walks conduces
+to vague wonderings rather than to peaceful hours of thought. It has not
+the dreamy solitude of Vaison, nor the bright beauty of Elne's little
+close, nor any of the sunny cheerfulness that brightens the decaying
+walls of Cahors.</p>
+
+<div class="figright" style="width: 190px;">
+<img src="images/illus147.jpg" width="190" height="400" alt="" title="THROUGH THE CLOISTER-ARCHES"/></div>
+<div class="figright"><span class="caption">&ldquo;THROUGH THE<br /> CLOISTER-ARCHES.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span>
+The marvel of these Cloisters is the sculptured decorations of their
+piers and columns. Those of the XII century are the richest, but each of
+the later builders seems to have vied as best he might, in wealth of
+conception and in lavishness of detail, with those who went before, and,
+even in enforced re-building, the addition of the Gothic to the
+Romanesque has not destroyed the harmony of the effect. In all the
+sculptors' schemes, the outer of the double columns were given foliated
+patterns or a few, simple symbols, and the outer of the piers were
+channelled and conventionally cut; and although the fancy of the
+sculptor is marvellously subtle and full of grace, his greatest art was
+reserved for the capitals of the inner columns and the inner faces of
+the piers, which meditating priests would see and study. The symbolism
+authorised by Holy Church, the history of precursors of Our Lord, the
+incidents of His life and the more dramatic doings of the Saints, all
+these are carved with greatest love of detail and of art; and in them
+the least arduous priest could find themes for a whole year of
+meditation, the least enthusiastic of travellers, a thousand quaint and
+interesting fancies and imaginations. It is not so much the beauty of
+the whole effect that is entrancing in these Cloisters, nor that most
+subtle influence, the good or evil spirit of a past which lingers round
+so many ancient spots, as that medi&aelig;val thought and medi&aelig;val genius that
+found expression in these myriad fine examples of the sculptor's art.<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span></p>
+<hr style="width: 15%;" />
+<div class="figcenter" style="width: 255px;">
+<img src="images/illus149.jpg" width="255" height="500" alt="" title="A NAVE OF GREAT AND SLENDER HEIGHT"/></div>
+<div class="figcenter"><span class="caption">&ldquo;A NAVE OF GREAT AND SLENDER HEIGHT.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus151.jpg" width="500" height="406" alt="" title="THE BEAUTY OF THE WHOLE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE BEAUTY OF THE WHOLE.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Alexandre Dumas has written of Arles: "Roman monuments form the soil;
+and about them, at their feet, in their shadow, in their crevasses, a
+second Gothic city has sprung&mdash;one knows not how&mdash;by the vegetative
+force of the religious civilisation of Saint Louis. Arles is the Mecca
+of arch&aelig;ologists.&rdquo; It is also the Mecca of those who love to study
+people and customs, for, in spite of the railroad, and the consequent
+influx of &ldquo;foreign French,&rdquo; it has preserved the old
+gr&aelig;co-roman-saracenic type which has made its beautiful women so justly
+famous, and, underneath its Proven&ccedil;al gaieties, their classic origins
+may easily be traced. One should see the Roman Theatre, the solitary
+Aliscamps, by moonlight, the busy market in the<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span> early day, the
+Cathedral at a Mass, and a f&ecirc;te at any time,&mdash;for</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">&ldquo;When the f&ecirc;te-days come, farewell the swath and labour,<br /></span>
+<span class="i2">And welcome revels underneath the trees,<br /></span>
+<span class="i2">And orgies in the vaulted hostelries,<br /></span>
+<span class="i0">Bull-baitings, never-ending dances, and sweet pleasures.&rdquo;<br /></span>
+</div></div>
+<br />
+
+<div class="sidenoteb">Entrevaux.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>The most celebrated fortified town in France is the Cit&eacute; of Carcassonne,
+yet, even in the days of its practical strength, it was scarcely a type.
+It was rather a marvel, a wonder,&mdash;the &ldquo;fairest Maid of Languedoc,&rdquo; &ldquo;the
+Invincible.&rdquo; And now the citadel is almost deserted. The inhabitants are
+so few that weeds grow in their streets, and one who walks there in the
+still mid-day feels that all this completion of architecture, these
+walls, perfect in every stone, may be an enchanted vision, a mirage; he
+more than half believes that the cool of the sunset will dispel the
+illusion, and he will find himself on a pleasant little hill of
+Languedoc, looking down upon the commonplace &ldquo;Lower City&rdquo; of
+Carcassonne.</p>
+
+<p>At Entrevaux there is no suggestion of illusion. This is not a
+show-place that once was real; it is one of a hundred little
+agglomerations of the French Middle Ages. They had no great name to
+uphold; no riches to expend in impregnable walls and towers. They clung
+fearfully together for self-preservation, built ramparts that were as
+strong as might be, and dared not laugh at the &ldquo;fortunes of war.&rdquo; Except
+that there is safety outside the walls, and a tiny post and telegraph<span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span>
+office within, they are now as they were in those dangerous days. The
+fortress of Carcassonne is dead; but in the back country of Provence,
+Entrevaux is living, and scarcely a jot or tittle of its Medi&aelig;valism is
+lost. Among high rocks that close around it on every side, where,
+according to the season, the Chalvagne trickles or plunges into the
+river Var, and dominated by a fort that perches on a sharp peak, is the
+strangest of old Proven&ccedil;al towns.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus153.jpg" width="500" height="380" alt="" title="THE GOTHIC WALK, CLOISTER"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE GOTHIC WALK, CLOISTER.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span>The founding of the tiny episcopal city was after this wise. Toward the
+close of the XIV century, in a time of plagues, Jewish persecutions, the
+growth of heresies, and the uncurbed ravages of free-booters, the city
+of Gland&egrave;ves, seat of an ancient Bishopric, was destroyed. The living
+remnant abandoned its desolate ruins. Searching for a stronger, safer
+home, they chose a site on the left bank of the Var, and commenced the
+building of Entrevaux. The Bishop accompanied his flock, and although he
+retained the old title of Gland&egrave;ves, in memory of the antiquity of the
+See and its lost city, the Cathedral-church was established at
+Entrevaux.</p>
+
+<div class="figleft" style="width: 302px;">
+<img src="images/illus156.jpg" width="302" height="400" alt="" title="THIS INTERIOR"/></div>
+<div class="figleft"><span class="caption">&ldquo;THIS INTERIOR.&rdquo;&mdash;ENTREVAUX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+<p>The first edifice, Saint-Martin's, built shortly after the founding of
+the town, has long been destroyed; and the second, begun in 1610, to the
+honour of the Assumption of the Blessed Virgin Mary, held episcopal rank
+until the See was disestablished by the great Concordat. Although this
+Cathedral was built in the XVII century, a date perilously near that of
+decadence in French ecclesiastical architecture, it was situated in so
+obscure a corner of Provence<span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span> that its plan was unaffected by innovating
+ideas; it is of the old native type, a building of stout walls and heavy
+buttresses, a single tower, square and straight, and a tunnel-vaulted
+room, the place of congregation. This interior, with no beautiful
+details that may not be found in other churches, has as many of the
+defects of the Italian school as the treasury could afford,&mdash;marble
+columns, frescoes, gilding, and other rococo decorations which show that
+the people of Entrevaux had no higher and no better tastes than those of
+Nice; and that the old, simple purity of the church's form was rather a
+matter of ignorance or necessity than of choice. The attraction of the
+episcopal church pales before the quaint delight of the episcopal city,
+and it is as part of the general civic defence that it shares in the
+interest of Entrevaux.<span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span></p>
+<hr style="width: 15%;" />
+<div class="figcenter" style="width: 420px;">
+<img src="images/illus157.jpg" width="420" height="500" alt="" title="THE ROMANESQUE WALK, CLOISTER"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE ROMANESQUE WALK, CLOISTER.&rdquo;&mdash;ARLES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Leaving the train at the nearest railroad station, the traveller
+followed the winding Var, and he had scarcely walked four miles when he<span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span>
+saw, across the river, the sharp peak with its fort, and the long lines
+of walls that zigzag down the hillside till they reach the crowded roofs
+that are clustered closely, in charming irregularity, near the bank.</p>
+<div class="figright" style="width: 297px;">
+<img src="images/illus159.jpg" width="297" height="400" alt="" title="ONE OF THREE SMALL DRAWBRIDGES"/></div>
+<div class="figright"><span class="caption">&ldquo;ONE OF THREE SMALL<br /> DRAWBRIDGES.&rdquo;&mdash;ENTREVAUX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+<p>Along the water's edge, the only part of the town that is not protected
+by rocks and hills, there is another line of stout walls and two heavy,
+jutting bastions. From a medi&aelig;val point of view Entrevaux looks strong
+indeed. The only means of entrance, now as in those olden days, is by
+one of three small drawbridges, and so narrow is every street of the
+town that no wagon is allowed to cross, for if it made the passage of
+the bridge it would be caught hard and fast between the houses. As the
+traveller put foot on the drawbridge he felt as though he were a petty
+trader or wandering minstrel, or some other figure of the Middle Ages,
+entering for a few<span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span> hours' traffic or a noon-day's rest, and when he
+paused under the low arch of the portcullis-gate, people stared at him
+as they do at a stranger in little far-off towns.</p>
+<div class="figleft" style="width: 298px;">
+<img src="images/illus160.jpg" width="298" height="450" alt="" title="THE PORTCULLIS"/></div>
+<div class="figleft"><span class="caption">&ldquo;THE PORTCULLIS.&rdquo;&mdash;ENTREVAUX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+<p>Once inside, he turned into a street, and was immediately obliged to step into a door-way, for
+a man leading a horse was approaching, and they needed all its breadth.
+Houses, several stories high, bordered these incredibly dark, narrow
+ways, and some of the upper windows had the diminutive balconies so dear
+to the South. It was a bright, hot day, but the sun seldom peeped into
+these streets; and in the shops the light was dull at mid-day. As he
+thought of the men and women of Medi&aelig;valism, who did not dare to wander
+in the fields beyond the town, because their safety lay within its
+ramparts, suddenly, the little public squares of walled towns appeared
+in all the real significance of their light and breadth and sunshine.<span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span></p>
+<hr style="width: 15%;" />
+<div class="figcenter" style="width: 286px;">
+<img src="images/illus161.jpg" width="286" height="400" alt="" title="A FORT THAT PERCHES ON A SHARP PEAK"/></div>
+<div class="figcenter"><span class="caption">&ldquo;A FORT THAT PERCHES ON A SHARP PEAK.&rdquo;&mdash;ENTREVAUX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span>Space is precious in Entrevaux, and open places are few. There is one
+where the hotels and caf&eacute;s are found, another across the drawbridge
+behind the Cathedral-tower, and a tiny one before the church itself.
+This is the most curious of them all; for, far from being a &ldquo;Place de la
+Cath&eacute;drale,&rdquo; it is a true &ldquo;Place d'Armes.&rdquo; Near the portals, on whose
+wooden doors the mitre and insignia of papal favour are carved, a few
+steps lead to a narrow ledge where archers could stand and shoot from
+the loop-holes in the walls. As the traveller sat on this ledge and
+wondered what scenes had been enacted here, how many deadly shots had
+sped from out the holes, what crowds of excited townsfolk had<span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span> gathered
+in the church, what grave words of exhortation and of blessing had been
+spoken from the altar or the threshold by anxious prelate, robed and
+mitred for the Mass of Supplication to a God of Battles, an humble
+funeral appeared,&mdash;a priest, a peasant bearing a black wooden Cross with
+the name of the deceased painted on it, a rope-bound coffin carried by
+hot and sorrowing women, and a little procession of friends. The pomps
+and vanities of the past disappeared as a mist from the traveller's
+mind, and he saw Entrevaux as it really is, without the comforts of this
+world's goods, without the greatness of a Bishopric, a small Proven&ccedil;al
+village whose perfection of quaintness&mdash;so charming to him who passes
+on&mdash;means hardship and discomfort to those who have been born and must
+live and die there.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus163.jpg" width="500" height="377" alt="" title="A TRUE PLACE D'ARMES"/></div>
+<div class="figcenter"><span class="caption">&ldquo;A TRUE PLACE D'ARMES.&rdquo;&mdash;ENTREVAUX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>And yet so potent is that charm, when the traveller re-crossed the
+drawbridge and looked up at the sharp teeth of the portcullis that may
+still fall and bite, when he had passed out on the high-road and turned
+again and again to watch the fading sunlight on the tangled mass of
+roofs, the illusion had returned. The bastions stood out in bold relief,
+the church tower with its crenellated top stood out against the rocky
+peaks, the sun fell suddenly behind the hill, and the traveller felt
+himself again a minstrel wandering in a medi&aelig;val night.<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span></p>
+
+<div class="figcenter" style="width: 370px;">
+<img src="images/illus165.jpg" width="370" height="500" alt="" title="THE LONG LINES OF WALLS THAT ZIGZAG DOWN THE HILLSIDE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE LONG LINES OF WALLS THAT ZIGZAG DOWN THE
+HILLSIDE.&rdquo;&mdash;ENTREVAUX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span></p>
+<div class="sidenoteb">Sisteron.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>The traveller is curious,&mdash;frankly curious. Almost every time that he
+enters a Cathedral, his memory recalls the words of Renan, &ldquo;these
+splendid marvels are almost always the blossoming of some little
+deceit,&rdquo; and after he has feasted his eye, he thinks of history and of
+details, and of Renan, prejudiced but well-informed, and wonders what
+was here the &ldquo;little deceit.&rdquo; At Grasse, he had longed for the papers a
+certain lawyer has, which tell much of the city's life a hundred and
+fifty years ago, and at Sisteron, he sat by the Durance, wondering how
+he could induce a kind and good old lady of a remote corner of Provence
+to lend him an ancient manuscript, which even the gentle Cur&eacute; said she
+&ldquo;obstinately&rdquo; refused to &ldquo;impart.&rdquo; Blessed are they who can be satisfied
+with guide-books, as his friends who had visited Avignon and Arles,
+Tarascon and the Saintes-Maries-de-la-Mer, and had seen Provence to
+their entire edification while he was merely peering about
+Notre-Dame-des-Doms and the Fort Saint-Andr&eacute;. Of a more indolent and
+leisurely turn of mind, he suffers&mdash;and perhaps justly&mdash;the penalty of
+his joyous idleness, for even lawyers and good ladies with hidden papers
+are rare. Revolutionary sieges, fires, and a wise discretion have led to
+the destroying of many a fine old page, and it is often in vain one goes
+to these decaying cities of Provence. &ldquo;We see,&rdquo; he said, gesticulating
+dejectedly, &ldquo;we see their towers and their walls, but if we say we know
+that place, how many times do we deceive ourselves. It is too often as
+though we claimed to know<span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span> the life and thought and passions of a man
+from looking on his grave.&rdquo;</p>
+
+<p>But&mdash;to consider what we may know. Sisteron is an old Roman city, most
+strongly and picturesquely built in a narrow defile of the Durance. On
+one side the river is the high, bare rock of La Baume; on the other, a
+higher rock where houses, supporting each other by outstretched
+buttresses, seem to cling to the sheer hillside as shrubs in mountain
+crevasses, and are dominated and protected by a large and formidable
+fortress-castle that crowns the very top of the peak. The town walls are
+almost gone; the fortress is abandoned; since the Revolution there are
+no longer Bishops in Sisteron; but the old town has lost little of its
+war-like and romantic atmosphere of days when it commanded an important
+pass, and when the way across the Durance was guarded by a drawbridge,
+and a big portcullis that now stands in rusty idleness.
+<span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus169.jpg" width="500" height="365" alt="" title="THE CHURCH TOWER STOOD OUT AGAINST THE ROCKY PEAKS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE CHURCH TOWER STOOD OUT AGAINST THE ROCKY
+PEAKS.&rdquo;&mdash;ENTREVAUX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span>
+It is claimed that the Bishopric of this stronghold was founded in the
+IV century, and grew and flourished mightily, until the Bishop dwelt
+securely on his rock, his Brother of Gap had a &ldquo;box&rdquo; on the opposite
+bank, the Convent of the little Dominican Sisters was further up the
+river, and, besides this busy ecclesiastical life, there was the world
+of burghers in the town and its Convent of Ursulines. Here came once
+upon a time a sprightly lady who added a thousand lively interests. This
+was Louise de Cabris, sister of the great Mirabeau, &ldquo;who, when a mere
+girl, had been married to the Marquis de Cabris. Part knave, part fool,
+the vices of de Cabris sometimes ended in attacks of insanity. His
+marriage with one who united the violence of the Mirabeaus to the
+license of the Vassans was unfortunate; ... and after Louise began to
+reign in the big dark house of the Cours of Grasse, life never lacked
+for incidents.&rdquo; Matters were not mended by the arrival of her brother,
+twenty-four and wild, and supposed to be living under a &ldquo;lettre de
+cachet&rdquo; in the sleepy little town of Manosque. The two were soon
+embroiled in so outrageous a scandal that their father, who loved a
+quarrel for its own sake, sided with the prosecution; and declaring that
+&ldquo;no children like his had ever been seen under the sun,&rdquo; took out a
+&ldquo;lettre de cachet&rdquo; for Louise, who was sent up to Sisteron, where he
+requested her to &ldquo;repent of her sins at leisure in the Convent of the
+Ursulines.&rdquo; Inheriting a brilliant, restless wit and unbridled morals,
+her life with the stupid, vicious Marquis had not improved her natural
+disposition, and she soon set Sisteron agog. On pretence of business all
+the lawyers flocked to see her; and with no pretence at all the garrison
+flocked in their train. When the Ursulines ventured to remonstrate, she
+diverted them with such anecdotes of gay adventure as were never found
+between the pages of their prayer-books. Finally the whole town was
+divided into two camps; her foes called her &ldquo;a viper,&rdquo; and many an eye
+peered into the dark streets, many a head was judiciously hidden behind
+bowed shutters, to see who went toward the Convent; till by wit and
+scheming and after some months of most surprising incident, Louise
+carried her point, left the good Ursulines to a well-<span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span>merited repose,
+and returned to the Castle of Mirabeau,&mdash;to laugh at the townsfolk of
+Sisteron.</p>
+
+<div class="figcenter" style="width: 383px;">
+<img src="images/illus172.jpg" width="383" height="500" alt="" title="THE CATHEDRAL IS NEAR THE HEAVY, ROUND TOWERS OF THE OUTER RAMPARTS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE CATHEDRAL IS NEAR THE HEAVY, ROUND TOWERS OF THE
+OUTER RAMPARTS.&rdquo;&mdash;SISTERON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+<br />
+<p><span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span></p>
+<div class="figcenter" style="width: 367px;">
+<img src="images/illus173.jpg" width="367" height="500" alt="" title="THE BRIDGE ACROSS THE DURANCE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE BRIDGE ACROSS THE DURANCE.&rdquo;&mdash;SISTERON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span>
+When in the city, the prelates occupied their Castle of the Citadel with
+the high lookouts and defences, far from their Cathedral, which is in
+the lower town near the heavy, round towers of the ramparts. This
+church, which has been very slightly and very judiciously restored, is
+of unknown date, probably of the XII century, it is faithful to the
+native architectural tradition, and in some details more interesting
+than many of the Proven&ccedil;al Cathedrals. Its exterior is small and low.
+There are the familiar, friendly little apses of the Romanesque; near
+them, above the east end of the north aisle, the squat tower with a
+modest, modern spire; and at its side, above the roof-line, is the
+octagon that stands over the dome. All this structure is unaffectedly
+simple. The walls and buttresses which enclose the aisles are plain, and
+it is only by comparison with this architectural Puritanism that the
+fa&ccedil;ade may be considered ornate. Near the top of its wall, which is
+supported by sturdy piers, are three round windows, with deep, splayed
+frames. The largest of them is directly above the high, slender portal
+that is somewhat reminiscent of the Italian influence, so elaborately
+marked further up the valley, at Embrun. The rounded arch of the
+door-way and its pointed gable are repeated, on either side, in a
+half-arch and half-gable. An allegorical animal, in relief, stands above
+the central arch, and a few columns with delicate capitals complete the
+adornment of the entrance-way, which, in spite of being the most
+decorative part of the church, is most discreet.</p>
+
+<div class="figleft" style="width: 292px;">
+<img src="images/illus176.jpg" width="292" height="400" alt="" title="ENTRANCES TO TWO NARROW STREETS"/></div>
+<div class="figleft"><span class="caption">&ldquo;ENTRANCES TO TWO<br /> NARROW STREETS.&rdquo;&mdash;SISTERON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Nine steps lead down into an interior that is small, very usually
+planned, and much defaced by XVII century gilt&mdash;yet is essentially
+dignified and impressive. Eliminate the tawdry altars, take away the
+stucco Saints and painted Virgins, let the chapels be mere shadowy
+corners in the dark perspective, and the little church appears like the
+meeting-<span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span>place of the Faithful of an early Christianity. Its nave and
+each of the narrow side aisles rise to round tunnel-vaults; there are
+but five bays, and the last is covered by a small, octagonal dome. The
+whole church is built of a dark stone that is almost black, its lighting
+is very dim, and centres in the little apses where the holiest statues
+stand and the most sacred rites are celebrated; and the worshippers,
+shrouded in twilight, have more of the atmosphere of mystery than is
+usual in the Cathedrals of Provence, the subtle influence of quiet
+shadowy darkness that is so potent in the churches of the Spanish
+borderland.</p>
+
+<p>Many will pass through Sisteron and enjoy its rugged strength, its
+sun-lit days, its narrow streets, and the peaks that stand out in solemn
+sternness against the dark blue sky at night. Notre-Dame-de-Pomeriis has
+none of the salient beauty of any of these, and to appreciate its
+ancient charm, it must not be forgotten that the Proven&ccedil;al Cathedral has
+not the distinction of size or the elaboration of the greater Cathedrals
+of Gascony, that it is far removed from the fine originalities of
+Languedoc, that<span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span> it is conventional, and, as it were, clannish, and that
+its highest dignity is in a simple quiet that is never awe-full. There
+is, in truth, more than one church of this country that needs the
+embellishment of its history to make it truly interesting. But
+Notre-Dame of Sisteron is not of these. It is not the big, empty shell
+of Carpentras, nor the little rough Cathedral of Orange. It is the
+smaller, more perfect one, of finer inspiration, which the many will
+pass by, the few enjoy.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2>IV.</h2>
+<span class="totoc"><a href="#toc">Top</a></span>
+<p><span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span></p>
+<h3>CATHEDRALS OF THE VALLEYS.</h3>
+
+<div class="sidenoteb">Orange.</div>
+<p>Lying on the Rhone, and almost surrounded by the papal Venaissin, is a
+tiny principality of less than forty thousand acres. This small state
+has given title to more than one distinguished European who never
+entered its borders, and who was alien to it not only in birth, but in
+language and family. So great was the fame of its rulers that this
+small, isolated strip of land suffered for their principles, and
+probably owes to them much of its devastation in the terrible Wars of
+Religion. From the well-known convictions of the Princes of Orange, the
+country was always counted a refuge for heretics of all shades, and in
+1338 they were in sufficient force to demolish the tower of the
+Cathedral. Later in history, Charles IX declared William of Nassau &ldquo;an
+outlaw&rdquo; and his principality &ldquo;confiscate&rdquo;; and in 1571, there was a
+three days' massacre of Protestants. In spite of this horrid orgy the
+Reformers rose again in might and soon prevented all celebration of
+Catholic rites. Refugees fleeing from the Dragonnades of Dauphin&eacute; and of
+the C&eacute;vennes poured into the principality; and when the Princes of
+Orange were strong enough to protect their state, its Catholics lived
+restricted lives; but when the Protestant power waned, Kings and
+Captains of France raided the land in the<span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span> name of the Church. And at
+the death of William of Orange, King of England, Louis XIV seized the
+capital of the state, razed its great palace and its walls, and after
+the Treaty of Utrecht had awarded the principality to the French crown,
+treated the defenceless Huguenots with the same impartial cruelty he had
+meted to their fellow-believers in other parts of the kingdom. Orange's
+changes in religious fate are not unlike those of N&icirc;mes, with this
+essential difference, that here Catholicism has conquered triumphantly.
+Where ten worship in the little Protestant temple, a thousand throng to
+the Mass.</p>
+
+<p>Both in history and its monumental Roman ruins, the capital of this
+province, Orange, is one of the richest cities of the Southland, but its
+Cathedral is very poor and mean. The plan is one of the simplest of the
+Proven&ccedil;al conceptions, a &ldquo;hall basilica,&rdquo; arch&aelig;ologically interesting,
+but in its present state of patch and repair, architecturally
+commonplace and unbeautiful. In spite of Protestant attacks and Catholic
+restorations, the XI century type has been maintained, a rectangle whose
+plain double arches support a tunnel vault and divide the interior into
+four bays. The piers are heavy and severe; and between them are alcoves,
+used as chapels. The choir, narrower than the nave, is preceded by the
+usual dome, and beyond it is a little unused apse, concealed from the
+rest of the interior by a wall. Unimportant windows built with
+distinctly utilitarian purpose successfully light this small, simple
+room, and no kindly shadow hides its bareness or diminishes the unhappy
+effect of the paintings which disfigure<span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span> the walls. The Cathedral's
+exterior is so surrounded by irregular old houses that the traveller had
+discovered it with some difficulty. It has little that is worthy of
+description, and after having entered by a conspicuously poor
+Renaissance portal only to go out under an uninteresting modern one, he
+found himself lost in wonder that the Cathedral-builders of
+Notre-Dame-de-Nazareth should have utterly failed in a town which
+offered them such inspiring suggestions as the great Arch of Triumph and
+the still greater Imperial Theatre, besides all the other remains of
+Roman antiquity which, long after the building of Notre-Dame, the
+practical Maurice of Orange demolished for the making of his medi&aelig;val
+castle.</p>
+
+
+<div class="sidenoteb">Cavaillon.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>It was growing dusk, of a spring evening, when the traveller arrived at
+Cavaillon and wandered about the narrow streets and came upon the
+Cathedral. Glimpses of an interesting dome and a turret-tower had
+appeared once or twice above the house-tops, leading him on with
+freshened interest, and there was still light enough for many first
+impressions when he arrived before the low cloister-door. But here was
+no place for peaceful meditation. An old woman, coiffed and bent,
+brushed past him as she entered, a chair in each hand; and as he effaced
+himself against the church wall, a younger woman went by, also
+chair-laden. Two or three others came, talking eagerly, little girls in
+all stages of excitement ran in and out, and little boys came and went,
+divided between assumed carelessness and a feeling<span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span> of unusual
+responsibility. Then a priest appeared on the threshold, not in
+meditation, but on business. Another, old and heavy, and panting,
+hurried in; and through the cloister-door, Monsieur le Cur&eacute;, breviary in
+hand, prayed watchfully. A little fellow, running, fell down, and the
+priest sprang to lift him; the child was too small not to wish to cry,
+but too much in haste to stop for tears. The priest watched him with a
+kindly shrug and a smile as he ran on;&mdash;there was no time for laughing
+or crying, there was time for nothing but the mysterious matter in hand.</p>
+
+<p>&ldquo;What is it?&rdquo; the traveller finally asked.</p>
+
+<p>&ldquo;Ah, Monsieur, to-morrow is the day of the First Communion. We all have
+just prayed, just confessed, in the church; and our parents are
+arranging their places. For to-morrow there will be crowds&mdash;everybody.
+You too, Monsieur, are coming perhaps? The Mass is at half-past six.&rdquo;</p>
+
+<p>Such was the living interest of the place that the traveller moved away
+without any very clear architectural impression of the Cathedral, except
+of the curiously narrow bell-turret and of the height of the dome.</p>
+
+<p>He did not see the early Mass, but toward ten wandered again to the
+Cathedral and entered the cloister-door. It was a low-vaulted, sombre
+little Cloister which all the chattering, animated crowds could not
+brighten. Formerly two sides were gated off, and priests alone walked
+there. The other sides were public passage-ways to the church. Now only
+the iron grooves of the gates of separation remain, and the four walks
+were thronged with people. Little<span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span> girls in the white dresses of their
+First Communion, veiled and crowned with roses, were hurrying to their
+places; an old grandmother, with her arm around one of the little
+communicants, knelt by a column, gazing up to the Virgin of the
+cloister-close; proud and anxious parents led their children into
+church, and friends met and kissed on both cheeks. In one corner, an old
+woman was driving a busy trade in penny-worths of barley candy.
+Diminutive altar-<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span>boys in white lace cassocks and red, fur-trimmed
+capes, offered religious papers for sale. It was a harvest day for
+beggars, and &ldquo;for the love of the good God&rdquo; many a sou was given into
+feeble dirty hands.</p>
+
+<div class="figcenter" style="width: 393px;">
+<img src="images/illus182.jpg" width="393" height="500" alt="" title="IT WAS A LOW-VAULTED, SOMBRE LITTLE CLOISTER"/></div>
+<div class="figcenter"><span class="caption">&ldquo;IT WAS A LOW-VAULTED, SOMBRE LITTLE CLOISTER.&rdquo; CAVAILLON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>For a time the traveller walked about the Cloister, so tiny and worn a
+Cloister that on any other day it must have seemed melancholy indeed. So
+low a vaulting is not often found, massive and rounded and seeming to
+press, lowering, above the head. The columns, which help to support its
+weight, are short and heavy and thick, so worn that their capitals are
+sometimes only suggestive and sometimes meaningless. On one side the
+carving is distinctly Corinthian; on another altogether lacking. Between
+the columns, one could glance into a close so small that ten paces would
+measure its length. It was a charming little spot, all filled with
+flowers and plants that told of some one's constant, tender care. From
+above the nodding flowers and leaves rose the statue of the Madonna and
+the Child.</p>
+
+<p>The tolling bell called laggards to Mass. With them, the traveller
+entered the church, and found it so crowded that it was only after
+receiving many knocks from incoming children, and sundry blows on the
+head and shoulders from ladies who carried their chairs too carelessly,
+after minutes of time and a store of patience, that he finally reached a
+haven, a corner of the Chapel of Saint-V&eacute;ran. There, under the care of
+the Cathedral's Patron, he escaped further injuries and assisted at a
+long, interesting ceremony.</p>
+
+<p>Mass had already begun, but the voice of the priest and the answering
+organ were lost in the movement of excited<span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span> friends, the murmur of
+questions, and the clatter of nailed shoes on the stone floor. A Suisse,
+halberd in hand, and gorgeous in tri-cornered hat and the red and gold
+of office, kept the aisle-ways open with firm but kind insistence; and
+the priests who were directing the children in the body of the church,
+were wise enough to overlook the disorder, which was not irreverence,
+but interest. For days, everybody had been thinking of this ceremony;
+everybody wanted &ldquo;good places.&rdquo; But few found them. For the little nave
+of the church was chiefly given up to the communicants. They sat on long
+benches, facing each other. The boys, sixty or seventy of them, were
+nearest the Altar; the girls, even more numerous, nearest the door. A
+young priest walked between the rows of boys and the old, panting Father
+directed the girls.</p>
+
+<p>The whole interior of the church, at whose consecration no less a
+prelate than Pope Innocent IV had presided, is small and its plan is
+essentially of the Proven&ccedil;al type. The high tunnel vault rests, like
+that of Orange, on double arches; and as the nave is very narrow and its
+light very dim, the church seems lofty, sombre, and impressive, with a
+very serious dignity which its detail fails to carry out. The chapels,
+which lie between the heavy buttresses, are dim recesses which increase
+the darkened effect of the interior. Of the ten, only three differ
+essentially from the general plan; and although of the XVII century,
+their style is so severe and they are so ill-lighted that they do not
+greatly debase the church. The choir is entered from under a rounded
+archway, and its dome is loftier than the nave<span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span> and much more beautiful
+than the semi-dome of the apse, whose roof, in these practical modern
+times, has been windowed.</p>
+
+<p>That which almost destroys the effect of the church's fine lines and
+would be intolerable in a stronger light, is the mass of gilt and
+polychrome with which the interior is covered. The altars are
+monstrously showy, the walls and buttresses are coloured, and even the
+interesting, sculptured figures beneath the corbels have been carefully
+tinted. The dead arise with appropriate mortuary pallor, the halo of
+Christ is pure gold, and all the draperies of God and His saints are in
+true, primary shadings.</p>
+
+<p>From the contemplation of this misuse of paint, and of a sadly misplaced
+inner porch of the XVII century, the traveller's attention was recalled
+to the old priest. His hand was raised, the eye of every little girl was
+fixed on him and instantly, in their soft, shrill voices, they began the
+verse of a hymn. The traveller glanced down the nave. Every boy was on
+his feet, white ribbons hanging bravely from the right arm, the Crown of
+Thorns correctly held in one white-gloved hand, a Crucifix fastened with
+a bow of ribbon to the coat lapel. Every eye was on the young priest,
+who also raised his hand. Then they sang, as the girls had sung, and
+with a right lusty will. And then, under the guiding hands, both boys
+and girls sang together. There was a silence when their voices died
+away, and from the altar a deep voice slowly chanted &ldquo;Ite; missa est,&rdquo;
+and the High Mass of the First Communion Day was over.</p>
+
+<p>Outside, little country carts stood near the church, and<span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span> fathers and
+brothers in blue blouses were waiting for the little communicants who
+had had so long and so exciting a morning. Walking about with the
+crowds, the traveller saw an exterior whose fa&ccedil;ade was plainly
+commonplace and whose bare lateral walls were patched, and crowded by
+other walls. Finally he came upon the apse, the most interesting part of
+the church's exterior; and he leaned against a caf&eacute; wall and looked
+across the little square.</p>
+
+<p>Externally, the apse of Saint-V&eacute;ran has five sides, and each side seems
+supported by a channelled column. The capitals of these columns are
+carved with leaves or with leaves and grotesques; on them round arches
+rest; and above is a narrow foliated cornice. In relieving contrast to
+the artificial classicism of the Renaissance of the interior, the
+feeling of this apse is quite truly ancient and pagan, and it is not
+less unique nor less charming because it is placed against a plain,
+uninteresting wall. The eye travelling upward, above the choir-dome,
+meets the lantern with its rounded windows and pointed roof, and by its
+side the high little bell-turret which completes a curious exterior; an
+exterior which is interesting and even beautiful in detail, but
+irregular and heterogeneous as a whole.</p>
+
+<p>The Cathedral of Cavaillon is one of many possibilities. Although small
+like those of its Proven&ccedil;al kindred, it has more dignity than Orange,
+more simplicity of interior line than the present Avignon, and it is to
+be regretted that it should have suffered no less from restoration than
+from old age.<span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span></p>
+
+<div class="figcenter" style="width: 377px;">
+<img src="images/illus187.jpg" width="377" height="500" alt="" title="THE CATHEDRAL'S TOWER AND TURRET"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE CATHEDRAL'S TOWER AND TURRET.&rdquo;&mdash;CAVAILLON.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span></p>
+
+<div class="sidenoteb">Apt.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Few of the Cathedral-churches of the Midi are without holy relics, but
+none is more famous, more revered, and more authentic a place of
+pilgrimage than the Basilica of Apt. It came about in this way, says
+local history. When Martha, Lazarus, and the Holy Marys of the Gospels
+landed in France, they brought with them the venerated body of Saint
+Anne, the Virgin's Mother; and Lazarus, being a Bishop, kept the holy
+relic at his episcopal seat of Marseilles. Persecutions arose, and
+dangers innumerable; and for safety's sake the Bishop removed Saint
+Anne's body to Apt and sealed it secretly in the wall. For centuries,
+Christians met and prayed in the little church, unconscious of the
+wonder-working relic hidden so near them; and it was only through a
+miracle, in Charlemagne's time and some say in his presence, that the
+holy body was discovered. This is the history which a sacristan recites
+to curious pilgrims as he leads them to the sub-crypt.</p>
+
+<p>The sub-crypt of Sainte-Anne, one of the earliest of Gallo-Roman
+&ldquo;churches,&rdquo; is not more than a narrow aisle; its low vault seems to
+press over the head; the air is damp and chill; and the one little
+candle which the patient sacristan moves to this side and to that, shows
+the plain, un-ornamented stone-work and the undoubted masonry of Roman
+times. It was part of the Aqueduct which carried water to the Theatre in
+Imperial days, and had become a chapel in the primitive Christian era.
+At the end which is curved as a choir is a heavy stone, used as an
+altar; and high in the wall is the niche where the body of the church's<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span>
+patron lay buried for those hundreds of years. It is a gloomy, cell-like
+place, most curious and most interesting; and as the traveller saw faith
+in the earnest gaze of some of his fellow-visitors, and doubt in the
+smiles of others, he wondered what ancient ceremonials, secret Masses,
+or secret prayers had been said in this tiny chamber, and what rows of
+phantom-like worshippers had filed in and out the dark corridor.</p>
+
+<p>Directly above is the higher upper crypt of the church, a diminutive but
+true choir, with its tiny altar and ambulatory,&mdash;a jewel of the
+Romanesque, heavy and plain and beautifully proportioned, with columns
+and vaulting in perfect miniature. This, from its absolute purity of
+style, is the most interesting part of the church; and being a crypt, it
+is also the most difficult to see. In vain the sacristan ran from side
+to side with his little candle, in vain the traveller gazed and
+peered,&mdash;the little church was full of shadows and mysteries, dark and
+lost under the weight of the great choir above.<span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span></p>
+
+<div class="figcenter" style="width: 357px;">
+<img src="images/illus191.jpg" width="357" height="500" alt="" title="THE MAIN BODY OF THE CHURCH"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE MAIN BODY OF THE CHURCH.&rdquo;&mdash;APT.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Even the main body of the church, above ground, is dimly lighted by
+small, rounded windows above the arches of the nave, and from the dome
+of Saint Anne's Chapel. Doubtless, on Sundays after High Mass, when the
+great doors are opened, the merry sun of Provence casts its cheerful
+rays far up the nave. But this is a church which is the better for its
+shadows. A Romanesque aisle of the IX or X century, built by that same
+Bishop Alphant who had seen the construction of the little crypt church,
+a central nave of the XI century, Romanesque in conception, and a north
+<span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span>aisle of poor Proven&ccedil;al Gothic make a large but inharmonious
+interior. Restoration following restoration, chapels of the XVIII
+century, new vaultings, debased and conglomerate Gothic, and spectacular
+decorations of gilded wood have destroyed the architectural value and
+real beauty of the Cathedral's interior. Yet in the dim light, which is
+the light of its every-day life, the great height of the church and its
+sombre massiveness are not without impressiveness.</p>
+
+<p>The exterior dominates the city, but it is so hopelessly confused and
+commonplace that its natural dignity is lost. The heavy arch which
+supports the clock tower forms an arcade across a narrow street and
+makes it picturesque without adding dignity to the church itself. The
+walls are unmeaning, often hidden by buildings, and there is not a
+portal worthy of description. There is the dome of Saint Anne's Chapel
+with a huge statue of the Patron, and the lantern of the central dome
+ending in a pointed roof; but each addition to the exterior seems only
+an ignorant or a spiteful accentuation of the general architectural
+confusion.</p>
+
+<p>To the faithful Catholic, the interest of Sainte-Anne of Apt lies in its
+wonderful and glorious relics. Here are the bodies of Saint El&eacute;azer and
+Sainte Delphine his wife, a couple so pious that every morning they
+dressed a Statue of the Infant Jesus, and every night they undressed it
+and laid it to rest in a cradle. There is also the rosary of Sainte
+Delphine whose every bead contained a relic; and before the Revolution
+there were other treasures innumerable. During many years Apt has been
+the<span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span> pilgrim-shrine of the Faithful, and great and small offerings of
+many centuries have been laid before the miracle-working body of the
+Virgin's sainted Mother.</p>
+
+<div class="figleft" style="width: 196px;">
+<img src="images/illus194.jpg" width="196" height="400" alt="" title="THE VIRGIN AND SAINT ANNE"/></div>
+<div class="figleft"><span class="caption">THE VIRGIN AND SAINT ANNE.<br /><i>By Benzoni</i>.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The most famous of those who came praying and bearing gifts was Anne of
+Austria, whose petition for the gift of a son, an heir for France, was
+granted in the birth of Louis XIV. In gratitude, the Queen enriched the
+church by vestments wrought in thread of gold and many sacred ornaments;
+and at length she commanded Mansart to replace the little chapel in
+which she had prayed, by a larger and more sumptuous one, a somewhat
+uninteresting structure in the showy style of the XVII century, which is
+now the resting-place of Saint Anne. In this chapel is the most
+beautiful of the church's treasures which, strange to say, is a piece of
+modern sculpture given by the present &ldquo;Monseigneur of Avignon.&rdquo; It is
+small, and<span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span> badly placed on a marble altar of discordant toning, with a
+draped curtain of red gilt-fringed velvet for its background. Yet in
+spite of these inartistic surroundings it has lost none of its tender
+charm. Seated, with a scroll on her knees, the aged mother is earnestly
+teaching the young Virgin who stands close by her side. The slender old
+hand with its raised forefinger emphasises the lesson, and the loving
+expression of the wrinkled, ascetic face, the attentiveness of the
+Virgin and her slim young figure, make a touching picture, and a
+beautiful example of the power of the modern chisel. Yet faith in
+shrines and miraculous power is not, in this XX century, as pure nor as
+universal as in the days of the past; and Faith, in Proven&ccedil;al Apt which
+possesses so large a part of the Saint's body, is not as simple, and
+therefore not as strong as in Breton Auray which has but a part of her
+finger. Republicanism in the south country is not too friendly to the
+Church, kings and queens no longer come with prodigal gifts, and
+Sainte-Anne of Apt has not the peasant strength of Sainte-Anne of Auray.
+And in spite of the great feast-day of July, in spite of Aptoisian
+pride, in spite of the devotion and prayers of faithful worshippers, the
+Cathedral of Apt is a church of past rather than of present glories.</p>
+<br /><br />
+
+<div class="sidenoteb">Riez.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Just as the church-bells were chiming the morning Angelus, and the warm
+sun was rising on a day of the early fall, a traveller drove out of old
+Manosque. He had no gun,&mdash;therefore he had not come for the hunting; he
+had no brass-bound, black boxes, and therefore could not be a<span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span> &ldquo;Commis.&rdquo;
+What he might be, he well knew, was troubling the brain of the
+broad-backed man sitting before him, who, with many a long-drawn
+&ldquo;Ou-ou-u-u-&rdquo; was driving a fat little horse. But native courtesy
+conquered natural curiosity and they drove in silence to the long, fine
+bridge that spans the river of evil repute:</p>
+
+<span style="margin-left: 12em;">&ldquo;Parliament, Mistral, and Durance</span><br />
+<span style="margin-left: 12em;">Are the three scourges of Provence.&rdquo;</span><br />
+
+<p>At that time of year, however, the Durance usually looks peaceable and
+harmless enough; half its great bed is dry and pebbly, and the water
+that rushes under the big arches of the bridge is not great in volume.
+But the size and strength of the bridge itself and certain huge rocks,
+placed for a long distance on either side of the road, are significant
+of floods and of the spring awakening of the monstrous river that, like
+Doctor Jekyll and Mr. Hyde, has two lives.</p>
+
+<p><span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span></p>
+<div class="figcenter" style="width: 368px;">
+<img src="images/illus197.jpg" width="368" height="500" alt="" title="SAINT-MARTIN-DE-BR&Ocirc;MES WITH ITS HIGH, SLIM TOWER"/></div>
+<div class="figcenter"><span class="caption">&ldquo;SAINT-MARTIN-DE-BR&Ocirc;MES WITH ITS HIGH, SLIM TOWER.&rdquo;</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+<br />
+<p><span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus199.jpg" width="500" height="343" alt="" title="THE FORTIFIED MONASTERY OF THE TEMPLARS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE FORTIFIED MONASTERY OF THE TEMPLARS.&rdquo;&mdash;(NEAR
+GR&Eacute;OUX).</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The road wound about the low hills of the Alps, past a massive,
+fortified monastery of the Templars whose windows gape in ruin; past
+Saint-Martin-de-Br&ocirc;mes with its high, slim, crenellated watch-tower;
+past many quiet little villages where in the old times, Taine says,
+&ldquo;Good people lived as in an eagle's nest, happy as long as they were not
+slain&mdash;that was the luxury of the feudal times.&rdquo; Between these villages
+lay vast groves of the grey-green olive-trees, large flourishing farms,
+and, further still, the bleak mountains of the Lower Alps. It was toward
+them the driver was turning, for rising above a smiling little valley,
+surrounded by fields of ripened grain, lay Riez. A donjon stands above a
+broken wall, on the hillside houses cluster around a church's spire, and
+alone, on the top of the hill, stands the little Chapel of Saint-Maxime,
+the only relic of the Great Seminary that was destroyed by the
+Revolutionists of '89. Here, after the destruction of one of the several
+Cathedrals of Riez, the Bishop celebrated Masses, but the little chapel
+was never consecrated a Cathedral. It has been recently restored and
+re-built in an uninteresting style,&mdash;the exterior is bare to ugliness,
+the interior so painted that the six old Roman columns which support the
+choir are overwhelmed by the banality of their surroundings. The plateau
+on which the chapel is built is now almost bare; olive-trees grow to its
+edges and there is no trace of the Seminary that was once so full of
+active life. The traveller, sitting in the shade of the few pine-trees,
+looked over the broad view toward the peaks whose bare<span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span> rocks rise with
+awful sternness, and the little hills that stand between them and the
+valley, till finally his eyes wandered to the town beneath, and the
+firm, broad roads which approach it from every direction. For Riez,
+although in the lost depths of Provence, far from railways and tourists,
+is a bee-hive of industry, largely supplying the necessities of these
+secluded little towns. Its hat-making, rope factories, and tanneries are
+quite important; the shops of its main streets are not without a
+tempting attractiveness, and there is all the provincial stateliness of
+Saint-Remy with much less stagnancy.</p>
+
+<p>Riez was the Albece Reiorum Apollinarium in the Colonia Julia Reiorum of
+the Romans, but there are very few traces of the city with this
+high-sounding name. The whole atmosphere of the little town is XII
+century. Two of its old gates, part of the wall, and the crenellated
+tower still stand, with ruined convents and monasteries of Capuchins,
+Cordeliers, and Ursulines; and it may be inferred from the remains of
+the Bishop's Palace and the broad promenade which was one of its
+avenues, and from the episcopal ch&acirc;teau at Montagnac, that
+ecclesiastical state was not less worthily upheld at Riez than in the
+other Sees of the South of France.</p>
+
+<p>Many difficulties, however, had beset the Cathedral-building prelates.
+Their first church, Notre-Dame-du-Si&egrave;ge, dating partly from the
+foundation of the See in the IV century, partly from the X and XII
+centuries, was destroyed by storm and flood, and its site near the
+treacherous little river being considered too perilous, a new Cathedral<span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span>
+of Notre-Dame-du-Si&egrave;ge and Saint-Maxime was begun; and it was then that
+the Bishops celebrated temporarily at Saint-Maxime's on the hill.</p>
+
+<p>During the Revolution the See was suppressed; the church has been much
+re-built and changed; so that only a tower which is part of the present
+Notre-Dame-du-Si&egrave;ge, and the traces of the earliest foundation near the
+little Colostre, remain to tell of the different Cathedrals of Riez.</p>
+
+<div class="figcenter" style="width: 302px;">
+<img src="images/illus201.jpg" width="302" height="500" alt="" title="THE TOWER OF NOTRE-DAME-DU-SI&Egrave;GE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE TOWER OF NOTRE-DAME-DU-SI&Egrave;GE.&rdquo;&mdash;RIEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Near the site of the oldest church is one of the few monuments of a very
+early Christianity which have escaped the perils of time. It is of
+unknown date, and although it is said to have been part of the Cathedral
+which stood between it and the river, it appears to have been always an
+independent and separate building. The peasants say that in the memory
+of their forefathers it was used as a chapel, they call it indefinitely
+&ldquo;the Pantheon,&rdquo; &ldquo;the Temple,&rdquo; or &ldquo;the Chapel of Saint-Clair,&rdquo; but it was
+almost certainly a baptistery of that curious<span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span> and beautiful type which
+was abandoned so early in the evolution of Christian architecture.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus202.jpg" width="500" height="371" alt="" title="NOTHING COULD BE MORE QUAINTLY OLD AND MODEST THAN THE BAPTISTERY"/></div>
+<div class="figcenter"><span class="caption">&ldquo;NOTHING COULD BE MORE QUAINTLY OLD AND MODEST THAN THE
+BAPTISTERY.&rdquo;&mdash;RIEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Following the road which his innkeeper pointed out, the traveller became
+so absorbed in the busy movement of the communal threshing-ground, the
+arrival of the yellow grain, the women who were wielding pitchforks, and
+the horses moving in circles, with solemn rhythm, that he nearly passed
+a low building, the object of his search. Nothing could be more quaintly
+old and modest than the baptistery of Riez. It is a small square
+building of rough cemented stone whose stucco has worn away. The roof is
+tiled, and from out a flattened dome, blades of grass sprout sparsely. A
+tiny bell-turret and an arch in the front wall complete the
+ornamentation of this humble, diminutive bit of architecture, and except
+that it is different from the usual Proven&ccedil;al manner of construction,
+one would pass many times without noticing it.<span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span></p>
+
+<div class="figcenter" style="width: 310px;">
+<img src="images/illus203.jpg" width="310" height="500" alt="" title="BETWEEN THE COLUMNS AN ALTAR HAS BEEN PLACED"/></div>
+<div class="figcenter"><span class="caption">&ldquo;BETWEEN THE COLUMNS AN ALTAR HAS BEEN
+PLACED.&rdquo;&mdash;BAPTISTERY, RIEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span>
+Walking down the steps which mark the differences that time has made in
+the levels of the ground and entering a small octagonal hall, one of the
+most interesting interiors of Provence meets the eye. &ldquo;Each of its four
+sides,&rdquo; writes Jules de Lauri&egrave;re, &ldquo;which correspond to the angles of the
+outer square, has a semicircular apse built in the walls themselves. The
+eight columns, placed in a circle about the centre of the edifice,
+divide it into a circular nave and a central rotunda, and support eight
+arches which, in turn, support an octagonal drum, and above this is the
+dome.&rdquo; This room is of simple and charming architectural conception, and
+even in melancholy ruin, it has much beauty. It gains in comparison with
+the re-constructed baptisteries of Provence, for something of a
+primitive character has been preserved to which such modern altars and
+XVII century trappings as those of Aix and Fr&eacute;jus are fatal. Under the
+heavy dust there is visible an unhappy coating of whitewash, traces of a
+fire still blacken the walls, fragments of Roman sculpture are scattered
+about, and between the columns a pagan altar has been placed for
+safe-keeping. The columns themselves are of pagan construction, and as
+they differ somewhat in size and capitals, it is not improbable that
+they came from the ruins of several of the great public buildings of
+Riez. At the time of the baptistery's<span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span> construction, the barbaric
+invasion had begun, and these Roman monuments may have been in ruins;
+but in any case, it was a pious and justifiable custom of Christians to
+take from pagan structures, standing or fallen, stones and pillars that
+would serve for building churches to the &ldquo;one, true God.&rdquo; The pillars
+procured for this laudable purpose at Riez, with their beautiful, carved
+capitals, gave the little baptistery its one decoration, and far from
+disturbing the simplicity of its style, they add a slenderness and
+height and harmony to a room which, without them, would be too stiffly
+bare. In the rotunda which they form, excavations have brought to light
+a baptismal pool, and conduits which brought to it sufficient quantities
+of water for the immersion&mdash;whole or partial&mdash;that was part of the
+baptismal service of the early Church. But the arch&aelig;ological work has
+abruptly ceased, and it is to be deeply regretted that here, in this
+deserted place, where the Church desires no present restorations in
+accordance with particular rites or modern styles of architecture, there
+should not be a complete rehabilitation, a baptistery restored to the
+actual state of its own era.<span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus207.jpg" width="500" height="365" alt="" title="THE BEAUTIFUL GRANITE COLUMNS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE BEAUTIFUL GRANITE COLUMNS.&rdquo;&mdash;RIEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span>
+Wandering across the fields, with the re-constructive mania strong upon
+him, the traveller came across the beautiful granite columns which with
+their capitals, bases, and architraves of marble, are the last standing
+monument of Riez's Roman greatness. Fragments of sculpture, bits of
+stone set in her walls, exist in numbers; but they are too isolated, too
+vague, to suggest the lost beauty and grandeur which these lonely
+columns express. He gazed at them in wonder. Was he stepping where once
+had been a grand and busy Forum, was he looking at the Temple of some
+great Roman god? The voices of the threshers sounded cheerily, the
+Proven&ccedil;al sun shone bright and warm, but one of the greatest of
+mysteries was before him,&mdash;the silent mystery of a dead past that had
+once been a living present. He sat by the river, and tossed pebbles into
+its shallow waters; the slanting rays of the sun gave the columns
+delicate tints, old yellows and greys and violets, and at length, as
+evening fell, they seemed to grow higher and whiter in the paler light,
+until they looked like lonely funereal shafts, recalling to the memory
+of forgetful man, Riez's long-dead greatness.</p>
+
+<div class="sidenoteb">Senez.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>In the comfortable civilisation of France, the stage-coach usually
+begins where the railroad ends; and however remote a destination or
+tedious a journey, an ultimate and safe arrival is reasonably certain.
+This was the reflection which cheered the traveller when he began to
+search for Senez, an ancient city of the Romans which was christianised
+in the early centuries and enjoyed the rank of Bishopric until the
+Revolution of '89. In spite of this dignified rank and the tenacity of
+an ancient foundation, it lies so far from modern ken that even worthies
+who live fifty miles away could only say that &ldquo;Senez is not much of a
+place, but it doubtless may be found ten&mdash;perhaps fifteen&mdash;or even
+twenty kilometres behind the railroad.&rdquo;</p>
+
+<p>&ldquo;If Monsieur alighted at Barr&ecirc;me, probably the mail for Senez would be
+left there too. And where letters go,<span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span> some man or beast must carry
+them, and one could always follow.&rdquo;</p>
+
+<p>With these vague directions, the traveller set gaily out for Barr&ecirc;me,
+where a greater than he had spent one bleak March night on the anxious
+journey from Elba to Paris. The town shows no trace of Napoleon's
+hurried visit. It looks a mere sleepy hamlet, and when the traveller
+left the train he had already decided to push his journey onward.</p>
+
+<p>&ldquo;To Senez?&rdquo; A man stepped up in answer to his inquiry. &ldquo;Certainly there
+was a way to get there, the mail-coach started in an hour. And a hotel?
+A very good hotel&mdash;not Parisian perhaps, but hot food, a bottle of good
+wine, and a clean bed. Could one desire more on this earth?&rdquo;</p>
+
+<p>The traveller thought not, and left the station&mdash;to stand transfixed
+before the most melancholy conveyance that ever bore the high-sounding
+name of &ldquo;mail-coach.&rdquo; A little wagon in whose interior six thin persons
+might have crowded, old windows shaking in their frames, the remains of
+a coat of yellow paint, and in front a seat which a projecting bit of
+roof protected from the sun,&mdash;this was the mail-coach of Senez, drawn by
+a dejected, small brown mule, ragged with age, and a gaunt white horse
+who towered above him. To complete the equipage, this melancholy pair
+were hitched with ropes.</p>
+
+<p>In due course of time the driver came, hooked an ancient tin box marked
+&ldquo;Lettres&rdquo; to the dash-board, threw in a sacking-bag, and cap in hand,
+invited the traveller to mount with him &ldquo;where there was air.&rdquo; The long
+whip cracked<span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span> authoritatively, the postilion, a beautiful black dog,
+jumped to the roof, and the mail-coach of Senez, with rattle and creak,
+started on its scheduled run.</p>
+
+<p>&ldquo;Houp-l&agrave;, thou bag of lazy bones done up in a brown skin! Ho-l&agrave;, thou
+whited sepulchre, thinkest thou I will get out and carry thee? Take this
+and that.&rdquo;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus211.jpg" width="500" height="379" alt="" title="THE MAIL-COACH OF SENEZ"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE MAIL-COACH OF SENEZ.&rdquo;</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>On either side the whip hit the road ferociously, but the old beasts of
+burden shook their philosophic heads and slowly jogged on, knowing well
+they would not be touched.</p>
+
+<p>The hot sun of Provence, which &ldquo;drinks a river as man drinks a glass of
+wine,&rdquo; shone on the long, white &ldquo;route nationale&rdquo; that stretched out in
+well-kept monotony through<span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span> a valley which might well have been named
+&ldquo;Desolation.&rdquo; On either hand rose mountains that were great masses of
+bare, seared rocks, showing the ravages of forgotten glaciers; the soil
+that once covered them lay at their feet. Scarcely a shrub pushed out
+from the crevices, and even along the road, the few thin poplars found
+the poorest of nourishment.</p>
+
+<p>Crossing a small bridge, there came into view an ancient village, a mere
+handful of clustered wooden roofs, irregular, broken, and decayed.</p>
+
+<p>&ldquo;It was a city in the days when we were Romans,&rdquo; said the Courier, &ldquo;and
+they say that there are treasures underneath our soil. But who can tell
+when people talk so much? And certainly two sous earned above ground buy
+hotter soup than one can gain in many a search for twenty francs below.&rdquo;</p>
+
+<p>He whipped up for a suitable and striking entry into town, turned into a
+lane, and with much show of difficulty in reining up, stood before the
+&ldquo;hotel.&rdquo;</p>
+
+<p>The traveller, having descended, entered a room that might have been the
+subject of a quaint Dutch canvas. He saw a low ceiling, smoky walls,
+long rows of benches, a sanded floor, and pine-board tables that
+stretched back to an open door; and through the open door, the pot
+swinging above the embers of the kitchen fire. The mistress of the inn,
+a strong white-haired woman of seventy, came hurrying in to greet her
+guest. &ldquo;It was late,&rdquo; she said, and quickly put a basin full of water, a
+new piece of soap, and a fresh towel on a chair near the kitchen door;
+and as the traveller prepared himself for dinner he heard the crackling<span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span>
+of fresh boughs upon the fire and the cheerful singing of the pot.
+Little lamps were lighted, and when he came to his table's end, he found
+good country wine and a steaming cabbage-soup. Others came in to dine
+and smoke and talk, and later from his bed-room window, he saw their
+ghostly figures moving up and down the unlighted streets and heard them
+say good-night. The inn-door was noisily and safely barred, and when the
+retreating footsteps and the voices had died away, the quiet of the dark
+remained unbroken until a watchman, with flickering lantern, passed, and
+cried aloud &ldquo;All's well.&rdquo;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus213.jpg" width="500" height="384" alt="" title="THE OPEN SQUARE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE OPEN SQUARE.&rdquo;&mdash;SENEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Next morning the sun shone brightly on Senez, and<span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span> the traveller hurried
+to the open square. A horse, carrying a farmer's boy, meandered slowly
+by, a chicken picked here and there, and water trickled slowly from the
+tiny faucet of the village fountain.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus214.jpg" width="500" height="373" alt="" title="THE PALACE OF ITS PRELATES"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE PALACE OF ITS PRELATES.&rdquo;&mdash;SENEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>In this quiet spot, near the lonely desolation of the hills, is the
+Cathedral. The Palace of its prelates, which is opposite, is now a
+farm-house where hay-ricks stand in the front yard, and windows have
+been walled up because Proven&ccedil;al winds are cold and glass is dear.
+<span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus215.jpg" width="500" height="384" alt="" title="THE CATHEDRAL"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE CATHEDRAL.&rdquo;&mdash;SENEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Looking at this residence, one would think that the last Bishops of
+Senez were insignificant priests, steeped in country wine and country
+stagnancy. But such a supposition is very far from true. For we know
+that in the XVIII century, Jean Soannen, Bishop of the city, was called
+before a Council at Embrun to answer a charge of resistance to the
+far-famed Bull &ldquo;Unigenitus,&rdquo; and so strong were his convictions and so
+great his loyalty to his conscience, that he resisted the Council as
+well as the Bull, and was deprived of his See as a Jansenist and
+recalcitrant, and exiled to the Abbey of La-Chaise-Dieu. In quiet Senez
+there must always have been time for reflection, and one can imagine the
+bitter struggle of this brave man as he walked the rooms of the Palace,
+as he crossed and re-crossed the small square to the Cathedral. One can
+imagine his wrestling with God and his conscience every time that he
+celebrated a Mass for the people before the Cathedral's altar. One can
+understand the bitter fight between two high ideals, irreconcilable in
+his life,&mdash;that of work in God's vineyard<span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span> or of doctrinal purity as he
+saw it. He had to choose between them, this Bishop of Senez, and when he
+left the town to answer the summons of the Council at Embrun, his heart
+must have been sore within him, he must have said farewell to many
+things. Few decisions can be more serious than the renunciation of
+family and home for the service of God, few more solemn than the
+struggles between the flesh and the spirit; but no more pathetic picture
+can exist than that sad figure of Jean Soannen; for he had renounced
+family and the world, and for the sake of &ldquo;accepted truth&rdquo; which was
+false to him, endured helpless, solitary insignificance under the
+espionage of suspicious and unfriendly monks. The traveller remembered
+his tomb, that tomb in a small chapel near the foot of the stair-case in
+the famous Abbey far-away, and sighing, hoped that in his mournful
+exile, the Bishop may have realised that &ldquo;they also serve who only stand
+and wait.&rdquo;</p>
+
+<p>The Bull Unigenitus, which caused his downfall, is believed to have
+caused, during the last years of Louis XIV's bigotry, the persecution of
+thirty thousand respectable, intelligent, and orderly Frenchmen. De
+Noailles, several Bishops, and the Parliament of Paris refused to accept
+it, though they stopped short of open rebellion, and even F&eacute;n&eacute;lon
+&ldquo;submitted&rdquo; rather than acceded to it. This famous and vexatious
+document was an unhappy emanation of Pope Clement XIII. Hard pressed by
+his faithful supporters, the Jesuits, he promulgated it in 1713, and it
+condemns with great explicitness one hundred and one propositions which
+are taken from Quesnel's Jansenistic<span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span> &ldquo;R&eacute;flexions morales sur le Nouveau
+Testament.&rdquo; The Jesuits held the Jansenists in a horror which the
+Jansenists reciprocated; the Pope owed almost too heavy a debt of
+gratitude to the order of Saint Ignatius and was constrained to repay.
+But the Bull, instead of procuring peace, brought the greatest
+affliction and desolation of mind to His Holiness, and when later, the
+French envoy asked him why he had condemned such an odd number of
+propositions, the Pope seizing his arm burst into tears.</p>
+
+<p>&ldquo;Ah Monsieur Amelot! Monsieur Amelot! What would you have me do? I
+strove hard to curtail the list, but P&egrave;re Le Tellier&rdquo;&mdash;Louis XIV's last
+confessor and a devoted Jesuit&mdash;&ldquo;had pledged his word to the King that
+the book contained more than one hundred errors, and with his foot on my
+neck, he compelled me to prove him right. I condemned only one more!&rdquo;</p>
+
+<p>The Cathedral of Senez is an humble village church where frank and
+simple poverty exists with the remains of ancient splendour. It is
+small, as are all churches of its style, and although it does not lack a
+homely dignity, it is a modest work of XII century Romanesque, and the
+sonorous title of its consecration in 1242, &ldquo;the Assumption of the
+Blessed Virgin Mary,&rdquo; suggests an impressiveness which the Cathedral
+never had.</p>
+
+<p>Two heavy buttresses that support the fa&ccedil;ade wall are reminiscent of the
+more majestic Notre-Dame-du-Bourg of Digne, and on them rest the ends of
+a pointed gable-roof. Between these buttresses, the wall is pierced by a
+long and graceful round-arched window, and below the window<span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span> is the
+single, pointed portal whose columns are gone and whose delicate
+foliated carvings and mouldings are sadly worn away. A sun-dial painted
+on the wall tells the time of day, and at the gable's sharpest point a
+saucy little angel with a trumpet in his mouth blows with the wind.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus218.jpg" width="500" height="359" alt="" title="THE CATHEDRAL"/></div>
+<div class="figcenter"><span class="caption">THE CATHEDRAL.&mdash;SENEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Entering the little portal, the traveller saw the poor wooden benches of
+the congregation massed together, and beyond them, the stalls of
+long-departed Canons. In front of these old stalls, stood the church's
+latest luxury, a melodeon, and above them hung the tapestries of its
+richer past. Tapestries also beautify the choir-walls, and on either
+side, are the narrow transepts and the apses of a good old style. There
+are also poor and tawdry altars which<span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span> stand in strange, pitiable
+contrast with the old walls and the fine tunnel vaulting, the dignified
+architecture of the past.</p>
+
+<div class="figcenter" style="width: 313px;">
+<img src="images/illus219.jpg" width="313" height="500" alt="" title="TAPESTRIES BEAUTIFY THE CHOIR WALLS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;TAPESTRIES BEAUTIFY THE CHOIR WALLS.&rdquo;&mdash;SENEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Leaving the interior, where a solitary peasant knelt in prayer, the
+traveller saw side-walls bare as the mountains round about, the squat
+tower that rises just above the roof,<span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span> and coming to the apse-end he
+found the presbytery garden. From the garden, beyond the fallen gate, he
+saw the church as the Cur&eacute; saw it, the three round apses with their
+little columns, the smaller decorative arches of the cornices, the
+pointed roof, and between branches full of apple blossoms, the softened
+lines of the low square tower. Here, trespassing, the Cur&eacute; found him.
+And after they had walked about the town, and talked the whole day long
+of the great world which lay so far beyond, they went into the little
+garden as the sun was going down, and fell to musing over coffee cups.
+The priest was first to speak.</p>
+
+<p>&ldquo;Perhaps, buried under those old church walls, lie proofs of our early
+history, the stones of some old Temple, or statues of its gods; for we
+were once Sanitium, a Roman city in a country of six Roman roads.
+Perhaps all around us were great monuments of pagan wealth, a Mausoleum
+near these bare old rocks like that which stands in loneliness near
+Saint-Remy, Villas, Baths, or Triumphal Arches.&rdquo;</p>
+
+<p>The keen eyes softened, as he continued in gentle irony, &ldquo;Down in this
+little valley of the Asse de Blieux, our town seems far away from any
+scene in which the great ones of earth took part. Although I know that
+it is true, it often seems to me a legend that the gay and gallant
+Francis I, rushing to a mad war, stopped on his way to injure us; and
+that four hundred years ago a band of Huguenots raved around our old
+Cathedral, and tried to pull it to the ground.&rdquo;</p>
+
+<p>&ldquo;And do you think it can be true,&rdquo; the traveller asked, &ldquo;that Bishops
+held mysterious prisoners in that tower for most dreary lengths of
+time?&rdquo;<span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus221.jpg" width="500" height="354" alt="" title="BETWEEN BRANCHES FULL OF APPLE-BLOSSOMS, THE CHURCH AS
+THE CUR&Eacute; SAW IT"/></div>
+<div class="figcenter"><span class="caption">&ldquo;BETWEEN BRANCHES FULL OF APPLE-BLOSSOMS, THE CHURCH AS
+THE CUR&Eacute; SAW IT.&rdquo;&mdash;SENEZ.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span>
+The Cur&eacute; smiled, and shook his white head. &ldquo;That is a story which the
+peasants tell,&mdash;an old tradition of the land. It may be true, since
+priests are mortal men and doubtless dealt with sinners.&rdquo; He smiled
+indulgently. &ldquo;Through the many years I have been here, I have often
+wondered about all these things, but it is seldom I can speak my
+thoughts. Sometimes when I am here alone, I lose the sense of present
+things and seem to see the phantoms of the past. Then the dusk comes on,
+as it is coming now; the night blots Senez from my sight as fate has
+blotted out its record from history,&mdash;and I realise that our human
+memory is in vain.&rdquo;</p>
+
+
+<div class="sidenoteb">Aix.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>The old Cathedral of Saint-Sauveur at Aix is not one of those rarely
+beautiful churches where a complete and restful homogeneity delights the
+eye, nor is it a church of crude and shocking transitions. It is rather
+a well-arranged museum of ecclesiastical architecture, where, in
+sufficient historical continuity and harmony, many Proven&ccedil;al conceptions
+are found, and the evolution of Proven&ccedil;al architecture may be very
+completely followed. As in all collections, the beauty of Saint-Sauveur
+is not in a general view or in any glance into a long perspective, but
+in a close and loving study of the details it encloses; and so charming,
+so really beautiful are many of the diverse little treasures of Aix,
+that such study is better repaid here than in any other Proven&ccedil;al
+Cathedral. For this is one of the largest Cathedrals of the province,
+and the buildings which form the ecclesiastical group are<span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span> most
+complete. With its baptistery, Cloister, church, and arch-episcopal
+Palace, it is not only of many epochs and styles, but of many historical
+uncertainties, and the hypotheses of its construction are enough to daze
+the most hardened arch&aelig;ologist.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus224.jpg" width="500" height="401" alt="" title="THE SOUTH AISLE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE SOUTH AISLE.&rdquo;&mdash;AIX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The oldest part of the Cathedral is the baptistery, and the date of its
+origin is unknown. Much of its character was lost in a restoration of
+the XVII century, but its old round form, the magnificent Roman columns
+of granite and green marble said to have been part of the Temple to
+Apollo, give it an atmosphere of dignity and an ancient charm that even
+the XVII century&mdash;so potent in architectural evil&mdash;was unable to
+destroy.<span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span></p>
+
+<div class="figcenter" style="width: 372px;">
+<img src="images/illus225.jpg" width="372" height="500" alt="" title="THE ROMANESQUE PORTAL"/></div>
+<div class="figcenter"><span class="caption">THE ROMANESQUE PORTAL.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>In 1060, after the destructive vicissitudes of the early centuries,
+Archbishop Rostaing d'Hy&egrave;res issued a pastoral <span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span>letter appealing to
+the Faithful to aid him in the re-building of a new Cathedral; and it
+may be reasonably supposed that the nave which is at present the south
+aisle, the baptistery, and the Cloisters were the buildings that were
+dedicated less than fifty years later. They are the only portions of the
+church which can be ascribed to so early a period, and with the low door
+of entrance, the single nave and the adjoining cloister-walk, they
+constitute the usual plan of XI century Romanesque. Considering this as
+the early church, in almost original form, it will be seen that the
+portal is a very interesting example of the Proven&ccedil;al use not only of
+Roman suggestion, but of the actual fragments of Roman art which had
+escaped the invader; that the south aisle, in itself a completed
+interior, bears a close resemblance to Avignon; and that the Cloister,
+although now very worn<span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span> and even defaced, must have been one of the
+quaintest and most delicate, as it is one of the tiniest, in Provence.
+Three sides of its arcades support plain buildings of a later date; the
+fourth stands free, as if in ruin. Little coupled columns, some
+slenderly circular, some twisted, and some polygonal, rest on a low
+wall; piers, very finely and differently carved, are at each of the
+arcade angles; the little capitals of the columns were once beautifully
+cut, and even the surfaces of the arches have small foliated disks and
+rosettes and are finished in roll and hollow. Unfortunately, a very
+large part of this detail-work is so defaced that its subjects are
+barely suggested, some are so eaten away that they are as desolate of
+beauty as the barren little quadrangle; and the whole Cloister seems to
+have reached the brink of that pathetic old age which Shakespeare has
+described, and that another step in the march of time would leave it
+&ldquo;sans everything.&rdquo;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus227.jpg" width="500" height="395" alt="" title="THE CLOISTER"/></div>
+<div class="figcenter"><span class="caption">THE CLOISTER.&mdash;AIX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>About two hundred years later, in 1285, the Archbishop of Aix found the
+Cathedral too unpretending for the rank and dignity of the See, and he
+began the Gothic additions. Like many another prelate his ambitions were
+larger than his means; and the history of Saint-Sauveur from the XIII to
+the XIX century, is that oft-told tale of new indulgences offered for
+new contributions, halts and delays in construction, emptied treasuries,
+and again, appeals and fresh efforts. The beginnings of the enlarged
+Cathedral were architecturally abrupt. The old nave, becoming the south
+aisle, was connected with the new by two small openings; it retained
+much of its separateness and in spite of added chapels<span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span> much actual
+isolation. The Gothic nave, the north aisle and its many chapels, the
+apse, and the transepts, whose building and re-construction stretched
+over the long period between the XIII and XVII centuries, are
+comparatively regular, uniform, and uninteresting. The most ambitious
+view is that of the central nave, whose whole length is so little broken
+by entrances to the side aisles, that it seems almost solidly enclosed
+by its massive walls. Here in Gothic bays, are found those rounded,
+longitudinal arches which belong to the Romanesque and to some structure
+whose identity is buried in the mysterious past. The choir, with its
+long, narrow windows, and clusters of columnettes, is very pleasing, and
+its seven sides, foreign to Provence, remind one of Italian and Spanish
+constructive forms and take one's memory on strange jaunts, to the
+far-away Frari in Venice and the colder Abbey of London. From the choir
+of Saint-Sauveur two chapels open; and one of them is a charming bit of
+architecture, a replica in miniature of the mother-apse itself. The
+paintings of this mother-apse are neutral, its glass has no claim to
+sumptuousness, and the stalls are very unpretending; but above them hang
+tapestries ascribed to Matsys, splendid hangings of the Flemish school
+that were once in old Saint Paul's.</p>
+
+<p>With these beautiful details the rich treasure-trove of the interior is
+exhausted, and one passes out to study the details of the exterior. The
+Cathedral's single tower, which rises behind the fa&ccedil;ade line, was one of
+the parts that was longest neglected,&mdash;perhaps because a tower is less
+essential to the ritual than any other portion of an ecclesiastical<span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span>
+building. Begun in 1323, the work dragged along with many periods of
+absolute idleness, until 1880, when a balustrade with pinnacles at each
+angle was added to the upper octagonal stage, and the building of the
+tower was thus ended. The octagon with its narrow windows rests on a
+plain, square base that is massively buttressed. It is a pleasant,
+rather than a remarkable tower, and one's eye wanders to the more
+beautiful fa&ccedil;ade. Here, encased by severely plain supports, is one of
+the most charming portals of Proven&ccedil;al Gothic. Decorated buttresses
+stand on either side of a large, shallow recess which has a high and
+pointed arch, and in the centre, a slim pier divides the entrance-way
+into two parts, pre-figuring the final division of the Just and the
+Unjust. A multitude of finely sculptured statues were formerly hidden in
+niches, under graceful canopies, and in the hundred little nooks and
+corners which lurk about true Gothic portals. Standing Apostles and
+seated Patriarchs, baby cherubs peering out, and the more dramatic
+composition of the tympanum&mdash;the Transfiguration,&mdash;all lent a dignity
+and wealth to Saint-Sauveur. Unfortunately many of these sculptures were
+torn from their crannies in the great Revolution; and it is only a few
+of the heavenly hosts,&mdash;the gracious Madonna, Saint Michael, and the
+Prophets,&mdash;that remain as types of those that were so wantonly
+destroyed. The low, empty gables that sheltered lost statues, their
+slender, tapering turrets, and the delicate outer curve of the arch, are
+of admirable, if not imposing, composition. The portal's wooden doors,
+protected by plain casings, abound in carvings partly Renaissance,
+partly Gothic. The Sibyls and Prophets stand under canopies, surrounded
+by foliage, fruits, and flowers, or isolated from each other by little
+buttresses or pilasters. This Gothic portal quite outshines, in its
+graceful elaboration, the smaller door which stands near it, in the
+simpler and not less potent charm of the Romanesque. And side by side,
+these portals offer a curiously interesting comparison of the essential
+differences and qualities of their two great styles. If the Romanesque
+of Saint-Sauveur is far surpassed at Arles and Digne and Sisteron,
+nowhere in Provence has Gothic richer details; and if the noblest of
+Proven&ccedil;al creations must be sought in other little cities, the lover of
+architectural comparisons, of details, of the many lesser things rather
+than of the harmony of a single whole, will linger long in Aix.<span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span></p>
+
+<div class="figcenter" style="width: 340px;">
+<img src="images/illus231.jpg" width="340" height="500" alt="" title="THE CATHEDRAL"/></div>
+<div class="figcenter"><span class="caption">THE CATHEDRAL.&mdash;AIX.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span>
+The old city itself shows scarcely a trace of the many historic dramas
+of which it has been the scene,&mdash;the lowering tragedy of the Vaudois
+time,&mdash;the bright, gay comedy of good king Ren&eacute;'s Court,&mdash;the shorter
+scenes of Charles V's occupation,&mdash;the Parliament's struggle with
+Richelieu and Mazarin,&mdash;the day of the fiery Mirabeau,&mdash;the grim
+melodrama of the Revolution,&mdash;all have passed, and time has destroyed
+their monuments almost as completely as the Saracens destroyed those of
+the earlier Roman days. Only a few, unformed fragments of the great
+Temple of Apollo remain in the walls of Saint-Sauveur. The earliest
+Cathedral, Sainte-Marie-de-la-Seds, has entirely disappeared, the old
+thermal springs are enclosed by modern buildings, and only the statue of
+&ldquo;the good King Ren&eacute;&rdquo; and the Church<span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span> of the Knights of Malta give to Aix
+a faint atmosphere of its past distinction. Who would dream that here
+were the homes of the elegant and lettered courtiers of King Ren&eacute;'s
+brilliant capital, who would think that this town was the earliest Roman
+settlement in Gaul, the Aqu&aelig; Sexti&aelig; of Baths, Temples, Theatres, and
+great wealth? Aix is a stately town, a provincial capital which Balzac
+might well have described&mdash;with old, quiet streets that are a little
+dreary, with a fine avenue shaded by great trees in whose shadows a few
+fountains trickle, with lines of little stages that come each day from
+the country,&mdash;a city whose life is as far in spirit from the near-by
+modernity of Marseilles as it is from that of Paris, as quaintly and
+delightfully provincial as that other little Proven&ccedil;al city, the
+Tarascon of King Ren&eacute; and of Tartarin.<span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>Languedoc.</h2>
+<p><span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span></p>
+
+
+<hr style="width: 45%;" />
+<h2>I.</h2>
+<span class="totoc"><a href="#toc">Top</a></span>
+<p><span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span></p>
+<h3>CATHEDRALS OF THE CITIES.</h3>
+
+<div class="sidenoteb">N&icirc;mes.</div>
+<p>Entering Languedoc from the valley of the Rhone, the Cathedral-lover is
+doomed to disappointment in the city of N&icirc;mes. All that intense,
+intra-mural life of the Middle Ages seems to have passed this city by,
+and its traces, which he is so eager to find, prove to be neither
+notable nor beautiful.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus238.jpg" width="500" height="396" alt="" title="AN AMPHITHEATRE WHICH RIVALS THE ART OF THE COLISEUM"/></div>
+<div class="figcenter"><span class="caption">&ldquo;AN AMPHITHEATRE WHICH RIVALS THE ART OF THE
+COLISEUM.&rdquo;&mdash;N&Icirc;MES.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The great past of N&icirc;mes is of a more remote antiquity than the Cathedral
+Building Ages. A small but exquisite Temple, a Nymph&aelig;um, Baths, parts of
+a fine Portal, Roman walls, and an Amphitheatre which rivals the art of
+the Coliseum,&mdash;these are the ruins of N&icirc;mean greatness. She was
+essentially a city of the Romans, and that, even to-day, she has not
+lost the memory of her glorious antiquity was well illustrated in 1874,
+when the N&icirc;mois, with much pomp and civic pride, unveiled a statue to
+&ldquo;their fellow-countryman,&rdquo; the Emperor Antoninus Pius. These are the
+memories in which N&icirc;mes delights. Yet her history of later times, if not
+glorious, is full of strange and curious interest. Like all the ancient
+cities of the South, she fell into the hands of many a wild and alien
+foe, and at length in 737, Charles Martel arrived at her gates. Grossly
+ignorant of art, no thing of beauty that stood in his path escaped fire
+and axe;<span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span> and smoke-marks along the arena walls show to-day how narrowly
+they escaped the irreparable destruction which had wiped out the Forum,
+the Capitol, the Temple, the Baths, and all the magnificence of Roman
+Narbonne. To both the early and the later Middle Ages, Roman remains had
+scarcely more meaning than they had for the Franks. The delicate Temple
+of Trajan's wife, scorned for its pagan associations, was used as a
+stable, a store-house, and, purified by proper ceremonials, it even
+became a Christian church. The Amphitheatre has had a still stranger
+destiny. To a medi&aelig;val Viscount, it was naturally inconceivable as a
+place of amusement, and as naturally, he saw in its walls a stronghold
+where he could live as securely as ever lord in castle. As a fortress
+which successfully defied Charles Martel, it was a place of no mean
+strength, and in<span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span> 1100 it had become &ldquo;a veritable hornets' nest, buzzing
+with warriors.&rdquo;</p>
+
+<p>A few years before, Pope Urban II had landed at Maguelonne and ridden to
+Clermont to preach the First Crusade. On his return he stopped at N&icirc;mes
+and held a Council for the same holy purpose. Raymond de Saint-Gilles,
+Count of Toulouse and overlord of N&icirc;mes, travelled there to meet the
+Sovereign Pontiff, and amid the wonderful ferment of enthusiasm which
+the &ldquo;Holy War&rdquo; had aroused, the South was pledged anew to this romantic
+and war-like phase of the cause of Christ. Trencavel, Viscount of N&icirc;mes,
+loyal to God and his Suzerain, followed Raymond to Palestine. Its
+natural protectors gone, the city formed a defensive association called
+the &ldquo;Chevaliers of the Arena.&rdquo; As its name implies, this curious
+fraternity was composed of the soldiers of the ancient amphitheatre.
+Like many others of the time it was semi-military, semi-religious, its
+members bound by many solemn oaths and ceremonies, and thus, by the
+eccentricity of fate, this old pagan playground became a fortress
+consecrated to Christian defence, the scene of many a solemn Mass.</p>
+
+<p>The divisions in the Christian faith, which followed so closely the
+fervours of the Crusades, were most disastrous to N&icirc;mes. From the XIII
+until the XVII centuries, wars of religion were interrupted by
+suspicious and unheeded truces, and these in turn were broken by fresh
+outbursts of embittered contest. An ally of the new &ldquo;Crusaders&rdquo; in Simon
+de Montfort's day, N&icirc;mes became largely Protestant in the XVI century;
+and in 1567, as if to avenge the injuries<span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span> their ancestors had formerly
+inflicted on the Albigenses, the N&icirc;mois sacked their Bishop's Palace and
+threw all the Catholics they could find down the wells of the town. This
+celebration of Saint Michael's Day was repaid at the Massacre of Saint
+Bartholomew. The wise Edict of Nantes brought a truce to these
+hostilities,&mdash;its revocation, new persecutions and flights. A hundred
+years later the Huguenots were again in force, and, aided by the unrest
+of the Revolution, successfully massacred the Catholics of the city; and
+during the &ldquo;White Terror&rdquo; of 1815 the Catholics arose and avenged
+themselves with equal vigour. When it is remembered that this savage and
+vindictive spirit has characterised the N&icirc;mois of the last six hundred
+years, it is scarcely surprising that they should prefer to dwell on the
+remote antiquity of their city rather than on the unedifying episodes of
+her Christian history.</p>
+
+<p>Between the glories of her paganism and the disputes of Christians, the
+Faith has struggled and survived; but in the Cathedral-building era,
+religious enthusiasm was so often expended in mutual fury and reprisals
+that neither time nor thought was left for that common and gentle
+expression of medi&aelig;val fervour, ecclesiastical architecture. And the
+Church of Notre-Dame-et-Saint-Castor, which would seem to have suffered
+from the neglect and ignorance of both patrons and builders, is one of
+the least interesting Cathedrals in Languedoc.</p>
+
+<p>A graceful gallery of the nave, which also surrounds the choir, is the
+notable part of the interior, and the insignificance<span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span> of the exterior is
+relieved only by a frieze of the XI and XII centuries. On this frieze is
+sculptured, in much interesting detail, the Biblical stories of the
+early years of mankind; but it is unfortunately placed so high on the
+front wall that it seems badly proportioned to the fa&ccedil;ade, and as a
+carved detail it is almost indistinguishable. As has been finely said
+the whole church is &ldquo;gaunt&rdquo; and unbeautiful; it is a depressing mixture
+of styles, Roman, Romano-Byzantine, and Gothic; and in studying its one
+fine detail, a photograph or a drawing is much more satisfactory than an
+hour's tantalising effort to see the original.</p>
+
+
+<div class="sidenoteb">Montpellier.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Montpellier is &ldquo;an agreeable city, clean, well-built, intersected by
+open squares with wide-spread horizons, and fine, broad boulevards, a
+city whose distinctive characteristics would appear to be wealth, and a
+taste for art, leisure, and study.&rdquo; The &ldquo;taste&rdquo; and the &ldquo;art&rdquo; are
+principally those of the pseudo-classic style, an imitation of &ldquo;ancient
+Greece and imperial Rome,&rdquo; which the French of the XVIII century carried
+to such unpleasant excess. The general characteristics of the imitation,
+size and bombast, are well epitomised in the principal statue of
+Montpellier's fine Champ de Mars, which represents the high-heeled and
+luxurious Louis XIV in the unfitting armour of a Roman Imperator,
+mounted on a huge and restive charger. Such affectation in architectural
+subjects is the death-blow to all real beauty and originality, and
+Montpellier has gained little from its Bourbon patrons except a series
+of fine broad vistas. No<span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span> city could offer greater contrast to the
+ancient and dignified classicism of N&icirc;mes.</p>
+
+<p>If the medi&aelig;val origin of Montpellier were not well known, one would
+believe it the creation of the Renaissance, and the few narrow, tortuous
+streets of the older days recall little of its intense past, when the
+city grew as never before nor since, when scholars of the genius of
+Petrarch and the wit of Rabelais sought her out, when she belonged to
+Aragon or Navarre and not to the King of France. This is the interesting
+Montpellier.</p>
+
+<p>In the XIII century, she had a University which the Pope formally
+sanctioned, and a school of medicine founded by Arabian physicians which
+rivalled that of Paris. More significant still to Languedoc, her
+prosperity had begun to overshadow that of the neighbouring Bishopric of
+Maguelonne, and a bitter rivalry sprang up between the two cities. From
+the first Maguelonne was doomed. She had no schools that could rival
+those of Montpellier; she ceased to grow as the younger city increased
+in fame and size, till even history passed her by, and the stirring
+events of the times took place in the streets of her larger and more
+prosperous neighbour. Finally she was deserted by her Bishops, and no
+longer upheld by their episcopal dignity, her fall was so overwhelming
+that to-day her medi&aelig;val walls have crumbled to the last stone and only
+a lonely old Cathedral remains to mark her greatness. In 1536 my Lord
+Bishop, with much appropriate pomp and ceremony, rode out of her gates
+and entered those of Montpellier as titular Bishop for the first time.<span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span></p>
+
+<p>He did not find the townsmen so elated by the new dignity of the city as
+to have broken ground for a new Cathedral, nor did he himself seem
+ambitious, as his predecessors of Maguelonne had been, to build a church
+worthy of his rank. However, as a Bishop must have a Cathedral-church,
+the chapel of the Benedictine monastery was chosen for this honour and
+solemnly consecrated the Cathedral of Saint-Pierre of Montpellier. This
+chapel had been built in the XIV century, and at the time of these
+episcopal changes, only the nave was finished. It was, however, Gothic;
+and as this style had become much favoured by the South at this late
+period, the Bishop must have believed that he had the beginning of a
+very fine and admirable Cathedral. In the religious wars which followed
+1536, succeeding prelates found much to distract them from any further
+building; the Cathedral itself was so injured that such attention as
+could be spared from heretics to mere architectural details was devoted
+to necessary restorations and reconstructions, and the finished
+Saint-Pierre of to-day is an edifice of surprising modernity.</p>
+
+<p>In the interior, the nave and aisles are partially of old construction,
+but the beautiful choir is the XIX century building of R&eacute;voil. Of the
+exterior, the entire apse is his also, and as the portal of the south
+wall was built in 1884 and the northern side of the Cathedral is
+incorporated in that of the Bishop's Palace, only the tower and the
+fa&ccedil;ade are medi&aelig;val.<span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span></p>
+
+<div class="figcenter" style="width: 352px;">
+<img src="images/illus244.jpg" width="352" height="500" alt="" title="ITS GENERAL EFFECT IS SOMEWHAT THAT OF A PORTE-COCH&Eacute;RE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;ITS GENERAL EFFECT IS SOMEWHAT THAT OF A
+PORTE-COCH&Eacute;RE.&rdquo;&mdash;MONTPELLIER.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>None of the towers have much architectural significance, either of
+beauty or originality. In comparison with the decoration of the fa&ccedil;ade
+they make but little impression. This decoration has more original
+incongruity than any detail ever applied to fa&ccedil;ade, Gothic or
+Romanesque, and is an extreme example of the license which southern
+builders allowed themselves in their adaptation of the northern style.
+It is a vagary, and has appealed to some Anglo-Saxon<span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span> travellers, but
+French authorities, almost without dissent, allude to it apologetically
+as &ldquo;unpardonable.&rdquo; Its general effect is somewhat that of a
+porte-coch&egrave;re, whose roofing, directly attached to the front wall, is
+gothically pointed, and supported by two immense pillars. The pillars
+end in cones that resemble nothing in the world so much as sugar-loaves,
+and the whole structure is marvellously unique. Yet strange to say, the
+effect of the fa&ccedil;ade, with the smoothness and roundness of its pillars
+and the uncompromising squareness of its towers, while altogether bad,
+is not altogether unpleasing. Standing before it the traveller was both
+bewildered and fascinated as he saw that even in the extravagance of
+their combinations, the builders, with true southern finesse, had
+avoided both the grotesque and the monstrous.</p>
+
+<div class="figright" style="width: 364px;">
+<img src="images/illus245.jpg" width="364" height="500" alt="" title="THE FINEST VIEW IS THAT OF THE APSE"/></div>
+<div class="figright"><span class="caption">&ldquo;THE FINEST VIEW IS THAT OF THE APSE.&rdquo;&mdash;MONTPELLIER.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>As a whole, Saint-Pierre is a fine Cathedral; through many<span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span> stages of
+building, enlarging, and re-constructing, its style has remained
+consonant; but the general impression is not altogether harmonious. The
+perspective of the western front, which should be imposing, is destroyed
+by a hill which slopes sharply up before the very portal. The fa&ccedil;ade is
+attached to the immense, unbroken wall of the old episcopal Palace, and
+the majesty, which is a Cathedral's by very virtue of its height alone,
+is entirely destroyed by a seemingly interminable breadth of wall.
+Reversing the natural order of things, the finest view is that of the
+apse. And this modern part is, in reality, the chief architectural glory
+of this comparatively new Cathedral and its comparatively modern town.</p>
+
+
+<div class="sidenoteb">B&eacute;ziers.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>&ldquo;You have only to look from a distance at any old-fashioned
+Cathedral-city and you will see in a moment the medi&aelig;val relations
+between Church and State. The Cathedral is the city. The first object
+you catch sight of as you approach is the spire tapering into the sky,
+or the huge towers holding possession of the centre of the
+landscape&mdash;majestically beautiful&mdash;imposing by mere size. As you go
+nearer, the pinnacles are glittering in the tints of the sunset, when
+down below among the streets and lanes twilight is darkening. And even
+now, when the towns are thrice their ancient size, ... the Cathedral is
+still the governing force in the picture, the one object which possesses
+the imagination, and refuses to be eclipsed.&rdquo; These words are the
+description of B&eacute;ziers as it is best and most impressively seen. From
+the distance,<span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span> the Cathedral and its ramparts rise in imposing mass, a
+fine example of the strength, pride, and supremacy of the Church.</p>
+
+<p>As we approach, the Cathedral grows much less imposing, and its fa&ccedil;ade
+gives the impression of an unpleasant conglomeration of styles. It is
+not a fortress church, yet it was evidently built for defence; it is
+Gothic, yet the lightness and grace of that art are sacrificed to the
+massiveness and resistive strength, imperatively required by southern
+Cathedrals in times of wars and bellicose heretics. The whole building
+seems a compromise between necessity and art.</p>
+
+<p>It is, however, a notable example of the Gothic of the South, and of the
+modifications which that style invariably underwent, through the
+artistic caprice of its builders, or the political fore-sight of their
+patrons, the Bishops.</p>
+
+<div class="figleft" style="width: 264px;">
+<img src="images/illus248.jpg" width="264" height="500" alt="" title="THE CLOCK-TOWER IS VERY SQUARE AND THICK"/></div>
+<div class="figleft"><span class="caption">&ldquo;THE CLOCK-TOWER IS VERY SQUARE<br /> AND THICK.&rdquo;&mdash;B&Eacute;ZIERS.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The fa&ccedil;ade of Saint-Nazaire of B&eacute;ziers has a Gothic portal of good but
+not notable proportions, and a large and beautiful rose-window. As if to
+protect these weaker and decorative attempts, the builder flanked them
+with two square towers, whose crenellated tops and solid, heavy walls
+could serve as strongholds. Perhaps to reconcile the irreconcilable,
+crenellations joining the towers were placed over the rose-window, and
+at either end of the portal, a few inches of Gothic carving were cut in
+the tower-wall. The result is frank incongruity. And the traveller left
+without regret, to look at the apse. It cannot be denied that the
+clock-tower which comes into view is very square and thick; but in spite
+of that it has a simple dignity, and as the apse itself is not florid,
+this proved to be the really<span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span> pleasing detailed view of the Cathedral.
+The open square behind the church is tiny, and there one can best see
+the curious grilled iron-work, which in the times of medi&aelig;val outbreaks
+protected the fine windows of the choir and preserved them for future
+generations of worshippers and admirers. It was after noon when the
+traveller finished his investigations of Saint-Nazaire; and as the
+southern churches close between twelve and two, he took d&eacute;jeuner at a
+little caf&eacute; near-by and patiently waited for the hour of re-opening. Had
+there been nothing but the interior to explore, he could not have spent
+two hours in such contented waiting. But there was a Cloister,<span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span>&mdash;and on
+the stroke of two he and the sacristan met before the portal.</p>
+
+<p>In describing their &ldquo;monuments,&rdquo; French guide-books confine themselves
+to facts, and the adjectives &ldquo;fine&rdquo; and &ldquo;remarkable&rdquo;; they are almost
+always strictly impersonal, and the traveller who uses them as a
+cicerone, has a sense of unexpected discovery, a peculiar elation, in
+finding a monument of rare beauty; but he is never subjected to that
+disappointed irritation which comes when one stands before the
+&ldquo;monument&rdquo; and feels that one's expectations have been unduly
+stimulated. The Cloister of B&eacute;ziers is a &ldquo;fine monument,&rdquo; but as he
+walked about it, the traveller felt no sense of elation. He found a
+small Cloister, Gothic like the Cathedral, with clustered columns and
+little ornamentation. It was not very completely restored, and had a
+sad, melancholy charm, like a solitary sprig of lavender in an old
+press, or a rose-leaf between the pages of a worn and forgotten Missal.
+In the Cloister-close, stands a Gothic fountain; but the days when its
+waters dropped and tinkled in the stillness, when their sound mingled
+with the murmured prayers and slow steps of the priests,&mdash;those days are
+long forgotten. The quaint and pretty fountain is now dry and
+dust-covered; while about it trees and plants and weeds grow as they
+may, and bits of the Cloister columns have fallen off, and niches are
+without their guarding Saints.<span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus250.jpg" width="500" height="414" alt="" title="THE QUAINT AND PRETTY FOUNTAIN"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE QUAINT AND PRETTY FOUNTAIN.&rdquo;&mdash;B&Eacute;ZIERS.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>By contrast, the Cathedral itself seems full of life. Its interior is an
+aisle-less Gothic room, whose fine height and emptiness of column or
+detail give it an appearance of vast and well-conceived proportions.
+Except the really beautiful windows of the choir, which are a study in
+themselves, there is very little in this interior to hold the mind; one
+is lost in a pleasant sense of general symmetry. As the traveller was
+sitting in the nave, a few priests filed into the choir, and began, in
+quavering voices, to intone their prayers, and in the peacefulness of
+the church, in the trembling monotony of the weak, old voices, his
+thoughts wandered to the stirring history which had been lived about the
+Cathedral, and within its very walls. For B&eacute;ziers was and had always
+been a hot-bed of heretics. Here in the IV century, long before the
+building of the Cathedral, the Emperor Constantius II forced the
+unwilling Catholic Bishops of Gaul to join their heretical Aryan
+brethren in Council; here the equally heretical Visigoths gave new
+strength to the dissenters; and here, again, after centuries of
+orthodoxy<span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span> which Clovis had imposed, a new centre of religious storm was
+formed. It was about this period, the XII and XIV centuries, that the
+Cathedral was built; and it is perhaps because of the strength of those
+French protestants against the Church of Rome, the Albigenses, that its
+essentially Gothic style was so confused by military additions. At the
+beginning of the troublous times of which these towers are reminders,
+Raymond-Roger of Trencavel, the gallant and romantic Lord of
+Carcassonne, was also Viscount of B&eacute;ziers; and contrary to the fanatical
+enthusiasm of his day, was much disposed toward religious toleration;
+therefore in the early wars of Catholics and Protestants the city of
+B&eacute;ziers became the refuge not only for the terrified Faithful of the
+surrounding country, but for many hunted Protestants. In the XIII
+century, the zeal of the Catholic party, reinforced by the political
+interests of its members, grew most hot and dangerous. Saint Dominic had
+come into the South; and in his fearful, fiery sermons, he not only
+prophesied that the Albigenses would swell the number of the damned at
+the Day of Judgment, but also advocated that, living, they should know
+the hell of Inquisition. Partisans of the Catholic Faith were solemnly
+consecrated &ldquo;Crusaders&rdquo; by Pope Innocent III, and wore the cross in
+these Wars of Extermination as they had worn it in the Holy Wars of
+Palestine. In 1209 their army advanced against B&eacute;ziers, and from out
+their Councils the leaders sent the Bishop of the city to admonish his
+flock.</p>
+
+<p>All the inhabitants were summoned to meet him, and they gathered in the
+choir and transepts of the Cathedral,<span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span>&mdash;the only parts which were
+finished at that time. One can imagine the anxious citizens crowding
+into the church, the coming of the angered prelate, whose state and
+frown were well calculated to intimidate the wavering, and the tense
+silence as he passed, with grave blessing, to the altar. In a few words,
+he advised them of their peril, spiritual and material; he told them he
+knew well who was true and who false to the Church, that he had, in
+written list, the very names of the heretics they seemed to harbour.
+Then he begged them to deliver those traitors into his hands, and their
+city to the Legate of the Holy Father. In fewer words came their answer;
+&ldquo;Venerable Father, all that are here are Christians, and we see amongst
+us only our brethren.&rdquo; Such words were a refusal, a heinous sin, and
+dread must have been written on every face, as without a word or sign of
+blessing, the outraged Bishop swept from the church and returned to the
+camp of their enemy.</p>
+
+<p>The Crusaders' Councils were stormy; for some of the nobles wished to
+save the Catholics, others cried out for the extermination of the whole
+rebellious place, and finally the choleric Legate, Armand-Amaury, Abbot
+of C&icirc;teaux, could stand it no longer, and cried out fiercely, &ldquo;Kill them
+all! God will know His own.&rdquo; The words of their Legate were final, the
+army attacked the city, and&mdash;as Henri Martin finely writes,&mdash;&ldquo;neither
+funeral tollings nor bell-ringings, nor Canons in all their priestly
+robes could avail, all were put to the sword; not one was saved, and it
+was the saddest pity ever seen or heard.&rdquo; The city was pillaged, was
+fired, was devastated and burned &ldquo;till no living thing remained.&rdquo;<span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span></p>
+
+<p>&ldquo;No living thing remained&rdquo; to tell the awful tale, and yet with time and
+industry, a new and forgetful B&eacute;ziers has risen to all its old prestige
+and many times its former size; the Cathedral alone was left, and its
+most memorable tale to our day is not that of the abiding peace of the
+Faith, but that of the terrible travesty of religion of the
+twenty-second of July, hundreds of years ago.</p>
+
+
+<div class="sidenoteb">Narbonne.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>&ldquo;Narbonne is still mighty and healthful, if one is to judge from the
+activities of the present day; is picturesque and pleasing, and far more
+comfortably disposed than many cities with a more magnificently imposing
+situation.&rdquo; These words, which were running in the traveller's mind,
+grew more and more derisive, more and more ironical, as he walked about
+Narbonne. Not in all the South of France had he seen a city so
+depressing. Her decline has been continuous for the long five hundred
+years since the Roman dykes gave way and she was cut off from the sea.
+Agde, almost as old, displays the decline of a dignified, retired old
+age; Saint-Gilles-du-Gard was as dirty, but not a whit as pretentious;
+N&icirc;mes was majestically antique; Narbonne, simply sordid.</p>
+
+<p>It is sad to think that over two thousand years ago she was a second
+Marseilles, that she was the first of Rome's transalpine colonies, and
+that under Tiberius her schools rivalled those of the Capital of the
+world. It is sadder to think that all the magnificence of Roman luxury,
+of sculptured marble&mdash;a Forum, Capitol, Temples, Baths, Triumphal<span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span>
+Arches,&mdash;stood where dreary rows of semi-modern houses now stand. It is
+almost impossible to believe in the lost grandeur of this city, and that
+it was veritably under the tutelage of so great and superb a god as
+Mars.</p>
+
+<p>The eventful Christian period of Narbonne was very noted but not very
+long. Her melancholy decay began as early as the XIV century. Of her
+great antiquity nothing is left but a few hacked and mutilated carvings;
+of her ambitious Medi&aelig;valism, nothing but an unfinished group of
+ecclesiastical buildings. Long gone is the lordly &ldquo;Narbo&rdquo; dedicated to
+Mars, gone the city of the Latin poet, whose words repeated to-day in
+her streets are a bitter mockery, and gone the stronghold of medi&aelig;val
+times. There remains a rare phenomenon for cleanly France,&mdash;a dirty
+city, whose older sections are reminiscent of unbeautiful old age,
+decrepit and unwashed; and whose newly projected boulevards are
+distinguished by tawdry and pretentious youth.</p>
+
+<p>In the midst of this city, stands a group of medi&aelig;val churchly
+buildings, the Palace of the prelate, his Cathedral, and an adjoining
+Cloister. They are all either neglected, unfinished, or re-built; but
+are of so noble a plan that the traveller feels a &ldquo;divine wrath&rdquo; that
+they should never have reached their full grandeur of completion, that
+this great architectural work should have been begun so near the close
+of the city's prosperity, and that in spite of several efforts it has
+never been half completed. It is as if a fatality hung over the whole
+place, and as if all the greatness Narbonne had conceived was
+predestined to destruction or incompletion.<span class='pagenum'><a name="Page_255" id="Page_255">[Pg 255]</a></span></p>
+
+<div class="figcenter" style="width: 361px;">
+<img src="images/illus255.jpg" width="361" height="500" alt="" title="THE DOOR OF THE CLOISTER"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE DOOR OF THE CLOISTER.&rdquo;&mdash;NARBONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Of the three structures, the least interesting is the former Palace of
+the Archbishops. This is now the H&ocirc;tel-de-Ville, and as all the body of
+the structure between the towers of the XII century was built in our day
+by Viollet-le-Duc, very little of the old Palace can properly be said to
+exist. Besides its two principal towers, a smaller one, a gate, and a
+chapel remain. Viollet-le-Duc has constructed the H&ocirc;tel-<span class='pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span>de-Ville after
+the perfectly appropriate style of the XIII century, but its stone is so
+new and its atmosphere so modern and republican that the traveller left
+it without regret and made his way up the dark, steep, badly-paved
+alley-way which leads to the door of the Cloister.</p>
+
+<p>This Cloister, which separated the Palace from the Cathedral, is now
+dreary and desolate and neglected. Like the Cathedral, it is Gothic,
+with sadly decaying traces of graceful ornament. The little plot of
+enclosed ground, which should be planted in grass or with a few flowers,
+is a mere dirt court, tramped over by the few worshippers who enter the
+Cathedral this way. Two or three trees grow as they will, gnarled or
+straight. The sense of peaceful melancholy which the traveller had felt
+in the Cloister of B&eacute;ziers is wanting here. This is a place of deserted
+solitude; and with a sigh for the beauty that might have been, the
+traveller crossed the enclosure and entered the church by the
+cloister-door.<span class='pagenum'><a name="Page_257" id="Page_257">[Pg 257]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus257.jpg" width="500" height="364" alt="" title="THIS IS A PLACE OF DESERTED SOLITUDE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THIS IS A PLACE OF DESERTED SOLITUDE.&rdquo;&mdash;NARBONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Architecturally dissimilar, the fate of this Cathedral is not unlike
+that of Beauvais. Each was destined to have a completed choir, and each
+to remain without a nave. At Beauvais the addition of transepts adds
+very materially to the beauty of the Cathedral. At Narbonne no transepts
+exist. There is simply a choir, which makes a very singular disposition
+of the church both religious and architectural. Entering the gates which
+lead from the ambulatory to the choir, the traveller found that
+Benediction had just begun. On his immediate right, before the altar all
+aglow with lights, were the officiating priests and the altar-boys; on
+his left, <span class='pagenum'><a name="Page_259" id="Page_259">[Pg 259]</a></span>in the choir, was the congregation in the Canons' stalls;
+and at the back, as at the end of a nave, rose the organ.</p>
+
+<p>The traveller walked about the ambulatory, and leaning against the
+farthest wall, tried to view the church, only to be baffled. There was
+no perspective. The ambulatory is very narrow and the choir-screen very
+high. The impressions he formed were partly imaginative, partly
+inductive; and the clearest one was that of sheer height, straight,
+superhuman height that is one of the unmatchable glories of French
+Gothic. Here the traveller thought again of Beauvais, and wished as he
+had so often wished in the northern Cathedral and with something of the
+same intensity, that this freedom and majesty of height might have been
+gloriously continued and completed in the nave. Such a church as his
+imagination pictured would have been worthy of a place with the best of
+northern Gothic. Now it is a suggestion, a beginning of greatness; and
+its chief glory lies in the simplicity and directness of its height.
+Clustered columns rise plainly to the pointed Gothic roof. There is so
+marked an absence of carving that it seems as if ornamentation would
+have been weakening and trammelling. It is not bareness, but beautiful
+firmness, which refreshes and uplifts the heart of man as the sight of
+some island mountain rising sheer from the sea.</p>
+
+<p>The exterior of the Cathedral, imposing from a distance, is rather
+complicated in its unfinished compromise of detail. In the XV century,
+two towers were built which flank the western end as towers usually
+flank a fa&ccedil;ade; and this gives the church a foreshortened effect. Of
+real fa&ccedil;ade<span class='pagenum'><a name="Page_260" id="Page_260">[Pg 260]</a></span> there is none, and the front wall which protects the choir
+is plainly temporary. In front of this wall there are portions of the
+unfinished nave, stones and other building materials, a scaffolding, and
+a board fence; and the only pleasure the traveller could find in this
+confusion was the fancy that he had discovered the old-time appearance
+of a Cathedral in the making.</p>
+
+<p>The apse is practically completed, and one has the curious sensation
+that it is a building without portals. Having no fa&ccedil;ade, it has none of
+the great front entrances common to the Gothic style; neither has it the
+usual lateral door. The choir is entered by the temporary doors of the
+pseudo-fa&ccedil;ade; the ambulatory is entered through the Cloister, or a
+pretty little Gothic door-way which if it were not the chief entrance of
+the church, would properly seem to have been built for the clergy rather
+than for the people who now use it. If these portals are strangely
+unimportant, their insignificance does not detract materially from the
+stateliness of the apse, which is created by its great height&mdash;one
+hundred and thirty feet in the interior measurement&mdash;and the magnificent
+flying-buttresses.</p>
+
+<p>These flying-buttresses give to the exterior its most curious and
+beautiful effect. They are a form of Gothic seldom attempted in the
+South, and exist here in a rather exceptional construction. Over the
+chapels which surround the apse rise a series of double-arched supports,
+the outer ones ending in little turrets with surmounting crenellations.
+On these supports, after a splendid outward sweep, rest the abutments of
+the flying arches. These have a fine sure grace and withal a lightness
+that relieves the heaviness imposed on the church by the towers and the
+immense strength of the body of the apse. They are the chief as well as
+the most salient glory of the exterior, and give to the Cathedral its
+peculiar individuality.<span class='pagenum'><a name="Page_261" id="Page_261">[Pg 261]</a></span></p>
+
+<div class="figcenter" style="width: 366px;">
+<img src="images/illus261.jpg" width="366" height="500" alt="" title="THESE FLYING-BUTTRESSES GIVE TO THE EXTERIOR ITS MOST
+CURIOUS AND BEAUTIFUL EFFECT"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THESE FLYING-BUTTRESSES GIVE TO THE EXTERIOR<br /> ITS MOST
+CURIOUS AND BEAUTIFUL EFFECT.&rdquo;&mdash;NARBONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p><span class='pagenum'><a name="Page_263" id="Page_263">[Pg 263]</a></span>
+Apart from its buttresses, Saint-Just has little decorative style. Its
+crenellations and turrets are military and forceful, not ornate. For the
+church had its defensive as truly as its religious purpose, and formerly
+was united on the North with the fortifications of the Palace, and
+contributed to the protection of its prelates as well as to their
+arch-episcopal prestige.</p>
+
+<p>In spite of the fostering care of the French government, the Palace, the
+Cloister, and the Cathedral seem in the hands of strangers. The
+traveller who had longed to see them in their finished magnificence
+realised the futility of this wish, but he turned away with another as
+vain, that he might have known them even in incompletion, when they were
+in the hands of the Church, when the Archbishop still ruled in his
+Palace, when the Canons prayed in the Cloister, and the Cathedral was
+still a-building.</p>
+
+
+<div class="sidenoteb">Perpignan.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Perpignan, like Elne, is in Rousillon. The period of her most brilliant
+prosperity was that of the Majorcan dominion in the XII century. Later
+she reverted to Aragon, and was still so fine a city that for two
+hundred years France coveted and sought her, until she finally yielded
+to the greedy astuteness of Richelieu and became formally annexed<span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span> to
+the kingdom of Louis XIII. Perpignan is a gay little town, much affected
+by the genius and indolence of the Spanish race. Morning is work-time,
+noon-tide is siesta, but afternoon and evening were made for pleasure;
+and every bright day, when the sun begins to cast shadows, people fill
+the narrow, shady streets and walk along the promenade by the shallow
+river, under the beautiful plane-trees. The pavements in front of the
+caf&eacute;s are filled with little round tables, and here and there small
+groups of men idle cheerfully over tiny glasses of liqueur and cups of
+cool, black coffee; perhaps they talk a little business, certainly they
+gossip a great deal. Noisy little teams filled with merry people run
+down from the Promenade to the sea-shore; and after an hour's dip,
+almost in the shadow of the tall Pyr&eacute;n&eacute;es, the same merry people return,
+laughing, to a cooler Perpignan. In the evening, they seek the bright
+caf&eacute;s and the waiters run busily to and fro among the crowded little
+tables; the narrow streets, imperfectly lighted, are full of moving
+shadows, and through the open church-doors, candles waver in the fitful
+draught, and quiet worshippers pass from altar to altar in penance or in
+supplication.</p>
+
+<p>All the old buildings of the city are of Spanish origin. The prison is
+the brick, battlemented castle of a Majorcan Sancho, the Citadel is as
+old, and the Aragonese Bourse is divided between the town-hall and the
+city's most popular caf&eacute;.</p>
+
+<p>The Cathedral of Saint-Jean, which faces a desolate, little square, was
+also begun in Majorcan days and under<span class='pagenum'><a name="Page_265" id="Page_265">[Pg 265]</a></span> that Sancho who ruled in 1324. At
+first it was merely a church; for Elne had always been the seat of the
+Bishopric of Rousillon, and although the town had suffered from many
+wars and had long been declining, it was not shorn of its episcopal
+glory until there was sufficient political reason for the act. This
+arose in 1692, and was based on the old-time French and Spanish claims
+to the same county to which these two cities belonged.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus265.jpg" width="500" height="373" alt="" title="ALL OF THE OLD BUILDINGS OF THE CITY ARE OF SPANISH ORIGIN"/></div>
+<div class="figcenter"><span class="caption">&ldquo;ALL OF THE OLD BUILDINGS OF THE CITY ARE OF SPANISH
+ORIGIN.&rdquo;&mdash;PERPIGNAN.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Over a hundred years before Charles VIII had plenarily ceded to
+Ferdinand and Isabella all power in Rousillon, even that shadowy feudal
+Suzerainty with which, in default of actual possession, many a former
+French king had consoled<span class='pagenum'><a name="Page_266" id="Page_266">[Pg 266]</a></span> himself and irritated a royal Spanish brother.
+Ferdinand and Isabella promptly visited their new possessions, and made
+solemn entry into Perpignan. Unfortunately the Inquisition came in their
+train, and the unbounded zeal of the Holy Office brought the Spanish
+rule which protected it into ever-increasing disfavour. In vain Philip
+III again bestowed on Perpignan the title of &ldquo;faithful city,&rdquo; which she
+had first received from John of Aragon for her loyal resistance to Louis
+XI; in vain he ennobled several of her inhabitants and transferred to
+her, from Elne, the episcopal power. The city was ready for new and
+kinder masters than the Most Catholic Kings, and in 1642 the French were
+received as liberators.</p>
+
+<p>During all these years the Cathedral had grown very slowly. Commenced in
+1324, over a century elapsed before the choir was finished and the
+building of the nave was not begun until a hundred years later. The High
+Altar, a Porch, and the iron cage of the tower were added with equal
+deliberation, and even to-day it is still unfinished. The most beautiful
+part is the strongly buttressed apse; the poorest, the unfinished
+fa&ccedil;ade, which has been very fitly described as &ldquo;plain and mean.&rdquo; Looking
+disconsolately at it from the deserted square, scarcely tempted to go
+nearer, the traveller was astounded at the thought that for several
+centuries this unsightly wall had stared on generations of worshippers
+without goading them into any frenzy of action,&mdash;either destructive or
+constructive. His only comfort lay in the scaffolding which was building
+around it, and which seemed to promise better things.<span class='pagenum'><a name="Page_267" id="Page_267">[Pg 267]</a></span></p>
+
+<div class="figcenter" style="width: 364px;">
+<img src="images/illus267.jpg" width="364" height="500" alt="" title="THE UNFINISHED FA&Ccedil;ADE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE UNFINISHED FA&Ccedil;ADE.&rdquo;&mdash;PERPIGNAN.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The interior of the Cathedral is very large and lofty. It is without
+aisles and the chapels are discreetly hidden between the piers. Far
+above one's head curves the ribbed Gothic vaulting, and all around is
+unbroken space that ends in darkness or the vague outline of an altar,
+dimly lighted by a flickering candle. The walls are painted in rich,
+sombre colours, and the light comes very gently<span class='pagenum'><a name="Page_268" id="Page_268">[Pg 268]</a></span> through the good old
+stained-glass windows. It is a southern church, dark, cool, and somewhat
+mysterious; quite foreign to the glare and heat of reality. People are
+lost in its solemn vastness, and even with many worshippers it is a
+solitude where most holy vigils could be kept, a mystic place where the
+southern imagination might well lose itself in such sacred ardours as
+Saint Theresa felt. The traveller liked to linger here; in the day-time
+when he peered vainly at the re-redos of Soler de Barcelona, at
+Mass-time, when the lighted altar-candles glimmered over its fine old
+marble, but best of all he liked to come at night. Those summer nights
+in Rousillon were hot and full of the murmur of voices. The Cathedral
+was the only silent place; more full than ever of the mysterious&mdash;the
+felt and the unseen. As one entered, the sanctuary light shone as a star
+out of a night of darkness; in a near-by chapel, a candle sputtered
+itself away, and a woman&mdash;whether old or young one could not
+see&mdash;lighted a fresh taper. Sometimes a man knelt and told his beads,
+sometimes two women entered and separated for their differing needs and
+prayers. Sometimes one sat in meditation, or knelt, unmoving, for a
+space of time; once a child brought a new candle to Saint Antony; always
+some one came or some one went, until the hour of closing. Then, the
+bell was rung, the door shut by a hand but dimly seen, and the last few
+watchers went out&mdash;across the little square, down this street or that,
+until they were lost in the darkness of the summer's night.<span class='pagenum'><a name="Page_269" id="Page_269">[Pg 269]</a></span></p>
+
+<div class="figcenter" style="width: 365px;">
+<img src="images/illus269.jpg" width="365" height="500" alt="" title="THE STONY STREET OF THE HILLSIDE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE STONY STREET OF THE HILLSIDE.&rdquo;&mdash;CARCASSONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+
+<p><span class='pagenum'><a name="Page_271" id="Page_271">[Pg 271]</a></span></p>
+<div class="sidenoteb">Carcassonne.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>The train puffed into the station at Carcassonne, and the impatient
+traveller, throwing his bags into an hotel omnibus, asked for the
+Cathedral and walked eagerly on that he might the more quickly &ldquo;see in
+line the city on the hill,&rdquo; &ldquo;the castle walls as grand as those of
+Babylon,&rdquo; and &ldquo;gaze at last on Carcassonne.&rdquo; His mind was full of the
+poem, and faithfully following directions, he hurried through clean,
+narrow streets until he came at length, not upon a poetic vision of
+battlemented walls and towers, but on the most prosaic of boulevards and
+the Church of Saint-Michel which has been the Cathedral since 1803, a
+large, uncouth building with a big, unfinished tower. There is no fa&ccedil;ade
+portal, and a small door-way in the north side leads into the great
+vaulted hall, one of the most usual and commonplace forms of the Gothic
+interior of the South. This room, which is painted, receives light from
+a beautiful rose-window at the West, and a series of small roses, like
+miniatures of the greater one, are cut in the upper walls of the nave;
+and little chapels, characterised by the same heavy monotony which hangs
+like a pall over the whole Cathedral, are lost in the church's capacious
+flanks.</p>
+
+<p><span class='pagenum'><a name="Page_272" id="Page_272">[Pg 272]</a></span></p>
+<div class="figcenter" style="width: 367px;">
+<img src="images/illus272.jpg" width="367" height="500" alt="" title="THE ANCIENT CROSS"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE ANCIENT CROSS.&rdquo;&mdash;CARCASSONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Having lost much of his enthusiasm, the traveller asked for the old&mdash;he
+had almost said the &ldquo;real&rdquo;&mdash;Cathedral, and with new directions, he
+started afresh. Leaving the well-built, agreeable, commonplace &ldquo;Lower
+city&rdquo; of the plain, he came to the bridge, and there, sitting on its
+parapet, near the ancient Cross, he feasted his longing eyes on that
+perfect vision of Medi&aelig;valism. The high, arid, and almost isolated hill
+of the Cit&eacute; stood before him, and at the top rose battlements and
+flanking towers in double range, bristling, war-like, and strong; yet
+beautiful in their mass of uneven, peaked tower-roofs and crenellations.
+He climbed wearily up the stony street of the hillside, and as he passed
+through the open gate, he realised that Hunnewell had written truly when
+he said &ldquo;Carcassonne is a romance<span class='pagenum'><a name="Page_273" id="Page_273">[Pg 273]</a></span> of travel.&rdquo; For he went into a town
+so quiet, into streets so still, so weed-grown, and lonely, and yet so
+well built, that he felt as a &ldquo;fairy prince&rdquo; who has penetrated into
+some enchanted castle, and it seemed as if the inhabitants were asleep
+in the upper rooms, behind those bowed windows, and as if, when the
+mysterious word of disenchantment should be uttered, all would come
+trooping forth, men-at-arms hurrying to clean their rusty swords, old
+women trudging along to fill their dusty pitchers at the well, and
+younger women staring from doors and windows to see the stranger within
+their streets.</p>
+
+<p>The Cadets de Gascogne knew the city before the evil spell of modern
+times was cast about it. They know and miss it now. And although they
+may no longer wear the plumed hat and clanking sword of their ancestors,
+the spirit beneath their more conventional garb is as gay and daring as
+that of Cadets more picturesque. They have conceived a plan as exciting
+as any old adventure, an idea which they present to the world, not as
+Cyrano, their most famous member, was wont to convey his thoughts at the
+end of a sword, but none the less dexterously and delightfully. This
+plan, like the magic word of the traveller's fancy, is to make the old
+Carcassonne live again, not as the traveller had timidly imagined, in
+time of peace, but in the stirring times of war and battle, and its
+magic word is &ldquo;the siege of Carcassonne.&rdquo; Truly it is but a matter of
+bengal lights, blank cartridges, and fire-crackers, though for the
+matter of that, Cinderella's coach was but a pumpkin, yet the effect was
+none the less real.<span class='pagenum'><a name="Page_274" id="Page_274">[Pg 274]</a></span></p>
+
+<p><span class='pagenum'><a name="Page_275" id="Page_275"></a></span></p>
+<div class="figcenter" style="width: 389px;">
+<img src="images/illus275.jpg" width="389" height="500" alt="" title="OFTEN, TOO LITTLE TIME IS SPENT UPON THE NAVE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;OFTEN, TOO LITTLE TIME IS SPENT UPON THE
+NAVE.&rdquo;&mdash;CARCASSONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>On the evening of &ldquo;the siege,&rdquo; a rare, great f&ecirc;te, the forces of the
+Cadets with their lights and ammunition are in the &ldquo;upper town&rdquo;, and
+long before dark, their friends and every inhabitant of the country for
+miles around have gathered in the houses which face the Cit&eacute;, on the
+bridges, and along the banks of the little Aude. As the sunlight fades
+and the shadows creep along, a strange feeling of expectancy comes over
+everybody, a hush, almost a dread of danger. The towers on the hill-top
+loom dark against the sky and the battlements bristle in the moonlight,
+no sound comes from the Cit&eacute;, and it seems to lay in unconcerned
+security. Memories of besieging armies which have vainly encamped in
+this valley return to the traveller's mind, memories of the treacheries
+of Simon de Montfort, and he wonders if any &ldquo;crusading&rdquo; sentinel ever
+paced where he now stands watching along the Aude, if any spy or even
+the terrible Simon himself had ever crept so near the walls to
+reconnoitre. Suddenly every one is startled by the sound of distant
+shots, which are repeated nearer the walls. Every one peers into the
+darkness. There is no sign of life on wall or tower, the attacking force
+must still be climbing the hill, out of range of the stones and burning
+oil of the defenders. More shots are fired, and now there are answering
+shots from the besieged; and so naturally does the din increase, that
+one can follow, by listening, the progress of the attack and the slow,
+sure gain of the invader. Some of the illusion of the anxiety and mental
+tension which war brings, steals over the watching crowd, and they
+breathlessly await the outcome of the struggle. The attacking party is
+now seen under the walls&mdash;now on <span class='pagenum'><a name="Page_277" id="Page_277">[Pg 277]</a></span>them&mdash;they throw wads of burning
+cotton, which are at first extinguished. They still gain&mdash;they fire the
+walls in several places; and the defenders, who can be seen in the
+flashes of light, run frantically to the danger spots; but they are
+gradually overcome, beaten back by the intensity of the heat. Flames now
+burst forth from a tower; there is an explosion, and the fire curls and
+creeps along the walls unchecked. Another explosion follows, another
+burst of flames which soar higher and higher. The men of the Cit&eacute; seem
+still more frantic and powerless. All the towers now stand out in bold
+relief,&mdash;as if they were just about to crumble into the seething mass
+below. Roofs within the walls are on fire, and finally a red tongue
+licks the turret of the Cathedral. In a few seconds its walls are
+hideously aglow, and the people in the valley&mdash;although they know the
+truth&mdash;groan aloud, so real is the illusion. The nave lines of the
+Cathedral are silhouetted as it burns, the fires along the walls growing
+brighter, spread gradually at first,&mdash;then rapidly, and the whole Cit&eacute;
+is the prey of great, waving clouds of flame and smoke. Men and women,
+as if fascinated by this lurid and magnificent destruction, press
+forward to get the last view of the Cathedral's lovely rose, or the
+peaked roof of some tower which is dear to them. But slowly the deep red
+flames are growing paler, less strong, and less high. Then the glare,
+too, begins to die away; the fire turns to smoke and the light becomes
+grey and misty. &ldquo;It is all over,&rdquo; some one whispers, and with backward
+glances at the charred, smoldering hill-top, they turn silently towards
+home.<span class='pagenum'><a name="Page_278" id="Page_278">[Pg 278]</a></span></p>
+
+<p><span class='pagenum'><a name="Page_279" id="Page_279"></a></span></p>
+<div class="figcenter" style="width: 383px;">
+<img src="images/illus279.jpg" width="383" height="500" alt="" title="THE CHOIR IS OF THE XIV CENTURY"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE CHOIR IS OF THE XIV CENTURY.&rdquo;&mdash;CARCASSONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>A few, sitting on the stone parapet of the bridge, remain to talk of the
+evening's magic, of the inspiration of the Cadets de Gascogne, and other
+scenes which their memory suggests, of wars and rumours of other wars.
+And when at length they turn to go, they see the moonlight on the
+glimmering Aude, the peaceful lower city, and above, Carcassonne&mdash;the
+Invincible&mdash;rising from her ashes.</p>
+
+<p><span class='pagenum'><a name="Page_281" id="Page_281">[Pg 281]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus281.jpg" width="500" height="391" alt="" title="THE FA&Ccedil;ADE&mdash;STRAIGHT AND MASSIVE"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE FA&Ccedil;ADE&mdash;STRAIGHT AND MASSIVE.&rdquo;&mdash;CARCASSONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The Cathedral of the Cit&eacute; is worthy of great protecting walls and there
+are few churches whose destruction would have been so sad a blow to the
+architecture of the Midi. Saint-Nazaire is typical at once of the
+originality of the southern builders, of their idealism, and their
+joyous freedom from conventional thrall. The fa&ccedil;ade, straight, and
+massive, has the frowning severity of an old donjon wall. Its towers are
+solid masses of heavy stone; instead of spires, there are crenellations;
+instead of graceful flying-buttresses at the sides, there are solid,
+upright supports on the firm, plain side-walls. This is the true old
+Romanesque. A few steps further, and the apse appears, as great a
+contrast to the body of the church as a bit of Mechlin lace to a
+coat-of-mail. A little tower with gargoyles, another with a fine-carved
+turret, windows whose delicate traceries could be broken by a blow, and
+an upper balustrade which would have been as easily crushed as an
+egg-shell in the hands of the lusty Huguenots,&mdash;these are the ornaments
+of its wall, as true XIV century Gothic as the nave is XII century
+Romanesque. It is sadly disappointing to find the Cloisters in
+uninteresting ruin, but the church within is so full of great beauty
+that all other things are unimportant. The windows glow in the glory
+of their glass, and the tombs, especially those of the lower Chapel
+of the Bishop, are wonderfully carved. The first burial place of de
+Montfort, terrible persecutor of his Church's foes, lies near the High
+Altar, and in the wall, there is a rude bas-relief representing his
+siege of Toulouse. All these admirable details are puny in comparison
+with the interior which contains them. It is to be feared that often,
+too little time is spent upon the nave. Even in mid-day, lighted by the
+southern sun, its beautiful, severe lines are mellowed but little, and
+one turns too instinctively to the Gothic, the greater lightness beyond.
+Yet it is a nave of<span class='pagenum'><a name="Page_282" id="Page_282">[Pg 282]</a></span> exceedingly fine, rugged strength, and to pass on
+lightly, to belittle it in comparison with its brighter choir, is to
+wantonly miss in the great round columns, the heavy piers, and the dark
+tunnel vaulting, the conception of generations of men who had ever
+before their mind&mdash;and literally believed&mdash;&ldquo;A mighty fortress is our
+God.&rdquo; The choir is of the XIV century, a day when the &ldquo;beauty of
+holiness&rdquo; seems to have been the Cathedral architect's ideal. Delicate,
+clustered columns from which Saints look down, long windows beautifully
+veined, a glorious rose at each transept's end, and high vault arches
+springing with a slender pointed grace, all these are of exquisite
+proportions; and the brilliant stained-glass adds a softening warmth of
+colour, but not too great a glow, to the cold fragility of the shafts of
+stone. Nothing in the Gothic art of the South, little of Gothic
+elsewhere, is more thoughtfully and lovingly wrought than this choir of
+Saint-Nazaire, and few churches in the Romanesque form are more finely
+constructed than its nave. On the exterior, the Gothic choir and the
+Romanesque nave are so different in style it seems they must be,
+perforce, antagonistic, that the grace of the Gothic must make
+Romanesque plainness appear dull, or that the noble simplicity of the
+rounded arch must cause the Gothic arches, here so particularly tall and
+slender, to seem almost fragile and undignified. In reality, this
+juxtaposition of the styles has justified itself; and passing from one
+to the other, the traveller is more impressed by the subtle analogies
+they suggest than by the differences of their architectural forms. On
+week-days, when the church is empty, they seem to prefigure the two
+ideals of the religion <span class='pagenum'><a name="Page_285" id="Page_285">[Pg 285]</a></span>which they serve&mdash;the stern, self-conquering
+asceticism of a Saint Dominic, and the exquisite, radiant visions which
+Saint Cecelia saw when heavenly music was vouchsafed her. Or, if one has
+time to fancy further, the nave is the epic of its great religion; the
+choir, a song which is the expression of most delicate aspiration, most
+tender worship. On Sunday, when to this beauty of the godly habitation
+is added all the beauty of worship, the music of the oldest organs in
+France, slow-moving priests in gorgeous vestments, sweet smelling
+incense, chants, and prayers of a most majestic ritual, one is tempted
+to read into these stones symbolical meanings,&mdash;as if the heavy nave,
+where the dim praying figures kneel, were typical of their life of
+struggle&mdash;and their glances altarward, where all is light and beauty,
+presaged their final coming into the presence and glory of God.</p>
+
+<p><span class='pagenum'><a name="Page_283" id="Page_283"></a></span></p>
+<div class="figcenter" style="width: 379px;">
+<img src="images/illus283.jpg" width="379" height="500" alt="" title="PERSPECTIVE OF THE ROMANESQUE"/></div>
+<div class="figcenter"><span class="caption">PERSPECTIVE OF THE ROMANESQUE.&mdash;CARCASSONNE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>Hunnewell has finely written, that &ldquo;while the passions and the terrors
+of a fierce, rude age made unendurable the pleasant land where we may
+travel now so peacefully, ... and while Religion, grown political,
+forgot the mercy of its Lord and ruled supreme, ... an earnest faith and
+consecrated genius were creating some of the noblest tributes man has
+offered to his Creator,&rdquo; and it may be truly said that of these one of
+the noblest is the church begun in that most cruel age of Saint Dominic
+and de Montfort, in the very heart of the country they laid waste, in
+the city which one conquered by ruse and the other tortured by
+inquisition, the old Cathedral of Saint-Nazaire in Carcassonne.<span class='pagenum'><a name="Page_286" id="Page_286">[Pg 286]</a></span></p>
+
+
+<div class="sidenoteb">Castres.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>In the VII century Castres, which had been the site of a Roman camp,
+became that of a Benedictine Abbey; and around this foundation, as about
+so many others, a town grew through the Middle Ages, and came safely to
+prosperity and importance. Untrue to its early protectors and in
+opposition to the fervent orthodoxy of the neighbouring city of Albi,
+Castres became a Protestant stronghold, and its fortunes rose and fell
+with the chances of religious wars. It was, perhaps, one of the most
+intrepid and obstinate of all the centres of heresy, and the centuries
+of struggle seem only to have strengthened the fierceness of its faith.
+In 1525, when the Duke de Rohan was absent and a royal army again
+summoned it to submission and conversion, the Duchess had herself
+carried from a sick bed to the gate of the city which was threatened,
+and it is related that the inhabitants of all classes, men, women, and
+children, without distinction of sex or age, armed themselves and rushed
+victoriously to her aid. Thirty-five years later, their children sacked
+churches, destroyed altars and images, and drove out monks and nuns.</p>
+
+<p>Bellicose incidents make history a thrilling story, but they are
+accompanied by such material destruction that they too often rob a city
+of its greatest treasures, and leave it, as far as architectural
+interest is concerned, an arid waste. Such a place is Castres,
+prosperous, industrial, historically dramatic, but actually commonplace.
+Old houses, picturesque and mouldy, with irregular, overhanging eaves,
+lean along the banks of the little river as they are wont to line the<span class='pagenum'><a name="Page_287" id="Page_287">[Pg 287]</a></span>
+banks of every old stream of the Midi, and they are nearly all the
+remains of Castres' Medi&aelig;valism. For her streets are well-paved,
+trolleys pass to and fro, department stores are frequent, and that most
+modern of vehicles, the automobile, does not seem anachronistic. No
+building could be more in harmony with the city's atmosphere of
+uninteresting prosperity than its Cathedral, and he who enters in search
+of beauty and repose, is doomed to miserable disappointment.</p>
+
+<p>Confronted in the XIV century by a growing heresy, John XXII devised,
+among other less Christian methods of combat, that of the creations of
+Sees, whose power and dignity of rank should check the progress of the
+enemies of the Church; and in 1317, that year which saw the beginning of
+so many of these new Sees, the old Benedictine Abbey of Castres, lying
+in the very centre of Protestantism, was created a Bishopric. The
+century, if unpropitious to Catholicism, was favourable to architecture,
+the Abbey was of ancient foundation, and from either of these facts, a
+fine Cathedral might reasonably be hoped for,&mdash;a dim Abbey-church whose
+rounded arches are lost in the gloom of its vaulting, or a bit of
+southern Gothic which the newly consecrated prelate might have
+ambitiously planned. But the Cathedral of Saint-Beno&icirc;t is neither of
+these, for it was re-constructed in the XVII century, the XVII century
+in all its confusion of ideas, all its lack of taste, all its travesty
+of styles. There is the usual multitude of detail, the usual
+unworthiness. Portals which have no beauty, an expanse of unfinished
+fa&ccedil;ade, dark, ugly walls whose bareness is not sufficiently<span class='pagenum'><a name="Page_288" id="Page_288">[Pg 288]</a></span> hidden by
+the surrounding houses, heavy buttresses, ridiculously topped off by
+globes of stone,&mdash;such are the salient features of the exterior of
+Saint-Beno&icirc;t.</p>
+
+<p>The &ldquo;spaciousness&rdquo; of the interior has given room, if not for an
+impartial representation, at least for a reminder of all the styles of
+architecture to which the XVII century was heir. There is the
+Renaissance conception of the antique in the ornamental columns; in the
+rose-window, there is a tribute to the Gothic; the tradition of the
+South is maintained by a coat of colours&mdash;many, if subdued; and the
+ground plan of nave and side-chapels might be called Romanesque.
+Although the vaulting is high and the room large, there is no
+simplicity, no beauty, no artistic virtue in this interior.</p>
+
+<p>Opposite the church is the episcopal Palace which Mansart built, a large
+construction that serves admirably as a City Hall. Behind it, along the
+river, are the charming gardens designed by Le N&ocirc;tre, where Bishops
+walked and meditated, looking upon their not too faithful city of
+Castres. Upon this very ground was the ancient Abbey and close of the
+Benedictines; and as if in memory of these monkish predecessors, Bishop
+and builder of the XVII century left in an angle of the Palace the old
+Abbey-tower. This is the treasure of Castres' past, a Romanesque belfry
+with the pointed roofing of the campanile of Italy, heavy in comparison
+with their grace, and stout and strong.<span class='pagenum'><a name="Page_289" id="Page_289">[Pg 289]</a></span></p>
+
+
+<div class="sidenoteb">Toulouse.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Toulouse is one of the most charming cities of the South of France. It
+is also one of the largest; but in spite of its size, it is neither
+noisy nor stupidly conventional; it is, on the contrary, an ideal
+provincial &ldquo;capital,&rdquo; where everything, even the climate, corresponds to
+our preconceived and somewhat romantic ideal of the southern type. When
+the wind blows from the desert it comes with fierce and sudden passion,
+the sun shines hot, and under the awnings of the open square, men fan
+themselves lazily during a long lunch hour. Under this appearance of
+semi-tropical languor, there is the persistent energy of the great
+southern peoples, an energy none the less real because it is broken by
+the long siestas, the leisurely meal-times, and the day-time idling,
+which seem so shiftless and so strange to northern minds. This is the
+energy, however, which has made Toulouse a rich, opulent city,&mdash;a city
+with broad boulevards, open squares, and fine buildings, and a city of
+the gay Renaissance rather than of the stern Middle Ages. Yet for
+Toulouse the Middle Ages were a dark time. What could be gotten by the
+sword was taken by the sword, and even the mind of man, in that gross
+age, was forced and controlled by the agony of his body. It is a time
+whose most peaceful outward signs, the churches, have been preserved to
+Toulouse, and the war-signs, towers, walls, and fortifications,
+dungeons, and the torture-irons of inquisition, are now&mdash;and
+wisely&mdash;hidden or destroyed. Of the fierce tragedies which were played
+in Toulouse, even to the days of the great Revolution, few traces
+remain,&mdash;the stern, orthodox figure of Simon<span class='pagenum'><a name="Page_290" id="Page_290">[Pg 290]</a></span> de Montfort, and of Count
+Raymond, his too politic foe, and the anguish of the Crusaders' siege,
+the bent form of Jean Calas and the shrewd, keen face of Voltaire, who
+vindicated him from afar, these memories seem dimmed; and those which
+live are of light-hearted troubadours and gaily dressed ladies of the
+city of the gay, insouciant Renaissance to whom an auto-da-f&egrave; was a gala
+between the blithesome robing of the morning and the serenade in the
+moonlight. Fierce and steadfast, sentimentally languishing, dying for a
+difference of faith, or dying as violently to avenge the insult of a
+frown or a lifted eye-brow, such are the Languedocians whom Toulouse
+evokes, near to the Gascons and akin to them. Here is the Acad&eacute;mie des
+Jeux-Floreaux, the &ldquo;College of Gay Wit&rdquo; which was founded in the XIV
+century, and still distributes on the third of every May prizes of gold
+and silver flowers to poets, and writers of fine prose; and here are
+many &ldquo;h&ocirc;tels&rdquo; of the Renaissance, rich and beautiful homes of the old
+Toulousan nobility whose courts are all too silent. Here is the H&ocirc;tel du
+Vieux-Raisin, the Maison de Pierre, and the H&ocirc;tel d'Ass&eacute;zat where Jeanne
+d'Albret lived; and near-by is a statue of her son, the strongest,
+sanest, and most debonnaire of all the great South-men, Henry of
+Navarre. Here in Toulouse is indeed material for a thousand fancies.<span class='pagenum'><a name="Page_291" id="Page_291">[Pg 291]</a></span></p>
+
+<div class="figcenter" style="width: 362px;">
+<img src="images/illus291.jpg" width="362" height="500" alt="" title="THE NAVE OF THE XIII CENTURY IS AN AISLE-LESS CHAMBER,
+LOW AND BROADLY ARCHED"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE NAVE OF THE XIII CENTURY IS AN AISLE-LESS CHAMBER,
+LOW AND BROADLY ARCHED.&rdquo;&mdash;TOULOUSE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>And here the Cathedral-seeker, who had usually had the proud task of
+finding the finest building in every city he visited, was doomed to
+disappointment. In vain he tried to console himself with the fact that
+Toulouse had had two Cathedrals. Of one there was no trace; in the
+other, confusion; and he <span class='pagenum'><a name="Page_293" id="Page_293">[Pg 293]</a></span>was met with the axiom, true in architecture
+as in other things, that two indifferent objects do not make one good
+one. The &ldquo;Dalbade,&rdquo; formerly the place of worship of the Knights of
+Malta, has a more elegant tower; the Church of the Jacobins a more
+interesting one; the portal of the old Chartreuse is more beautiful; the
+Church of the Bull, more curious; and the Basilica of Saint-Sernin so
+interesting and truly glorious that the Cathedral pales in colourless
+insignificance.</p>
+
+<p>Some cities of medi&aelig;val France possessed, at the same time, two
+Cathedrals, two bodies of Canons, and two Chapters under one and the
+same Bishop. Such a city was Toulouse; and until the XII century,
+Saint-Jacques and Saint-Etienne were rival Cathedrals. Then, for some
+reason obscure to us, Saint-Jacques was degraded from its episcopal rank
+and remained a simple church until 1812 when it was destroyed. The
+present Cathedral of Saint-Etienne is a combination of styles and a
+violation of every sort of architectural unity, and realises a confusion
+which the most perverse imagination could scarcely have conceived.
+According to every convention of building, the Cathedral is not only
+artistically poor, but mathematically insupportable. The proportions are
+execrable; and the interior, the finest part of the church, reminds one
+irresistibly of a good puzzle badly put together. The weak tower is a
+sufficient excuse for the absence of the other; from the tower the roof
+slopes sharply and unreasonably, and the rose-window is perched, with
+inappropriate jauntiness, to the left of the main portal. The whole
+structure is not so much the vagary of an architect<span class='pagenum'><a name="Page_294" id="Page_294">[Pg 294]</a></span> as the sport of
+Fate, the self-evident survival of two unfitting fa&ccedil;ades. Walking
+through narrow streets, one comes upon the apse as upon another church,
+so different is its style. It is disproportionately higher than the
+fa&ccedil;ade; instead of being conglomerate, it is homogeneous; instead of a
+squat appearance, uninterestingly grotesque, it has the dignity of
+height and unity. And although it is too closely surrounded by houses
+and narrow streets, and although a view of the whole<span class='pagenum'><a name="Page_295" id="Page_295">[Pg 295]</a></span> apse is entirely
+prevented by the high wall of some churchly structure, it is the only
+worthy part of the exterior and, by comparison, even its rather timid
+flying-buttresses and insignificant stone traceries are impressive.</p>
+
+<div class="figcenter" style="width: 396px;">
+<img src="images/illus294.jpg" width="396" height="500" alt="" title="THE PRESENT CATHEDRAL IS A COMBINATION OF STYLES"/></div>
+<div class="figcenter"><span class="caption">&ldquo;THE PRESENT CATHEDRAL IS A COMBINATION OF
+STYLES.&rdquo;&mdash;TOULOUSE.</span>
+<span class="totoi"><a href="#toi">[To List]</a></span></div>
+
+<p>The nave of the early XIII century is an aisle-less chamber, low and
+broadly arched. As the eye continues down its length, it is met by the
+south aisle of the choir,&mdash;opening directly into the centre of the nave.
+Except for this curiously bad juxtaposition, both are normally
+constructed, and each is of so differing a phase of Gothic that they
+give the effect of two adjoining churches. The choir was begun in the
+late XII century, on a new axis, and was evidently the commencement of
+an entire and improved re-construction. In spite of the poorly planned
+restoration in the XVII century, the worthy conception of this choir is
+still realised. It is severe, lofty Gothic, majestic by its own
+intrinsic virtue, and doubly so in comparison with the uncouth
+puzzle-box effect of the whole. Its unity came upon the traveller with a
+shock of surprise, relieving and beautiful, and after he had walked
+about its high, narrow aisles and refreshed his disappointed vision, he
+left the Cathedral quickly&mdash;looking neither to the right nor to the
+left, without a trace of the temptation of Lot's wife, to &ldquo;glance
+backward.&rdquo;</p>
+
+
+<div class="sidenoteb">Montauban.</div><span class="totoc"><a href="#toc">Top</a></span>
+<p>Although Montauban was founded on the site of a Roman station, the Mons
+Albanus, it is really a city of the late Middle Ages, re-created, as it
+were, by Alphonse I., Count of Toulouse in 1144. And it was even a
+greater hot-bed of heretics than<span class='pagenum'><a name="Page_296" id="Page_296">[Pg 296]</a></span> B&eacute;ziers. Incited first by hatred of
+the neighbouring monks of Le Moustier, and then by the bitter agonies of
+the Inquisition, it became fervently Albigensian, and as fervently
+Huguenot; and even now it has many Protestant inhabitants and a
+Protestant Faculty teaching Theology.</p>
+
+<p>The Montauban of the present day is busy and prosperous, very prettily
+situated on the turbid little Tarn. In spite of her constant loyalty to
+the Huguenot cause, perhaps partly because of it, she has had three
+successive Cathedrals; Saint-Martin, burned in 1562; the Pro-cathedral
+of Saint-Jacques; and, finally, Notre-Dame, the present episcopal
+church, a heavy structure in the Italian style of the XVIII century.
+Large and light and bare, the nudeness of the interior is uncouth, and
+the stiff exterior, decorated with statues, impresses one as pleasantly
+as clothes upon crossed bean-poles. It is artificial and mannered; the
+last of the City Cathedrals of Languedoc and the least. If the notorious
+vices of the XVIII century were as bad as its style of ecclesiastical
+architecture, they must have been indeed monstrous.</p>
+
+
+<h3>END OF VOLUME I.</h3>
+<span class="totoc"><a href="#toc">Top</a></span>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Cathedrals and Cloisters of the South
+of France, Volume 1, by Elise Whitlock Rose
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@@ -0,0 +1,5555 @@
+The Project Gutenberg EBook of Cathedrals and Cloisters of the South of
+France, Volume 1, by Elise Whitlock Rose
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Cathedrals and Cloisters of the South of France, Volume 1
+
+Author: Elise Whitlock Rose
+
+Illustrator: Vida Hunt Frances
+
+Release Date: September 22, 2007 [EBook #22718]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CATHEDRALS AND CLOISTERS ***
+
+
+
+
+Produced by Juliet Sutherland, Marcia Brooks and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+CATHEDRALS AND CLOISTERS OF THE SOUTH OF FRANCE
+
+
+
+
+[Illustration: _Rodez._
+
+"Sheer and straight the pillars rise, ... and arch after arch is lost on
+the shadows of the narrow vaulting of the side-aisle."]
+
+
+
+
+CATHEDRALS
+_and_ CLOISTERS
+OF THE
+SOUTH OF FRANCE
+
+BY
+
+ELISE WHITLOCK ROSE
+
+WITH ILLUSTRATIONS FROM ORIGINAL PHOTOGRAPHS
+
+BY
+
+VIDA HUNT FRANCIS
+
+
+_IN TWO VOLUMES_
+
+_VOLUME I._
+
+G. P. PUTNAM'S SONS
+NEW YORK AND LONDON
+The Knickerbocker Press
+1906
+
+
+
+
+Copyright, 1906
+by
+G. P. PUTNAM'S SONS
+
+
+
+
+PREFACE.
+
+
+For years the makers of this book have spent the summer time in
+wandering about the French country; led here by the fame of some old
+monument, or there by an incident of history. They have found the real,
+unspoiled France, often unexplored by any except the French themselves,
+and practically unknown to foreigners, even to the ubiquitous maker of
+guide-books. For weeks together they have travelled without meeting an
+English-speaking person. It is, therefore, not surprising that they were
+unable to find, in any convenient form in English, a book telling of the
+Cathedrals of the South which was at once accurate and complete. For the
+Cathedrals of that country are monuments not only of architecture and
+its history, but of the history of peoples, the psychology of the
+christianising and unifying of the barbarian and the Gallo-Roman, and
+many things besides, epitomised perhaps in the old words, "the struggle
+between the world, the flesh, and the devil." In French, works on
+Cathedrals are numerous and exhaustive; but either so voluminous as to
+be unpractical except for the specialist--as the volumes of
+Viollet-le-Duc,--or so technical as to make each Cathedral seem one in
+an endless, monotonous procession, differing from the others only in
+size, style, and age. This is distinctly unfair to these old churches
+which have personalities and idiosyncrasies as real as those of
+individuals. It has been the aim of the makers of this book to
+introduce, in photograph and in story,--not critically or exhaustively,
+but suggestively and accurately,--the Cathedral of the Mediterranean
+provinces as it exists to-day with its peculiar characteristics of
+architecture and history. They have described only churches which they
+have seen, they have verified every fact and date where such
+verification was possible, and have depended on local tradition only
+where that was all which remained to tell of the past; and they will
+feel abundantly repaid for travel, research, and patient exploration of
+towers, crypts, and archives if the leisurely traveller on pleasure bent
+shall find in these volumes but a hint of the interest and fascination
+which the glorious architecture, the history, and the unmatched climate
+of the Southland can awaken.
+
+For unfailing courtesy and untiring interest, for free access to private
+as well as to ecclesiastical libraries, for permission to photograph and
+copy, for unbounding hospitality and the retelling of many an old
+legend, their most grateful thanks are due to the Catholic clergy, from
+Archbishop to Cure and Vicar. For rare old bits of information, for
+historical verification, and for infinite pains in accuracy of printed
+matter, they owe warm thanks to Mrs. Wilbur Rose, to Miss Frances Kyle,
+and to Mrs. William H. Shelmire, Jr. For criticism and training in the
+art of photographing they owe no less grateful acknowledgment to Mr.
+John G. Bullock and Mr. Charles R. Pancoast.
+
+E. W. R.
+
+V. H. F.
+
+
+
+
+CONTENTS.
+
+
+                                                          PAGE
+THE SOUTH OF FRANCE
+
+  I. THE SOUTH OF FRANCE                                     3
+
+ II. ARCHITECTURE IN PROVENCE, LANGUEDOC, AND GASCONY       29
+
+
+PROVENCE
+
+  I. THE CATHEDRALS OF THE SEA                              55
+     Marseilles--Toulon--Frejus--Antibes--Nice
+
+ II. CATHEDRALS OF THE HILL-TOWNS                           72
+     Carpentras--Digne--Forcalquier--Vence--Grasse
+
+III. RIVER-SIDE CATHEDRALS                                 101
+     Avignon--Vaison--Arles--Entrevaux--Sisteron
+
+ IV. CATHEDRALS OF THE VALLEYS                             178
+     Orange--Cavaillon--Apt--Riez--Senez--Aix
+
+
+LANGUEDOC
+
+  I. CATHEDRALS OF THE CITIES                              237
+     Nimes--Montpellier--Beziers--Narbonne--Perpignan--
+     Carcassonne--Castres--Toulouse--Montauban
+
+
+
+
+Illustrations
+
+
+                                                                    Page
+RODEZ                                                     _Frontispiece_
+    "Sheer and straight the pillars rise, ... and arch
+     after arch is lost on the shadows of the narrow vaulting
+     of the side-aisle."
+
+"CARCASSONNE, THE INVULNERABLE"                                        5
+
+"THE TOWER OF AN EARLY MARITIME CATHEDRAL"--_Agde_                    10
+
+"A NAVE OF THE EARLIER STYLE"--_Arles_                                15
+
+"A NAVE OF THE LATER STYLE"--_Rodez_                                  19
+
+"THE DELICATE CHOIR OF SAINT-NAZAIRE"--_Carcassonne_                  23
+
+"A CLOISTER OF THE SOUTH"--_Elne_                                     27
+
+"A ROMANESQUE AISLE"--_Arles_                                         31
+
+"THE SCULPTURED PORTALS OF SAINT-TROPHIME"--_Arles_                   33
+
+"A GOTHIC AISLE"--_Mende_                                             35
+
+"CORRESPONDING DIFFERENCES IN STYLE"--_Carcassonne_                   39
+
+"FORTIFIED GOTHIC BUILT IN BRICK"--_Albi_                             43
+
+"A CHURCH FORTRESS"--_Maguelonne_                                     45
+
+"STATELY GOTHIC SPLENDOUR"--_Condom_                                  47
+
+ENTREVAUX                                                             52
+    "People gather around the mail-coach as it makes its
+     daily halt before the drawbridge."
+
+"THE NEW CATHEDRAL"--_Marseilles_                                     57
+
+"THE DESECRATION OF THE LITTLE CLOISTER"--_Frejus_                    65
+
+"THE MILITARY OMEN--THE TOWER"--_Antibes_                             70
+
+"THE INTERIOR OF NOTRE-DAME-DU-BOURG"--_Digne_                        77
+
+"THE INTERIOR HAS NEITHER CLERESTORY NOR TRIFORIUM"--_Digne_          81
+
+"A LARGE SQUARE TOWER SERVED AS A LOOKOUT"--_Forcalquier_             86
+
+"A SUGGESTIVE VIEW FROM THE SIDE-AISLE"--_Forcalquier_                87
+
+"THE OLD ROUND ARCH OF THE BISHOP'S PALACE"--_Vence_                  92
+
+"THE LOW, BROAD ARCHES, AND THE GREAT SUPPORTING PILLARS"--_Vence_    93
+
+"HIGHER THAN THEM ALL STANDS THE CATHEDRAL"--_Grasse_                 97
+
+"THE PONT D'AVIGNON"                                                  99
+
+"THE INTERIOR HAS A SHALLOW, GRACEFULLY BALUSTRADED
+BALCONY"--_Avignon_                                                  103
+
+"THE PORCH, SO CLASSIC IN DETAIL"--AVIGNON                           107
+     From an old print
+
+"NOTRE-DAME-DES-DOMS"--_Avignon_                                     111
+
+"THE TOWER OF PHILIP THE FAIR"--_Villeneuve-les-Avignon_             114
+
+"THE GREAT PALACE"--_Avignon_                                        119
+
+"ON THE BANKS OF A PLEASANT LITTLE RIVER IS VAISON"                  123
+
+"THE RUINED CASTLE OF THE COUNTS OF TOULOUSE"--_Vaison_              125
+
+"THE WHOLE APSE-END"--_Vaison_                                       127
+
+"THE SOUTH WALL, WHICH IS CLEARLY SEEN FROM THE ROAD"--_Vaison_      129
+
+"TWO BAYS OPEN TO THE GROUND"--_Vaison_                              131
+
+"THE GREAT PIERS AND SMALL FIRM COLUMNS"--_Vaison_                   133
+
+"IN THE MIDST OF THE WEALTH OF ANTIQUE RUINS"--_Arles_               135
+
+"THE FACADE OF SAINT-TROPHIME"--_Arles_                              137
+
+"RIGHT DETAIL--THE PORTAL"--_Arles_                                  141
+
+"LEFT DETAIL--THE PORTAL"--_Arles_                                   145
+
+"THROUGH THE CLOISTER ARCHES"--_Arles_                               147
+
+"A NAVE OF GREAT AND SLENDER HEIGHT"--_Arles_                        149
+
+"THE BEAUTY OF THE WHOLE"--_Arles_                                   151
+
+"THE GOTHIC WALK"--Cloister--_Arles_                                 153
+
+"THIS INTERIOR"--_Entrevaux_                                         156
+
+"THE ROMANESQUE WALK"--Cloister--_Arles_                             157
+
+"ONE OF THE THREE SMALL DRAWBRIDGES"--_Entrevaux_                    159
+
+"THE PORTCULLIS"--_Entrevaux_                                        160
+
+"A FORT THAT PERCHES ON A SHARP PEAK"--_Entrevaux_                   161
+
+"A TRUE 'PLACE D'ARMES'"--_Entrevaux_                                163
+
+"THE LONG LINE OF WALLS THAT ZIGZAG DOWN THE HILLSIDE"--_Entrevaux_  165
+
+"THE CHURCH TOWER STOOD OUT AGAINST THE ROCKY PEAK"--_Entrevaux_     169
+
+"THE CATHEDRAL IS NEAR THE HEAVY ROUND TOWERS OF
+THE OUTER RAMPARTS"--_Sisteron_                                      172
+
+"THE BRIDGE ACROSS THE DURANCE"--_Sisteron_                          173
+
+"ENTRANCES TO TWO NARROW STREETS"--_Sisteron_                        176
+
+"IT WAS A LOW-VAULTED, SOMBRE LITTLE CLOISTER"--_Cavaillon_          182
+
+"THE CATHEDRAL'S TOWER AND TURRET"--_Cavaillon_                      187
+
+"THE MAIN BODY OF THE CHURCH"--_Apt_                                 191
+
+"THE VIRGIN AND SAINT ANNE--BY BENZONI"--_Apt_                       194
+
+"SAINT-MARTIN-DE-BROMES WITH ITS HIGH SLIM TOWER"                    197
+
+"THE FORTIFIED MONASTERY OF THE TEMPLARS"--_near Greoux_             199
+
+"THE TOWER OF NOTRE-DAME-DU-SIEGE"--_Riez_                           201
+
+"NOTHING COULD BE MORE QUAINTLY OLD AND MODEST THAN
+THE BAPTISTERY"--_Riez_                                              202
+
+"BETWEEN THE COLUMNS AN ALTAR HAS BEEN PLACED"--Baptistery, _Riez_   203
+
+"THE BEAUTIFUL GRANITE COLUMNS"--_Riez_                              207
+
+"THE MAIL-COACH OF SENEZ"                                            211
+
+"THE OPEN SQUARE"--_Senez_                                           213
+
+"THE PALACE OF ITS PRELATES"--_Senez_                                214
+
+"THE CATHEDRAL"--_Senez_                                             215
+
+"THE CATHEDRAL"--_Senez_                                             218
+
+"TAPESTRIES BEAUTIFY THE CHOIR-WALLS"--_Senez_                       219
+
+"BETWEEN BRANCHES FULL OF APPLE-BLOSSOMS--THE
+CHURCH AS THE CURE SAW IT"--_Senez_                                  221
+
+"THE SOUTH AISLE"--_Aix_                                             224
+
+"THE ROMANESQUE PORTAL"--_Aix_                                       225
+
+"THE CLOISTER"--_Aix_                                                227
+
+"THE CATHEDRAL"--_Aix_                                               231
+
+"AN AMPHITHEATRE WHICH RIVALS THE ART OF THE COLISEUM"--_Nimes_      238
+
+"THE GENERAL EFFECT IS SOMEWHAT THAT OF A
+PORT-COCHERE"--_Montpellier_                                         244
+
+"THE FINEST VIEW IS THAT OF THE APSE"--_Montpellier_                 245
+
+"THE CLOCK TOWER IS VERY SQUARE AND THICK"--_Beziers_                248
+
+"THE QUAINT AND PRETTY FOUNTAIN"--_Beziers_                          250
+
+"THE DOOR OF THE CLOISTER"--_Narbonne_                               255
+
+"THIS IS A PLACE OF DESERTED SOLITUDE"--_Narbonne_                   257
+
+"THESE FLYING-BUTTRESSES GIVE TO THE EXTERIOR ITS
+MOST CURIOUS AND BEAUTIFUL EFFECT"--_Narbonne_                       261
+
+"ALL THE OLD BUILDINGS OF THE CITY ARE OF SPANISH
+ORIGIN"--_Perpignan_                                                 265
+
+"THE UNFINISHED FACADE"--_Perpignan_                                 267
+
+"THE STONY STREET OF THE HILLSIDE"--_Carcassonne_                    269
+
+"THE ANCIENT CROSS"--_Carcassonne_                                   272
+
+"OFTEN TOO LITTLE TIME IS SPENT UPON THE NAVE"--_Carcassonne_        275
+
+"THE CHOIR IS OF THE XIV CENTURY"--_Carcassonne_                     279
+
+"THE FACADE, STRAIGHT AND MASSIVE"--_Carcassonne_                    281
+
+"PERSPECTIVE OF THE ROMANESQUE"--_Carcassonne_                       283
+
+"THE NAVE OF THE XIII CENTURY IS AN AISLE-LESS CHAMBER,
+LOW AND BROADLY ARCHED"--_Toulouse_                                  291
+
+"THE PRESENT CATHEDRAL IS A COMBINATION OF STYLES"--_Toulouse_       294
+
+
+
+
+LIST OF WORKS CONSULTED.
+
+
+BAYET. _Precis de l'Histoire de l'Art._
+
+BODLEY. _France._
+
+BOURG. _Viviers, ses Monuments et son Histoire._
+
+CHOISY. _Histoire de l'Architecture._
+
+COUGNY. _L'Art au Moyen Age._
+
+COOK. _Old Provence._
+
+CORROYER. _L'Architecture romane._
+
+  "          _L'Architecture gothique._
+
+COX. _The Crusades._
+
+DARCEL. _Le Mouvement archeologique relatif au Moyen Age._
+
+DE LAHONDES. _L'Eglise Saint-Etienne, Cathedrale de Toulouse._
+
+DEMPSTER. _Maritime Alps._
+
+DUCERE. _Bayonne historique et pittoresque._
+
+DURUY. _Histoire de France._
+
+FERREE. _Articles on French Cathedrals appearing in the "Architectural
+Record._"
+
+GARDERE. _Saint-Pierre de Condom et ses Constructeurs._
+
+GOULD. _In Troubadour Land._
+
+GUIZOT. _Histoire de France._
+
+  "          _Histoire de la Civilisation en France._
+
+HALLAM. _The Middle Ages._
+
+HARE. _South-eastern France._
+
+  "          _South-western France._
+
+_History of Joanna of Naples, Queen of Sicily_ (_published_ 1824).
+
+HUNNEWELL. _Historical Monuments of France._
+
+JAMES. _A Little Tour through France._
+
+_Le Moyen Age_ (_avec notice par Roger-Miles_).
+
+LARNED. _Churches and Castles of Mediaeval France._
+
+LASSERRE, L'ABBE. _Recherches historiques sur la Ville d'Alet et son
+ancien Diocese._
+
+LECHEVALLIER CHEVIGNARD. _Les Styles francais._
+
+MACGIBBON. _The Architecture of Provence and the Riviera._
+
+MARLAVAGNE. _Histoire de la Cathedrale de Rodez._
+
+MARTIN. _Histoire de France._
+
+MASSON. _Louis IX and the XIII Century._
+
+  "          _Francis I and the XVI Century._
+
+MERIMEE. _Etudes sur les Arts au Moyen Age._
+
+MICHELET. _Histoire de France._
+
+MICHELET AND MASSON. _Mediaevalism in France._
+
+_Monographie de la Cathedrale d'Albi._
+
+MONTALEMBERT. _Les Moines d'Occident._
+
+MILMAN. _History of Latin Christianity._
+
+PALUSTRE. _L'Architecture de la Renaissance._
+
+PASTOR. _Lives of the Popes._
+
+PENNELL. _Play in Provence._
+
+QUICHERAT. _Melanges d'Archeologie au Moyen Age._
+
+RENAN. _Etudes sur la Politique religieuse du Regne de Philippe le Bel._
+
+REVOIL. _Architecture romane du Midi de la France._
+
+ROSIERES. _Histoire de l'Architecture._
+
+SCHNASSE. _Geschichte der bildenden Kuenste._ (_Volume III, etc._)
+
+SENTETZ. _Sainte-Marie d'Auch._
+
+SORBETS. _Histoire d'Aire-sur-l'Adour._
+
+SOULIE. _Interesting old novels whose scenes are laid in the South of
+France_:--
+
+  "          "_Le Comte de Toulouse._"
+
+  "          "_Le Vicomte de Beziers._"
+
+  "          "_Le Chateau des Pyrenees_," _etc._
+
+STEVENSON. _Travels with a Donkey in the Cevennes._
+
+TAINE. _The Ancient Regime._
+
+  "          _Journeys through France._
+
+  "          _Origins of Contemporary France._
+
+  "          _Tour through the Pyrenees._
+
+_'Twixt France and Spain._
+
+VIOLLET-LE-DUC. _Histoire d'une Cathedrale et d'un Hotel-de-Ville._
+
+_Entretiens sur l'Architecture._
+
+_Dictionnaire raisonne de l'Architecture francaise du XI^e au XVI^e
+siecle._
+
+
+
+
+The South of France.
+
+
+
+
+I.
+
+THE SOUTH OF FRANCE.
+
+
+If it is only by an effort that we appreciate the valour of Columbus in
+the XV century, his secret doubts, his temerity, how much fainter is our
+conception of the heroism of the early Mediterranean navigators. Steam
+has destroyed for us the awful majesty of distance, and we can never
+realise the immensity of this "great Sea" to the ancients. To Virgil the
+adventures of the "pious AEneas" were truly heroic. The western shores of
+the Mediterranean were then the "end of the earth," and even during the
+first centuries of our own era, he who ventured outside the Straits of
+Gibraltar tempted either Providence or the Devil and was very properly
+punished by falling over the edge of the earth into everlasting
+destruction. "Why," asks a mediaeval text-book of science, "is the sun so
+red in the evening?" And this convincing answer follows, "Because he
+looks down upon Hell."
+
+For centuries before the Christian era the South of France, with Spain,
+lay in the unknown west end of the Sea. Along its eastern shores lay
+civilisations hoary with age; Carthage, to the South, was moribund;
+Greece was living on the prestige of her glorious past; while Rome was
+becoming all-powerful. Legend tells that adventurous Phoenicians and
+Greeks discovered the French coasts, that Nimes was founded by a Tyrian
+Hercules, and Marseilles, about 600 B.C., by a Phoenician trader who
+married a chief's daughter and settled at the mouth of the Rhone. But
+these early settlements were merely isolated towns, which were not
+interdependent;--scarcely more than trading posts. It was Rome who took
+southern Gaul unto herself, and after Roman fashion, built cities and
+towns and co-ordinated them into well-regulated provinces; and it is
+with Roman rule that the connected history of Gaul begins.
+
+From the outset we meet one basic fact, so difficult to realise when
+France is considered as one country, the essential difference between
+the North and the South. Caesar found in the South a partial Roman
+civilisation ready for his organisation; and old, flourishing cities,
+like Narbonne, Aix, and Marseilles. In the North he found the people
+advanced no further than the tribal stage, and Paris--not even Paris in
+name--was a collection of mud huts, which, from its strategic position,
+he elevated into a camp. The two following centuries, the height of
+Roman dominion in France, accentuated these differences. The North was
+governed by the Romans, never assimilated nor civilised by them. The
+South eagerly absorbed all the culture of the Imperial City; her
+religions and her pleasures, her beautiful Temples and great
+Amphitheatres, finally her morals and effeminacy, till in the II century
+of our era, anyone living a life of luxurious gaiety was popularly said
+to have "set sail for Marseilles." To this day the South boasts that it
+was a very part of Rome, and Rome was not slow to recognise the claim.
+Gallic poets celebrated the glory of Augustus, a Gaul was the master
+of Quintilian, and Antoninus Pius, although born in the Imperial City,
+was by parentage a native of Nimes.
+
+[Illustration: "CARCASSONNE, THE INVULNERABLE."]
+
+Not to the rude North, but to this society, so pagan, so
+pleasure-loving, came the first missionaries of the new Christian faith,
+to meet in the arenas of Gaul the fate of their fellow-believers in
+Rome, to hide in subterranean caves and crypts, to endure, to persist,
+and finally to conquer. In the III and IV centuries many of the great
+Bishoprics were founded, Avignon, Narbonne, Lyons, Arles, and
+Saint-Paul-trois Chateaux among others; but these same years brought
+political changes which seemed to threaten both Church and State.
+
+Roman power was waning. Tribes from across the Rhine were gathering,
+massing in northern Gaul, and its spirit was antagonistic to the
+contentment of the rich Mediterranean provinces. The tribes were
+brave, ruthless, and barbarous. Peace was galling to their
+uncontrollable restlessness. The Gallo-Romans were artistic, literary,
+idle, and luxurious. They fell, first to milder but heretical foes;
+then to the fierce but orthodox Frank; and the story of succeeding
+years was a chronicle of wars. Like a great swarm of locusts, the
+Saracens--conquerors from India to Spain--came upon the South. They
+took Narbonne, Nimes, and even Carcassonne, the Invulnerable. They
+besieged Toulouse, and almost destroyed Bordeaux. Other cities,
+perhaps as great as these, were razed to the very earth and even their
+names are now forgotten. Europe was menaced; the South of France was
+all but destroyed.
+
+Again the Frank descended; and like a great wind blowing clouds from a
+stormy sky, Charles Martel swept back the Arabs and saved Christianity.
+Before 740, he had returned a third time to the South, not as a
+deliverer, but for pure love of conquest; and by dismantling Nimes,
+destroying the maritime cities of Maguelonne and Agde, and taking the
+powerful strongholds of Arles and Marseilles, he paved the way for his
+great descendant who nominally united "all France."
+
+But Charlemagne's empire fell in pieces; and as Carlovingian had
+succeeded Merovingian, so in 987 Capetian displaced the weak descendants
+of the mighty head of the "Holy Roman Empire." The map changed with
+bewildering frequency; and in these changes, the nobles--more stable
+than their kings--grew to be the real lords of their several domains.
+History speaks of France from Clovis to the Revolution as a kingdom; but
+even later than the First Crusade the kingdom lay somewhere between
+Paris and Lyons; the Royal Domain, not France as we know it now. The
+Duchy of Aquitaine, the Duchy of Brittany, Burgundy, the Counties of
+Toulouse, Provence, Champagne, Normandy, and many smaller possessions,
+were as proudly separate in spirit as Norway and Sweden, and often as
+politically distinct as they from Denmark.
+
+In the midst of these times of turmoil the Church had steadily grown.
+Every change, however fatal to North or South, brought to her new
+strength. Confronted with cultured paganism in the first centuries, the
+blood of her martyrs made truly fruitful seed for her victories; and
+later, facing paganism of another, wilder race, she triumphed more
+peacefully in the one supreme conversion of Clovis; and the devotion and
+interest which from that day grew between Church and King, gradually
+made her the greatest power of the country. After the decline of Roman
+culture the Church was the one intellectual, almost peaceful, and
+totally irresistible force. The great lords scorned learning. An Abbot,
+quaintly voicing the Church's belief, said that "every letter writ on
+paper is a sword thrust in the devil's side." When there was cessation
+of war, the occupation of men, from Clovis' time throughout Mediaevalism,
+was gone. They could not read; they could not write; the joy of hunting
+was, in time, exhausted. They were restless, lost. The justice meted out
+by the great lords was, too often, the right of might. But at the
+Council of Orleans, in 511, a church was declared an inviolable refuge,
+where the weak should be safe until their case could be calmly and
+righteously judged. The beneficent care of the Church cannot be
+overestimated. Between 500 and 700 she had eighty-three councils in
+Gaul, and scarcely one but brought a reform,--a real amelioration of
+hardships.
+
+Something of the general organisation of her great power in those rude
+times deserves more than the usual investigation. Even in its small
+place in the "Cathedrals and Cloisters of the South of France," it is an
+interesting bit of Church politics and psychology.
+
+The ecclesiastical tradition of France goes back to the very first years
+of the Christian era. Lazarus, Mary Magdalene, Martha, and Mary the
+Mother of James, are only a few of those intimately connected with
+Christ Himself, who are believed to have come into Gaul; and in their
+efforts to systematically and surely establish Christianity, to have
+founded the first French Bishoprics. This is tradition. But even the
+history of the II century tells of a venerable, martyred Bishop of
+Lyons, a disciple of that Polycarp who knew Saint John; and in the III
+century Gaul added no less than fourteen to the Sees she already had.
+Enthusiastic tradition aside, it is evident that the missionary ardour
+of the Gallic priests was intense; and the glory of their early
+victories belongs entirely to a branch of the Church known as "the
+Secular Clergy."
+
+[Illustration: THE TOWER OF AN EARLY MARITIME CATHEDRAL.--AGDE.]
+
+The other great branch, "the Religious Orders," were of later
+institution. From the oriental deserts of the Thebaid, where Saint
+Anthony had early practised the austerities of monkish life, Saint
+Martin drew his inspiration for the monasticism of the West. But it was
+not until the last of the IV century that he founded, near Poitiers, the
+first great monastery in France. The success of this form of pious life,
+if not altogether edifying, was immediate. Devotional excesses were less
+common in the temperate climate of France than under the exciting
+oriental sun, yet that most bizarre of Eastern fanatics, the "Pillar
+Saint," had at least one disciple in Gaul. He--the good Brother
+Wulfailich--began the life of sanctity by climbing a column near Treves,
+and prepared himself to stand on it, barefooted, through winter and
+summer, till, presumably, angels should bear him triumphantly to heaven.
+But the West is not the East. And the good Bishops of the neighbourhood
+drew off, instead of waiting at the pillar, as an exalted emperor had
+humbly stood beneath that of Saint Simeon Stylites. Far from being
+awe-struck, they were scandalised; and they forced Wulfailich to descend
+from his eminence, and destroyed it. This is one of the first Gallic
+instances of the antagonisms between the "secular" and the "regular"
+branches of the reverend clergy.
+
+Within the French Church from early times, these two great forces were
+arrayed, marching toward the same great end,--but never marching
+together. It is claimed they were, and are, inimical. In theory, in
+ideal, nothing could be further from truth. They were in fact sometimes
+unfriendly; and more often than not mutually suspicious. For the great
+Abbot inevitably lived in a Bishop's See; and with human tempers beneath
+their churchly garb, Abbot and Bishop could not always agree. Now the
+Bishop was lord of the clergy, supreme in his diocese; but should he
+call to account the lowest friar of any monastery, my Lord Abbot replied
+that he was "answerable only to the Pope," and retired to his vexatious
+"imperium in imperio."
+
+The beginning of the VI century saw much that was irregular in monastic
+life. The whole country was either in a state of war or of unrestful
+expectation of war. Many Abbeys were yet to be established; many merely
+in process of foundation. Wandering brothers were naturally beset by the
+dangers and temptations of an unsettled life; and if history may be
+believed, fell into many irregularities and even shamed their cloth by
+licentiousness. Into this disorder came the great and holy Benedict, the
+"learnedly ignorant, the wisely unlearned," the true organiser of
+Western Monachism. Under his wise "Rules" the Abbey of the VI century
+was transformed. It became "not only a place of prayer and meditation,
+but a refuge against barbarism in all its forms. And this home of books
+and knowledge had departments of all kinds, and its dependencies formed
+what we would call to-day a 'model farm.' There were to be found
+examples of activity and industry for the workman, the common tiller of
+the soil, or the land-owner himself. It was a school," continues
+Thierry, "not of religion, but of practical knowledge; and when it is
+considered that there were two hundred and thirty-eight of such schools
+in Clovis' day, the power of the Orders, though late in coming, will be
+seen to have grown as great as that of the Bishops."
+
+From these two branches sprang all that is greatest in the
+ecclesiastical architecture of France. As their strength grew, their
+respective churches were built, and to-day, as a sign of their dual
+power, we have the Abbey and the Cathedral.
+
+The Bishop's church had its prototype in the first Christian meeting
+places in Rome and was planned from two basic ideas,--the part of the
+Roman house which was devoted to early Christian service, and the
+growing exigencies of the ritual itself. At the very first of the
+Christian era, converts met in any room, but these little groups so soon
+grew to communities that a larger place was needed and the "basilica" of
+the house became the general and accepted place of worship. The
+"basilica" was composed of a long hall, sometimes galleried, and a
+hemicycle; and its general outline was that of a letter T. Into this
+purely secular building, Christian ceremonials were introduced. The
+hemicycle became the apse; the gallery, a clerestory; the hall, a
+central nave. Here the paraphernalia of the new Church were installed.
+The altar stood in the apse; and between it and the nave, on either
+side, a pulpit or reading-desk was placed. Bishop and priests sat around
+the altar, the people in the nave. This disposition of clergy, people,
+and the furniture of the sacred office is essentially that of the
+Cathedral of to-day. There were however many amplifications of the first
+type. The basilica form, T, was enlarged to that of a cross; and
+increasingly beautiful architectural forms were evolved. Among the first
+was the tower of the early Italian churches. This single tower was
+doubled in the French Romanesque, often multiplied again by Gothic
+builders, and in Byzantine churches, increased to seven and even nine
+domes. Transepts were added, and as, one by one, the arts came to the
+knowledge of the Middle Ages and the Renaissance, each was pressed into
+the service of the Cathedral builders. The interior became so beautiful
+with carvings, windows of marvellously painted glass, rich tapestries
+and frescoes, that the ritual seemed yearly more impressive and
+awe-inspiring. The old, squat exterior of early days was forgotten in
+new height and majesty, and the Cathedral became the dominant building
+of the city.
+
+Although the country was early christianised, and on the map of
+Merovingian France nearly all the present Cathedral cities of the
+Mediterranean were seats of Bishoprics, we cannot now see all the
+successive steps of the church architecture of the South. The main era
+of the buildings which have come down to us, is the XI-XIV centuries. Of
+earlier types and stages little is known, little remains.
+
+[Illustration: A NAVE OF THE EARLIER STYLE.--ARLES.]
+
+In general, Gallic churches are supposed to have been basilican, with
+all the poverty of the older style. Charlemagne's architects, with San
+Vitale in mind, gave a slight impetus in the far-away chapel at
+Aix-la-Chapelle, and Gregory of Tours tells us that Bishop Perpetuus
+built a "glorious" church at Tours. But his description is meagre. After
+a few mathematical details, he returns to things closer to his
+heart,--the Church's atmosphere of holiness, the emblematic radiance of
+the candle's light, the ecstasy of worshippers who seemed "to breathe
+the air of Paradise." And Saint Gregory's is the religious, uncritical
+spirit of his day, whose interest was in ecclesiastical establishment
+rather than ecclesiastical architecture. Churches there were in numbers;
+but they were not architectural achievements. Their building was like
+the planting of the flag; they were new outposts, signs of an advance of
+the Faith. With this missionary spirit in the Church, with priests still
+engaged in christianising and monks in establishing themselves on their
+domains, with a very general ignorance of art, with the absorbing
+interest of the powerful and great in warfare, and the very great
+struggle among the poor for existence, architecture before the X century
+had few students or protectors. France had neither sufficient political
+peace nor ecclesiastical wealth for elaborate church structures. No
+head, either of Church or State, had taste and time enough to inaugurate
+such works.
+
+Many causes have combined to destroy such churches as then existed. If
+they escaped the rasings and fires of a siege, they were often destroyed
+by lightning, or decayed by years; and some of the fragments which
+endured to the XIII century were torn down to make room for more
+beautiful buildings.
+
+It was the XI and XII centuries which saw the important beginnings of
+the great Cathedrals of both North and South. These were the years when
+religion was the dominant idea of the western world,--when everything,
+even warfare, was pressed into its service. Instead of devastating their
+own and their neighbour's country, Christian armies were devastating the
+Holy Land; doing to the Infidel in the name of their religion what he,
+in the name of his, had formerly done to them. The capture of Jerusalem
+had triumphantly ended the First Crusade; the Church was everywhere
+victorious, and the Pope in actual fact the mightiest monarch of the
+earth. These were the days when Peter the Hermit's cry, "God wills it,"
+aroused the world, and aroused it to the most diverse accomplishments.
+
+One form of this activity was church building; but there were other
+causes than religion for the general magnificence of the effort. Among
+these was communal pride, the interesting, half-forgotten motive of much
+that is great in mediaeval building.
+
+The Mediaevalism of the old writers seems an endless pageant, in which
+indefinitely gorgeous armies "march up the hill and then march down
+again;" in newer histories this has disappeared in the long struggle of
+one class with another; and in neither do we reach the individual, nor
+see the daily life of the people who are the backbone of a nation. Yet
+these are the people we must know if we are to have a right conception
+of the Cathedral's place in the living interest of the Middle Ages. For
+the Bishop's church was in every sense a popular church. The Abbey was
+built primarily for its monks, and the Abbey-church for their meditation
+and worship. The French Cathedral was the people's, it was built by
+their money, not money from an Abbey-coffer. It did not stand, as the
+Cathedral of England, majestic and apart, in a scholarly close; it was
+in the open square of the city; markets and fairs were held about it;
+the doors to its calm and rest opened directly on the busiest, every-day
+bustle. It is not a mere architectural relic, as its building was never
+a mere architectural feat. It is the symbol of a past stage of life, a
+majestic part of the picture we conjure before our mind's eye, when we
+consider Mediaevalism.
+
+[Illustration: A NAVE OF THE LATER STYLE.--RODEZ.]
+
+Such a picture of a city of another country and of the late Middle Ages
+exists in the drama of Richard Wagner's Meistersinger; and his Nuremberg
+of the XVI century, with changes of local colour, is the type of all
+mediaeval towns. General travel was unknown. The activity of the great
+roads was the march of armies, the roving of marauders, the journeys of
+venturesome merchants or well-armed knights. Not only roads, but even
+streets were unsafe at night; and after the sun had set he who had gone
+about freely and carelessly during the day, remained at home or ventured
+out with much caution. When armies camped about her walls, the city was
+doubtless much occupied with outside happenings. But when the camp broke
+up and war was far away, her shoemaker made his shoes, her goldsmith,
+fine chains and trinkets, her merchants traded in the market-place.
+Their interests were in street brawls, romancings, new "privileges," the
+work or the feast of the day--in a word town-topics. Yet being as other
+men, the burghers also were awakened by the energy of the age, and
+instead of wasting it in adventures and wars, their interest took the
+form of an intense local pride, narrow, but with elements of grandeur,
+seldom selfish, but civic.
+
+This absence of the personal element is nowhere better illustrated than
+in Cathedral building. Of all the really great men who planned the
+Cathedrals of France, almost nothing is known; and by searching, little
+can be found out. Who can give a dead date, much less a living fact,
+concerning the life of that Gervais who conceived the great Gothic
+height of Narbonne? Who can tell even the name of him who planned the
+sombre, battlemented walls of Agde, or of that great man who first saw
+in poetic vision the delicate choir of Saint-Nazaire in Carcassonne?
+Artists have a well-preserved personality,--cathedral-builders, none.
+Robert of Luzarches who conceived the "Parthenon of all Gothic
+architecture," and the man who planned stately Sens and the richness of
+Canterbury, are as unknown to us as the quarries from which the stones
+of their Cathedrals were cut. It is not the Cathedral built by Robert of
+Luzarches belonging to Amiens, as it is the Assumption by Rubens
+belonging to Antwerp. It is scarcely the Cathedral of its patron, Saint
+Firmin. It is the Cathedral of Amiens.
+
+[Illustration: "THE DELICATE CHOIR OF SAINT-NAZAIRE."--CARCASSONNE.]
+
+We hear many learned disquisitions on the decay of the art of church
+building. Lack of time in our rushing age, lack of patience, decline of
+religious zeal, or change in belief, these are some of the popular
+reasons for this architectural degeneracy. Strange as it may seem none
+of these have had so powerful an influence as the invention of printing.
+The first printing-press was made in the middle of the XV
+century,--after the conception of the great Cathedrals. In an earlier
+age, when the greatest could neither read nor write and manuscripts even
+in monasteries were rare, sculpture and carving were the layman's books,
+and Cathedrals were not only places of worship, they were the
+people's religious libraries where literature was cut in stone.
+
+In the North, the most unique form of this literature was the drama of
+the Breton Calvaries, which portrayed one subject and one only,--the
+"Life and Passion of Christ," taken from Prophecy, Tradition, and the
+Gospels. Cathedrals, both North and South, used the narrative form. They
+told story after story; and their makers showed an intimate knowledge of
+Biblical lore that would do credit to the most ardent theological
+student. At Nimes, by no means the richest church in carvings, there are
+besides the Last Judgment and the reward of the Evil and the
+Righteous,--which even a superficial Christian should know,--many of the
+stories of the Book of Genesis. At Arles, there is the Dream of Jacob,
+the Dream of Joseph, the Annunciation, the Nativity, Purification,
+Massacre of the Innocents, the Flight into Egypt; almost a Bible in
+stone. In these days of books and haste few would take the trouble to
+study such sculptured tales. But their importance to the unlettered
+people of the Middle Ages cannot be overestimated; and the incentive to
+magnificence of artistic conception was correspondingly great.
+
+The main era of Cathedral building is the same all over France. But with
+the general date, all arbitrary parallel between North and South
+abruptly ends. The North began the evolution of the Gothic, a new form
+indigenous to its soil; the South continued the Romanesque, her
+evolution of a transplanted style, and long knew no other. She had grown
+accustomed to give northward,--not to receive; and it was the reign of
+Saint Louis before she began to assimilate the architectural ideas of
+the Isle de France and to build in the Gothic style, it was admiration
+for the newer ideals which led the builders of the South to change such
+of their plans as were not already carried out, and to try with these
+foreign and beautiful additions, to give to their churches the most
+perfect form they could conceive.
+
+And thus, from a web of Fate, in which, as in all destinies, is the
+spinning of many threads, came the Cathedrals and Cloisters of the
+South. Are they greater than those of the North? Are they inferior to
+them? It is best said, "Comparison is idle." Who shall decide between
+the fir-trees and the olives--between the beautiful order of a northern
+forest and the strange, astounding luxuriance of the southern tangle?
+Which is the better choice--the well-told tale of the Cathedrals of the
+North, with their procession of kingly visitors, or the almost untold
+story of the Cathedrals of the South, where history is still legend,
+tradition, romance--the story of fanatic fervour and still more fanatic
+hate?
+
+[Illustration: A CLOISTER OF THE SOUTH.--ELNE.]
+
+
+
+
+II.
+
+ARCHITECTURE IN PROVENCE, LANGUEDOC, AND GASCONY.
+
+
+No better place can be found than the Mediterranean provinces to
+consider the origins of the earliest southern style. Here Romanesque
+Cathedrals arose in the midst of the vast ruins of Imperial antiquity,
+here they developed strange similarities to foreign styles, domes
+suggesting the East, Greek motives recalling Byzantium, and details
+reminiscent of Syria. And here is the battle-field for that great army
+who decry or who defend Roman influences. Some would have us believe
+that the Romanesque dome is expatriated from the East; others, that it
+is naturalised; others, that it is native. The plan of the Romanesque
+dome differs very much from that of the Byzantine, yet the general
+conception seems Eastern. If conceivable in the Oriental mind, why not
+in that of the West? And yet, in spite of some native peculiarities of
+structure, why should not the general idea have been imported? Who shall
+decide? In a book such as this, mooted questions which involve such
+multitudinous detail and such unprovable argument cannot be discussed.
+
+It is unreasonable to doubt, however, that Roman influences dominated
+the South, herself a product of Roman civilisation; and as in the
+curious ineradicable tendency of the South toward heresy we more than
+suspect a subtle infiltration of Greek and Oriental perversions, so in
+architecture it is logical to infer that Mediterranean traders,
+Crusaders, and perhaps adventurous architects who may have travelled in
+their wake, brought rumours of the buildings of the East, which were
+adopted with original or necessary modifications. Viollet-le-Duc, in
+summing up this much discussed question, has written that "in the
+Romanesque art of the West, side by side with persistent Latin
+traditions, a Byzantine influence is almost always found, evidenced by
+the introduction of the cupola." In the lamentable absence of records of
+the majority of Cathedrals, reasonings of origin must be inductive, and
+more or less imaginative, and have no legitimate place in the scope of a
+book which aims to describe the existing conditions and proven history
+of southern Cathedrals.
+
+[Illustration: A ROMANESQUE AISLE.--ARLES.]
+
+Quicherat, who has had much to say upon architectural subjects, defines
+the Romanesque as an art "which has ceased to be Roman, although it has
+much that is Roman, and that is not yet Gothic, although it already
+presages the Gothic." This is not a very helpful interpretation.
+Romanesque, as it exists in France to-day, is generally of earlier
+building than the Gothic; it is an older and far simpler style. It was
+not a quick, brilliant outburst, like the Gothic, but a long and slow
+evolution; and it has therefore deliberation and dignity, not the
+spontaneity of northern creations; strength, and at times great vigour,
+but not munificence, not the lavishness of art and wealth and adornment,
+of which the younger style was prodigal. Few generalisations are
+flawless, but it may be truly said that Romanesque Cathedrals are
+lacking in splendour; and it will be found in a large majority of cases
+that they are also without the impressiveness of great size; that they
+are almost devoid of shapely windows or stained glass, of notable
+carvings or richness of decorative detail. Their art is a simple art, a
+sober art, and in its nearest approach to opulence--the sculptured
+portals of Saint-Trophime of Arles or Saint-Gilles-de-Languedoc--there
+is still a reserved rather than an exuberant and uncontrolled display of
+wealth.
+
+[Illustration: "THE SCULPTURED PORTALS OF SAINT-TROPHIME."--ARLES.]
+
+By what simple, superficial sign can this architecture be recognised by
+those who are to see it for the first time? It exists "everywhere and
+always" in southern France; but, side by side with the encroachments
+and additions of other styles, how can it be easily distinguished?
+Quicherat writes that the principal characteristic of the Romanesque is
+"la voute," and the great, rounded tunnel of the roofing is a
+distinction which will be found in no other form. But the easiest of
+superficial distinctions is the arch-shape, which in portal, window,
+vaulting or tympanum is round; wherever the arcaded form is
+used,--always round. With this suggestion of outline, and the universal
+principles of the style, simplicity and dignity and absence of great
+ornamentation, the untechnical traveller may distinguish the Romanesque
+of the South, and if he be akin to the traveller who tells these
+Cathedral tales, the interest and fascination which the old architecture
+awakes, will lead him to discover for himself the many differences which
+are evident between the ascetic strength of the one, and the splendour
+and brilliance of the other.
+
+
+[Sidenote: Provence.]
+
+[Illustration: A GOTHIC AISLE.--MENDE.]
+
+The three provinces which compose the South of France are Provence,
+Languedoc, and Gascony, and of these Provence is, architecturally and
+historically, the first to claim our interest. During the era of
+colonisation it was the most thoroughly romanised, and in the early
+centuries of Christianity the first to fall completely under the
+systematic organisation of the Church. It has a large group of very old
+Cathedrals, and is the best study-ground for a general scrutiny and
+appreciation of that style which the builders of the South assimilated
+and developed until, as it were, they naturalised it and made it one
+of the two greatest forms of architectural expression. Provence does not
+contain the most impressive examples of Romanesque. Two Abbeys of the
+far Norman North are more finished and harmonious representations of the
+art, and Languedoc, in the basilica of Saint-Sernin of Toulouse, has a
+nobler interior than any in the Midi, and many other churches of
+Languedoc and Gascony are most interesting examples of a style which
+belonged to them as truly as to Provence.
+
+Yet it is in this province that the Romanesque is best studied. For here
+the great internecine struggles--both political and religious--of the
+Middle Ages were not as devastating as in Languedoc and Gascony;
+Provence was a sunny land, where Sonnets flourished more luxuriantly
+than did Holy Inquisition. Her churches have therefore been preserved in
+their original form in greater numbers than those of the two other
+provinces. They are of all types of Romanesque, all stages of its
+growth, from the small and simple Cathedrals which were built when
+ecclesiastical exchequers were not overflowing, to the greater ones
+which illustrate very advanced and dignified phases of architectural
+development; and as a whole they exhibit the normal proportion of
+failure and success in an effort toward an ideal.
+
+
+[Sidenote: Languedoc.]
+
+Leon Renier, the learned lecturer of the College de France, says: "It is
+remarkable that the changes, the elaborations, the modifications of the
+architecture given by Rome to all countries under her domination were
+conceived in the provinces long before they were reproduced in Italy.
+Rome gave no longer; she received ... a transfusion of a new blood, more
+vital and more rich." In Languedoc, the greater number of monuments of
+this ancient architecture have been destroyed; and those of their
+outgrowth, the later Romanesque, were so repeatedly mutilated that the
+Cathedrals of this province present even a greater confusion of
+originalities, restorations, and additions than those of Provence. To a
+multitude of dates must be added corresponding differences in style.
+Each school of architecture naturally considered that it had somewhat of
+a monopoly of good taste and beauty, or at least that it was an
+improvement on the manner which preceded it; and it would have been too
+much to expect, in ages when anachronisms were unrecognised, that
+churches should have been restored in their consonant, original style.
+Architects of the Gothic period were unable to resist the temptation of
+continuing a Romanesque nave with a choir of their own school, and
+builders of the XVIII century went still further and added a showy Louis
+XV facade to a modest Romanesque Cathedral. Some churches, built in
+times of religious storm and stress, show the preoccupation of their
+patrons or the lack of talent of their constructors; others belong to
+Bishoprics that were much more lately constituted than the Sees of
+Provence, and in these cases the new prelate chose a church already
+begun or completed, and compromised with the demands of episcopal pomp
+by an addition, usually of different style. The numerous changes,
+political and religious, of the Mediaevalism of Languedoc, had such
+considerable and diverse influence on the architecture of the
+province that it is not possible, as in Provence, to trace an
+uninterrupted evolution of one style. The Languedocian is generally a
+later builder than the Provencal; he is bolder. Having the Romanesque
+and the Gothic as choice, he chose at will and seemingly at random. He
+had spontaneity, enthusiasm, verve; and when no accepted model pleased
+his taste, he re-created after his own liking. Languedoc has therefore a
+delightful quality that is wanting in Provence; and in her greater
+Cathedrals there is often an originality that is due to genius rather
+than to eccentricity. There is delicate Gothic at Carcassonne, lofty
+Gothic at Narbonne, Sainte-Cecile of Albi is fortified Gothic built in
+brick. The interior of Saint-Sernin of Toulouse is an apotheosis of the
+austere Romanesque, and Saint-Etienne of Agde is a gratifying type of
+the Maritime Church of the Midi.
+
+[Illustration: "CORRESPONDING DIFFERENCES IN STYLE."--CARCASSONNE.]
+
+This Cathedral of the Sea is a fitting example of a peculiar type of
+architecture which exists also in Provence,--a succession of
+fortress-churches that extend along the Mediterranean from Spain to
+Italy like the peaks of a mountain chain. Nothing can better illustrate
+the continuous warrings and raidings in the South of France than these
+strange churches, and their many fortified counterparts inland, in both
+Languedoc and Gascony. Castles and walled towns were not sufficient to
+protect the Southerner from invasions and incursions; his churches and
+Cathedrals, even to the XIV century, were strongholds, more suitable for
+men-at-arms than for priests, and seemingly dedicated to some war-god
+rather than to the gentle Virgin Mother and the Martyr-Saints under
+whose protection they nominally dwelt.
+
+Although most interesting, the military church of the interior is seldom
+the Bishop's church. The maritime church on the contrary is nearly
+always a Cathedral, with strangely curious legends and episodes. The
+French coast of the Mediterranean was the scene of continuous pillage.
+Huns, Normans, Moors, Saracens, unknown pirates and free-booters of all
+nationalities found it very lucrative and convenient to descend on a
+sea-board town, and escape as they had come, easily, their boats loaded
+with booty. "As late as the XII century," writes Barr Ferree,
+"buccaneers gained a livelihood by preying on the peaceful and
+unoffending inhabitants of the villages and cities. The Cathedrals, as
+the most important buildings and the most conspicuous, were strongly
+fortified, both to protect their contents and to serve as strongholds
+for the citizens in case of need. In these churches, therefore,
+architecture assumed its most utilitarian form and buildings are real
+fortifications, with battlemented walls, strong and heavy towers, and
+small windows, and are provided with the other devices of Romanesque
+architecture of a purely military type."
+
+[Illustration: "FORTIFIED GOTHIC BUILT IN BRICK."--ALBI.]
+
+"Time has dealt hardly with them. The kingly power, being entrenched in
+Paris, developed from the Isle de France. The wealth that once enriched
+the fertile lands of the South moved northwards, and the great
+commercial cities of the North became the most important centres of
+activity. Then the southern towns began to decline," and the
+buildings which remain to represent most perfectly the "Church-Fortress"
+are not those of Provence, which are "patched" and "restored," but those
+of Languedoc, Agde, and Maguelonne, and Elne of the near-by country of
+Rousillon.
+
+[Illustration: "A CHURCH FORTRESS."--MAGUELONNE.]
+
+
+[Sidenote: Gascony.]
+
+Gascony, the last of the southern provinces and the farthest from Rome,
+had great prosperity under Imperial dominion. Many patricians emigrated
+there, roads were built, commerce flourished, and as in Provence and
+Languedoc, towns grew into large and well-established cities.
+Christianity made a comparatively early conquest of the province; and
+at the beginning of the IV century, eleven suffragan Bishoprics had been
+established under the Archbishopric of Eauze. Gascony has many old
+Cathedral cities, and has had many ancient Cathedrals; but after the
+fall of the Roman Empire in the V century, a series of wars began which
+destroyed not only the Christian architecture, but almost every trace of
+Roman wealth and culture. Little towers remain, supposed shrines of
+Mercury, protector of commerce and travel; pieces of statues are found;
+but the Temples, the Amphitheatres, the Forums, have disappeared, and
+even more completely, the rude Christian churches of that early period.
+
+Although the province has no Mediterranean coast and could not be
+molested by the marauders of that busy sea, it lay directly upon the
+route of armies between France and Spain; and it is no "gasconading" to
+say that it was for centuries one of the greatest battle-fields of the
+South. Vandals, Visigoths, Franks, Saracens, Normans,--Gascons against
+Carlovingians, North against South, all had burned, raided, and
+destroyed Gascony before the XI century. It is not surprising, then,
+that there are found fewer traces of antiquity here than in Provence and
+Languedoc. Even the few names of decimated cities which survived,
+designated towns on new sites. Eauze, formerly on the Gelise, lay long
+in ruins, and was finally re-built a kilometre inland. Lectoure and Auch
+had long since retired from the river Gers and taken refuge on the hills
+of their present situations, while other cities fell into complete ruin
+and forgetfulness.
+
+[Illustration: STATELY GOTHIC SPLENDOUR.--CONDOM.]
+
+The year 1000, which followed these events, was that of the predicted
+and expected end of the world. The extravagances of Christians at that
+time are well known, the gifts of all property that were made to the
+Church, the abandonment of worldly pursuits, the terrors of many, the
+anxiety of the calmest, the emotional excesses which led people to live
+in trees that they might be near to heaven when the "great trump" should
+sound,--"Mundi fine appropinquante." But the trumpet did not sound, and
+Raoul Glaber, a monk of the XI century, writes that all over Italy and
+the Gaul of his day there was great haste to restore and re-build
+churches, a general rivalry between towns and between countries, as to
+which could build most remarkably. "This activity," says Quicherat, "may
+show a desire to renew alliance with the Creator." It certainly proves
+that the generation of the year 1000 had fresh and new architectural
+ideas.
+
+This was the period of recuperation and re-building for Gascony. The
+monks of the VIII, IX, and X centuries had devoted themselves with zeal
+and success to the cultivation of the soil. They had acquired fertile
+fields, and desiring peace, they had placed themselves in positions
+where their strength would defend them when their holy calling was not
+respected. These monasteries were places of refuge and soon gave their
+name and their protection to the towns and villages which began to
+cluster about them. Except the declining settlements of Roman days,
+Gascony had few towns in the X century; and many of her most important
+cities of to-day owe their foundation, their existence, and their
+prosperity to these Benedictine monasteries. Eauze regained its life
+after the establishment of a convent, and in the XI, XII, and XIII
+centuries, the Abbots of Citeaux, Bishops, and even lords of the laity,
+occupied themselves in the creation of new cities. Many of the towns of
+mediaeval creation possessed broad municipal and commercial privileges,
+they grew to the importance of "communes" and Bishoprics, and some even
+styled themselves "Republics."
+
+Although these were times of much re-building, restoring, and carrying
+out of older plans of ecclesiastical architecture, the XI and XII
+centuries were none the less filled with innumerable private wars, and
+in 1167 began the bloody and persistent struggle with England. The city
+of Aire was at one time reduced to twelve inhabitants, and the horrors
+of the mediaeval siege were more than once repeated. In these wars,
+Cathedrals, as well as towns and their inhabitants, were scarred and
+wounded. Hardly had these dissensions ended in 1494, when the Wars of
+Religion commenced under Charles IX, and Gascony was again one of the
+most terrible fields of battle. Here the demoniac enthusiasm of both
+sides exceeded even the terrible exhibitions of Languedoc. The royal
+family of Navarre was openly Protestant and contributed more than any
+others to the military organisations of their Faith. Jeanne d'Albret, in
+1566, wishing to repay intolerance with intolerance, forbade religious
+processions and church funerals in Navarre. The people rose, and the
+next year the Queen was forced to grant toleration to both religions.
+Later the King of France entered the field and sent an army against the
+Bearnaise Huguenots, Jeanne, in reprisal, called to her aid Montmorency;
+and with a thoroughness born of pious zeal and hatred, each army began
+to burn and kill. All monasteries, all churches, were looted by the
+Protestants; all cities taken by Montluc, head of the Catholics, were
+sacked. Tarbes was devastated by the one, Rabestans by the other, and
+the Cathedral of Pamiers was ruined. With the Massacre of Saint
+Bartholomew, in 1572, the struggle began again, and the League
+flourished in all its malign enthusiasm. "Such disorder as was
+introduced," says a writer of the period, "such pillage, has never been
+seen since war began. Officers, soldiers, followers, and volunteers were
+so overburdened with booty as to be incommoded thereby. And after this
+brigandage, the peasants hereabouts [Bigorre] abandoned their very farms
+from lack of cattle, and the greater number went into Spain."
+
+During long centuries of such religious and political devastation the
+architectural energy of Gascony was expended in replacing churches which
+had been destroyed, and were again to be destroyed or injured. It would
+be unfair to expect of this province the great magnificence which its
+brave, cheerful, and extravagant little people believe it "once
+possessed," or to look, amid such unrest, for the calm growth of any
+architectural style. It is a country of few Cathedrals, of curious
+churches built for war and prayer, and of such occasional outbursts of
+magnificence as is seen in the Romanesque portal of Saint-Pierre of
+Moissac and in the stately Gothic splendour of the Cathedrals at Condom
+and at Bayonne. It is a country where Cathedrals are surrounded by the
+most beautiful of landscapes, and where each has some legend or story of
+the English, the League, of the Black Prince, or the Lion-hearted, of
+Henry IV, still adored, or of Simon de Montfort, still execrated, where
+the towns are truly historic and the mountains truly grand.
+
+
+
+
+Provence.
+
+
+
+
+I.
+
+THE CATHEDRALS OF THE SEA.
+
+
+[Sidenote: Marseilles.]
+
+Perhaps a Phoenician settlement, certainly a Carthaginian mart, later a
+Grecian city, and in the final years of the pagan era possessed by the
+Romans, no city of France has had more diverse influences of antique
+civilisation than Marseilles, none responded more proudly to its ancient
+opportunities; and not only was it commercially wealthy and renowned,
+but so rich in schools that it was called "another, a new Athens." It
+was also the port of an adventurous people, who founded Nice, Antibes,
+la Ciotat, and Agde, and explored a part of Africa and Northern Europe;
+and at the fall of the Roman Empire it became, by very virtue of its
+riches and safe harbour, the envy and the prey of a succession of
+barbaric and "infidel" invaders. In the Middle Ages it had all the
+vicissitudes of wars and sieges to which a great city could be
+subjected. It had a Viscount, and from very early days, a Bishop; it was
+at one time part of the Kingdom of Arles; and later it recognised the
+suzerainty of the Counts of Provence. When these lords were warring or
+crusading, it took advantage of their absence or their troubles and
+governed itself through its Consuls; became a Provencal Republic after
+the type of the Italian cities and other towns of the Mediterranean
+country; treated with the Italian Republics on terms of perfect
+equality; and although finally annexed to France by the wily Louis of
+the Madonnas, its people were continually haunted by memories of their
+former independence, and not only struggled for municipal rights and
+liberties, but took sides for or against the most powerful monarchs of
+continental history as if they had been a resourceful country rather
+than a city. It succored the League, defied Henry IV and Richelieu; and
+treating Kings in trouble as cavalierly as declining Counts, Marseilles
+tried at the death of Henry III to secede from France and recover its
+autonomy under a Consul, Charles de Cazaulx. Promptly defeated, it still
+continued to think independently, and struggle, as best it might, for
+freedom of administration; and although from the time of Pompey to that
+of Louis XIV it has had an ineradicable tendency to stand against the
+government, it has survived the results of all its contumacies, its
+plagues, wars, and sieges, and the destructiveness of its phase of the
+Revolution, when it had a Terror of its own. Notwithstanding modern
+rivals in the Mediterranean, Marseilles is to-day one of the largest and
+most prosperous of French cities. Built in amphitheatre around the bay,
+it is beautiful in general view, its streets bustle with commercial
+activity, and its vast docks swarm with workmen. The storms of the past
+have gone over Marseilles as the storms of nature over its sea, have
+been as passionate, and have left as little trace. Instead of Temples,
+Forum, and Arena, there are the Palais de Longchamps, the Palais de
+Justice, and the Christian Arch of Triumph. Instead of the muddy and
+unhealthy alley-ways of Mediaevalism, there are broad streets and wide
+boulevards, and in spite of its antiquity Marseilles is a city of
+to-day, in monuments, aspect, spirit, and even in class distinction.
+"Here," writes Edmond About, "are only two categories of people, those
+who have made a fortune and those who are trying to make one, and the
+principal inhabitants are parvenus in the most honourable sense of the
+word."
+
+[Illustration: _Entrevaux._
+
+People gather around the mail-coach as it makes its daily halt before
+the drawbridge.]
+
+[Illustration: THE NEW CATHEDRAL.--MARSEILLES.]
+
+"In the most honourable sense of the word," the Cathedral of Marseilles
+is also typical of the city, "parvenue." Its first stone was placed by
+Prince Louis Napoleon in 1852, and as the modern has overgrown the
+classic and mediaeval greatness of Marseilles, so the new "Majeure" has
+eclipsed, if it has not yet entirely replaced, the old Cathedral; and
+except the stern Abbey-church of Saint-Victor, an almost solitary relic
+of true mediaeval greatness, it is the finest church of the city.
+
+The new Cathedral and the old stand side by side; the one strong and
+whole, the other partly torn down, scarred and maimed as a veteran who
+has survived many wars. Even in its ruin, it is an interesting type of
+the maritime Provencal church, but so pitiably overshadowed by its
+successor that the charm of its situation is quite lost, and few will
+linger to study its three small naves, the defaced fresco of the dome,
+or even the little chapel of Saint-Lazare, all white marble and carving
+and small statues, scarcely more than a shallow niche in the wall, but
+daintily proportioned, and a charming creation of the Renaissance. Fewer
+still of those who pause to study what remains of the old "Majeure,"
+will stay to reconstruct it as it used to be, and realise that it had
+its day of glory no less real than that of the new church which replaces
+it. In its stead, Saint-Martin's, and Saint-Cannat's sometimes called
+"the Preachers," have been temporarily used for the Bishop's services.
+But now that the greater church, the Assumption of the Blessed Virgin
+Mary, has been practically completed, it has assumed, once and for all,
+the greater rank, and a Cathedral of Marseilles still stands on its
+terrace in full view of the sea. Tradition has it that a Temple of Baal
+once stood on this site and later, a Temple to Diana; that Lazarus came
+in the I century, converted the pagan Marseillais and built a Christian
+Cathedral here. A more critical tradition says that Saint Victor first
+came as missionary, Bishop, and builder. All these vague memories of
+conversion, more or less accurate, all the legends of an humble and
+struggling Christianity, seem buried by this huge modern mass. It is not
+a church struggling and militant, but the Church Established and
+Triumphant. It is a vast building over four hundred and fifty feet long,
+preceded by two domed towers. Its transepts are surmounted at the
+crossing by a huge dome whose circumference is nearly two hundred feet,
+a smaller one over each transept arm, and others above the apsidal
+chapels. The exterior is built with alternate layers of green Florentine
+stone and the white stone of Fontvieille; and the style of the church,
+variously called French Romanesque, Byzantine, and Neo-Byzantine, is
+very oriental in its general effect.
+
+An arcade between the two towers forms a porch, the entrance to the
+interior whose central nave stretches out in great spaciousness. The
+lateral naves, in contrast, are exceedingly narrow and have high
+galleries supported by large monolithic columns. These naves are
+prolonged into an ambulatory, each of whose chapels, in consonance with
+the Cathedral's colossal proportions, is as large as many a church. The
+building stone of the interior is grey and pink, with white marble used
+decoratively for capitals and bases; and these combinations of tints
+which would seem almost too delicate, too effeminate, for so large a
+building, are made rich and effective by their very mass, the gigantic
+sizes which the plan exacts. All that artistic conception could produce
+has been added to complete an interior that is entirely oriental in its
+luxury of ornamentation, half-oriental in style, and without that sober
+majesty which is an inherent characteristic of the most elaborate styles
+native to Western Christianity. Under the gilded dome is a rich
+baldaquined High Altar, and through the whole church there is a
+magnificence of mosaics, of mural paintings, and of stained glass that
+is sumptuous. Mosaics line the arches of the nave and the pendentives,
+and form the flooring; and in the midst of this richness of colour the
+grey pillars rise, one after the other in long, shadowy perspective,
+like the trees of a stately grove.
+
+In planning this new Provencal Cathedral its architects did not attempt
+to reproduce, either exactly or in greater perfection, any maritime type
+which its situation on the Mediterranean might have suggested, nor were
+they inspired by any of the models of the native style; and perhaps, to
+the captious mind, its most serious defect is that its building has
+destroyed not only an actual portion of the old Majeure, but an historic
+interest which might well have been preserved by a wise restoration or
+an harmonious re-building. And yet, with the large Palace of the
+Archbishop on the Port de la Joliette near-by, the statue of a devoted
+and loving Bishop in the open square, and the majestic Cathedral of
+Sainte-Marie-Majeure itself, the episcopacy of Marseilles has all the
+outward and visible signs of strength and glory and power.
+
+
+[Sidenote: Toulon.]
+
+Toulon, although a foundation of the Romans, owes its rank to-day to
+Henry IV, to Richelieu, and to Louis XIV's busy architect, Vauban. It is
+the "Gibraltar of France," a bright, bustling, modern city.
+Sainte-Marie-Majeure, one of its oldest ecclesiastical names, is a title
+which belonged to churches of both the XI and XII centuries; but in the
+feats of architectural gymnastics to which their remains have been
+subjected, and in the wars and vicissitudes of Provence, these buildings
+have long since disappeared.
+
+A few stones still exist of the XI century structure, void of form or
+architectural significance, and the ancient name of Sainte-Marie-Majeure
+now protects a Cathedral built in the most depressing style of the
+industrious Philistines of the XVII and XVIII centuries. It is not a
+Provencal nor a truly "maritime" church, it is not a fortress nor a
+defence, nor a work of any architectural beauty. It has blatancy, size,
+pretension,--a profusion of rich incongruities; and although religiously
+interesting from its chapels and shrines, it is architecturally
+obtrusive and monstrous.
+
+The vagaries of the architects who began in 1634 to construct the
+present edifice, are well illustrated in the changes of plan to which
+they subjected this unfortunate church. The length became the breadth,
+the isolated chapel of the Virgin, part of the main building; the choir,
+another chapel; and the High Altar was removed from the eastern to the
+northern end, where a new choir had been built for its reception. This
+confusion of plan was carried out with logical confusion of style and
+detail. The facade has Corinthian columns of the XVII century; the nave
+is said to be "transition Gothic," the choir is decorated with mural
+paintings, and the High Altar, a work of Revoil, adds to the banalities
+of the XVII and XVIII centuries a rich incongruity of which the XIX has
+no reason to be proud. The whole interior is so full of naves of unequal
+length, and radiating chapels, of arches of differing forms, tastes, and
+styles, that it defies concise description and is unworthy of serious
+consideration. Provence has modest Cathedrals of small architectural
+significance, but except Sainte-Reparate of Nice, it has none so chaotic
+and commonplace as Sainte-Marie-Majeure of Toulon.
+
+
+[Sidenote: Frejus.]
+
+Frejus, which claims to be "the oldest city in France," was one of the
+numerous trading ports of the Phoenician, and later, during the period
+of her civic grandeur, an arsenal of the Roman navy. Her most
+interesting ruins are the Coliseum, the Theatre, the old Citadel, and
+the Aqueduct, suggestions of a really great city of the long-gone past.
+Frejus lost prestige with the decadence of the Empire, and after a
+destruction by the Saracens in the X century, Nature gave the blow which
+finally crushed her when the sea retreated a mile, and her old Roman
+light-house was left to overlook merely a long stretch of barren, sandy
+land. Owing to this stranded, inland position, she has escaped both the
+dignity of a modern sea-port and the prostitution of a Rivieran resort,
+and is a little dead city, the seat of an ancient Provencal "Cathedral
+of the Sea." This Cathedral is largely free from XVII and XVIII century
+disfigurements; and the pity is that having escaped this, a French
+church's imminent peril, it should have become so built around that the
+character of the exterior is almost lost. The facade is severely plain,
+an uninteresting re-building of 1823, but the carved wood of its portals
+is beautiful. The towers, as in other maritime Cathedrals of Provence,
+recall the perils and dangers of their days; and these towers of Frejus,
+although none the less practically defensive, have a more churchly
+appearance than those of Antibes, Grasse, and Vence. Over the vestibuled
+entrance rises the western tower. Its heavy, rectangular base is the
+support of a super-structure which was replaced in the XVI century by
+one more in keeping with conventional ecclesiastical models. Then the
+windows of the base, whose rounded arches are still traceable, were
+walled in; and the new octagonal stage with high windows of its own was
+completed by a tile-covered spire. The more interesting tower is that
+which surmounts the apse. This was the lookout, facing the sea, the
+really vital defence of the church. Its upper room was a storage place
+for arms and ammunition, and on the side which faces the city was open,
+with a broad, pointed arch. Above, the tower ends in machiolated
+battlements and presents a very strong and stern front seaward, perhaps
+no stronger, but more artistic and grim than towers of other Provencal
+Cathedrals.
+
+The entrance of the church is curiously complicated. To the left is the
+little baptistery; directly before one, a narrow stairway which leads to
+the Cloister; and on the right, a low-arched vestibule which opens into
+the nave of the Cathedral. The interior of Saint-Etienne is dark and
+somewhat gloomy, but that is an inherent trait of a fortress-church, for
+every added inch of window-opening brought an ell of danger. The nave is
+unusually low and broad, and its buttressed piers are of immense weight,
+ending severely in a plain, moulded band. On these great piers rest the
+cross-vaults of the roof and the broad arches of the wall. The north
+aisle, disproportionately narrow, is a later addition. Behind the altar
+is a true Provencal apse, shallow and rectangular, and beyond its
+rounded roof opens the smaller half-dome. Architecturally, this is an
+interesting interior; but the traveller who has not time to spend in
+musings will fail to see it in its original intention;--cold, severely
+plain, heavy, with perhaps too many arch-lines, but sober and simple. A
+futile wooden wainscot now surrounds the church and breaks its wall
+space, liberal coats of whitewash conceal the building material, and
+taking from the church the severity of its stone, give it an appearance
+of poor deprecatory bareness.
+
+[Illustration: "THE DESECRATION OF THE LITTLE CLOISTER."--FREJUS.]
+
+Near the entrance of the Cathedral is its most ancient portion, the
+baptistery, formerly a building apart, but now an integral part of the
+church itself. It is perhaps the most interesting Christian monument in
+Frejus, a reminder of those early centuries when, in France as in Italy,
+the little baptistery was the popular form of Christian architectural
+expression. Here it has the very usual octagonal shape; the arches are
+upheld by grayish columns of granite with capitals of white marble, and
+in the centre stands the font. Between the columns are small
+recesses, alternately rectangular and semi-domed, and above all, is a
+modern dome and lantern. Structurally interesting, and reminiscent of
+the stately baptistery of Aix, the effect of this little chamber, like
+the church's interior, is marred by the whitewashes from whose
+industrious brushes nothing but the grayish columns have escaped. And
+here again, the traveller who would see the builders' work, free from
+the disfigurements of time, must pause and imagine.
+
+Yet even imagination seems powerless before the desecration of the
+little Cloister. Charming it must have been to have entered its quiet
+walks, with their slender columns of white marble, to have seen the
+quaint old well in the little, sun-lit close. Now, between the slender
+columns, boards have been placed which shut out light and sun. The
+traveller sat down on an old wheel-barrow, waiting till he could see in
+the dim and misty light. All around him was forgetfulness of the
+Cloister's holy uses; signs of desecration and neglect. One end of the
+cloister-walk was a thoroughfare, where the wheel-barrow had worn its
+weary way; and even in the deserted corners there was the dust and dirt
+of a work-a-day world. The beautiful little capitals of the slender
+columns rose from among the boards, clipped and worn; above, he dimly
+saw the curious wooden ceiling which would seem to have taken the place
+of the usual stone vaulting; through chinks of the plank-wall he caught
+glimpses of a little close; and at length, having seen the most
+melancholy of "Cathedrals of the Sea," in its disguise of whitewash,
+decay, and misuse, he went his way.
+
+
+[Sidenote: Antibes.]
+
+That part of the southern coast of France called the Riviera seems now
+only to evoke visions of the most beautiful banality; of a life more
+artificial than the stage--which at least aims to present
+reality--transplanted to a scene of such incomparable loveliness that
+Nature herself adds a new and exquisite sumptuousness to the luxury of
+civilisation. The Riviera means a land of many follies and every
+vice;--each folly so delicious, each vice so regal, they seem to be
+sought and desired of all men. Where else can be seen in such careless
+magnificence Dukes of Russia with their polish of manner and their
+veiled insolence; Englishmen correct and blase; Americans a bit
+vociferous and truly amused; great ladies of all ages and manners;
+adventurers high and low; and the beautiful, sparkling women of no name,
+bravely dressed and barbarously jewelled? Such is the Riviera of to-day;
+the life imposed upon it by hordes of foreign idlers in a land whose
+warmth and luxuriance may have lent itself but too easily to the vicious
+and frivolous pleasures for which they have made it notorious, but a
+land which has no native history that is effeminate, nor any so unworthy
+as its exotic present. "The Riviera" may be Nice, Beaulieu, and their
+like, but the Provencal Mediterranean and its neighbouring territory
+have been the fatherland of warriors in real mail and of princes of real
+power, of the Emperor Pertinax of pagan times, of those who fought
+successfully against Mahmoud and Tergament, and of many Knights of
+Malta, long the "Forlorn Hope" of Christendom.
+
+Discreetly hidden from vulgar eyes that delight in the architecture of the
+modern caravanserai, are the ruins of these older days--Amphitheatres,
+Fountains, Temples, and Aqueducts of the Romans; the Castles, Abbeys,
+and Cathedrals of mediaeval times. Here are the larger number, if not the
+most interesting, of those curious churches of the sea, which protected
+the French townsman of the Mediterranean coast from the rapacity of
+sea-rovers and pirates, and many more orthodox enemies of the Middle Ages.
+
+From the great beauty of its situation, the small city of Antibes is
+at once a type of the old regime and of the new. Lying on the sea,
+with a background of snow-capped mountains, it has not entirely
+escaped the fate of Nice; neither has it yet lost all its old
+Provencal characteristics. It is a pathetic compromise between the
+quaint reality of the old and the blatancy of the new. The little
+parish church is of the very far past, having lost its Cathedral rank
+over six hundred years ago to Sainte-Marie in Grasse, a town scarcely
+younger than its own. It is the type of the church of this coast, with
+its unpretentious smallness, its strength, and its disfiguring
+restorations; and it is, especially in comparison with Vence and
+Grasse, of small architectural interest. The facade, and the double
+archway which connects the church and the tower, are of the
+unfortunate XVIII century, the older exterior is monotonous, and the
+interior, an unpleasing confusion of forms.
+
+[Illustration: "THE MILITARY OMEN--THE TOWER." ANTIBES.]
+
+The real interest of the little Cathedral is its ancient military
+strength, neither very grand nor very imposing, but very real to the
+enemy who hundreds of years ago hurled himself against the hard, plain
+stones. From this view-point, the mannered facade and the inharmonious
+interior matter but little. Toward the foe, whose sail might have arisen
+on the horizon at any moment, the protecting church presented the heavy
+rounded walls and safely narrowed windows of its three apses, and behind
+them the military omen of the severe, rectangular tower. High in every
+one of its four sides, seaward and landward, was a window, from which
+many a watcher must have looked and strained anxious eyes. This is the
+significance of the little sea-side Cathedral, this the story its tower
+suggests. And now when the sea is sailed by peaceful ships, and the
+Cathedral only a place of pious worship, the tower with its gaping
+windows is the only salient reminder of the ancient dignity of the
+church; the reminder to an indifferent generation of the days when
+Antibes fulfilled to Christians the promise of her old, pagan name,
+Antipolis, "sentinel" of the perilous sea.
+
+
+[Sidenote: Nice.]
+
+The situation of its Cathedral reveals a Nice of which but little is
+written, the city of a people who live in the service of those whose
+showy, new villas and hotels stretch along the promenades and lie dotted
+on the hills in the Nice of "all the world." Besides this exotic city,
+there is "the Nice of the Nicois," a small district of dark, crowded
+streets that are too full of the sordid struggles of competing
+work-people to be truly picturesque. Here, in the XVI century,
+when the Citadel of Nice was enlarged and the Cathedral of
+Sainte-Marie-de-l'Assomption destroyed, the Church of Sainte-Reparate
+was re-built, and succeeded to the episcopal rank. Standing on a little
+open square, surrounded by small shops and the poor homes of
+trades-folk, it seems in every sense a church of the people. Here the
+native Nicois, gay, industrious, mercurial, and dispossessed of his
+town, may feel truly at home. Finished in the most exuberant rococo
+style, it is an edifice from which all architectural or religious
+inspiration is conspicuously absent. It is a revel of luxurious bad
+taste; a Cathedral in Provence, a Cathedral by the Sea, but neither
+Provencal nor Maritime,--rather a product of that Italian taste which
+has so profoundly vitiated both the morals and the architecture of all
+the Riviera.
+
+
+
+
+II.
+
+CATHEDRALS OF THE HILL-TOWNS.
+
+
+[Sidenote: Carpentras.]
+
+Carpentras is a busy provincial town, the terminus of three diminutive
+railroads and of many little, lumbering, dust-covered stages. It stands
+high on a hill, and from the boulevards, dusty promenades under
+luxuriant shade-trees, which circle the town as its walls formerly did,
+there is an extended view over the pretty hills and valleys of the
+neighbouring country. At one end of the town the Hospital rises, an
+immense, bare, and imposing edifice of the XVIII century, built by a
+Trappist Bishop; and at the other is the Orange Gate, the last tower of
+the old fortifications. Between these historic buildings and the
+encircling boulevards are the narrow streets and irregular,
+uninteresting buildings of the city itself. It is strange indeed that so
+isolated a place, which seems only a big, bustling country-town, should
+have been of importance in the Middle Ages, and that bits of its
+stirring history must have caused all orthodox Europe to thrill with
+horror. Stranger still would be the forgetfulness of modern writers, by
+whom Carpentras is seldom mentioned, were it not that the city's real
+history is that of the Church political, a story of strange manners and
+happenings, rather than a step in the vital evolution towards our own
+time.
+
+In the Middle Ages Carpentras was an episcopal city, the capital of the
+County Venaissin, governed by wealthy, powerful, and ambitious Bishops,
+who took no small interest in worldly aggrandisement. Passing by gift to
+the Papacy, after the sudden death of Clement V it was selected as the
+place of the Conclave which was to elect his successor. The members were
+assembled in the great episcopal Palace, when Bertrand de Goth, a nephew
+of the dead Pope, claiming to be an ally of the French prelates against
+the Italians in the Conclave, arrived from a successful looting of the
+papal treasury at Montreux to pillage in Carpentras. He and his
+mercenaries massacred the citizens and burned the Cathedral. The
+episcopal Palace caught fire, and their Eminences--in danger of their
+lives--were forced to squeeze their sacred persons through a hole which
+their followers made in the Palace wall and fly northward.
+
+This unfortunate raid left Carpentras with many ruins and a demolished
+Cathedral, deserted by those in whose cause she had unwittingly
+suffered. The new Pontiff was safely elected in Lyons, and upon his
+return to the papal seat of Avignon he administered Carpentras by a
+"rector," and it continued as it had been before, the political capital
+of the County. During the reigns of succeeding Popes it was apparently
+undisturbed by dangerous honours, until the accession of the Anti-Pope,
+Benedict XIII. So great was this prelate's delight in the city that he
+reserved to himself the minor title of her Bishop, re-built her walls,
+and was the first patron of the present and very orthodox Cathedral,
+Saint-Siffrein. By a curious destiny, the church had this false prelate
+not only as its first patron, but as its first active supporter; and in
+1404 he sent Artaud, Archbishop of Arles, in his name, to lay its first
+stone.
+
+Wars and rumours of wars soon possessed the province. Benedict fled, and
+through unrest and lack of money the work of Cathedral building was
+greatly hindered. In the meantime the ruins of the former Cathedral seem
+to have been gradually disintegrating, and in 1829 the last of its
+Cloister was destroyed, to be replaced by prison cells; and now only the
+choir dome and a suggestion of the nave exist, partly forming the
+present sacristy. From these meagre remains and from writings of the
+time, it may be fairly inferred that Saint-Pierre was a Cathedral of the
+type of Avignon and Cavaillon and the old Marseillaise Church of La
+Majeure, and that, architecturally considered, it was a far more
+important structure than Saint-Siffrein. With this depressing knowledge
+in mind the traveller was confronted with a sight as depressing--the
+present Cathedral itself.
+
+Fortunately, churches of a period antedating the XVII century are seldom
+so uninteresting. Nothing more meagre nor dreary can be conceived than
+the facade with its three, poor, characterless portals. They open on a
+large vaulted hall, with chapels in its six bays and a small and narrow
+choir. The principal charm of the interior is negative; its dim misty
+light, by concealing a mass of tasteless decorations and the poverty and
+bareness of the whole architectural scheme, gives to the generous height
+and size of the room an atmosphere of subdued and mysterious
+spaciousness. The south door is the one bit of this Gothic which passes
+the commonplace. Set in a poor, plain wall, the portal has a graceful
+symmetry of design; and its few carved details, probably limited by the
+artistic power of its builder, are so simple and chaste that they do not
+inevitably suggest poverty of conception. The tympanum holds an exotic
+detail, a defaced and insignificant fresco of the Coronation of the
+Virgin; and on the pier which divides the door-way stands a very
+charming statue of Our Lady of Snows, blessing those who enter beneath
+her outstretched hands.
+
+This simple portal, and indeed the whole church, is a significant
+example of Provencal Gothic, a style so foreign to the genius of the
+province that it could produce only feeble and attenuated examples of
+the art. Compared with its northern prototypes, it is surprisingly
+tentative; and awkward, unaccustomed hands seem to have built it after
+most primitive conceptions.
+
+
+[Sidenote: Digne.]
+
+Well outside the Alpine city of Digne, and almost surrounded by graves,
+stands a small and ancient church which is seldom opened except for the
+celebration of Masses for the Dead. Coffin-rests stand always before the
+altar, and enough chairs for the few that mourn. There are old
+candlesticks for the tapers of the church's poor, and hidden in the
+shadows of the doors, a few broken crosses that once marked graves,
+placed, tenderly perhaps, above those who were alive some years ago and
+who now rest forgotten; on battered wood, one can still read a baby's
+age, an old man's record, and the letters R. I. P.
+
+In this strange, melancholy destiny of Notre-Dame-du-Bourg there seems
+to be a peculiar fitness. The mutability of time, forgetfulness, and at
+length neglect, which death suggests, are brought to mind by this old
+church. Once the Cathedral of Digne, but no longer Cathedral, it stands
+almost alone in spite of its honours and its venerable age. After the
+desecration by the Huguenots, its episcopal birthright was given to a
+younger and a larger church; the city has moved away and clusters about
+its new Cathedral, Saint-Jerome; and Notre-Dame-du-Bourg is no longer on
+a busy street, but near the dusty high-road, amid the quiet of the
+country and the hills.
+
+Parts of its crypt and tower may antedate 900, but the church itself was
+re-built in the XII and XIII centuries. The course of time has brought
+none of the incongruities which have ruined many churches by the
+so-called restorations of the last three hundred years, and although its
+simple Romanesque is sadly unrepaired, it is a delight to come into the
+solitude and find an unspoiled example of this stanch old style.
+
+[Illustration: THE INTERIOR OF NOTRE-DAME-DU-BOURG.--DIGNE.]
+
+The Romanesque shows forth its great solidity in the exterior of its
+churches, and nowhere more than in Digne's deserted Cathedral. Flat
+buttresses line the walls, the transepts are square and plain, and on
+either side the facade wall is upheld by a formidable support. This
+severity of line is not greatly modified by the deep recesses of a few
+windows; nor is the tower--which lost its spire three hundred years
+ago--of less sober construction, less solidly built. Below the
+overhanging eaves of a miserable roof and the curious line of the nave
+vault which projects through the wall, is a round window with a frame of
+massive rolls and hollows; and below this again, under a narrow sloping
+covering, is the deep arch of the Cathedral's porch. This, in its prime,
+must have been the church's ornamental glory. Beneath the outer arch,
+which is continued to the buttresses by half-arches, are the great
+roll-mouldings that twist backward to a plain tympanum. Capitals still
+support these massive curves of stone, but the niches in which the
+columns formerly stood are empty, and grinning lions, lying on the
+ground, no longer support the larger columns of the plain arch. All
+stands in solemn decay.
+
+The traveller entered a battered, brass-nailed door and saw before him
+the stretch of a single, empty nave, a choir beneath whose lower vault
+are three small windows, and on either side the archways which he knew
+must lead to narrow transepts. In the south side, plain, rounded windows
+give a glimmering light, and over each projects an arch, the modest
+decoration of the walls. Far above rises the tunnel-vault, whose sheer
+height is grandly dignified; the arches rest on roughly carved capitals,
+and the outer rectangle of the piers is displaced for half a column. The
+rehearsal of these most simple details seems but the writing of "the
+letter which killeth," and not the portrayal of the spirit that seems to
+live within these walls. Details which seem so poorly few when read, are
+nobly so when seen. This small old church has a true religious
+stateliness, and it seemed as if a priest should bring the
+Sanctuary-light which says, "The Lord is in His holy temple."
+
+Saint-Jerome was built between 1490 and 1500, a hundred years before its
+episcopal elevation, and forms a most complete antithesis to
+Notre-Dame-du-Bourg which it supplanted in 1591. Where Notre-Dame is
+small, Saint-Jerome is large, where the old church is simple, the newer
+one is either pretentious or sumptuous, and where the one is Romanesque,
+the other is Gothic.
+
+The present Cathedral stands on the heights of the city; and from one
+side or another its clean, straight walls can be seen in all their large
+angularity and absence of architectural significance. Towers rise
+conventionally above the facade; and a big broad flight of white stone
+steps leads to three modern portals that have been built in an
+economical imitation of the sculptured richness of the XIII century.
+
+The interior, also Gothic, has neither clerestory nor triforium, and its
+naves are covered by a vaulting which springs broadly from the round,
+supporting piers. The conception is not noble, it has no simplicity, and
+no more of spiritual suggestion than a Madonna of Titian; but the space
+of the nave is so largely generous and the new polychrome so richly
+toned that the church has majesty of space and harmony, deep lights and
+subdued colourings; it is large and sumptuous with the munificence of a
+Veronese canvas, a singular and most curious contrast to the cold
+severity of its outer walls.
+
+[Illustration: "THE INTERIOR HAS NEITHER CLERESTORY NOR
+TRIFORIUM."--DIGNE.]
+
+Before the High Altar of this Church lies buried one whose spirit
+suggests the Christ, a Bishop, yet a simple priest, whose life deserves
+more words than does the whole of Saint-Jerome, once his
+Cathedral-church. He was a Cure of Brignoles, one of those keen, yet
+simple-hearted and hard-working priests who often bless Provencal towns.
+He had no great ambitions, no patronage, no ties except a far-off
+brother who was an upstart general of that most upstart Emperor,
+Napoleon. One day while the priest was pottering in his little
+garden,--as Provencal Cures love to dig and work,--a letter was handed
+him, marked "thirty sous of postage due." He was outraged. His shining
+old soutane fell from the folds in which he had prudently tucked it, he
+shrugged his shoulders and protested,--"A great expense indeed for a
+trivial purpose. Where should he find another thirty sous for his poor?
+He never wrote letters. Therefore by no argument of any school of logic
+could he be compelled to receive them. Obviously this was not for him."
+The unexpected letter was one for which his brother had asked and which
+Napoleon had signed, a decree which made him Bishop.
+
+Long afterwards this simple, saintly prelate saved a man from crime, and
+history relates that this same man died at Waterloo as a good and
+faithful soldier fighting for the fatherland. His benefactor, that loyal
+servant of Christ and His Church, soon followed him in death, and unlike
+many a Saint whom this earth forgets his memory lives on, not only in
+the little city of the snow-clad Alps, but in the hearts of those who
+read of his good deeds. For Monseigneur Miollis of Digne is truly
+Monseigneur Bienvenu of "Les Miserables," and only the soldier of
+Waterloo was glorified in Jean Valjean.
+
+
+[Sidenote: Forcalquier.]
+
+If it is difficult to picture sleepy, stately Aix as one of the most
+brilliant centres of mediaeval Europe, and the garrisoned castle of
+Tarascon filled with the gay courtiers and fair ladies of King Rene's
+Court, it will be almost impossible to walk in the smaller Provencal
+"cities," and see in imagination the cavalcades of mailed soldiers who
+clattered through the streets on their way to the castle of some
+near-by hill-top, my lord proudly distinguishable by his mount or the
+length of his plume, a delicate Countess languishing between the
+curtains of her litter, or a more sprightly one who rode her palfrey and
+smiled on the staring townsfolk. It is almost impossible to conceive
+that the four daughters of Raymond Berenger, a Queen of the Romans, of
+France, of Naples, and of England, were brought up in the castle of the
+little hillside hamlet of Saint-Maime Dauphin. Provence is quiet, rural,
+provincial; a land of markets, busy country inns, and farms; not of
+modern greatness nor of modern renown. Its children are a fine and busy
+race, no less strong and fine than in the land's more stirring times,
+but they live their years of greatness in other, "more progressive"
+parts of France, and the Provencal genius, which remains very native to
+the soil, is broadly known to fame as "French." Like some rich old wine
+hidden in the cellars of the few, Provence lies safely ensconced behind
+Avignon and Arles, and only the epicures of history penetrate her hills.
+
+Her mediaeval ruins seem to belong to a past almost as dead and ghostly
+as her Roman days, and to realise her Middle Ages, one must leave the
+busy people in the town below, climb one of the hills, and sitting
+beside the crumbling walls of some great tower or castle, watch the hot
+sun setting behind the low mountains and lighting in a glow the bare
+walls of some other ruined stronghold on a neighbouring height. The
+shadows creep into the valleys, the rocks grow grey and cold, and the
+clusters of trees beside them become darkly mysterious. Then far beneath
+a white thread seems to appear, beginning at the valley's entrance and
+twisting along its length until it disappears behind another hill. This
+is the road; and by the time the eye has followed its long course,
+daylight has grown fainter. Then Provence takes on a long-lost
+splendour. To those who care to see, cavalcades of soldiers or of
+hunters come home along the road, castles become whole and frowning, the
+dying sun casts its light through their gaping window-holes, as light of
+nightly revels used to shine, and a phantom Mediaevalism appears.
+
+One of the powerful families of the country, the Counts of Forcalquier,
+sprang from the House of Berenger in the XI century, and a hundred and
+fifty years later, grown too great, were crushed by the haughty parent
+house. More than one hill of Eastern Provence has borne their tall
+watchtowers, more than one village owed them allegiance, and a large
+town in the hills was their capital and bore their name. And yet not a
+ruined tower that overlooks the Provencal mountains, not a village,
+gate, or castle--Manosque or old Saint-Maime,--but speaks more vividly
+of the old Counts than does Forcalquier, formerly their city, now a mere
+country town which has lost prestige with its increasing isolation, many
+of its inhabitants by plagues and wars, and almost all of its
+picturesque Mediaevalism through the destructiveness of sieges.
+
+Long before this day of contented stagnancy, in 1061, when Forcalquier,
+fortified, growing, and important, claimed many honours, Bishop Gerard
+Caprerius of Sisteron had given the city a Provost and a Chapter, and
+created the Church of Saint-Mary, co-cathedral with that of Notre-Dame
+of Sisteron. Not contented with this honour, Forcalquier demanded and
+received a Bishopric of her own. Her hill was then crowned by a Citadel,
+her Cathedral stood near-by, her walls were intact. Now the Citadel is
+replaced by a peaceful pilgrims' chapel, the walls are gone, Saint-Mary,
+ruined in the siege of 1486, is recalled only by a few weed-covered
+stumps and bits of wall, and its title was given to Notre-Dame in the
+lower part of the town.
+
+No Cathedral is a sadder example of architectural failure than
+Notre-Dame of Forcalquier because it has so many of the beginnings of
+real beauty and dignity, so many parts of real worthiness that have been
+unfortunately combined in a confused and discordant whole. If, of all
+little cities of Provence, Forcalquier is one of the least unique and
+least holding, its Cathedral is also one of the least satisfying. It is
+not beautiful in situation nor in its own essential harmony, and the
+fine but tantalising perspectives of its interior may be found again in
+happier churches.
+
+The exterior shows to a superlative degree that general tendency of
+Provencal exteriors to be without definite or logical proportions. A
+large, square tower, heavier than that of Grasse, served as a lookout, a
+tall, thin little turret served as a belfry. In the facade there is a
+Gothic portal which notwithstanding its entire mediocrity is the chief
+adornment of the outer walls. They are irregular and uncouth to a degree
+and their only interesting features are at the eastern end. Here the
+smaller, older apses on either side betray the church's early origin.
+The central apse, evidently of the same dimensions as the Romanesque one
+originally designed, was re-built in severe, rudimentary Gothic. Looking
+at this shallow apse alone, and following its plain lines until they
+meet those of the big tower, there is a straight simplicity that is
+almost fine,--but this is one mere detail in a large and barren whole,
+and the Cathedral-seeker turns to the nearest entrance.
+
+[Illustration: "A LARGE, SQUARE TOWER SERVED AS A
+LOOKOUT."--FORCALQUIER.]
+
+[Illustration: "A SUGGESTIVE VIEW FROM THE SIDE AISLE."--FORCALQUIER.]
+
+The first glimpse of the interior is so relieving that one is not quick
+to notice its lack of architectural unity. The few windows give a soft
+light, and the brown of the stone has a mellowness that is both rich and
+reposeful. If the Cathedral could have been finished in the style of the
+first bays of the nave, it would have been a nobly dignified example of
+the Romanesque. Could it have been re-built in the slender Gothic of the
+last bay, it would have been an exquisite example of Provencal Gothic.
+Rather largely planned, its old form of tunnel vaulting and the fine
+curve of its nave arches and heavy piers are in violent contrast to the
+Gothic bay, with its pointed arch, its clustered columns and carved
+capitals, which, even with the shallow choir and its long, slim windows,
+is too slight a portion of the Cathedral to have independence or real
+beauty. From its ritualistic position, it is the culminating point of
+the church, and its discord with the Romanesque is unpleasantly
+insistent. The side aisles, which were built in the XVII century, are
+low, agreeable walks ending in the chapels of the smaller apses. They
+are neither very regular nor very significant; but they give the church
+pleasant size and perspectives, and by avoiding the unduly large and
+shining modern chandeliers which hang between the nave arches, one gets
+from these side aisles the suggestive views which show only too well
+what true and good architectural ideas were brought to confusion in the
+re-building, the additions, and the restorations of the centuries. In
+painting, anachronisms may be quaint or even amusing; but in
+architecture, they are either grotesque or tragic, and in a church of
+such fine suggestiveness as Notre-Dame at Forcalquier, one is haunted by
+lingering regrets for what might and should have been.
+
+
+[Sidenote: Vence.]
+
+A founder of the French Academy and one of its first immortal forty was
+Antoine Godeau, "the idol of the Hotel Rambouillet." His mind was
+formed, as it were, by one of the most clever women of that brilliantly
+foolish coterie, he sang frivolous sonnets to a beautiful red-haired
+mistress whom he sincerely admired, and when he entered Holy Church,
+none of his charming friends believed that he would do more than modify
+the proper and agreeable conventionalities of his former life. They
+thought that he would add to the grace of his worldly manner the suavity
+of the ecclesiastic, that he would choose a pulpit of Paris, and that,
+sitting at his feet, they could enjoy the elegant phrases with which he
+would embellish a refined and delicately attenuated religion. But an
+aged prelate of the far South judged the new priest differently, he had
+sounded the heart of the man who, at the age of thirty, had quietly
+renounced a flattering, admiring world; and his dying prayer to
+Richelieu was that Godeau should succeed him in the See of Vence. The
+keen worldly wisdom of the Cardinal confirmed the old Bishop's more
+spiritual insight, and Godeau was named Bishop of the neighbouring
+Grasse.
+
+Far away in his mountain-city of flower gardens and sweet odours, the
+new Bishop wrote to his Parisian friends that, for his part, he "found
+more thorns than orange-blossoms." The Calvinists, from the rock of
+Antibes, openly defied him; in spite of the vehement opposition of their
+Chapters and against his will, the Bishoprics of Grasse and Vence were
+united, and he was made the Bishop of the two warring, discontented
+Sees. He was stoned at Vence; and even his colleague in temporal power,
+the Marquis of Villeneuve, showed himself as insolent as he dared. At
+length the King came to his aid, and being given his choice of the Sees,
+Godeau immediately left "the perfumed wench," as he called Grasse, and
+chose to live and work among his one-time enemies of Vence. This gentle
+and courageous prelate is typical of the long line of wise men who ruled
+the Church in the tight little city of the Provencal hills. From Saint
+Veran the wonder-worker, and Saint Lambert the tender nurse of lepers,
+to the end, they were men noted for bravery, goodness, and learning, and
+it was not till the Revolution that one was found--and fittingly the
+last--who, hating the "Oath" and fearing the guillotine, fled his See.
+
+This city of good Bishops was founded in the dim, pagan past of Gaul.
+From a rocky hill-top, its inhabitants had watched the burning of their
+first valley-town and they founded the second Vence on that height of
+safety to which they had escaped with their lives. Here, far above the
+Aurelian road, the Gallic tribes had a strong and isolated camp. Then
+the prying Romans found them out, and priests of Mars and Cybele
+replaced those of the cruder native gods, and they, in turn, gave way to
+the apostle of the Christians. Where a temple stood, a church was built;
+and unlike many early saints who looked upon old pagan images as homes
+of devils and broke them into a thousand pieces with holy wrath and
+words of exorcism, the prelate of Vence buried an image of a vanquished
+god under each and every pillar of his church, in sign of Christian
+triumph.
+
+These early days of the Faith were days of growth for the little city,
+and she prospered in her Mediaevalism. High on her hill, she was too
+difficult of access to suffer greatly from marauding foes, and hidden
+from the sea, she did not excite the cupidity of the Mediterranean
+rovers. When Antibes and Nice were sacked, her little ledge of rock was
+safe; and people crowded thick and fast behind her walls, until no
+bee-hive swarmed so thick with bees as her few streets with citizens.
+Here were arts and occupations, burghers and charters, riches and
+liberties. Here came the Renaissance, and Vence had eager, if not famous
+sculptors, painters, and organ-builders, and a family of artists whom
+even the dilettante Francis I deigned to patronise.
+
+Such memories of a busy, energetic past seem fairy-tales to those who
+walk to-day about the dark and narrow streets of Vence. She scarcely has
+outgrown her ancient walls, her civic life is dead, and in her virtual
+isolation from the modern world she lives a dreary, quiet old age.
+
+The old Cathedral, Notre-Dame, lies in the heart of the town; and takes
+one back along the years, far past the Renaissance, to those grim
+mediaeval days when even churches were places of defence. It is a low,
+unimpressive building, said to have been built on the site of the Roman
+Temple in the IV century. Enlarged or re-built in the X century, it was
+then long and narrow, a Latin cross. But in the XII century, deep, dark
+bays were added; in the XV, tribunes were built, the form of the apse
+was changed to an oval and it was decorated in an inharmonious style;
+and a hundred years ago the nave vault was re-built in an ellipse.
+
+[Illustration: "THE OLD ROUND ARCH OF THE BISHOP'S PALACE."--VENCE.]
+
+In the side wall there is a low portal of a late, decadent style, which
+opens on the little square, but there is no real facade; and to see the
+church, the traveller passed under the old round arch of the Bishop's
+Palace, through a small, damp street to another tinier square where the
+apse and tower stand. The little Cathedral-churches of Provence are
+always simply built, but here a rectangle, a low gabled roof, a small,
+round-headed window in the wall, would have been architectural bareness
+if a high, straight tower had not crowned it all. This crenellated tower
+is a true type of its time, square, yet slim and strong, and crudely
+graceful as some tall young poplar of the plains beneath. In the XI and
+XII centuries, its early days, it was the city's lookout. Families lived
+high up in its walls, and the traveller could imagine, in this little
+old, deserted square, the crowds who gathered round the tower's base,
+and called for news of enemies and battle as moderns gather about the
+more prosaic bulletin of printed news. He could see them surging,
+peering up; and from above he almost heard the watcher's cry, "They're
+coming on,"--with the great answering howl beneath, and the rush to
+arms. Or, "They pass us by," and then what breaking into little laughing
+groups, what joy, what dancing, and what praying, that lasted far into
+the evening hours.
+
+[Illustration: "THE LOW, BROAD ARCHES AND THE GREAT, SUPPORTING
+PILLARS."--VENCE.]
+
+The traveller came back in thought to modern times and went into the
+church, that church of five low naves and many restorations, that
+product of most diverse fancies. It is painted in lugubrious white, and
+its pillars have false bases in a palpable imitation of veined red
+marble. Its pure and early form, the Latin cross, is gone, its fine old
+stalls are hidden in a gallery, and at the altar Corinthian columns
+desecrate its ancient Romanesque. Yet in spite of the incongruities the
+atmosphere of the church is truly that of its dim past. There are the
+low broad arches, the great, supporting pillars that are massive
+buttresses; there is the simple practicality of a style that aimed at a
+protecting strength rather than at any art of beauty; there is the
+semi-darkness of the small, safe windows, and the little, guarded space
+where the praying few increased a thousand-fold in times of danger. This
+is, in spite of all defects, the small Provencal church where in days of
+peace cloudy incense slowly circled round the shadowy forms of chanting
+priests, and where in times of war a crowd of frightened women and their
+children prayed in safety for the men who sallied forth to fight in
+their defence.
+
+
+[Sidenote: Grasse.]
+
+He who is unloving of the past may well rush by its treasures in a
+puffing automobile, he who is bored by olden thoughts can hurry on by
+rail, but the man who wishes to know the old hill-towns of France, to
+see them as they seemed to their makers, and realise their one-time
+magnificence and strength, must walk from one town to the next, and
+climb their steep heights; must see great towers rise before him, great
+walls loom above him, and realise how grandly strong these places were
+when it was man to man and sword to sword, strength against strength. He
+must arrive, dust-covered, at the cities' gates or drive into their
+narrow streets on the small coach which still passes through,--for they
+are of the times when great men rode and peasants walked and steam was
+all unknown. Then he will realise how very large the world once was, how
+far from town to town; and once within those high, protecting walls, he
+will understand why the citizen of mediaeval days found in his town a
+world sufficient to itself, and why he was so often well content to
+spend his life at home.
+
+The power and the force of an isolated, self-concentrated interest is
+well illustrated in the history of the free cities of the Middle Ages,
+and Grasse may be counted one of these. Counts she had in name; but the
+Berengers and Queen Jeanne had granted her charters which she had the
+power to keep; she was once wealthy enough to declare war with Pisa, and
+in the XII century the leaders of her self-government were "Consuls by
+the grace of God alone." Therefore when Antibes continued to be greatly
+menaced by blasphemous pirates, the Bishopric was removed to Grasse,
+rich, strong, and safe behind the hills, where it endured from 1244,
+through all the perils of the centuries, until by a pen-stroke Napoleon
+wiped it out in 1801.
+
+[Illustration: "HIGHER THAN THEM ALL STANDS THE CATHEDRAL."--GRASSE.]
+
+To come to Grasse on foot or in the stage, will well repay the traveller
+of old-fashioned moods and fancies. Afar, her houses seem to crowd
+together, as they used to crowd within the walls, her red roofs rise
+fantastically one above the other, and higher than them all stands the
+Cathedral with its firm, square tower. Such must have been old Grasse,
+perched on the summit of her hill. But once inside the town, these
+illusions cease. Here are the hotels and the Casino of a thermal
+station, and the factories of a new world. The traveller finds that the
+broad upper boulevards are filled with tourists and smart English
+visitors; and in the narrow streets pert factory-hands come noisily from
+work. Still he climbs on toward the Cathedral, through tortuous streets
+and little alley-ways. And in the gloomiest of them all there is no
+odour of a stale antiquity, but the perfume of a garden-full of roses,
+of a thousand orange-blossoms, and of locusts, honey-sweet, and he
+begins to think himself enchanted. He feels the dark, old houses are
+unreal, as if, instead of cobble-stones beneath his feet, there must be
+the soft and tender grass of Araby the Blest. Such is the magic of a
+trade, the perfume industry of Grasse that for so many hundreds of years
+has made her meanest streets full of refreshing fragrance.
+
+Breathless from the climb, the traveller stepped at length into the
+little square, before a most ungainly Cathedral. "Chiefly built in the
+XII century," it may have been, but so bedizened by the Renaissance that
+its heavy old Provencal walls and massive pillars seem to exist merely
+as supports for additions or unreasonable decorations of a poor Italian
+style. A certain Monseigneur of the XVII century re-built the choir in a
+deep, rectangular form; another prelate enlarged the church proper and
+ruined it by constructing a tribune over the aisles, and desiring the
+revenues of a new burial-place, he ordered Vauban to accomplish the
+daring construction of a crypt. Still another Bishop with like
+architectural tastes built a large new chapel which opens from the south
+aisle; and with these additions and XVIII century changes in the facade,
+the original style of the church was obscured. In spite of the pitiful
+remains of dignity which its three aisles, its firm old pillars, and its
+height still give to the interior, it is as a whole so mean a building
+that it has fittingly lost the title of Cathedral.
+
+[Illustration: THE "PONT D'AVIGNON."]
+
+
+
+
+III.
+
+RIVER-SIDE CATHEDRALS.
+
+
+[Sidenote: Avignon.]
+
+Everything which surrounds the Cathedral of Avignon, its situation, its
+city, its history, is so full of romance and glamour that it is only
+after very sober second thought one realises that the church itself is
+the least of the papal buildings which majestically overtower the Rhone,
+or of those royal ruins which face them as proudly on the opposite bank
+of the river. Yet no church in Provence is richer in tradition, and in
+history more romantic than tradition.
+
+The foundation of this church goes back to the first Avignon, a small
+colony of river-fishermen which gave way before the Romans, who
+established a city, Avernio, on the great rocky hill two hundred feet
+above the Rhone. Some hundreds of years later the first Christian
+missionaries to Gaul landed near the mouth of this river,--Mary the
+mother of James, Saint Sara the patron of gypsies, Lazarus, his sister
+Martha, and Saint Maximin. Before these storm-tossed Saints lay the fair
+and pagan country of Provence, the scene of their future mission; and if
+tradition is to be further believed, each went his way, to work mightily
+for the sacred cause. Maximin lived in the town that bears his name,
+Lazarus became the first Bishop of Marseilles, and Saint Martha ascended
+the Rhone as far as Avignon and built near the site of the present
+Cathedral an oratory in honour of the Virgin "then living on the earth."
+Two early churches, of which this chapel was perhaps a part, were
+destroyed in the Saracenic sieges of the VIII century; an inscription in
+the porch of the present Cathedral records the very interesting mediaeval
+account of its re-building and re-consecration nearly a hundred years
+later. It was, so runs the tale, the habit of a devout woman to pray in
+the church every night; and after the Cathedral had been finished by the
+generous aid of Charlemagne, she happened there at midnight, and
+witnessed the descent of Christ in wondrous, shining light. There at the
+High Altar, surrounded by ministering angels, he dedicated the Cathedral
+to His Mother, Our Lady of Cathedrals; and so it has been called to the
+present day. If it is an impossible and ungrateful task to disprove that
+the re-construction, or at least the re-founding of this Cathedral was
+the work of Charlemagne, so munificent a patron and dutiful a son of the
+Church, to prove it is equally impossible. A martyrology of the XI
+century speaks of a dedication in 1069, but as this ceremony had been
+preceded by another extensive re-building, and was followed by many
+other changes, the oldest portions of the present church are to be most
+accurately ascribed to the XI, XII, and XIV centuries. The additions of
+the centuries following the papal return to Rome have greatly changed
+the appearance of the church. A large chapel, built in 1506, gives
+almost a northern nave. In 1671, Archbishop Ariosto thought the interior
+would be gracefully improved by a Renaissance gallery which should
+encircle the entire nave from one end of the choir to the other. To
+accomplish this new work, the old main piers below the gallery were cut
+away, the wall arches were changed, and columns and piers, almost
+entirely new, arose to support a shallow, gracefully balustraded balcony
+and its bases of massive carving. Nine years later a new Archbishop
+added to the north side a square XVII century chapel, richly ornamental
+in itself, but entirely out of harmony with the fundamental style of the
+church. Other chapels, less distinguished, which have been added from
+time to time, line the nave both north and south, and all are excrescent
+to the original plan. Of the exterior, only the facade retains its
+primitive character. The side-walls, "entirely featureless," as has been
+well said, "reflect only the various periods of the chapels which have
+been added to the Cathedral," and the apse was re-built in 1671, in a
+heavy, uninteresting form.
+
+[Illustration: "THE INTERIOR HAS A SHALLOW, GRACEFULLY BALUSTRADED
+BALCONY."--AVIGNON.]
+
+These additions, superimposed ornamentations, and rebuildings, together
+with the very substantial substructure of the primitive Cathedral, form
+to-day a small church of unimpressive, conglomerate style, and except
+for its history, unnoteworthy. It is therefore a church whose interest
+is almost wholly of the past; and the traveller goes back in
+imagination, century after century, to the era of Papal residency, when
+the Cathedral was not only ecclesiastically important, but
+architecturally in its best and purest form. This church, which Clement
+V found on his removal to Avignon, and which may still be easily traced,
+was of the simple, primitive Provencal style. No dates of that period
+are sufficiently accurate to rely upon; but its interest lies not so
+much in chronology as in its portrayal of the general type. The interior
+is the usual little hall church of the XI century, with its aisle-less
+nave of five bays, and plain piers supporting a tunnelled roof, with
+double vault arches. Beyond the last bay, over the choir, is the
+Cathedral's octagonal dome, and from the rounded windows of its lantern
+comes much of the light of the interior, which is sombre and without
+other windows of importance.
+
+The facade is architecturally one of the most significant parts of the
+church. Above the portal the wall is supported on either side by plain
+heavy buttresses, and directly continued by the solid bulk of the tower.
+In 1431 this tower replaced the original one which fell in the
+earthquake of 1405. It is conjecturally similar, a heavy rectangle which
+quite overweighs the church; plain, with its stiff pilasters and two
+stories of rounded windows; without grace or proper proportion, but
+pleasing by the unblemished severity of its lines. Above the balustrade
+with which the tower may be properly said to terminate, the religious
+art of the XIX century has erected as its contribution to the Cathedral
+a series of steps, an octagon, and a colossal, mal-proportioned statue
+of the Virgin. These additions are inharmonious; and the finest part of
+the facade is the porch, so classic in detail that it was formerly
+supposed to be Roman, a work of the Emperor Constantine. Like the rest
+of the church, its general structure is plain and somewhat severe, with
+small, richly carved details, in this instance closely Corinthian. The
+rounded portal of entrance is an entablature, enclosed as it were by
+two supporting columns; and above, in the pointed pediment, is a
+circular opening curiously foreshadowing that magnificent development of
+the North--the rose-window. Passing through the vestibule, whose
+tunnel-vault supports the tower, the minor portal appears, almost a
+replica of the outer door, and the whole forms an unusual mode of
+entrance, graceful in detail, ponderous in general effect. Far behind
+the tower of the facade rises the last significant feature of the
+exterior, the little lantern. It is an octagon with Doric and Corinthian
+motifs, continuing the essential characteristics of the interior, and
+exceedingly typical of Provence.
+
+[Illustration: "THE PORCH SO CLASSIC IN DETAIL."--AVIGNON. _From an old
+print._]
+
+Into this church, with its few, unusually classic details, its
+Provencal simplicity, its very modest size and plainness, the
+munificence of papal pomp was introduced. This was in 1308, an era of
+papal storm and stress. Not ten years before, Boniface VIII, with the
+tradition of Canossa spurring his haughty ambitions, had launched a bull
+against Philip III, whom he knew to be a bad king and whom he was to
+find an equally bad, rebellious Christian. "God," said the Prelate, from
+Rome, "has constituted us, though unworthy, above kings and kingdoms, to
+seize, destroy, disperse, build, and plant in His name and by His
+doctrine. Therefore, do not persuade thyself that thou hast no superior,
+and that thou art not subject to the head of the ecclesiastical
+hierarchy; he who thinks thus is insensate, he who maintains it is
+infidel."
+
+Past indeed was the time of Henry of Germany, long past the proud day
+when a Pope received an Emperor who knelt and waited in the snow. Philip
+burned the Bull; and to prevent other like fulminations, sent an agent
+into Italy. Gathering a band, he found the aged Pontiff at Anagni, his
+birthplace, seated on a throne, crowned with the triple crown, the Cross
+in one hand and in the other Saint Peter's Keys, the terrible Keys of
+Heaven and Hell. They called on him to abdicate, but Boniface thought of
+Christ his Lord, and cried out in defiant answer, "Here is my neck, here
+is my head. Betrayed like Jesus Christ, if I must die like him, I will
+at least die Pope." For reply, Sciarra Colonna, one of his own Roman
+Counts, struck him in the face. Buffeted by a noble, and openly defied
+by a king, Boniface died "of shame and anger." A month later, this same
+king rejoiced, if nothing more, at the death of the Pope's successor;
+and in the dark forests of Saint-Jean-d'Angely, Philip bargained and
+sold the great Tiara to a Gascon Archbishop who, if Villani speaks
+truly, "threw himself at the royal feet, saying, 'It is for thee to
+command and for me to obey; such will ever be my disposition!'" As was
+not unnatural, the will of the French king was that the Pope should
+remain within the zone of royal influence. So Clement lived at Bordeaux
+and at Poitiers, and finally retired to the County of Venaissin which
+the Holy See possessed by right, and established the pontifical court at
+Avignon.
+
+This transfer of the papal residence to Avignon has left many and deep
+traces on the history of French Catholicism. The Holy See was no longer
+far remote; the French ecclesiastic desirous of promotion had no
+dangerous mountains to traverse, no strange city to enter, no foreign
+Pontiff to besiege, ignorant or indifferent to his claims. The next
+successor of Saint Peter would logically be a Frenchman, and there was
+not only a possibility, but a probability for every man of note, that he
+might be either the occupant of the Sacred Chair or its favoured
+supporter. So Avignon became a city of priests as Rome had been before
+her; and as France was the richest country in Europe and the Church
+regally wealthy, splendour, luxury, and constant religious spectacles
+rejoiced the city, and Bishop, Archbishop, and Abbot, brazenly
+neglecting the duties of their Sees, lived here and were seldom "in
+residence." Every one had a secret ambition. Of such a situation, the
+Popes were not slow to reap the benefits. Difference of wealth, which
+brought difference of position, counted much and was keenly felt. Abbots
+of smaller monasteries found themselves inferior to Bishops, especially
+in freedom from papal interference; while from the inherent wealth and
+power of their foundations, the heads of the great monasteries ranked
+sometimes with Archbishops, sometimes even with Cardinals. The Pope had
+the right to elevate an Abbey or a Priory into a Bishopric, and those
+who could offer the "gratification" or the "provocative," might
+reasonably hope for the desired elevation which at once increased their
+local importance, belittled a neighbouring diocese, and freed them to
+some extent from the direct intermeddling of the Pope. The applications
+for such an increase of power became numerous, and by 1320 a number of
+Benedictine Abbeys had been made Bishoprics. Their creation greatly
+decreased the direct and intimate power of the Papacy, but temporarily
+increased the papal treasury; and John XXII, who left ten million pieces
+of silver and fifteen million in gold with his Florentine bankers, seems
+to have thought philosophically, "After us, the deluge."
+
+[Illustration: NOTRE-DAME-DES-DOMS.--AVIGNON]
+
+Another favourite diplomatic and financial device, which was invented by
+these famous Popes of Avignon, was the system of the "Commende," which
+enabled relatives of nobles and all those whom it was desirable to
+placate, not alone ecclesiastics, but mere laymen and bloody barons, to
+become "Commendatory Abbots" or "Commendatory Priors," and to receive at
+least one-third of the monastery's revenues, without being in any way
+responsible for the monastery's welfare. This care was left to a
+Prior or a Sub-prior, a sort of clerical administrator who, crippled in
+means and in influence, was sometimes unable, sometimes unwilling, to
+carry out the duties and beneficences of past ages, and who was always
+the victim of a great injustice. The depths of uselessness to which this
+infamous practice reduced monastic establishments may be inferred, when
+it is remembered that before the XVIII century the famous Abbey of La
+Baume had had thirteen Commendatory Abbots, and that the bastards of
+Louis XIV were Commendatory Priors in their infancy.
+
+The Popes found the Commende useful, not only as a means of income, but
+as a method--at once secure and lucrative--of gaining to their cause the
+great feudal lords of France, and making the power of these lords an
+added buffer, as it were, between Avignon and the grasping might of the
+French Kings. For although the Popes were under "the special protection"
+of the Kings, it was as sheep under the special protection of a shearer,
+and they found that they must protect themselves against a too "special"
+and royal fleecing. For they did not always agree that--
+
+    "'Tis as goodly a match as match can be
+    To marry the Church and the fleur-de-lis
+    Should either mate a-straying go,
+    Then each--too late--will own 'twas so.'"
+
+[Illustration: "THE TOWER OF PHILIP THE FAIR."--VILLENEUVE-LES-AVIGNON.]
+
+Haunted by the humiliation of their heaven-sent power, caged in
+"Babylonish captivity," it is conceivable that the Popes were too
+occupied or, perhaps too distracted, to object to the unsuitable
+modesty of Notre-Dame-des-Doms. When a Pope swept forth from his
+Cathedral, new-crowned, to give "urbis et orbi" his first pontifical
+benediction, his eye glanced, it is true, on the crowds prostrate before
+him, before the church, awed and breathless; but it fell lingeringly--it
+was irresistibly drawn--across the swift Rhone to the town of the kings
+who had defied his power, to the royal city of Villeneuve, and to the
+strong tower of Philip the Fair, standing proudly in the sunlight. Would
+it be thought strange if their thoughts wandered, or if the portraits of
+the "French Popes" which hang about the Cathedral walls at Avignon,
+show more worldly preoccupation than is becoming to the successors of
+Saint Peter and Vicars of Christ?
+
+Little indeed in the days of their residency did the Popes add to
+Notre-Dame-des-Doms. A fragile, slender marvel of Gothic architecture,
+the tomb of John XXII, was placed in the nave before the altar; and a
+monument to Benedict XII was raised in the church. But their Holinesses
+incited others in Avignon to good works so successfully that Rabelais
+laughingly called it the "Ringing city" of churches, convents, and
+monasteries. The bells of Saint-Pierre, Saint-Symphorien, Saint-Agricol,
+Sainte-Claire, and Saint-Didier chimed with those of chapels and
+religious foundations; the Grey Penitents, Black Penitents, and White
+Penitents, priests, and nuns walked the streets, and Avignon grew truly
+papal. Clement V and his successors proceeded to the safeguarding of
+their temporal welfare in truly noble fashion; and scarcely fifty years
+later they had become so well pleased with their new residence that the
+magnificent Clement VI refused to leave in spite of the supplications of
+Petrarch and Rienzi and a whole deputation of Romans.
+
+During the reign of this Pontiff, the Papal Court became one of the
+gayest in Christendom. Clement was frankly, joyously voluptuous; and his
+life seems one moving pageant in which luxurious banquets, beautiful
+women, and ecclesiastical pomps succeeded each other. The lovely
+Countess of Turenne sold his preferments and benefices, the immense
+treasure of John XXII was his, and he showered such benefits on a
+grateful family that of the five Cardinals who accompanied his corpse
+from Avignon, one was his brother, one his cousin, and three his
+nephews; and that the Huguenots who violated his tomb at La-Chaise-Dieu,
+should have used his skull as a wine-cup, seems an horrible, but not an
+unfitting mockery. It was in vain that Petrarch hotly wrote, "the Pope
+keeps the Church of Jesus Christ in shameful exile." The desire for
+return to Rome had passed.
+
+Avignon was not an original nor a plenary possession of the Holy
+Fathers, but "the fairest inheritance of the Berengers," and it was from
+that family that half of the city had to be wrested--or obtained. Now
+the lords of Provence were Kings of Naples and Sicily, and therefore
+vassals of the Holy See. For when the Normans took these Southern states
+from the Greeks and thereby incurred the jealousy of all Italy, they had
+warily placed themselves under the protection of the Pope and agreed to
+hold their new possessions as a papal investiture. It happened at this
+time that the vassal of the Pope in Naples and in Sicily was the
+beauteous "Reino Joanno," the heiress of Provence. What she was no
+writer could describe in better words than these, "with extreme beauty,
+with youth that does not fade, red hair that holds the sunlight in its
+tangles, a sweet voice, poetic gifts, regal peremptoriness, a Gallic
+wit, genuine magnanimity, and rhapsodical piety, with strange indecorum
+and bluntness of feeling under the extremes of splendour and misery,
+just such a lovely, perverse, bewildering woman was she, great
+granddaughter of Raymond-Berenger, fourth Count of Provence,--the pupil
+of Boccaccio, the friend of Petrarch, the enemy of Saint Catherine of
+Siena, the most dangerous and most dazzling woman of the XIV century. So
+typically Provencal was this Queen's nature, that had she lived some
+centuries later, she might have been Mirabeau's sister. The same
+'terrible gift of familiarity,' the same talent of finding favour and
+swaying popular assemblages, the same sensuousness, bold courage, and
+great generosity were found in this early orphaned, thrice widowed
+heiress of Provence. To this day, the memory of the Reino Joanno lives
+in her native land, associated with numbers of towers and fortresses,
+the style of whose architecture attests their origin under her reign. It
+says much for her personal fascinations that far from being either
+cursed or blamed she is still remembered and praised. The ruins of
+Gremaud, Tour Drainmont, of Guillaumes, and a castle near Roccaspervera,
+all bear her name: at Draguignan and Flagose, they tell you her canal
+has supplied the town with water for generations: in the Esterels, the
+peasants who got free grants of land, still invoke their benefactress.
+At Saint-Vallier, she is blessed because she protected the hamlet near
+the Siagne from the oppression of the Chapters of Grasse and Lerins. At
+Aix and Avignon her fame is undying because she dispelled some
+robber-bands; at Marseilles she is popular because she modified and
+settled the jurisdiction of Viscounts and Bishops. Go up to Grasse and
+in the big square where the trees throw a flickering shadow over the
+street-traders, you will see built in a vaulted passage a flight of
+stone steps, steps which every barefoot child will tell you belong to
+the palace of 'La Reino Joanno.' Walls have been altered, gates have
+disappeared, but down those time-worn steps once paced the liege lady of
+Provence, the incomparable 'fair mischief' whose guilt ... must ever
+remain one of the enigmas of history." This "enigma" has strange
+analogies to one which has puzzled and impassioned the writers of many
+generations, the mystery of that other "fair mischief" of a later
+century, Mary Queen of Scots. Like Mary, Jeanne was accused of the
+murder of her young husband, and being pressed by the vengeance of his
+brother--no less a person than the King of Hungary,--she decided to
+retreat to her native Provence and appeal to the Pope, her gallant and
+not over-scrupulous suzerain. "Jeanne landed at Ponchettes," continues
+the writer who has so happily described her, "and the consuls came to
+assure her of their devotion. 'I come,' replied the heiress, whose wit
+always suggested a happy phrase, 'to ask for your hearts and nothing but
+your hearts.' As she did not allude to her debts, the populace threw up
+their caps; the Prince de Monaco, just cured of his wound at Crecy,
+placed his sword at her service; and the Baron de Benil, red-handed from
+a cruel murder, besought her patronage which, perhaps from a
+fellow-feeling, she promised with great alacrity. At Grasse she won all
+hearts and made many more promises, and finally, arriving at Avignon,
+she found Clement covetous of the city and well-disposed to her. Yet
+morality obliged him to ask an explanation of her recent change of
+husbands, and before three Cardinals, whom he appointed to be her
+judges, the Queen pleaded her own cause. Not a blush tinged her cheek,
+no tremor altered her melodious voice as she stood before the red-robed
+Princes of the Church and narrated, in fluent Latin, the story of the
+assassination of Andrew, the death of her child, and her marriage with
+the murderer, Louis of Tarento, who stood by her side. The wily Pope
+noted behind her the proud Provencal nobles, the Villeneuves and
+d'Agoults, the de Baux and the Lescaris, who brought the fealty of the
+hill-country, and who did not know that, having already sold her jewels
+to the Jews, their fair Queen was covenanting with the Pope for Avignon.
+The formal trial ended, the Pontiff solemnly declared the Queen to be
+guiltless,--and she granted him the city for eighty thousand pieces of
+gold."
+
+[Illustration: "THE GREAT PALACE."--AVIGNON.]
+
+Clement enjoyed ownership in the same agreeable manner as his
+predecessors, "without the untying of purse-strings." Perhaps he used
+the purse's contents for the more pressing claim of the great Palace of
+which he built so large a part; perhaps he handed it, still filled, to
+Innocent VI who built the famous fortifications of Avignon and protected
+himself against the marauding "White Companies," perhaps it was still
+untouched when Bertrand du Guesclin and his Grand Company stood before
+the gate and demanded "benediction, absolution, and two hundred thousand
+pounds." "What!" the Pope is said to have cried, "must we give
+absolution, which here in Avignon is paid for, and then give money
+too--it is contrary to reason!" Du Guesclin replied to the bearer of
+these words, "Here are many who care little for absolution, and much for
+money,"--and Urban yielded.
+
+Gregory XI, the last of the "French Popes," returned to Rome, and at his
+death the "Great Schism" followed;--Clement VII, in Avignon, was
+recognised by France, Spain, Scotland, Sicily, and Cyprus; Urban VI, in
+Rome, by Italy, Austria, and England. The County Venaissin was ravaged
+by wars and the pests that come in their train. At length the
+Avignonnais, who had not enjoyed greater peace under their anointed
+rulers than under worldling Counts, rose against Pierre de Luna, the
+"Anti-pope" Benedict XIII, who fled. From that time no Pontiff entered
+the gates, and the city was administered by papal legates. In later
+days, in spite of the sacred character of its rulers and his own
+undoubted orthodoxy, Louis XIV seized Avignon several times; and Louis
+XV, in unfilial vengeance for the excommunication of the Duke of Parma,
+took possession of the city. But it was not until after the beginning
+of the French Revolution, in 1791, that the Avignonnais themselves
+arose, chased the Vice-Legate of the Pope from the city, and appealed
+for union with France; and it was at this period that the Chapel of
+Sainte-Marthe, the Cloister, and the Chapter House were swept away. Thus
+ended the temporal power of the Papacy in France, planned for worldly
+profit and carried out with many sordid compromises;--a residency
+unnoted for great deeds or noble intentions and whose close marked the
+"Great Schism."
+
+To-day papal Avignon is become French Avignon, a pleasant city where the
+Provencal sun is hot and where the Mistral whistles merrily. Above the
+banks of the Rhone the simple Cathedral stands, with its priests still
+garbed in papal red, its Host still carried under the white papal
+panoply. Here also is the great Palace of the Popes, "which is indeed,"
+says Froissart, "the strongest and most magnificent house in the world."
+And yet its grim walls suggest neither peace nor rest; and to him who
+recalls, this great, impressive pile tells neither of glories nor of
+triumphs. Bands of unbelieving Pastoureaux marched toward it; soldiers
+of the "White Companies" and soldiers of du Guesclin gazed mockingly at
+it; it was the prison of Rienzi, and the home of the harassed Popes who
+had ever before them, just across the river, the menacing tower of that
+"fair king" who had led them into "Babylonish captivity."
+
+
+[Sidenote: Vaison.]
+
+On the banks of a pleasant little river among the Provencal hills is
+Vaison, one of the ancient Gallic towns which became entirely romanised;
+and many illustrious families of the Empire had summer villas there as
+at Arles and Orange. Barbarians of one epoch or another have devastated
+Vaison of all her antique treasures, except the remains of an
+Amphitheatre on the Puymin Hill. Germanic tribes who swooped down in
+early centuries destroyed her villas and her greater buildings; and
+vandals of a later day have scattered her sculptures and her tablets
+here and there. Some are in the galleries of Avignon; a Belus, the only
+one found in France, was sent to the Museum of Saint-Germain; and in the
+multitude of treasures in the British Museum, the most beautiful of all
+her statues, a Diadumenus, is artistically lost. In the days when it
+still adorned the city, during the reign of the Emperor Gallienus,
+Vaison was christianised by Saint Ruf, her Bishopric was founded, and in
+337 the first General Council of the Church held in Gaul assembled here.
+Another Council in the V century, and still another in the VI, are proof
+of her continued importance.
+
+[Illustration: "ON THE BANKS OF A PLEASANT LITTLE RIVER IS VAISON."]
+
+[Illustration: "THE RUINED CASTLE OF THE COUNTS OF TOULOUSE."--VAISON.]
+
+Among the first of Gallo-Roman cities, she was also among the first to
+suffer. Chrocus and his horde who sacked Orange, seized her Bishop and
+murdered him; and Alains, Vandals, and Burgundians, following in their
+wake, brought disaster after disaster to the cities lying near the
+Rhone. Vaison, by miracle, did not lose her prestige. In the X and XI
+centuries she built her fine Cathedral with its Cloisters, and in 1179
+she was still great enough to excite the covetousness of Raymond VI,
+Count of Toulouse. This magnificent and ambitious prince built a castle
+on a height above the city, and as he had before terrorised my Lord
+Bishop of Carpentras, so now he seized the anointed person of Berenger
+de Reilhane, who was not only Vaison's Bishop, but her temporal prince
+as well. Berenger was a sufficiently powerful personage to make an
+outcry which re-echoed throughout Christendom; the Pope and the Emperor
+came to his aid; and in the Abbey Church of Saint-Gilles-du-Gard,
+Raymond VI did solemn penance, and, before receiving absolution, was
+publicly struck by the Papal Legate with a bundle of birch rods. Above
+the Bishop's Palace the great castle still loomed in menace, but on that
+day Berenger de Reilhane triumphed and Vaison was at peace.
+
+It was a peace which presaged her quiet, uneventful downfall. For other
+interests were growing stronger in the country, other cities grew where
+she stood still, and in the XIV century, when Avignon became the seat of
+papal power, Vaison had passed from the world's history. Her Bishopric
+endured till 1801, but her doings are worthy only of provincial
+chronicles and to-day she is but a little country town, served by the
+stage-coach. She still lies on both banks of the river; the "high city,"
+with long rows of deserted houses, climbs the side of the steep hill and
+is dominated by the ruins of the great castle, which Richelieu
+destroyed. The "lower city," which is the busier of the two, lies on the
+opposite bank; and on its outskirts, in a little garden-close, almost
+surrounded by the fields, is the Cathedral,--solitary, lonely, and old.
+
+[Illustration: "THE WHOLE APSE-END."--VAISON.]
+
+[Illustration: "THE SOUTH WALL WHICH IS CLEARLY SEEN FROM THE
+ROAD."--VAISON.]
+
+The decoration of the exterior is slight, a dentiled cornice and a
+graceful foliated frieze extend along the top of the side-walls, which
+although most plainly built, are far from being severely angular or
+gaunt and have a quaint and pleasing harmony of line. The west front is
+so featureless that it scarcely deserves the title of facade. The south
+wall, which is clearly seen from the road, has a small portal and plain
+buttresses that slope at the top. The central apse is rectangular and
+heavy, the little southern apse is short and round, and that of the
+north is tall and thin as a pepper-box. Behind them rise the pointed
+roof of the nave and the heavy tower. The whole apse-end is constructed
+in most picturesque irregularity, and the new red of the roof-tiles and
+sombre grey of the old stone add greatly to its charm.
+
+Unlike many churches of its period Notre-Dame of Vaison is three-aisled.
+Slender, narrow naves, whose tunnel vaults are not extremely lofty, end
+in small circular apses. The nave is a short one of three irregular
+bays, and over the last, which precedes the choir, is the little
+eight-sided dome, which instead of projecting above the roof is
+curiously placed a little lower than the tunnel vaulting of the other
+bays. The High Altar, which originally belonged to an older church, is
+well placed in the simple choir; for it belongs in style, if not in
+actual fact, to the first centuries of the Faith; and in the
+semi-darkness behind the altar, the old episcopal throne still stands
+against the apse's wall, in memory of the custom of the Church's early
+days. The low arches of the aisles, the dim lighting of the church, its
+simple ornaments of classic bands and little capitals, its slight
+irregularities of form and carvings, make an interior of fine and strong
+antique simplicity.
+
+A little door in the north wall leads to the Cloisters, which are
+happily in a state of complete restoration, and not as a modern writer
+has described them, "practically a ruin." The wall which overlooks them
+has an inscription that adjures the Canons to "bear with patience the
+north aspect of their cells." The short walks have tunnel vaults with
+cross-vaults in the corners and in parts of the north aisle. Great piers
+and small, firm columns support the outer arches; and on the exterior of
+the Cloister the little arches of the columns are enclosed in a large
+round arch. Many of the capitals are uncarved, some of the piers have
+applied columns, but many are ornamented in straight cut lines. On one
+side, two bays open to the ground, forming an entrance-way into the
+pretty close, where the bushy tops of a few tall trees cast flickering
+shadows on the surrounding walls and the little grassy square.
+
+[Illustration: "TWO BAYS OPEN TO THE GROUND."--VAISON.]
+
+[Illustration: "THE GREAT PIERS AND SMALL FIRM COLUMNS."--VAISON.]
+
+The Cloister is small and simple in its rather heavy grace. Noise and
+unrest seem far from it, and underneath its solid rounded vault is peace
+and shelter from the world. And in its firm solidity of architecture
+there is the spirit of a perfect quiet, a tranquil charm which must
+insensibly have calmed many a restless spirit that chafed beneath the
+churchly frock, and fled within its walls for refuge and for helpful
+meditation.
+
+Few Provencal Cathedrals have the interest of Vaison and its Cloister.
+Lying in the forgotten valley of the Ouveze, in an old-fashioned town,
+all its surroundings speak of the past and its atmosphere is quite
+unspoiled. The church itself has been spared degenerating restorations;
+and although it has no sumptuousness as at Marseilles, no grandeur as at
+Arles, no stirring history as the churches that lay near the sea,
+although it is one of the smallest and most venerable of them all, no
+Cathedral of the Southland has so great an architectural dignity and
+merit with so ancient and so quaint a charm.
+
+
+[Sidenote: Arles.]
+
+In the midst of the wealth of antique ruins, near the Theatre, the
+Coliseum, and the Forum of this "little Rome of the Gauls," stands a
+noble monument of the ruder ages of Christianity, the Cathedral,
+Saint-Trophime. Here Saint Augustine, apostle to England, was
+consecrated; here three General Councils of the Church were held, here
+the Donatists were doomed to everlasting fire, and here the Emperor
+Constantine, from his summer palace on the Rhone, must have come to
+"assist" at Mass. The building in which these solemn scenes of the early
+Church were enacted soon disappeared and was replaced by the present one
+whose older walls Revoil attributes to the IX century. The present
+Cathedral's first documentary date is 1152, in the era of the Republic
+of Arles. The name of Saint-Etienne was changed, and the body of
+Saint-Trophime, carried in state from the ruined Church of the
+Aliscamps, was buried under a new altar and he was solemnly proclaimed
+the Patron of the richest and most majestic church in all Provence.
+
+[Illustration: "IN THE MIDST OF THE WEALTH OF ANTIQUE RUINS."--ARLES.]
+
+[Illustration: THE FACADE OF SAINT-TROPHIME.--ARLES.]
+
+Nearly eight hundred years later a traveller stood before the portal of
+this church. In the midst of his delighted study he suddenly felt the
+attraction of a pair of watchful eyes, and turned to find a peasant
+woman gazing fixedly at him. In her strange fascination she had placed
+beside her, on the ground, two huge melons and a mammoth cabbage, and
+her wizened hands were folded before her, Sunday-fashion. She was a
+little witch of a woman, old and bent and brown.
+
+"Yes, my good gentleman," she said, "I have been looking at you,--five
+whole minutes of the clock, and much good it has done me. In these days
+of books and such fine learning there is not enough time spent before
+our door; and I who pass by it every day, year in, year out, I have
+watched well, and only two except yourself have ever studied it. The
+foreigners come with red books and look at them more than at the door
+itself,--they stay perhaps three minutes, and go off, shaking their wise
+heads. Our people, passing every day, see but a door, a place for going
+in and coming out." She paused for breath.
+
+"And what do you see?" asked the traveller.
+
+"You ask me?" She smiled wisely. "But you know, since you are standing
+here and looking too. Listen!" And her old eyes began to gleam. "I'll
+tell you of a time before you were born. I was a child then; and we
+marched here every Sunday, other little girls and myself, and we stood
+before this door. And the nuns--it was often Sister Mary Dolorosa--told
+us the stories of these stones. See! Here is Our Lord Who loves all
+mankind, but has to judge us too;--and there is Saint-Trophime. But I
+cannot read, Monsieur. An old peasant woman has no time for such fine
+things, and you will laugh at me for telling you what you have in your
+books,--but I have them all here, here in my heart, and many a time I
+too come to refresh my old memory, and to pray. Those pictures tell
+great lessons to those that have eyes to see them. Well, well-a-day, I
+must pick up my melons and begone, for I have taken up your time and
+said too much. But you will excuse it in an old woman who is good for
+little else than talking now."
+
+They parted in true French fashion, with "expressions of mutual esteem,"
+and the traveller turned to the portal which was still fulfilling its
+ancient mission of teaching and of making beautiful the House of God.
+Applied to a severe facade typical of the plainness of Provencal outer
+walls, this is one of the noblest works of Mediaevalism, the richest and
+most beautiful portal of the South of France; and no others in the Midi,
+except those of Saint-Gilles-du-Gard and Moissac, are worthy of
+comparison with it. In boldness and intellectuality of conception it
+excels many of the northern works and equals the finest of them. For the
+builder of the northern portal seems to have held closely to one
+architectural form, the beautiful convention of the Gothic style; and
+within that door he placed, in a more or less usual way, the subjects
+which the Church had sanctioned. In nearly every case the treatment of
+the subject is subordinated to the general architectural plan and
+symmetry. At Saint-Trophime there was the limit of space, the axiom that
+a door must be a door, and doubtless many allowable subjects. But within
+these necessary bounds the unknown sculptor recognised few
+conventionalities. The usual place for the portrayal of the Last
+Judgment, the tympanum, was too small for his conception of the scene;
+the pier that divides his door-way was not built to support the statue
+of the church's patron saint; he had a multitude of fancies, and instead
+of curbing them in some beautiful conventionality of form, as one feels
+great northern builders often did, this artist made a frame within which
+his ideas found free play, and, forcing conventionality to its will, his
+genius justified itself. For not only is the portal as a whole, full of
+dignity and true symmetry, but its details are thoughtfully worked out.
+They show, with the old scholastic form of his Faith, the grasp of the
+unknown master's mind, the intellectuality of his symbolism, and few
+portals grow in fascination as this one, few have so interesting an
+originality.
+
+[Illustration: RIGHT DETAIL, PORTAL.--ARLES.]
+
+In design it is simple, in execution incomparably rich. The principal
+theme of the Last Judgment has Christ seated on a throne as the central
+figure, and about him are the symbols of the four Evangelists. This is
+the treatment of the tympanum. Underneath, Patriarchs, Saints, Just, and
+Condemned form the beautiful frieze. The Apostles are seated; and to
+their left is an angel guarding the gates of Paradise against two
+Bishops and a crowd of laymen who have yet to fully expiate their sins
+in Purgatory. Behind them, naked, with their feet in the flames, are
+those condemned to everlasting Hell; and still beyond is a lower depth
+where souls are already half-consumed in hideous fires. On the Apostles'
+extreme right is the beginning of our human history, the Temptation of
+Adam and Eve; and marching toward the holy men, on this same side, is
+the long procession of those Redeemed from Adam's fall, clothed in
+righteousness. An angel goes before them, and hands a small child--a
+ransomed soul--to Abraham, Isaac, and Jacob. The end panels treat the
+last phases of the dominant theme;--a mammoth angel in the one weighs
+the souls of the dead; and an equally awe-inspiring devil in the other
+is preparing to cast two of the Lost into a sea of fire.
+
+The remainder of the portal tells of many subjects, and represents much
+of the theological symbolism of its time. Light, graceful columns, with
+delicately foliated capitals and bases rich with meaning sculptures,
+divide the lower spaces into niches, and in these niches stand statues
+of Apostles and of Saints, each having his story, each his peculiar
+attributes; and about these chief figures are carved rich designs,
+strange animals, and numberless short stories of the Bible. Above there
+is a small, subsidiary frieze; below, the pedestals which tell the tale
+of those who stand upon them. The figures have life and meaning, if not
+a true plasticity; and in this portal there is instruction, variety, and
+majesty, wealth of allegory and subtle symbols for those who love
+religious mysteries, and splendour of sculpture for those who come in
+search of Art.
+
+There are those to whom a simple beauty does not appeal. After the
+richness of the portal's carving, the interior of Saint-Trophime is to
+them "far too plain;" in futile comparison with the Cloister's grace, it
+is found "too severe;" and one author has written that only "when the
+refulgence of a Mediterranean sun glances through a series of long
+lances, ... then and then only does the Cathedral of Saint-Trophime
+offer any inducement to linger within its non-impressive walls."
+
+It may not be denied that, together with nearly all the Cathedrals of
+Provence, this interior has suffered from the addition of inharmonious
+styles. The most serious of these is its Gothic choir of the XV century,
+which a certain Cardinal Louis Allemand applied to the narrower
+Romanesque naves. With irregular ambulatory, chapels of various sizes,
+and a general incongruity of plan, this construction has no
+architectural importance except that of a prominent place in the
+church's worship. The remaining excrescences, Gothic chapels, Ionic
+pilasters, elliptical tribune, and the like, are happily hidden along
+the side aisles or in the transepts; and during the restoration of
+Revoil the naves were relieved of the disfiguring "improvements" of the
+XVII century, and stand to-day in much of their fine old simplicity.
+Beyond the fifth bay, and rising in the tower, is the dome of dignified
+Provencal form that rests on the lower arches of the crossing. Small
+clerestory windows cast sheets of pale light on the plain piers,
+rectangular and heavy, that rise to support a tunnel vault and divide
+the church into three naves of great and slender height.
+
+The stern, ascetic style of the XI and XII centuries has given the nave
+piers mere small, plain bands as capitals, and for churchly decoration
+has allowed only a moulding of acanthus leaves placed high and unnoticed
+at the vaulting's base. There is no pleasing detail and no charming
+fancy; but a fine, exquisite loftiness, a faultless balance of
+proportion, are in this severe interior, and its solemn and majestic
+beauty is not surpassed in the Southern Romanesque.
+
+[Illustration: LEFT DETAIL, PORTAL.--ARLES.]
+
+Beyond the south transept, a short passage and a few steps lead to the
+Cloisters, the most famous of Provence, perhaps of France. Large,
+graceful, and magnificent in wealth of carving, they have yet none of
+the poetic charms that linger around many a smaller Cloister. The
+vaultings are not more beautiful than other vaults less known; although
+they have the help of the great piers, the little, slender columns seem
+too light to support so much expanse of roof, and even the church's
+tower, square and high, looks dwarfed when seen across the close. The
+very spaciousness is solitary, and the long vista of the walks conduces
+to vague wonderings rather than to peaceful hours of thought. It has not
+the dreamy solitude of Vaison, nor the bright beauty of Elne's little
+close, nor any of the sunny cheerfulness that brightens the decaying
+walls of Cahors.
+
+[Illustration: THROUGH THE CLOISTER-ARCHES.--ARLES.]
+
+The marvel of these Cloisters is the sculptured decorations of their
+piers and columns. Those of the XII century are the richest, but each of
+the later builders seems to have vied as best he might, in wealth of
+conception and in lavishness of detail, with those who went before, and,
+even in enforced re-building, the addition of the Gothic to the
+Romanesque has not destroyed the harmony of the effect. In all the
+sculptors' schemes, the outer of the double columns were given foliated
+patterns or a few, simple symbols, and the outer of the piers were
+channelled and conventionally cut; and although the fancy of the
+sculptor is marvellously subtle and full of grace, his greatest art was
+reserved for the capitals of the inner columns and the inner faces of
+the piers, which meditating priests would see and study. The symbolism
+authorised by Holy Church, the history of precursors of Our Lord, the
+incidents of His life and the more dramatic doings of the Saints, all
+these are carved with greatest love of detail and of art; and in them
+the least arduous priest could find themes for a whole year of
+meditation, the least enthusiastic of travellers, a thousand quaint and
+interesting fancies and imaginations. It is not so much the beauty of
+the whole effect that is entrancing in these Cloisters, nor that most
+subtle influence, the good or evil spirit of a past which lingers round
+so many ancient spots, as that mediaeval thought and mediaeval genius that
+found expression in these myriad fine examples of the sculptor's art.
+
+[Illustration: "A NAVE OF GREAT AND SLENDER HEIGHT."--ARLES.]
+
+[Illustration: "THE BEAUTY OF THE WHOLE."--ARLES.]
+
+Alexandre Dumas has written of Arles: "Roman monuments form the soil;
+and about them, at their feet, in their shadow, in their crevasses, a
+second Gothic city has sprung--one knows not how--by the vegetative
+force of the religious civilisation of Saint Louis. Arles is the
+Mecca of archaeologists." It is also the Mecca of those who love to
+study people and customs, for, in spite of the railroad, and the
+consequent influx of "foreign French," it has preserved the old
+graeco-roman-saracenic type which has made its beautiful women so
+justly famous, and, underneath its Provencal gaieties, their classic
+origins may easily be traced. One should see the Roman Theatre, the
+solitary Aliscamps, by moonlight, the busy market in the early day,
+the Cathedral at a Mass, and a fete at any time,--for
+
+    "When the fete-days come, farewell the swath and labour,
+      And welcome revels underneath the trees,
+      And orgies in the vaulted hostelries,
+    Bull-baitings, never-ending dances, and sweet pleasures."
+
+
+[Sidenote: Entrevaux.]
+
+The most celebrated fortified town in France is the Cite of Carcassonne,
+yet, even in the days of its practical strength, it was scarcely a type.
+It was rather a marvel, a wonder,--the "fairest Maid of Languedoc," "the
+Invincible." And now the citadel is almost deserted. The inhabitants are
+so few that weeds grow in their streets, and one who walks there in the
+still mid-day feels that all this completion of architecture, these
+walls, perfect in every stone, may be an enchanted vision, a mirage; he
+more than half believes that the cool of the sunset will dispel the
+illusion, and he will find himself on a pleasant little hill of
+Languedoc, looking down upon the commonplace "Lower City" of
+Carcassonne.
+
+At Entrevaux there is no suggestion of illusion. This is not a
+show-place that once was real; it is one of a hundred little
+agglomerations of the French Middle Ages. They had no great name to
+uphold; no riches to expend in impregnable walls and towers. They clung
+fearfully together for self-preservation, built ramparts that were as
+strong as might be, and dared not laugh at the "fortunes of war." Except
+that there is safety outside the walls, and a tiny post and telegraph
+office within, they are now as they were in those dangerous days. The
+fortress of Carcassonne is dead; but in the back country of Provence,
+Entrevaux is living, and scarcely a jot or tittle of its Mediaevalism is
+lost. Among high rocks that close around it on every side, where,
+according to the season, the Chalvagne trickles or plunges into the
+river Var, and dominated by a fort that perches on a sharp peak, is the
+strangest of old Provencal towns.
+
+[Illustration: THE GOTHIC WALK, CLOISTER.--ARLES.]
+
+The founding of the tiny episcopal city was after this wise. Toward the
+close of the XIV century, in a time of plagues, Jewish persecutions, the
+growth of heresies, and the uncurbed ravages of free-booters, the city
+of Glandeves, seat of an ancient Bishopric, was destroyed. The living
+remnant abandoned its desolate ruins. Searching for a stronger, safer
+home, they chose a site on the left bank of the Var, and commenced the
+building of Entrevaux. The Bishop accompanied his flock, and although he
+retained the old title of Glandeves, in memory of the antiquity of the
+See and its lost city, the Cathedral-church was established at
+Entrevaux.
+
+The first edifice, Saint-Martin's, built shortly after the founding of
+the town, has long been destroyed; and the second, begun in 1610, to the
+honour of the Assumption of the Blessed Virgin Mary, held episcopal rank
+until the See was disestablished by the great Concordat. Although this
+Cathedral was built in the XVII century, a date perilously near that of
+decadence in French ecclesiastical architecture, it was situated in so
+obscure a corner of Provence that its plan was unaffected by innovating
+ideas; it is of the old native type, a building of stout walls and heavy
+buttresses, a single tower, square and straight, and a tunnel-vaulted
+room, the place of congregation. This interior, with no beautiful
+details that may not be found in other churches, has as many of the
+defects of the Italian school as the treasury could afford,--marble
+columns, frescoes, gilding, and other rococo decorations which show that
+the people of Entrevaux had no higher and no better tastes than those of
+Nice; and that the old, simple purity of the church's form was rather a
+matter of ignorance or necessity than of choice. The attraction of the
+episcopal church pales before the quaint delight of the episcopal city,
+and it is as part of the general civic defence that it shares in the
+interest of Entrevaux.
+
+[Illustration: "THIS INTERIOR."--ENTREVAUX.]
+
+[Illustration: THE ROMANESQUE WALK, CLOISTER.--ARLES.]
+
+[Illustration: "ONE OF THREE SMALL DRAWBRIDGES."--ENTREVAUX.]
+
+[Illustration: "THE PORTCULLIS."--ENTREVAUX.]
+
+Leaving the train at the nearest railroad station, the traveller
+followed the winding Var, and he had scarcely walked four miles when he
+saw, across the river, the sharp peak with its fort, and the long lines
+of walls that zigzag down the hillside till they reach the crowded roofs
+that are clustered closely, in charming irregularity, near the bank.
+Along the water's edge, the only part of the town that is not protected
+by rocks and hills, there is another line of stout walls and two heavy,
+jutting bastions. From a mediaeval point of view Entrevaux looks strong
+indeed. The only means of entrance, now as in those olden days, is by
+one of three small drawbridges, and so narrow is every street of the
+town that no wagon is allowed to cross, for if it made the passage of
+the bridge it would be caught hard and fast between the houses. As the
+traveller put foot on the drawbridge he felt as though he were a petty
+trader or wandering minstrel, or some other figure of the Middle Ages,
+entering for a few hours' traffic or a noon-day's rest, and when he
+paused under the low arch of the portcullis-gate, people stared at him
+as they do at a stranger in little far-off towns. Once inside, he turned
+into a street, and was immediately obliged to step into a door-way, for
+a man leading a horse was approaching, and they needed all its breadth.
+Houses, several stories high, bordered these incredibly dark, narrow
+ways, and some of the upper windows had the diminutive balconies so dear
+to the South. It was a bright, hot day, but the sun seldom peeped into
+these streets; and in the shops the light was dull at mid-day. As he
+thought of the men and women of Mediaevalism, who did not dare to wander
+in the fields beyond the town, because their safety lay within its
+ramparts, suddenly, the little public squares of walled towns appeared
+in all the real significance of their light and breadth and sunshine.
+Space is precious in Entrevaux, and open places are few. There is one
+where the hotels and cafes are found, another across the drawbridge
+behind the Cathedral-tower, and a tiny one before the church itself.
+This is the most curious of them all; for, far from being a "Place de la
+Cathedrale," it is a true "Place d'Armes." Near the portals, on whose
+wooden doors the mitre and insignia of papal favour are carved, a few
+steps lead to a narrow ledge where archers could stand and shoot from
+the loop-holes in the walls. As the traveller sat on this ledge and
+wondered what scenes had been enacted here, how many deadly shots had
+sped from out the holes, what crowds of excited townsfolk had gathered
+in the church, what grave words of exhortation and of blessing had been
+spoken from the altar or the threshold by anxious prelate, robed and
+mitred for the Mass of Supplication to a God of Battles, an humble
+funeral appeared,--a priest, a peasant bearing a black wooden Cross with
+the name of the deceased painted on it, a rope-bound coffin carried by
+hot and sorrowing women, and a little procession of friends. The pomps
+and vanities of the past disappeared as a mist from the traveller's
+mind, and he saw Entrevaux as it really is, without the comforts of this
+world's goods, without the greatness of a Bishopric, a small Provencal
+village whose perfection of quaintness--so charming to him who passes
+on--means hardship and discomfort to those who have been born and must
+live and die there.
+
+[Illustration: "A FORT THAT PERCHES ON A SHARP PEAK."--ENTREVAUX.]
+
+[Illustration: "A TRUE PLACE D'ARMES."--ENTREVAUX.]
+
+And yet so potent is that charm, when the traveller re-crossed the
+drawbridge and looked up at the sharp teeth of the portcullis that may
+still fall and bite, when he had passed out on the high-road and turned
+again and again to watch the fading sunlight on the tangled mass of
+roofs, the illusion had returned. The bastions stood out in bold relief,
+the church tower with its crenellated top stood out against the rocky
+peaks, the sun fell suddenly behind the hill, and the traveller felt
+himself again a minstrel wandering in a mediaeval night.
+
+[Illustration: "THE LONG LINES OF WALLS THAT ZIGZAG DOWN THE
+HILLSIDE."--ENTREVAUX.]
+
+
+[Sidenote: Sisteron.]
+
+The traveller is curious,--frankly curious. Almost every time that he
+enters a Cathedral, his memory recalls the words of Renan, "these
+splendid marvels are almost always the blossoming of some little
+deceit," and after he has feasted his eye, he thinks of history and of
+details, and of Renan, prejudiced but well-informed, and wonders what
+was here the "little deceit." At Grasse, he had longed for the papers a
+certain lawyer has, which tell much of the city's life a hundred and
+fifty years ago, and at Sisteron, he sat by the Durance, wondering how
+he could induce a kind and good old lady of a remote corner of Provence
+to lend him an ancient manuscript, which even the gentle Cure said she
+"obstinately" refused to "impart." Blessed are they who can be satisfied
+with guide-books, as his friends who had visited Avignon and Arles,
+Tarascon and the Saintes-Maries-de-la-Mer, and had seen Provence to
+their entire edification while he was merely peering about
+Notre-Dame-des-Doms and the Fort Saint-Andre. Of a more indolent and
+leisurely turn of mind, he suffers--and perhaps justly--the penalty of
+his joyous idleness, for even lawyers and good ladies with hidden papers
+are rare. Revolutionary sieges, fires, and a wise discretion have led to
+the destroying of many a fine old page, and it is often in vain one goes
+to these decaying cities of Provence. "We see," he said, gesticulating
+dejectedly, "we see their towers and their walls, but if we say we know
+that place, how many times do we deceive ourselves. It is too often as
+though we claimed to know the life and thought and passions of a man
+from looking on his grave."
+
+But--to consider what we may know. Sisteron is an old Roman city, most
+strongly and picturesquely built in a narrow defile of the Durance. On
+one side the river is the high, bare rock of La Baume; on the other, a
+higher rock where houses, supporting each other by outstretched
+buttresses, seem to cling to the sheer hillside as shrubs in mountain
+crevasses, and are dominated and protected by a large and formidable
+fortress-castle that crowns the very top of the peak. The town walls are
+almost gone; the fortress is abandoned; since the Revolution there are
+no longer Bishops in Sisteron; but the old town has lost little of its
+war-like and romantic atmosphere of days when it commanded an important
+pass, and when the way across the Durance was guarded by a drawbridge,
+and a big portcullis that now stands in rusty idleness.
+
+[Illustration: "THE CHURCH TOWER STOOD OUT AGAINST THE ROCKY
+PEAKS."--ENTREVAUX.]
+
+It is claimed that the Bishopric of this stronghold was founded in the
+IV century, and grew and flourished mightily, until the Bishop dwelt
+securely on his rock, his Brother of Gap had a "box" on the opposite
+bank, the Convent of the little Dominican Sisters was further up the
+river, and, besides this busy ecclesiastical life, there was the world
+of burghers in the town and its Convent of Ursulines. Here came once
+upon a time a sprightly lady who added a thousand lively interests. This
+was Louise de Cabris, sister of the great Mirabeau, "who, when a mere
+girl, had been married to the Marquis de Cabris. Part knave, part fool,
+the vices of de Cabris sometimes ended in attacks of insanity. His
+marriage with one who united the violence of the Mirabeaus to the
+license of the Vassans was unfortunate; ... and after Louise began to
+reign in the big dark house of the Cours of Grasse, life never lacked
+for incidents." Matters were not mended by the arrival of her brother,
+twenty-four and wild, and supposed to be living under a "lettre de
+cachet" in the sleepy little town of Manosque. The two were soon
+embroiled in so outrageous a scandal that their father, who loved a
+quarrel for its own sake, sided with the prosecution; and declaring that
+"no children like his had ever been seen under the sun," took out a
+"lettre de cachet" for Louise, who was sent up to Sisteron, where he
+requested her to "repent of her sins at leisure in the Convent of the
+Ursulines." Inheriting a brilliant, restless wit and unbridled morals,
+her life with the stupid, vicious Marquis had not improved her natural
+disposition, and she soon set Sisteron agog. On pretence of business all
+the lawyers flocked to see her; and with no pretence at all the garrison
+flocked in their train. When the Ursulines ventured to remonstrate, she
+diverted them with such anecdotes of gay adventure as were never found
+between the pages of their prayer-books. Finally the whole town was
+divided into two camps; her foes called her "a viper," and many an eye
+peered into the dark streets, many a head was judiciously hidden behind
+bowed shutters, to see who went toward the Convent; till by wit and
+scheming and after some months of most surprising incident, Louise
+carried her point, left the good Ursulines to a well-merited repose,
+and returned to the Castle of Mirabeau,--to laugh at the townsfolk of
+Sisteron.
+
+[Illustration: "THE CATHEDRAL IS NEAR THE HEAVY, ROUND TOWERS OF THE
+OUTER RAMPARTS."--SISTERON.]
+
+[Illustration: "THE BRIDGE ACROSS THE DURANCE."--SISTERON.]
+
+When in the city, the prelates occupied their Castle of the Citadel with
+the high lookouts and defences, far from their Cathedral, which is in
+the lower town near the heavy, round towers of the ramparts. This
+church, which has been very slightly and very judiciously restored, is
+of unknown date, probably of the XII century, it is faithful to the
+native architectural tradition, and in some details more interesting
+than many of the Provencal Cathedrals. Its exterior is small and low.
+There are the familiar, friendly little apses of the Romanesque; near
+them, above the east end of the north aisle, the squat tower with a
+modest, modern spire; and at its side, above the roof-line, is the
+octagon that stands over the dome. All this structure is unaffectedly
+simple. The walls and buttresses which enclose the aisles are plain, and
+it is only by comparison with this architectural Puritanism that the
+facade may be considered ornate. Near the top of its wall, which is
+supported by sturdy piers, are three round windows, with deep, splayed
+frames. The largest of them is directly above the high, slender portal
+that is somewhat reminiscent of the Italian influence, so elaborately
+marked further up the valley, at Embrun. The rounded arch of the
+door-way and its pointed gable are repeated, on either side, in a
+half-arch and half-gable. An allegorical animal, in relief, stands above
+the central arch, and a few columns with delicate capitals complete the
+adornment of the entrance-way, which, in spite of being the most
+decorative part of the church, is most discreet.
+
+Nine steps lead down into an interior that is small, very usually
+planned, and much defaced by XVII century gilt--yet is essentially
+dignified and impressive. Eliminate the tawdry altars, take away the
+stucco Saints and painted Virgins, let the chapels be mere shadowy
+corners in the dark perspective, and the little church appears like the
+meeting-place of the Faithful of an early Christianity. Its nave and
+each of the narrow side aisles rise to round tunnel-vaults; there are
+but five bays, and the last is covered by a small, octagonal dome. The
+whole church is built of a dark stone that is almost black, its lighting
+is very dim, and centres in the little apses where the holiest statues
+stand and the most sacred rites are celebrated; and the worshippers,
+shrouded in twilight, have more of the atmosphere of mystery than is
+usual in the Cathedrals of Provence, the subtle influence of quiet
+shadowy darkness that is so potent in the churches of the Spanish
+borderland.
+
+[Illustration: "ENTRANCES TO TWO NARROW STREETS."--SISTERON.]
+
+Many will pass through Sisteron and enjoy its rugged strength, its
+sun-lit days, its narrow streets, and the peaks that stand out in solemn
+sternness against the dark blue sky at night. Notre-Dame-de-Pomeriis has
+none of the salient beauty of any of these, and to appreciate its
+ancient charm, it must not be forgotten that the Provencal Cathedral has
+not the distinction of size or the elaboration of the greater Cathedrals
+of Gascony, that it is far removed from the fine originalities of
+Languedoc, that it is conventional, and, as it were, clannish, and that
+its highest dignity is in a simple quiet that is never awe-full. There
+is, in truth, more than one church of this country that needs the
+embellishment of its history to make it truly interesting. But
+Notre-Dame of Sisteron is not of these. It is not the big, empty shell
+of Carpentras, nor the little rough Cathedral of Orange. It is the
+smaller, more perfect one, of finer inspiration, which the many will
+pass by, the few enjoy.
+
+
+
+
+IV.
+
+CATHEDRALS OF THE VALLEYS.
+
+
+[Sidenote: Orange.]
+
+Lying on the Rhone, and almost surrounded by the papal Venaissin, is a
+tiny principality of less than forty thousand acres. This small state
+has given title to more than one distinguished European who never
+entered its borders, and who was alien to it not only in birth, but in
+language and family. So great was the fame of its rulers that this
+small, isolated strip of land suffered for their principles, and
+probably owes to them much of its devastation in the terrible Wars of
+Religion. From the well-known convictions of the Princes of Orange, the
+country was always counted a refuge for heretics of all shades, and in
+1338 they were in sufficient force to demolish the tower of the
+Cathedral. Later in history, Charles IX declared William of Nassau "an
+outlaw" and his principality "confiscate"; and in 1571, there was a
+three days' massacre of Protestants. In spite of this horrid orgy the
+Reformers rose again in might and soon prevented all celebration of
+Catholic rites. Refugees fleeing from the Dragonnades of Dauphine and of
+the Cevennes poured into the principality; and when the Princes of
+Orange were strong enough to protect their state, its Catholics lived
+restricted lives; but when the Protestant power waned, Kings and
+Captains of France raided the land in the name of the Church. And at
+the death of William of Orange, King of England, Louis XIV seized the
+capital of the state, razed its great palace and its walls, and after
+the Treaty of Utrecht had awarded the principality to the French crown,
+treated the defenceless Huguenots with the same impartial cruelty he had
+meted to their fellow-believers in other parts of the kingdom. Orange's
+changes in religious fate are not unlike those of Nimes, with this
+essential difference, that here Catholicism has conquered triumphantly.
+Where ten worship in the little Protestant temple, a thousand throng to
+the Mass.
+
+Both in history and its monumental Roman ruins, the capital of this
+province, Orange, is one of the richest cities of the Southland, but its
+Cathedral is very poor and mean. The plan is one of the simplest of the
+Provencal conceptions, a "hall basilica," archaeologically interesting,
+but in its present state of patch and repair, architecturally
+commonplace and unbeautiful. In spite of Protestant attacks and Catholic
+restorations, the XI century type has been maintained, a rectangle whose
+plain double arches support a tunnel vault and divide the interior into
+four bays. The piers are heavy and severe; and between them are alcoves,
+used as chapels. The choir, narrower than the nave, is preceded by the
+usual dome, and beyond it is a little unused apse, concealed from the
+rest of the interior by a wall. Unimportant windows built with
+distinctly utilitarian purpose successfully light this small, simple
+room, and no kindly shadow hides its bareness or diminishes the unhappy
+effect of the paintings which disfigure the walls. The Cathedral's
+exterior is so surrounded by irregular old houses that the traveller had
+discovered it with some difficulty. It has little that is worthy of
+description, and after having entered by a conspicuously poor
+Renaissance portal only to go out under an uninteresting modern one, he
+found himself lost in wonder that the Cathedral-builders of
+Notre-Dame-de-Nazareth should have utterly failed in a town which
+offered them such inspiring suggestions as the great Arch of Triumph and
+the still greater Imperial Theatre, besides all the other remains of
+Roman antiquity which, long after the building of Notre-Dame, the
+practical Maurice of Orange demolished for the making of his mediaeval
+castle.
+
+
+[Sidenote: Cavaillon.]
+
+It was growing dusk, of a spring evening, when the traveller arrived at
+Cavaillon and wandered about the narrow streets and came upon the
+Cathedral. Glimpses of an interesting dome and a turret-tower had
+appeared once or twice above the house-tops, leading him on with
+freshened interest, and there was still light enough for many first
+impressions when he arrived before the low cloister-door. But here was
+no place for peaceful meditation. An old woman, coiffed and bent,
+brushed past him as she entered, a chair in each hand; and as he effaced
+himself against the church wall, a younger woman went by, also
+chair-laden. Two or three others came, talking eagerly, little girls in
+all stages of excitement ran in and out, and little boys came and went,
+divided between assumed carelessness and a feeling of unusual
+responsibility. Then a priest appeared on the threshold, not in
+meditation, but on business. Another, old and heavy, and panting,
+hurried in; and through the cloister-door, Monsieur le Cure, breviary in
+hand, prayed watchfully. A little fellow, running, fell down, and the
+priest sprang to lift him; the child was too small not to wish to cry,
+but too much in haste to stop for tears. The priest watched him with a
+kindly shrug and a smile as he ran on;--there was no time for laughing
+or crying, there was time for nothing but the mysterious matter in hand.
+
+"What is it?" the traveller finally asked.
+
+"Ah, Monsieur, to-morrow is the day of the First Communion. We all have
+just prayed, just confessed, in the church; and our parents are
+arranging their places. For to-morrow there will be crowds--everybody.
+You too, Monsieur, are coming perhaps? The Mass is at half-past six."
+
+Such was the living interest of the place that the traveller moved away
+without any very clear architectural impression of the Cathedral, except
+of the curiously narrow bell-turret and of the height of the dome.
+
+He did not see the early Mass, but toward ten wandered again to the
+Cathedral and entered the cloister-door. It was a low-vaulted, sombre
+little Cloister which all the chattering, animated crowds could not
+brighten. Formerly two sides were gated off, and priests alone walked
+there. The other sides were public passage-ways to the church. Now only
+the iron grooves of the gates of separation remain, and the four walks
+were thronged with people. Little girls in the white dresses of their
+First Communion, veiled and crowned with roses, were hurrying to their
+places; an old grandmother, with her arm around one of the little
+communicants, knelt by a column, gazing up to the Virgin of the
+cloister-close; proud and anxious parents led their children into
+church, and friends met and kissed on both cheeks. In one corner, an old
+woman was driving a busy trade in penny-worths of barley candy.
+Diminutive altar-boys in white lace cassocks and red, fur-trimmed
+capes, offered religious papers for sale. It was a harvest day for
+beggars, and "for the love of the good God" many a sou was given into
+feeble dirty hands.
+
+[Illustration: "IT WAS A LOW-VAULTED, SOMBRE LITTLE CLOISTER."
+CAVAILLON.]
+
+For a time the traveller walked about the Cloister, so tiny and worn a
+Cloister that on any other day it must have seemed melancholy indeed. So
+low a vaulting is not often found, massive and rounded and seeming to
+press, lowering, above the head. The columns, which help to support its
+weight, are short and heavy and thick, so worn that their capitals are
+sometimes only suggestive and sometimes meaningless. On one side the
+carving is distinctly Corinthian; on another altogether lacking. Between
+the columns, one could glance into a close so small that ten paces would
+measure its length. It was a charming little spot, all filled with
+flowers and plants that told of some one's constant, tender care. From
+above the nodding flowers and leaves rose the statue of the Madonna and
+the Child.
+
+The tolling bell called laggards to Mass. With them, the traveller
+entered the church, and found it so crowded that it was only after
+receiving many knocks from incoming children, and sundry blows on the
+head and shoulders from ladies who carried their chairs too carelessly,
+after minutes of time and a store of patience, that he finally reached a
+haven, a corner of the Chapel of Saint-Veran. There, under the care of
+the Cathedral's Patron, he escaped further injuries and assisted at a
+long, interesting ceremony.
+
+Mass had already begun, but the voice of the priest and the answering
+organ were lost in the movement of excited friends, the murmur of
+questions, and the clatter of nailed shoes on the stone floor. A Suisse,
+halberd in hand, and gorgeous in tri-cornered hat and the red and gold
+of office, kept the aisle-ways open with firm but kind insistence; and
+the priests who were directing the children in the body of the church,
+were wise enough to overlook the disorder, which was not irreverence,
+but interest. For days, everybody had been thinking of this ceremony;
+everybody wanted "good places." But few found them. For the little nave
+of the church was chiefly given up to the communicants. They sat on long
+benches, facing each other. The boys, sixty or seventy of them, were
+nearest the Altar; the girls, even more numerous, nearest the door. A
+young priest walked between the rows of boys and the old, panting Father
+directed the girls.
+
+The whole interior of the church, at whose consecration no less a
+prelate than Pope Innocent IV had presided, is small and its plan is
+essentially of the Provencal type. The high tunnel vault rests, like
+that of Orange, on double arches; and as the nave is very narrow and its
+light very dim, the church seems lofty, sombre, and impressive, with a
+very serious dignity which its detail fails to carry out. The chapels,
+which lie between the heavy buttresses, are dim recesses which increase
+the darkened effect of the interior. Of the ten, only three differ
+essentially from the general plan; and although of the XVII century,
+their style is so severe and they are so ill-lighted that they do not
+greatly debase the church. The choir is entered from under a rounded
+archway, and its dome is loftier than the nave and much more beautiful
+than the semi-dome of the apse, whose roof, in these practical modern
+times, has been windowed.
+
+That which almost destroys the effect of the church's fine lines and
+would be intolerable in a stronger light, is the mass of gilt and
+polychrome with which the interior is covered. The altars are
+monstrously showy, the walls and buttresses are coloured, and even the
+interesting, sculptured figures beneath the corbels have been carefully
+tinted. The dead arise with appropriate mortuary pallor, the halo of
+Christ is pure gold, and all the draperies of God and His saints are in
+true, primary shadings.
+
+From the contemplation of this misuse of paint, and of a sadly misplaced
+inner porch of the XVII century, the traveller's attention was recalled
+to the old priest. His hand was raised, the eye of every little girl was
+fixed on him and instantly, in their soft, shrill voices, they began the
+verse of a hymn. The traveller glanced down the nave. Every boy was on
+his feet, white ribbons hanging bravely from the right arm, the Crown of
+Thorns correctly held in one white-gloved hand, a Crucifix fastened with
+a bow of ribbon to the coat lapel. Every eye was on the young priest,
+who also raised his hand. Then they sang, as the girls had sung, and
+with a right lusty will. And then, under the guiding hands, both boys
+and girls sang together. There was a silence when their voices died
+away, and from the altar a deep voice slowly chanted "Ite; missa est,"
+and the High Mass of the First Communion Day was over.
+
+Outside, little country carts stood near the church, and fathers and
+brothers in blue blouses were waiting for the little communicants who
+had had so long and so exciting a morning. Walking about with the
+crowds, the traveller saw an exterior whose facade was plainly
+commonplace and whose bare lateral walls were patched, and crowded by
+other walls. Finally he came upon the apse, the most interesting part of
+the church's exterior; and he leaned against a cafe wall and looked
+across the little square.
+
+Externally, the apse of Saint-Veran has five sides, and each side seems
+supported by a channelled column. The capitals of these columns are
+carved with leaves or with leaves and grotesques; on them round arches
+rest; and above is a narrow foliated cornice. In relieving contrast to
+the artificial classicism of the Renaissance of the interior, the
+feeling of this apse is quite truly ancient and pagan, and it is not
+less unique nor less charming because it is placed against a plain,
+uninteresting wall. The eye travelling upward, above the choir-dome,
+meets the lantern with its rounded windows and pointed roof, and by its
+side the high little bell-turret which completes a curious exterior; an
+exterior which is interesting and even beautiful in detail, but
+irregular and heterogeneous as a whole.
+
+The Cathedral of Cavaillon is one of many possibilities. Although small
+like those of its Provencal kindred, it has more dignity than Orange,
+more simplicity of interior line than the present Avignon, and it is to
+be regretted that it should have suffered no less from restoration than
+from old age.
+
+[Illustration: THE CATHEDRAL'S TOWER AND TURRET.--CAVAILLON.]
+
+
+[Sidenote: Apt.]
+
+Few of the Cathedral-churches of the Midi are without holy relics, but
+none is more famous, more revered, and more authentic a place of
+pilgrimage than the Basilica of Apt. It came about in this way, says
+local history. When Martha, Lazarus, and the Holy Marys of the Gospels
+landed in France, they brought with them the venerated body of Saint
+Anne, the Virgin's Mother; and Lazarus, being a Bishop, kept the holy
+relic at his episcopal seat of Marseilles. Persecutions arose, and
+dangers innumerable; and for safety's sake the Bishop removed Saint
+Anne's body to Apt and sealed it secretly in the wall. For centuries,
+Christians met and prayed in the little church, unconscious of the
+wonder-working relic hidden so near them; and it was only through a
+miracle, in Charlemagne's time and some say in his presence, that the
+holy body was discovered. This is the history which a sacristan recites
+to curious pilgrims as he leads them to the sub-crypt.
+
+The sub-crypt of Sainte-Anne, one of the earliest of Gallo-Roman
+"churches," is not more than a narrow aisle; its low vault seems to
+press over the head; the air is damp and chill; and the one little
+candle which the patient sacristan moves to this side and to that, shows
+the plain, un-ornamented stone-work and the undoubted masonry of Roman
+times. It was part of the Aqueduct which carried water to the Theatre in
+Imperial days, and had become a chapel in the primitive Christian era.
+At the end which is curved as a choir is a heavy stone, used as an
+altar; and high in the wall is the niche where the body of the church's
+patron lay buried for those hundreds of years. It is a gloomy, cell-like
+place, most curious and most interesting; and as the traveller saw faith
+in the earnest gaze of some of his fellow-visitors, and doubt in the
+smiles of others, he wondered what ancient ceremonials, secret Masses,
+or secret prayers had been said in this tiny chamber, and what rows of
+phantom-like worshippers had filed in and out the dark corridor.
+
+Directly above is the higher upper crypt of the church, a diminutive but
+true choir, with its tiny altar and ambulatory,--a jewel of the
+Romanesque, heavy and plain and beautifully proportioned, with columns
+and vaulting in perfect miniature. This, from its absolute purity of
+style, is the most interesting part of the church; and being a crypt, it
+is also the most difficult to see. In vain the sacristan ran from side
+to side with his little candle, in vain the traveller gazed and
+peered,--the little church was full of shadows and mysteries, dark and
+lost under the weight of the great choir above.
+
+[Illustration: "THE MAIN BODY OF THE CHURCH."--APT.]
+
+Even the main body of the church, above ground, is dimly lighted by
+small, rounded windows above the arches of the nave, and from the dome
+of Saint Anne's Chapel. Doubtless, on Sundays after High Mass, when the
+great doors are opened, the merry sun of Provence casts its cheerful
+rays far up the nave. But this is a church which is the better for its
+shadows. A Romanesque aisle of the IX or X century, built by that same
+Bishop Alphant who had seen the construction of the little crypt church,
+a central nave of the XI century, Romanesque in conception, and a north
+aisle of poor Provencal Gothic make a large but inharmonious
+interior. Restoration following restoration, chapels of the XVIII
+century, new vaultings, debased and conglomerate Gothic, and spectacular
+decorations of gilded wood have destroyed the architectural value and
+real beauty of the Cathedral's interior. Yet in the dim light, which is
+the light of its every-day life, the great height of the church and its
+sombre massiveness are not without impressiveness.
+
+The exterior dominates the city, but it is so hopelessly confused and
+commonplace that its natural dignity is lost. The heavy arch which
+supports the clock tower forms an arcade across a narrow street and
+makes it picturesque without adding dignity to the church itself. The
+walls are unmeaning, often hidden by buildings, and there is not a
+portal worthy of description. There is the dome of Saint Anne's Chapel
+with a huge statue of the Patron, and the lantern of the central dome
+ending in a pointed roof; but each addition to the exterior seems only
+an ignorant or a spiteful accentuation of the general architectural
+confusion.
+
+To the faithful Catholic, the interest of Sainte-Anne of Apt lies in its
+wonderful and glorious relics. Here are the bodies of Saint Eleazer and
+Sainte Delphine his wife, a couple so pious that every morning they
+dressed a Statue of the Infant Jesus, and every night they undressed it
+and laid it to rest in a cradle. There is also the rosary of Sainte
+Delphine whose every bead contained a relic; and before the Revolution
+there were other treasures innumerable. During many years Apt has been
+the pilgrim-shrine of the Faithful, and great and small offerings of
+many centuries have been laid before the miracle-working body of the
+Virgin's sainted Mother.
+
+[Illustration: THE VIRGIN AND SAINT ANNE. _By Benzoni._]
+
+The most famous of those who came praying and bearing gifts was Anne of
+Austria, whose petition for the gift of a son, an heir for France, was
+granted in the birth of Louis XIV. In gratitude, the Queen enriched the
+church by vestments wrought in thread of gold and many sacred ornaments;
+and at length she commanded Mansart to replace the little chapel in
+which she had prayed, by a larger and more sumptuous one, a somewhat
+uninteresting structure in the showy style of the XVII century, which is
+now the resting-place of Saint Anne. In this chapel is the most
+beautiful of the church's treasures which, strange to say, is a piece of
+modern sculpture given by the present "Monseigneur of Avignon." It is
+small, and badly placed on a marble altar of discordant toning, with a
+draped curtain of red gilt-fringed velvet for its background. Yet in
+spite of these inartistic surroundings it has lost none of its tender
+charm. Seated, with a scroll on her knees, the aged mother is earnestly
+teaching the young Virgin who stands close by her side. The slender old
+hand with its raised forefinger emphasises the lesson, and the loving
+expression of the wrinkled, ascetic face, the attentiveness of the
+Virgin and her slim young figure, make a touching picture, and a
+beautiful example of the power of the modern chisel. Yet faith in
+shrines and miraculous power is not, in this XX century, as pure nor as
+universal as in the days of the past; and Faith, in Provencal Apt which
+possesses so large a part of the Saint's body, is not as simple, and
+therefore not as strong as in Breton Auray which has but a part of her
+finger. Republicanism in the south country is not too friendly to the
+Church, kings and queens no longer come with prodigal gifts, and
+Sainte-Anne of Apt has not the peasant strength of Sainte-Anne of Auray.
+And in spite of the great feast-day of July, in spite of Aptoisian
+pride, in spite of the devotion and prayers of faithful worshippers, the
+Cathedral of Apt is a church of past rather than of present glories.
+
+
+[Sidenote: Riez.]
+
+Just as the church-bells were chiming the morning Angelus, and the warm
+sun was rising on a day of the early fall, a traveller drove out of old
+Manosque. He had no gun,--therefore he had not come for the hunting; he
+had no brass-bound, black boxes, and therefore could not be a "Commis."
+What he might be, he well knew, was troubling the brain of the
+broad-backed man sitting before him, who, with many a long-drawn
+"Ou-ou-u-u-" was driving a fat little horse. But native courtesy
+conquered natural curiosity and they drove in silence to the long, fine
+bridge that spans the river of evil repute:
+
+    "Parliament, Mistral, and Durance
+    Are the three scourges of Provence."
+
+At that time of year, however, the Durance usually looks peaceable and
+harmless enough; half its great bed is dry and pebbly, and the water
+that rushes under the big arches of the bridge is not great in volume.
+But the size and strength of the bridge itself and certain huge rocks,
+placed for a long distance on either side of the road, are significant
+of floods and of the spring awakening of the monstrous river that, like
+Doctor Jekyll and Mr. Hyde, has two lives.
+
+[Illustration: "SAINT-MARTIN-DE-BROMES WITH ITS HIGH, SLIM TOWER."]
+
+[Illustration: "THE FORTIFIED MONASTERY OF THE TEMPLARS."--(NEAR
+GREOUX).]
+
+The road wound about the low hills of the Alps, past a massive,
+fortified monastery of the Templars whose windows gape in ruin; past
+Saint-Martin-de-Bromes with its high, slim, crenellated watch-tower;
+past many quiet little villages where in the old times, Taine says,
+"Good people lived as in an eagle's nest, happy as long as they were not
+slain--that was the luxury of the feudal times." Between these villages
+lay vast groves of the grey-green olive-trees, large flourishing farms,
+and, further still, the bleak mountains of the Lower Alps. It was toward
+them the driver was turning, for rising above a smiling little valley,
+surrounded by fields of ripened grain, lay Riez. A donjon stands above a
+broken wall, on the hillside houses cluster around a church's spire, and
+alone, on the top of the hill, stands the little Chapel of Saint-Maxime,
+the only relic of the Great Seminary that was destroyed by the
+Revolutionists of '89. Here, after the destruction of one of the several
+Cathedrals of Riez, the Bishop celebrated Masses, but the little chapel
+was never consecrated a Cathedral. It has been recently restored and
+re-built in an uninteresting style,--the exterior is bare to ugliness,
+the interior so painted that the six old Roman columns which support the
+choir are overwhelmed by the banality of their surroundings. The plateau
+on which the chapel is built is now almost bare; olive-trees grow to its
+edges and there is no trace of the Seminary that was once so full of
+active life. The traveller, sitting in the shade of the few pine-trees,
+looked over the broad view toward the peaks whose bare rocks rise with
+awful sternness, and the little hills that stand between them and the
+valley, till finally his eyes wandered to the town beneath, and the
+firm, broad roads which approach it from every direction. For Riez,
+although in the lost depths of Provence, far from railways and tourists,
+is a bee-hive of industry, largely supplying the necessities of these
+secluded little towns. Its hat-making, rope factories, and tanneries are
+quite important; the shops of its main streets are not without a
+tempting attractiveness, and there is all the provincial stateliness of
+Saint-Remy with much less stagnancy.
+
+Riez was the Albece Reiorum Apollinarium in the Colonia Julia Reiorum of
+the Romans, but there are very few traces of the city with this
+high-sounding name. The whole atmosphere of the little town is XII
+century. Two of its old gates, part of the wall, and the crenellated
+tower still stand, with ruined convents and monasteries of Capuchins,
+Cordeliers, and Ursulines; and it may be inferred from the remains of
+the Bishop's Palace and the broad promenade which was one of its
+avenues, and from the episcopal chateau at Montagnac, that
+ecclesiastical state was not less worthily upheld at Riez than in the
+other Sees of the South of France.
+
+Many difficulties, however, had beset the Cathedral-building prelates.
+Their first church, Notre-Dame-du-Siege, dating partly from the
+foundation of the See in the IV century, partly from the X and XII
+centuries, was destroyed by storm and flood, and its site near the
+treacherous little river being considered too perilous, a new Cathedral
+of Notre-Dame-du-Siege and Saint-Maxime was begun; and it was then that
+the Bishops celebrated temporarily at Saint-Maxime's on the hill.
+
+During the Revolution the See was suppressed; the church has been much
+re-built and changed; so that only a tower which is part of the present
+Notre-Dame-du-Siege, and the traces of the earliest foundation near the
+little Colostre, remain to tell of the different Cathedrals of Riez.
+
+[Illustration: "THE TOWER OF NOTRE-DAME-DU-SIEGE."--RIEZ.]
+
+Near the site of the oldest church is one of the few monuments of a very
+early Christianity which have escaped the perils of time. It is of
+unknown date, and although it is said to have been part of the Cathedral
+which stood between it and the river, it appears to have been always an
+independent and separate building. The peasants say that in the memory
+of their forefathers it was used as a chapel, they call it indefinitely
+"the Pantheon," "the Temple," or "the Chapel of Saint-Clair," but it was
+almost certainly a baptistery of that curious and beautiful type which
+was abandoned so early in the evolution of Christian architecture.
+
+[Illustration: "NOTHING COULD BE MORE QUAINTLY OLD AND MODEST THAN THE
+BAPTISTERY."--RIEZ.]
+
+Following the road which his innkeeper pointed out, the traveller became
+so absorbed in the busy movement of the communal threshing-ground, the
+arrival of the yellow grain, the women who were wielding pitchforks, and
+the horses moving in circles, with solemn rhythm, that he nearly passed
+a low building, the object of his search. Nothing could be more quaintly
+old and modest than the baptistery of Riez. It is a small square
+building of rough cemented stone whose stucco has worn away. The roof is
+tiled, and from out a flattened dome, blades of grass sprout sparsely. A
+tiny bell-turret and an arch in the front wall complete the
+ornamentation of this humble, diminutive bit of architecture, and except
+that it is different from the usual Provencal manner of construction,
+one would pass many times without noticing it.
+
+[Illustration: "BETWEEN THE COLUMNS AN ALTAR HAS BEEN
+PLACED."--BAPTISTERY, RIEZ.]
+
+Walking down the steps which mark the differences that time has made in
+the levels of the ground and entering a small octagonal hall, one of the
+most interesting interiors of Provence meets the eye. "Each of its four
+sides," writes Jules de Lauriere, "which correspond to the angles of the
+outer square, has a semicircular apse built in the walls themselves. The
+eight columns, placed in a circle about the centre of the edifice,
+divide it into a circular nave and a central rotunda, and support eight
+arches which, in turn, support an octagonal drum, and above this is the
+dome." This room is of simple and charming architectural conception, and
+even in melancholy ruin, it has much beauty. It gains in comparison with
+the re-constructed baptisteries of Provence, for something of a
+primitive character has been preserved to which such modern altars and
+XVII century trappings as those of Aix and Frejus are fatal. Under the
+heavy dust there is visible an unhappy coating of whitewash, traces of a
+fire still blacken the walls, fragments of Roman sculpture are scattered
+about, and between the columns a pagan altar has been placed for
+safe-keeping. The columns themselves are of pagan construction, and as
+they differ somewhat in size and capitals, it is not improbable that
+they came from the ruins of several of the great public buildings of
+Riez. At the time of the baptistery's construction, the barbaric
+invasion had begun, and these Roman monuments may have been in ruins;
+but in any case, it was a pious and justifiable custom of Christians to
+take from pagan structures, standing or fallen, stones and pillars that
+would serve for building churches to the "one, true God." The pillars
+procured for this laudable purpose at Riez, with their beautiful, carved
+capitals, gave the little baptistery its one decoration, and far from
+disturbing the simplicity of its style, they add a slenderness and
+height and harmony to a room which, without them, would be too stiffly
+bare. In the rotunda which they form, excavations have brought to light
+a baptismal pool, and conduits which brought to it sufficient quantities
+of water for the immersion--whole or partial--that was part of the
+baptismal service of the early Church. But the archaeological work has
+abruptly ceased, and it is to be deeply regretted that here, in this
+deserted place, where the Church desires no present restorations in
+accordance with particular rites or modern styles of architecture, there
+should not be a complete rehabilitation, a baptistery restored to the
+actual state of its own era.
+
+[Illustration: "THE BEAUTIFUL GRANITE COLUMNS."--RIEZ.]
+
+Wandering across the fields, with the re-constructive mania strong upon
+him, the traveller came across the beautiful granite columns which with
+their capitals, bases, and architraves of marble, are the last standing
+monument of Riez's Roman greatness. Fragments of sculpture, bits of
+stone set in her walls, exist in numbers; but they are too isolated, too
+vague, to suggest the lost beauty and grandeur which these lonely
+columns express. He gazed at them in wonder. Was he stepping where once
+had been a grand and busy Forum, was he looking at the Temple of some
+great Roman god? The voices of the threshers sounded cheerily, the
+Provencal sun shone bright and warm, but one of the greatest of
+mysteries was before him,--the silent mystery of a dead past that had
+once been a living present. He sat by the river, and tossed pebbles into
+its shallow waters; the slanting rays of the sun gave the columns
+delicate tints, old yellows and greys and violets, and at length, as
+evening fell, they seemed to grow higher and whiter in the paler light,
+until they looked like lonely funereal shafts, recalling to the memory
+of forgetful man, Riez's long-dead greatness.
+
+
+[Sidenote: Senez.]
+
+In the comfortable civilisation of France, the stage-coach usually
+begins where the railroad ends; and however remote a destination or
+tedious a journey, an ultimate and safe arrival is reasonably certain.
+This was the reflection which cheered the traveller when he began to
+search for Senez, an ancient city of the Romans which was christianised
+in the early centuries and enjoyed the rank of Bishopric until the
+Revolution of '89. In spite of this dignified rank and the tenacity of
+an ancient foundation, it lies so far from modern ken that even worthies
+who live fifty miles away could only say that "Senez is not much of a
+place, but it doubtless may be found ten--perhaps fifteen--or even
+twenty kilometres behind the railroad."
+
+"If Monsieur alighted at Barreme, probably the mail for Senez would be
+left there too. And where letters go, some man or beast must carry
+them, and one could always follow."
+
+With these vague directions, the traveller set gaily out for Barreme,
+where a greater than he had spent one bleak March night on the anxious
+journey from Elba to Paris. The town shows no trace of Napoleon's
+hurried visit. It looks a mere sleepy hamlet, and when the traveller
+left the train he had already decided to push his journey onward.
+
+"To Senez?" A man stepped up in answer to his inquiry. "Certainly there
+was a way to get there, the mail-coach started in an hour. And a hotel?
+A very good hotel--not Parisian perhaps, but hot food, a bottle of good
+wine, and a clean bed. Could one desire more on this earth?"
+
+The traveller thought not, and left the station--to stand transfixed
+before the most melancholy conveyance that ever bore the high-sounding
+name of "mail-coach." A little wagon in whose interior six thin persons
+might have crowded, old windows shaking in their frames, the remains of
+a coat of yellow paint, and in front a seat which a projecting bit of
+roof protected from the sun,--this was the mail-coach of Senez, drawn by
+a dejected, small brown mule, ragged with age, and a gaunt white horse
+who towered above him. To complete the equipage, this melancholy pair
+were hitched with ropes.
+
+In due course of time the driver came, hooked an ancient tin box marked
+"Lettres" to the dash-board, threw in a sacking-bag, and cap in hand,
+invited the traveller to mount with him "where there was air." The long
+whip cracked authoritatively, the postilion, a beautiful black dog,
+jumped to the roof, and the mail-coach of Senez, with rattle and creak,
+started on its scheduled run.
+
+"Houp-la, thou bag of lazy bones done up in a brown skin! Ho-la, thou
+whited sepulchre, thinkest thou I will get out and carry thee? Take this
+and that."
+
+[Illustration: "THE MAIL-COACH OF SENEZ."]
+
+On either side the whip hit the road ferociously, but the old beasts of
+burden shook their philosophic heads and slowly jogged on, knowing well
+they would not be touched.
+
+The hot sun of Provence, which "drinks a river as man drinks a glass of
+wine," shone on the long, white "route nationale" that stretched out in
+well-kept monotony through a valley which might well have been named
+"Desolation." On either hand rose mountains that were great masses of
+bare, seared rocks, showing the ravages of forgotten glaciers; the soil
+that once covered them lay at their feet. Scarcely a shrub pushed out
+from the crevices, and even along the road, the few thin poplars found
+the poorest of nourishment.
+
+Crossing a small bridge, there came into view an ancient village, a mere
+handful of clustered wooden roofs, irregular, broken, and decayed.
+
+"It was a city in the days when we were Romans," said the Courier, "and
+they say that there are treasures underneath our soil. But who can tell
+when people talk so much? And certainly two sous earned above ground buy
+hotter soup than one can gain in many a search for twenty francs below."
+
+He whipped up for a suitable and striking entry into town, turned into a
+lane, and with much show of difficulty in reining up, stood before the
+"hotel."
+
+The traveller, having descended, entered a room that might have been the
+subject of a quaint Dutch canvas. He saw a low ceiling, smoky walls,
+long rows of benches, a sanded floor, and pine-board tables that
+stretched back to an open door; and through the open door, the pot
+swinging above the embers of the kitchen fire. The mistress of the inn,
+a strong white-haired woman of seventy, came hurrying in to greet her
+guest. "It was late," she said, and quickly put a basin full of water, a
+new piece of soap, and a fresh towel on a chair near the kitchen door;
+and as the traveller prepared himself for dinner he heard the crackling
+of fresh boughs upon the fire and the cheerful singing of the pot.
+Little lamps were lighted, and when he came to his table's end, he found
+good country wine and a steaming cabbage-soup. Others came in to dine
+and smoke and talk, and later from his bed-room window, he saw their
+ghostly figures moving up and down the unlighted streets and heard them
+say good-night. The inn-door was noisily and safely barred, and when the
+retreating footsteps and the voices had died away, the quiet of the dark
+remained unbroken until a watchman, with flickering lantern, passed, and
+cried aloud "All's well."
+
+[Illustration: "THE OPEN SQUARE."--SENEZ.]
+
+Next morning the sun shone brightly on Senez, and the traveller hurried
+to the open square. A horse, carrying a farmer's boy, meandered slowly
+by, a chicken picked here and there, and water trickled slowly from the
+tiny faucet of the village fountain.
+
+[Illustration: "THE PALACE OF ITS PRELATES."--SENEZ.]
+
+In this quiet spot, near the lonely desolation of the hills, is the
+Cathedral. The Palace of its prelates, which is opposite, is now a
+farm-house where hay-ricks stand in the front yard, and windows have
+been walled up because Provencal winds are cold and glass is dear.
+
+[Illustration: THE CATHEDRAL.--SENEZ.]
+
+Looking at this residence, one would think that the last Bishops of
+Senez were insignificant priests, steeped in country wine and country
+stagnancy. But such a supposition is very far from true. For we know
+that in the XVIII century, Jean Soannen, Bishop of the city, was called
+before a Council at Embrun to answer a charge of resistance to the
+far-famed Bull "Unigenitus," and so strong were his convictions and so
+great his loyalty to his conscience, that he resisted the Council as
+well as the Bull, and was deprived of his See as a Jansenist and
+recalcitrant, and exiled to the Abbey of La-Chaise-Dieu. In quiet Senez
+there must always have been time for reflection, and one can imagine the
+bitter struggle of this brave man as he walked the rooms of the Palace,
+as he crossed and re-crossed the small square to the Cathedral. One can
+imagine his wrestling with God and his conscience every time that he
+celebrated a Mass for the people before the Cathedral's altar. One can
+understand the bitter fight between two high ideals, irreconcilable in
+his life,--that of work in God's vineyard or of doctrinal purity as he
+saw it. He had to choose between them, this Bishop of Senez, and when he
+left the town to answer the summons of the Council at Embrun, his heart
+must have been sore within him, he must have said farewell to many
+things. Few decisions can be more serious than the renunciation of
+family and home for the service of God, few more solemn than the
+struggles between the flesh and the spirit; but no more pathetic picture
+can exist than that sad figure of Jean Soannen; for he had renounced
+family and the world, and for the sake of "accepted truth" which was
+false to him, endured helpless, solitary insignificance under the
+espionage of suspicious and unfriendly monks. The traveller remembered
+his tomb, that tomb in a small chapel near the foot of the stair-case in
+the famous Abbey far-away, and sighing, hoped that in his mournful
+exile, the Bishop may have realised that "they also serve who only stand
+and wait."
+
+The Bull Unigenitus, which caused his downfall, is believed to have
+caused, during the last years of Louis XIV's bigotry, the persecution of
+thirty thousand respectable, intelligent, and orderly Frenchmen. De
+Noailles, several Bishops, and the Parliament of Paris refused to accept
+it, though they stopped short of open rebellion, and even Fenelon
+"submitted" rather than acceded to it. This famous and vexatious
+document was an unhappy emanation of Pope Clement XIII. Hard pressed by
+his faithful supporters, the Jesuits, he promulgated it in 1713, and it
+condemns with great explicitness one hundred and one propositions which
+are taken from Quesnel's Jansenistic "Reflexions morales sur le Nouveau
+Testament." The Jesuits held the Jansenists in a horror which the
+Jansenists reciprocated; the Pope owed almost too heavy a debt of
+gratitude to the order of Saint Ignatius and was constrained to repay.
+But the Bull, instead of procuring peace, brought the greatest
+affliction and desolation of mind to His Holiness, and when later, the
+French envoy asked him why he had condemned such an odd number of
+propositions, the Pope seizing his arm burst into tears.
+
+"Ah Monsieur Amelot! Monsieur Amelot! What would you have me do? I
+strove hard to curtail the list, but Pere Le Tellier"--Louis XIV's last
+confessor and a devoted Jesuit--"had pledged his word to the King that
+the book contained more than one hundred errors, and with his foot on my
+neck, he compelled me to prove him right. I condemned only one more!"
+
+The Cathedral of Senez is an humble village church where frank and
+simple poverty exists with the remains of ancient splendour. It is
+small, as are all churches of its style, and although it does not lack a
+homely dignity, it is a modest work of XII century Romanesque, and the
+sonorous title of its consecration in 1242, "the Assumption of the
+Blessed Virgin Mary," suggests an impressiveness which the Cathedral
+never had.
+
+Two heavy buttresses that support the facade wall are reminiscent of the
+more majestic Notre-Dame-du-Bourg of Digne, and on them rest the ends of
+a pointed gable-roof. Between these buttresses, the wall is pierced by a
+long and graceful round-arched window, and below the window is the
+single, pointed portal whose columns are gone and whose delicate
+foliated carvings and mouldings are sadly worn away. A sun-dial painted
+on the wall tells the time of day, and at the gable's sharpest point a
+saucy little angel with a trumpet in his mouth blows with the wind.
+
+[Illustration: THE CATHEDRAL.--SENEZ.]
+
+Entering the little portal, the traveller saw the poor wooden benches of
+the congregation massed together, and beyond them, the stalls of
+long-departed Canons. In front of these old stalls, stood the church's
+latest luxury, a melodeon, and above them hung the tapestries of its
+richer past. Tapestries also beautify the choir-walls, and on either
+side, are the narrow transepts and the apses of a good old style. There
+are also poor and tawdry altars which stand in strange, pitiable
+contrast with the old walls and the fine tunnel vaulting, the dignified
+architecture of the past.
+
+[Illustration: "TAPESTRIES BEAUTIFY THE CHOIR WALLS."--SENEZ.]
+
+Leaving the interior, where a solitary peasant knelt in prayer, the
+traveller saw side-walls bare as the mountains round about, the squat
+tower that rises just above the roof, and coming to the apse-end he
+found the presbytery garden. From the garden, beyond the fallen gate, he
+saw the church as the Cure saw it, the three round apses with their
+little columns, the smaller decorative arches of the cornices, the
+pointed roof, and between branches full of apple blossoms, the softened
+lines of the low square tower. Here, trespassing, the Cure found him.
+And after they had walked about the town, and talked the whole day long
+of the great world which lay so far beyond, they went into the little
+garden as the sun was going down, and fell to musing over coffee cups.
+The priest was first to speak.
+
+"Perhaps, buried under those old church walls, lie proofs of our early
+history, the stones of some old Temple, or statues of its gods; for we
+were once Sanitium, a Roman city in a country of six Roman roads.
+Perhaps all around us were great monuments of pagan wealth, a Mausoleum
+near these bare old rocks like that which stands in loneliness near
+Saint-Remy, Villas, Baths, or Triumphal Arches."
+
+The keen eyes softened, as he continued in gentle irony, "Down in this
+little valley of the Asse de Blieux, our town seems far away from any
+scene in which the great ones of earth took part. Although I know that
+it is true, it often seems to me a legend that the gay and gallant
+Francis I, rushing to a mad war, stopped on his way to injure us; and
+that four hundred years ago a band of Huguenots raved around our old
+Cathedral, and tried to pull it to the ground."
+
+"And do you think it can be true," the traveller asked, "that Bishops
+held mysterious prisoners in that tower for most dreary lengths of
+time?"
+
+[Illustration: "BETWEEN BRANCHES FULL OF APPLE-BLOSSOMS, THE CHURCH AS
+THE CURE SAW IT."--SENEZ.]
+
+The Cure smiled, and shook his white head. "That is a story which the
+peasants tell,--an old tradition of the land. It may be true, since
+priests are mortal men and doubtless dealt with sinners." He smiled
+indulgently. "Through the many years I have been here, I have often
+wondered about all these things, but it is seldom I can speak my
+thoughts. Sometimes when I am here alone, I lose the sense of present
+things and seem to see the phantoms of the past. Then the dusk comes on,
+as it is coming now; the night blots Senez from my sight as fate has
+blotted out its record from history,--and I realise that our human
+memory is in vain."
+
+
+[Sidenote: Aix.]
+
+The old Cathedral of Saint-Sauveur at Aix is not one of those rarely
+beautiful churches where a complete and restful homogeneity delights the
+eye, nor is it a church of crude and shocking transitions. It is rather
+a well-arranged museum of ecclesiastical architecture, where, in
+sufficient historical continuity and harmony, many Provencal conceptions
+are found, and the evolution of Provencal architecture may be very
+completely followed. As in all collections, the beauty of Saint-Sauveur
+is not in a general view or in any glance into a long perspective, but
+in a close and loving study of the details it encloses; and so charming,
+so really beautiful are many of the diverse little treasures of Aix,
+that such study is better repaid here than in any other Provencal
+Cathedral. For this is one of the largest Cathedrals of the province,
+and the buildings which form the ecclesiastical group are most
+complete. With its baptistery, Cloister, church, and arch-episcopal
+Palace, it is not only of many epochs and styles, but of many historical
+uncertainties, and the hypotheses of its construction are enough to daze
+the most hardened archaeologist.
+
+[Illustration: "THE SOUTH AISLE."--AIX.]
+
+The oldest part of the Cathedral is the baptistery, and the date of its
+origin is unknown. Much of its character was lost in a restoration of
+the XVII century, but its old round form, the magnificent Roman columns
+of granite and green marble said to have been part of the Temple to
+Apollo, give it an atmosphere of dignity and an ancient charm that even
+the XVII century--so potent in architectural evil--was unable to
+destroy.
+
+[Illustration: THE ROMANESQUE PORTAL.]
+
+In 1060, after the destructive vicissitudes of the early centuries,
+Archbishop Rostaing d'Hyeres issued a pastoral letter appealing to
+the Faithful to aid him in the re-building of a new Cathedral; and it
+may be reasonably supposed that the nave which is at present the south
+aisle, the baptistery, and the Cloisters were the buildings that were
+dedicated less than fifty years later. They are the only portions of the
+church which can be ascribed to so early a period, and with the low door
+of entrance, the single nave and the adjoining cloister-walk, they
+constitute the usual plan of XI century Romanesque. Considering this as
+the early church, in almost original form, it will be seen that the
+portal is a very interesting example of the Provencal use not only of
+Roman suggestion, but of the actual fragments of Roman art which had
+escaped the invader; that the south aisle, in itself a completed
+interior, bears a close resemblance to Avignon; and that the Cloister,
+although now very worn and even defaced, must have been one of the
+quaintest and most delicate, as it is one of the tiniest, in Provence.
+Three sides of its arcades support plain buildings of a later date; the
+fourth stands free, as if in ruin. Little coupled columns, some
+slenderly circular, some twisted, and some polygonal, rest on a low
+wall; piers, very finely and differently carved, are at each of the
+arcade angles; the little capitals of the columns were once beautifully
+cut, and even the surfaces of the arches have small foliated disks and
+rosettes and are finished in roll and hollow. Unfortunately, a very
+large part of this detail-work is so defaced that its subjects are
+barely suggested, some are so eaten away that they are as desolate of
+beauty as the barren little quadrangle; and the whole Cloister seems to
+have reached the brink of that pathetic old age which Shakespeare has
+described, and that another step in the march of time would leave it
+"sans everything."
+
+[Illustration: THE CLOISTER.--AIX.]
+
+About two hundred years later, in 1285, the Archbishop of Aix found the
+Cathedral too unpretending for the rank and dignity of the See, and he
+began the Gothic additions. Like many another prelate his ambitions were
+larger than his means; and the history of Saint-Sauveur from the XIII to
+the XIX century, is that oft-told tale of new indulgences offered for
+new contributions, halts and delays in construction, emptied treasuries,
+and again, appeals and fresh efforts. The beginnings of the enlarged
+Cathedral were architecturally abrupt. The old nave, becoming the south
+aisle, was connected with the new by two small openings; it retained
+much of its separateness and in spite of added chapels much actual
+isolation. The Gothic nave, the north aisle and its many chapels, the
+apse, and the transepts, whose building and re-construction stretched
+over the long period between the XIII and XVII centuries, are
+comparatively regular, uniform, and uninteresting. The most ambitious
+view is that of the central nave, whose whole length is so little broken
+by entrances to the side aisles, that it seems almost solidly enclosed
+by its massive walls. Here in Gothic bays, are found those rounded,
+longitudinal arches which belong to the Romanesque and to some structure
+whose identity is buried in the mysterious past. The choir, with its
+long, narrow windows, and clusters of columnettes, is very pleasing, and
+its seven sides, foreign to Provence, remind one of Italian and Spanish
+constructive forms and take one's memory on strange jaunts, to the
+far-away Frari in Venice and the colder Abbey of London. From the choir
+of Saint-Sauveur two chapels open; and one of them is a charming bit of
+architecture, a replica in miniature of the mother-apse itself. The
+paintings of this mother-apse are neutral, its glass has no claim to
+sumptuousness, and the stalls are very unpretending; but above them hang
+tapestries ascribed to Matsys, splendid hangings of the Flemish school
+that were once in old Saint Paul's.
+
+With these beautiful details the rich treasure-trove of the interior is
+exhausted, and one passes out to study the details of the exterior. The
+Cathedral's single tower, which rises behind the facade line, was one of
+the parts that was longest neglected,--perhaps because a tower is less
+essential to the ritual than any other portion of an ecclesiastical
+building. Begun in 1323, the work dragged along with many periods of
+absolute idleness, until 1880, when a balustrade with pinnacles at each
+angle was added to the upper octagonal stage, and the building of the
+tower was thus ended. The octagon with its narrow windows rests on a
+plain, square base that is massively buttressed. It is a pleasant,
+rather than a remarkable tower, and one's eye wanders to the more
+beautiful facade. Here, encased by severely plain supports, is one of
+the most charming portals of Provencal Gothic. Decorated buttresses
+stand on either side of a large, shallow recess which has a high and
+pointed arch, and in the centre, a slim pier divides the entrance-way
+into two parts, pre-figuring the final division of the Just and the
+Unjust. A multitude of finely sculptured statues were formerly hidden in
+niches, under graceful canopies, and in the hundred little nooks and
+corners which lurk about true Gothic portals. Standing Apostles and
+seated Patriarchs, baby cherubs peering out, and the more dramatic
+composition of the tympanum--the Transfiguration,--all lent a dignity
+and wealth to Saint-Sauveur. Unfortunately many of these sculptures were
+torn from their crannies in the great Revolution; and it is only a few
+of the heavenly hosts,--the gracious Madonna, Saint Michael, and the
+Prophets,--that remain as types of those that were so wantonly
+destroyed. The low, empty gables that sheltered lost statues, their
+slender, tapering turrets, and the delicate outer curve of the arch, are
+of admirable, if not imposing, composition. The portal's wooden doors,
+protected by plain casings, abound in carvings partly Renaissance,
+partly Gothic. The Sibyls and Prophets stand under canopies, surrounded
+by foliage, fruits, and flowers, or isolated from each other by little
+buttresses or pilasters. This Gothic portal quite outshines, in its
+graceful elaboration, the smaller door which stands near it, in the
+simpler and not less potent charm of the Romanesque. And side by side,
+these portals offer a curiously interesting comparison of the essential
+differences and qualities of their two great styles. If the Romanesque
+of Saint-Sauveur is far surpassed at Arles and Digne and Sisteron,
+nowhere in Provence has Gothic richer details; and if the noblest of
+Provencal creations must be sought in other little cities, the lover of
+architectural comparisons, of details, of the many lesser things rather
+than of the harmony of a single whole, will linger long in Aix.
+
+[Illustration: THE CATHEDRAL.--AIX.]
+
+The old city itself shows scarcely a trace of the many historic dramas
+of which it has been the scene,--the lowering tragedy of the Vaudois
+time,--the bright, gay comedy of good king Rene's Court,--the shorter
+scenes of Charles V's occupation,--the Parliament's struggle with
+Richelieu and Mazarin,--the day of the fiery Mirabeau,--the grim
+melodrama of the Revolution,--all have passed, and time has destroyed
+their monuments almost as completely as the Saracens destroyed those of
+the earlier Roman days. Only a few, unformed fragments of the great
+Temple of Apollo remain in the walls of Saint-Sauveur. The earliest
+Cathedral, Sainte-Marie-de-la-Seds, has entirely disappeared, the old
+thermal springs are enclosed by modern buildings, and only the statue of
+"the good King Rene" and the Church of the Knights of Malta give to Aix
+a faint atmosphere of its past distinction. Who would dream that here
+were the homes of the elegant and lettered courtiers of King Rene's
+brilliant capital, who would think that this town was the earliest Roman
+settlement in Gaul, the Aquae Sextiae of Baths, Temples, Theatres, and
+great wealth? Aix is a stately town, a provincial capital which Balzac
+might well have described--with old, quiet streets that are a little
+dreary, with a fine avenue shaded by great trees in whose shadows a few
+fountains trickle, with lines of little stages that come each day from
+the country,--a city whose life is as far in spirit from the near-by
+modernity of Marseilles as it is from that of Paris, as quaintly and
+delightfully provincial as that other little Provencal city, the
+Tarascon of King Rene and of Tartarin.
+
+
+
+
+Languedoc.
+
+
+
+
+I.
+
+CATHEDRALS OF THE CITIES.
+
+
+[Sidenote: Nimes.]
+
+Entering Languedoc from the valley of the Rhone, the Cathedral-lover is
+doomed to disappointment in the city of Nimes. All that intense,
+intra-mural life of the Middle Ages seems to have passed this city by,
+and its traces, which he is so eager to find, prove to be neither
+notable nor beautiful.
+
+[Illustration: "AN AMPHITHEATRE WHICH RIVALS THE ART OF THE
+COLISEUM."--NIMES.]
+
+The great past of Nimes is of a more remote antiquity than the Cathedral
+Building Ages. A small but exquisite Temple, a Nymphaeum, Baths, parts of
+a fine Portal, Roman walls, and an Amphitheatre which rivals the art of
+the Coliseum,--these are the ruins of Nimean greatness. She was
+essentially a city of the Romans, and that, even to-day, she has not
+lost the memory of her glorious antiquity was well illustrated in 1874,
+when the Nimois, with much pomp and civic pride, unveiled a statue to
+"their fellow-countryman," the Emperor Antoninus Pius. These are the
+memories in which Nimes delights. Yet her history of later times, if not
+glorious, is full of strange and curious interest. Like all the ancient
+cities of the South, she fell into the hands of many a wild and alien
+foe, and at length in 737, Charles Martel arrived at her gates. Grossly
+ignorant of art, no thing of beauty that stood in his path escaped fire
+and axe; and smoke-marks along the arena walls show to-day how narrowly
+they escaped the irreparable destruction which had wiped out the Forum,
+the Capitol, the Temple, the Baths, and all the magnificence of Roman
+Narbonne. To both the early and the later Middle Ages, Roman remains had
+scarcely more meaning than they had for the Franks. The delicate Temple
+of Trajan's wife, scorned for its pagan associations, was used as a
+stable, a store-house, and, purified by proper ceremonials, it even
+became a Christian church. The Amphitheatre has had a still stranger
+destiny. To a mediaeval Viscount, it was naturally inconceivable as a
+place of amusement, and as naturally, he saw in its walls a stronghold
+where he could live as securely as ever lord in castle. As a fortress
+which successfully defied Charles Martel, it was a place of no mean
+strength, and in 1100 it had become "a veritable hornets' nest, buzzing
+with warriors."
+
+A few years before, Pope Urban II had landed at Maguelonne and ridden to
+Clermont to preach the First Crusade. On his return he stopped at Nimes
+and held a Council for the same holy purpose. Raymond de Saint-Gilles,
+Count of Toulouse and overlord of Nimes, travelled there to meet the
+Sovereign Pontiff, and amid the wonderful ferment of enthusiasm which
+the "Holy War" had aroused, the South was pledged anew to this romantic
+and war-like phase of the cause of Christ. Trencavel, Viscount of Nimes,
+loyal to God and his Suzerain, followed Raymond to Palestine. Its
+natural protectors gone, the city formed a defensive association called
+the "Chevaliers of the Arena." As its name implies, this curious
+fraternity was composed of the soldiers of the ancient amphitheatre.
+Like many others of the time it was semi-military, semi-religious, its
+members bound by many solemn oaths and ceremonies, and thus, by the
+eccentricity of fate, this old pagan playground became a fortress
+consecrated to Christian defence, the scene of many a solemn Mass.
+
+The divisions in the Christian faith, which followed so closely the
+fervours of the Crusades, were most disastrous to Nimes. From the XIII
+until the XVII centuries, wars of religion were interrupted by
+suspicious and unheeded truces, and these in turn were broken by fresh
+outbursts of embittered contest. An ally of the new "Crusaders" in Simon
+de Montfort's day, Nimes became largely Protestant in the XVI century;
+and in 1567, as if to avenge the injuries their ancestors had formerly
+inflicted on the Albigenses, the Nimois sacked their Bishop's Palace and
+threw all the Catholics they could find down the wells of the town. This
+celebration of Saint Michael's Day was repaid at the Massacre of Saint
+Bartholomew. The wise Edict of Nantes brought a truce to these
+hostilities,--its revocation, new persecutions and flights. A hundred
+years later the Huguenots were again in force, and, aided by the unrest
+of the Revolution, successfully massacred the Catholics of the city; and
+during the "White Terror" of 1815 the Catholics arose and avenged
+themselves with equal vigour. When it is remembered that this savage and
+vindictive spirit has characterised the Nimois of the last six hundred
+years, it is scarcely surprising that they should prefer to dwell on the
+remote antiquity of their city rather than on the unedifying episodes of
+her Christian history.
+
+Between the glories of her paganism and the disputes of Christians, the
+Faith has struggled and survived; but in the Cathedral-building era,
+religious enthusiasm was so often expended in mutual fury and reprisals
+that neither time nor thought was left for that common and gentle
+expression of mediaeval fervour, ecclesiastical architecture. And the
+Church of Notre-Dame-et-Saint-Castor, which would seem to have suffered
+from the neglect and ignorance of both patrons and builders, is one of
+the least interesting Cathedrals in Languedoc.
+
+A graceful gallery of the nave, which also surrounds the choir, is the
+notable part of the interior, and the insignificance of the exterior is
+relieved only by a frieze of the XI and XII centuries. On this frieze is
+sculptured, in much interesting detail, the Biblical stories of the
+early years of mankind; but it is unfortunately placed so high on the
+front wall that it seems badly proportioned to the facade, and as a
+carved detail it is almost indistinguishable. As has been finely said
+the whole church is "gaunt" and unbeautiful; it is a depressing mixture
+of styles, Roman, Romano-Byzantine, and Gothic; and in studying its one
+fine detail, a photograph or a drawing is much more satisfactory than an
+hour's tantalising effort to see the original.
+
+
+[Sidenote: Montpellier.]
+
+Montpellier is "an agreeable city, clean, well-built, intersected by
+open squares with wide-spread horizons, and fine, broad boulevards, a
+city whose distinctive characteristics would appear to be wealth, and a
+taste for art, leisure, and study." The "taste" and the "art" are
+principally those of the pseudo-classic style, an imitation of "ancient
+Greece and imperial Rome," which the French of the XVIII century carried
+to such unpleasant excess. The general characteristics of the imitation,
+size and bombast, are well epitomised in the principal statue of
+Montpellier's fine Champ de Mars, which represents the high-heeled and
+luxurious Louis XIV in the unfitting armour of a Roman Imperator,
+mounted on a huge and restive charger. Such affectation in architectural
+subjects is the death-blow to all real beauty and originality, and
+Montpellier has gained little from its Bourbon patrons except a series
+of fine broad vistas. No city could offer greater contrast to the
+ancient and dignified classicism of Nimes.
+
+If the mediaeval origin of Montpellier were not well known, one would
+believe it the creation of the Renaissance, and the few narrow, tortuous
+streets of the older days recall little of its intense past, when the
+city grew as never before nor since, when scholars of the genius of
+Petrarch and the wit of Rabelais sought her out, when she belonged to
+Aragon or Navarre and not to the King of France. This is the interesting
+Montpellier.
+
+In the XIII century, she had a University which the Pope formally
+sanctioned, and a school of medicine founded by Arabian physicians which
+rivalled that of Paris. More significant still to Languedoc, her
+prosperity had begun to overshadow that of the neighbouring Bishopric of
+Maguelonne, and a bitter rivalry sprang up between the two cities. From
+the first Maguelonne was doomed. She had no schools that could rival
+those of Montpellier; she ceased to grow as the younger city increased
+in fame and size, till even history passed her by, and the stirring
+events of the times took place in the streets of her larger and more
+prosperous neighbour. Finally she was deserted by her Bishops, and no
+longer upheld by their episcopal dignity, her fall was so overwhelming
+that to-day her mediaeval walls have crumbled to the last stone and only
+a lonely old Cathedral remains to mark her greatness. In 1536 my Lord
+Bishop, with much appropriate pomp and ceremony, rode out of her gates
+and entered those of Montpellier as titular Bishop for the first time.
+
+He did not find the townsmen so elated by the new dignity of the city as
+to have broken ground for a new Cathedral, nor did he himself seem
+ambitious, as his predecessors of Maguelonne had been, to build a church
+worthy of his rank. However, as a Bishop must have a Cathedral-church,
+the chapel of the Benedictine monastery was chosen for this honour and
+solemnly consecrated the Cathedral of Saint-Pierre of Montpellier. This
+chapel had been built in the XIV century, and at the time of these
+episcopal changes, only the nave was finished. It was, however, Gothic;
+and as this style had become much favoured by the South at this late
+period, the Bishop must have believed that he had the beginning of a
+very fine and admirable Cathedral. In the religious wars which followed
+1536, succeeding prelates found much to distract them from any further
+building; the Cathedral itself was so injured that such attention as
+could be spared from heretics to mere architectural details was devoted
+to necessary restorations and reconstructions, and the finished
+Saint-Pierre of to-day is an edifice of surprising modernity.
+
+In the interior, the nave and aisles are partially of old construction,
+but the beautiful choir is the XIX century building of Revoil. Of the
+exterior, the entire apse is his also, and as the portal of the south
+wall was built in 1884 and the northern side of the Cathedral is
+incorporated in that of the Bishop's Palace, only the tower and the
+facade are mediaeval.
+
+[Illustration: "ITS GENERAL EFFECT IS SOMEWHAT THAT OF A
+PORTE-COCHERE."--MONTPELLIER.]
+
+None of the towers have much architectural significance, either of
+beauty or originality. In comparison with the decoration of the facade
+they make but little impression. This decoration has more original
+incongruity than any detail ever applied to facade, Gothic or
+Romanesque, and is an extreme example of the license which southern
+builders allowed themselves in their adaptation of the northern style.
+It is a vagary, and has appealed to some Anglo-Saxon travellers, but
+French authorities, almost without dissent, allude to it apologetically
+as "unpardonable." Its general effect is somewhat that of a
+porte-cochere, whose roofing, directly attached to the front wall, is
+gothically pointed, and supported by two immense pillars. The pillars
+end in cones that resemble nothing in the world so much as sugar-loaves,
+and the whole structure is marvellously unique. Yet strange to say, the
+effect of the facade, with the smoothness and roundness of its pillars
+and the uncompromising squareness of its towers, while altogether bad,
+is not altogether unpleasing. Standing before it the traveller was both
+bewildered and fascinated as he saw that even in the extravagance of
+their combinations, the builders, with true southern finesse, had
+avoided both the grotesque and the monstrous.
+
+[Illustration: "THE FINEST VIEW IS THAT OF THE APSE."--MONTPELLIER.]
+
+As a whole, Saint-Pierre is a fine Cathedral; through many stages of
+building, enlarging, and re-constructing, its style has remained
+consonant; but the general impression is not altogether harmonious. The
+perspective of the western front, which should be imposing, is destroyed
+by a hill which slopes sharply up before the very portal. The facade is
+attached to the immense, unbroken wall of the old episcopal Palace, and
+the majesty, which is a Cathedral's by very virtue of its height alone,
+is entirely destroyed by a seemingly interminable breadth of wall.
+Reversing the natural order of things, the finest view is that of the
+apse. And this modern part is, in reality, the chief architectural glory
+of this comparatively new Cathedral and its comparatively modern town.
+
+
+[Sidenote: Beziers.]
+
+"You have only to look from a distance at any old-fashioned
+Cathedral-city and you will see in a moment the mediaeval relations
+between Church and State. The Cathedral is the city. The first object
+you catch sight of as you approach is the spire tapering into the sky,
+or the huge towers holding possession of the centre of the
+landscape--majestically beautiful--imposing by mere size. As you go
+nearer, the pinnacles are glittering in the tints of the sunset, when
+down below among the streets and lanes twilight is darkening. And even
+now, when the towns are thrice their ancient size, ... the Cathedral is
+still the governing force in the picture, the one object which possesses
+the imagination, and refuses to be eclipsed." These words are the
+description of Beziers as it is best and most impressively seen. From
+the distance, the Cathedral and its ramparts rise in imposing mass, a
+fine example of the strength, pride, and supremacy of the Church.
+
+As we approach, the Cathedral grows much less imposing, and its facade
+gives the impression of an unpleasant conglomeration of styles. It is
+not a fortress church, yet it was evidently built for defence; it is
+Gothic, yet the lightness and grace of that art are sacrificed to the
+massiveness and resistive strength, imperatively required by southern
+Cathedrals in times of wars and bellicose heretics. The whole building
+seems a compromise between necessity and art.
+
+It is, however, a notable example of the Gothic of the South, and of the
+modifications which that style invariably underwent, through the
+artistic caprice of its builders, or the political fore-sight of their
+patrons, the Bishops.
+
+The facade of Saint-Nazaire of Beziers has a Gothic portal of good but
+not notable proportions, and a large and beautiful rose-window. As if to
+protect these weaker and decorative attempts, the builder flanked them
+with two square towers, whose crenellated tops and solid, heavy walls
+could serve as strongholds. Perhaps to reconcile the irreconcilable,
+crenellations joining the towers were placed over the rose-window, and
+at either end of the portal, a few inches of Gothic carving were cut in
+the tower-wall. The result is frank incongruity. And the traveller left
+without regret, to look at the apse. It cannot be denied that the
+clock-tower which comes into view is very square and thick; but in spite
+of that it has a simple dignity, and as the apse itself is not florid,
+this proved to be the really pleasing detailed view of the Cathedral.
+The open square behind the church is tiny, and there one can best see
+the curious grilled iron-work, which in the times of mediaeval outbreaks
+protected the fine windows of the choir and preserved them for future
+generations of worshippers and admirers. It was after noon when the
+traveller finished his investigations of Saint-Nazaire; and as the
+southern churches close between twelve and two, he took dejeuner at a
+little cafe near-by and patiently waited for the hour of re-opening. Had
+there been nothing but the interior to explore, he could not have spent
+two hours in such contented waiting. But there was a Cloister,--and on
+the stroke of two he and the sacristan met before the portal.
+
+[Illustration: "THE CLOCK-TOWER IS VERY SQUARE AND THICK."--BEZIERS.]
+
+In describing their "monuments," French guide-books confine themselves
+to facts, and the adjectives "fine" and "remarkable"; they are almost
+always strictly impersonal, and the traveller who uses them as a
+cicerone, has a sense of unexpected discovery, a peculiar elation, in
+finding a monument of rare beauty; but he is never subjected to that
+disappointed irritation which comes when one stands before the
+"monument" and feels that one's expectations have been unduly
+stimulated. The Cloister of Beziers is a "fine monument," but as he
+walked about it, the traveller felt no sense of elation. He found a
+small Cloister, Gothic like the Cathedral, with clustered columns and
+little ornamentation. It was not very completely restored, and had a
+sad, melancholy charm, like a solitary sprig of lavender in an old
+press, or a rose-leaf between the pages of a worn and forgotten Missal.
+In the Cloister-close, stands a Gothic fountain; but the days when its
+waters dropped and tinkled in the stillness, when their sound mingled
+with the murmured prayers and slow steps of the priests,--those days are
+long forgotten. The quaint and pretty fountain is now dry and
+dust-covered; while about it trees and plants and weeds grow as they
+may, and bits of the Cloister columns have fallen off, and niches are
+without their guarding Saints.
+
+[Illustration: "THE QUAINT AND PRETTY FOUNTAIN."--BEZIERS.]
+
+By contrast, the Cathedral itself seems full of life. Its interior is an
+aisle-less Gothic room, whose fine height and emptiness of column or
+detail give it an appearance of vast and well-conceived proportions.
+Except the really beautiful windows of the choir, which are a study in
+themselves, there is very little in this interior to hold the mind; one
+is lost in a pleasant sense of general symmetry. As the traveller was
+sitting in the nave, a few priests filed into the choir, and began, in
+quavering voices, to intone their prayers, and in the peacefulness of
+the church, in the trembling monotony of the weak, old voices, his
+thoughts wandered to the stirring history which had been lived about the
+Cathedral, and within its very walls. For Beziers was and had always
+been a hot-bed of heretics. Here in the IV century, long before the
+building of the Cathedral, the Emperor Constantius II forced the
+unwilling Catholic Bishops of Gaul to join their heretical Aryan
+brethren in Council; here the equally heretical Visigoths gave new
+strength to the dissenters; and here, again, after centuries of
+orthodoxy which Clovis had imposed, a new centre of religious storm was
+formed. It was about this period, the XII and XIV centuries, that the
+Cathedral was built; and it is perhaps because of the strength of those
+French protestants against the Church of Rome, the Albigenses, that its
+essentially Gothic style was so confused by military additions. At the
+beginning of the troublous times of which these towers are reminders,
+Raymond-Roger of Trencavel, the gallant and romantic Lord of
+Carcassonne, was also Viscount of Beziers; and contrary to the fanatical
+enthusiasm of his day, was much disposed toward religious toleration;
+therefore in the early wars of Catholics and Protestants the city of
+Beziers became the refuge not only for the terrified Faithful of the
+surrounding country, but for many hunted Protestants. In the XIII
+century, the zeal of the Catholic party, reinforced by the political
+interests of its members, grew most hot and dangerous. Saint Dominic had
+come into the South; and in his fearful, fiery sermons, he not only
+prophesied that the Albigenses would swell the number of the damned at
+the Day of Judgment, but also advocated that, living, they should know
+the hell of Inquisition. Partisans of the Catholic Faith were solemnly
+consecrated "Crusaders" by Pope Innocent III, and wore the cross in
+these Wars of Extermination as they had worn it in the Holy Wars of
+Palestine. In 1209 their army advanced against Beziers, and from out
+their Councils the leaders sent the Bishop of the city to admonish his
+flock.
+
+All the inhabitants were summoned to meet him, and they gathered in the
+choir and transepts of the Cathedral,--the only parts which were
+finished at that time. One can imagine the anxious citizens crowding
+into the church, the coming of the angered prelate, whose state and
+frown were well calculated to intimidate the wavering, and the tense
+silence as he passed, with grave blessing, to the altar. In a few words,
+he advised them of their peril, spiritual and material; he told them he
+knew well who was true and who false to the Church, that he had, in
+written list, the very names of the heretics they seemed to harbour.
+Then he begged them to deliver those traitors into his hands, and their
+city to the Legate of the Holy Father. In fewer words came their answer;
+"Venerable Father, all that are here are Christians, and we see amongst
+us only our brethren." Such words were a refusal, a heinous sin, and
+dread must have been written on every face, as without a word or sign of
+blessing, the outraged Bishop swept from the church and returned to the
+camp of their enemy.
+
+The Crusaders' Councils were stormy; for some of the nobles wished to
+save the Catholics, others cried out for the extermination of the whole
+rebellious place, and finally the choleric Legate, Armand-Amaury, Abbot
+of Citeaux, could stand it no longer, and cried out fiercely, "Kill them
+all! God will know His own." The words of their Legate were final, the
+army attacked the city, and--as Henri Martin finely writes,--"neither
+funeral tollings nor bell-ringings, nor Canons in all their priestly
+robes could avail, all were put to the sword; not one was saved, and it
+was the saddest pity ever seen or heard." The city was pillaged, was
+fired, was devastated and burned "till no living thing remained."
+
+"No living thing remained" to tell the awful tale, and yet with time and
+industry, a new and forgetful Beziers has risen to all its old prestige
+and many times its former size; the Cathedral alone was left, and its
+most memorable tale to our day is not that of the abiding peace of the
+Faith, but that of the terrible travesty of religion of the
+twenty-second of July, hundreds of years ago.
+
+
+[Sidenote: Narbonne.]
+
+"Narbonne is still mighty and healthful, if one is to judge from the
+activities of the present day; is picturesque and pleasing, and far more
+comfortably disposed than many cities with a more magnificently imposing
+situation." These words, which were running in the traveller's mind,
+grew more and more derisive, more and more ironical, as he walked about
+Narbonne. Not in all the South of France had he seen a city so
+depressing. Her decline has been continuous for the long five hundred
+years since the Roman dykes gave way and she was cut off from the sea.
+Agde, almost as old, displays the decline of a dignified, retired old
+age; Saint-Gilles-du-Gard was as dirty, but not a whit as pretentious;
+Nimes was majestically antique; Narbonne, simply sordid.
+
+It is sad to think that over two thousand years ago she was a second
+Marseilles, that she was the first of Rome's transalpine colonies, and
+that under Tiberius her schools rivalled those of the Capital of the
+world. It is sadder to think that all the magnificence of Roman luxury,
+of sculptured marble--a Forum, Capitol, Temples, Baths, Triumphal
+Arches,--stood where dreary rows of semi-modern houses now stand. It is
+almost impossible to believe in the lost grandeur of this city, and that
+it was veritably under the tutelage of so great and superb a god as
+Mars.
+
+The eventful Christian period of Narbonne was very noted but not very
+long. Her melancholy decay began as early as the XIV century. Of her
+great antiquity nothing is left but a few hacked and mutilated carvings;
+of her ambitious Mediaevalism, nothing but an unfinished group of
+ecclesiastical buildings. Long gone is the lordly "Narbo" dedicated to
+Mars, gone the city of the Latin poet, whose words repeated to-day in
+her streets are a bitter mockery, and gone the stronghold of mediaeval
+times. There remains a rare phenomenon for cleanly France,--a dirty
+city, whose older sections are reminiscent of unbeautiful old age,
+decrepit and unwashed; and whose newly projected boulevards are
+distinguished by tawdry and pretentious youth.
+
+In the midst of this city, stands a group of mediaeval churchly
+buildings, the Palace of the prelate, his Cathedral, and an adjoining
+Cloister. They are all either neglected, unfinished, or re-built; but
+are of so noble a plan that the traveller feels a "divine wrath" that
+they should never have reached their full grandeur of completion, that
+this great architectural work should have been begun so near the close
+of the city's prosperity, and that in spite of several efforts it has
+never been half completed. It is as if a fatality hung over the whole
+place, and as if all the greatness Narbonne had conceived was
+predestined to destruction or incompletion.
+
+[Illustration: "THE DOOR OF THE CLOISTER."--NARBONNE.]
+
+Of the three structures, the least interesting is the former Palace of
+the Archbishops. This is now the Hotel-de-Ville, and as all the body of
+the structure between the towers of the XII century was built in our day
+by Viollet-le-Duc, very little of the old Palace can properly be said to
+exist. Besides its two principal towers, a smaller one, a gate, and a
+chapel remain. Viollet-le-Duc has constructed the Hotel-de-Ville after
+the perfectly appropriate style of the XIII century, but its stone is so
+new and its atmosphere so modern and republican that the traveller left
+it without regret and made his way up the dark, steep, badly-paved
+alley-way which leads to the door of the Cloister.
+
+This Cloister, which separated the Palace from the Cathedral, is now
+dreary and desolate and neglected. Like the Cathedral, it is Gothic,
+with sadly decaying traces of graceful ornament. The little plot of
+enclosed ground, which should be planted in grass or with a few flowers,
+is a mere dirt court, tramped over by the few worshippers who enter the
+Cathedral this way. Two or three trees grow as they will, gnarled or
+straight. The sense of peaceful melancholy which the traveller had felt
+in the Cloister of Beziers is wanting here. This is a place of deserted
+solitude; and with a sigh for the beauty that might have been, the
+traveller crossed the enclosure and entered the church by the
+cloister-door.
+
+[Illustration: "THIS IS A PLACE OF DESERTED SOLITUDE."--NARBONNE.]
+
+Architecturally dissimilar, the fate of this Cathedral is not unlike
+that of Beauvais. Each was destined to have a completed choir, and each
+to remain without a nave. At Beauvais the addition of transepts adds
+very materially to the beauty of the Cathedral. At Narbonne no transepts
+exist. There is simply a choir, which makes a very singular disposition
+of the church both religious and architectural. Entering the gates which
+lead from the ambulatory to the choir, the traveller found that
+Benediction had just begun. On his immediate right, before the altar all
+aglow with lights, were the officiating priests and the altar-boys; on
+his left, in the choir, was the congregation in the Canons' stalls;
+and at the back, as at the end of a nave, rose the organ.
+
+The traveller walked about the ambulatory, and leaning against the
+farthest wall, tried to view the church, only to be baffled. There was
+no perspective. The ambulatory is very narrow and the choir-screen very
+high. The impressions he formed were partly imaginative, partly
+inductive; and the clearest one was that of sheer height, straight,
+superhuman height that is one of the unmatchable glories of French
+Gothic. Here the traveller thought again of Beauvais, and wished as he
+had so often wished in the northern Cathedral and with something of the
+same intensity, that this freedom and majesty of height might have been
+gloriously continued and completed in the nave. Such a church as his
+imagination pictured would have been worthy of a place with the best of
+northern Gothic. Now it is a suggestion, a beginning of greatness; and
+its chief glory lies in the simplicity and directness of its height.
+Clustered columns rise plainly to the pointed Gothic roof. There is so
+marked an absence of carving that it seems as if ornamentation would
+have been weakening and trammelling. It is not bareness, but beautiful
+firmness, which refreshes and uplifts the heart of man as the sight of
+some island mountain rising sheer from the sea.
+
+The exterior of the Cathedral, imposing from a distance, is rather
+complicated in its unfinished compromise of detail. In the XV century,
+two towers were built which flank the western end as towers usually
+flank a facade; and this gives the church a foreshortened effect. Of
+real facade there is none, and the front wall which protects the choir
+is plainly temporary. In front of this wall there are portions of the
+unfinished nave, stones and other building materials, a scaffolding, and
+a board fence; and the only pleasure the traveller could find in this
+confusion was the fancy that he had discovered the old-time appearance
+of a Cathedral in the making.
+
+The apse is practically completed, and one has the curious sensation
+that it is a building without portals. Having no facade, it has none of
+the great front entrances common to the Gothic style; neither has it the
+usual lateral door. The choir is entered by the temporary doors of the
+pseudo-facade; the ambulatory is entered through the Cloister, or a
+pretty little Gothic door-way which if it were not the chief entrance of
+the church, would properly seem to have been built for the clergy rather
+than for the people who now use it. If these portals are strangely
+unimportant, their insignificance does not detract materially from the
+stateliness of the apse, which is created by its great height--one
+hundred and thirty feet in the interior measurement--and the magnificent
+flying-buttresses.
+
+These flying-buttresses give to the exterior its most curious and
+beautiful effect. They are a form of Gothic seldom attempted in the
+South, and exist here in a rather exceptional construction. Over the
+chapels which surround the apse rise a series of double-arched supports,
+the outer ones ending in little turrets with surmounting crenellations.
+On these supports, after a splendid outward sweep, rest the abutments of
+the flying arches. These have a fine sure grace and withal a lightness
+that relieves the heaviness imposed on the church by the towers and the
+immense strength of the body of the apse. They are the chief as well as
+the most salient glory of the exterior, and give to the Cathedral its
+peculiar individuality.
+
+[Illustration: "THESE FLYING-BUTTRESSES GIVE TO THE EXTERIOR ITS MOST
+CURIOUS AND BEAUTIFUL EFFECT."--NARBONNE.]
+
+Apart from its buttresses, Saint-Just has little decorative style. Its
+crenellations and turrets are military and forceful, not ornate. For the
+church had its defensive as truly as its religious purpose, and formerly
+was united on the North with the fortifications of the Palace, and
+contributed to the protection of its prelates as well as to their
+arch-episcopal prestige.
+
+In spite of the fostering care of the French government, the Palace, the
+Cloister, and the Cathedral seem in the hands of strangers. The
+traveller who had longed to see them in their finished magnificence
+realised the futility of this wish, but he turned away with another as
+vain, that he might have known them even in incompletion, when they were
+in the hands of the Church, when the Archbishop still ruled in his
+Palace, when the Canons prayed in the Cloister, and the Cathedral was
+still a-building.
+
+
+[Sidenote: Perpignan.]
+
+Perpignan, like Elne, is in Rousillon. The period of her most brilliant
+prosperity was that of the Majorcan dominion in the XII century. Later
+she reverted to Aragon, and was still so fine a city that for two
+hundred years France coveted and sought her, until she finally yielded
+to the greedy astuteness of Richelieu and became formally annexed to
+the kingdom of Louis XIII. Perpignan is a gay little town, much affected
+by the genius and indolence of the Spanish race. Morning is work-time,
+noon-tide is siesta, but afternoon and evening were made for pleasure;
+and every bright day, when the sun begins to cast shadows, people fill
+the narrow, shady streets and walk along the promenade by the shallow
+river, under the beautiful plane-trees. The pavements in front of the
+cafes are filled with little round tables, and here and there small
+groups of men idle cheerfully over tiny glasses of liqueur and cups of
+cool, black coffee; perhaps they talk a little business, certainly they
+gossip a great deal. Noisy little teams filled with merry people run
+down from the Promenade to the sea-shore; and after an hour's dip,
+almost in the shadow of the tall Pyrenees, the same merry people return,
+laughing, to a cooler Perpignan. In the evening, they seek the bright
+cafes and the waiters run busily to and fro among the crowded little
+tables; the narrow streets, imperfectly lighted, are full of moving
+shadows, and through the open church-doors, candles waver in the fitful
+draught, and quiet worshippers pass from altar to altar in penance or in
+supplication.
+
+All the old buildings of the city are of Spanish origin. The prison is
+the brick, battlemented castle of a Majorcan Sancho, the Citadel is as
+old, and the Aragonese Bourse is divided between the town-hall and the
+city's most popular cafe.
+
+The Cathedral of Saint-Jean, which faces a desolate, little square, was
+also begun in Majorcan days and under that Sancho who ruled in 1324. At
+first it was merely a church; for Elne had always been the seat of the
+Bishopric of Rousillon, and although the town had suffered from many
+wars and had long been declining, it was not shorn of its episcopal
+glory until there was sufficient political reason for the act. This
+arose in 1692, and was based on the old-time French and Spanish claims
+to the same county to which these two cities belonged.
+
+[Illustration: "ALL OF THE OLD BUILDINGS OF THE CITY ARE OF SPANISH
+ORIGIN."--PERPIGNAN.]
+
+Over a hundred years before Charles VIII had plenarily ceded to
+Ferdinand and Isabella all power in Rousillon, even that shadowy feudal
+Suzerainty with which, in default of actual possession, many a former
+French king had consoled himself and irritated a royal Spanish brother.
+Ferdinand and Isabella promptly visited their new possessions, and made
+solemn entry into Perpignan. Unfortunately the Inquisition came in their
+train, and the unbounded zeal of the Holy Office brought the Spanish
+rule which protected it into ever-increasing disfavour. In vain Philip
+III again bestowed on Perpignan the title of "faithful city," which she
+had first received from John of Aragon for her loyal resistance to Louis
+XI; in vain he ennobled several of her inhabitants and transferred to
+her, from Elne, the episcopal power. The city was ready for new and
+kinder masters than the Most Catholic Kings, and in 1642 the French were
+received as liberators.
+
+During all these years the Cathedral had grown very slowly. Commenced in
+1324, over a century elapsed before the choir was finished and the
+building of the nave was not begun until a hundred years later. The High
+Altar, a Porch, and the iron cage of the tower were added with equal
+deliberation, and even to-day it is still unfinished. The most beautiful
+part is the strongly buttressed apse; the poorest, the unfinished
+facade, which has been very fitly described as "plain and mean." Looking
+disconsolately at it from the deserted square, scarcely tempted to go
+nearer, the traveller was astounded at the thought that for several
+centuries this unsightly wall had stared on generations of worshippers
+without goading them into any frenzy of action,--either destructive or
+constructive. His only comfort lay in the scaffolding which was building
+around it, and which seemed to promise better things.
+
+[Illustration: "THE UNFINISHED FACADE."--PERPIGNAN.]
+
+The interior of the Cathedral is very large and lofty. It is without
+aisles and the chapels are discreetly hidden between the piers. Far
+above one's head curves the ribbed Gothic vaulting, and all around is
+unbroken space that ends in darkness or the vague outline of an altar,
+dimly lighted by a flickering candle. The walls are painted in rich,
+sombre colours, and the light comes very gently through the good old
+stained-glass windows. It is a southern church, dark, cool, and somewhat
+mysterious; quite foreign to the glare and heat of reality. People are
+lost in its solemn vastness, and even with many worshippers it is a
+solitude where most holy vigils could be kept, a mystic place where the
+southern imagination might well lose itself in such sacred ardours as
+Saint Theresa felt. The traveller liked to linger here; in the day-time
+when he peered vainly at the re-redos of Soler de Barcelona, at
+Mass-time, when the lighted altar-candles glimmered over its fine old
+marble, but best of all he liked to come at night. Those summer nights
+in Rousillon were hot and full of the murmur of voices. The Cathedral
+was the only silent place; more full than ever of the mysterious--the
+felt and the unseen. As one entered, the sanctuary light shone as a star
+out of a night of darkness; in a near-by chapel, a candle sputtered
+itself away, and a woman--whether old or young one could not
+see--lighted a fresh taper. Sometimes a man knelt and told his beads,
+sometimes two women entered and separated for their differing needs and
+prayers. Sometimes one sat in meditation, or knelt, unmoving, for a
+space of time; once a child brought a new candle to Saint Antony; always
+some one came or some one went, until the hour of closing. Then, the
+bell was rung, the door shut by a hand but dimly seen, and the last few
+watchers went out--across the little square, down this street or that,
+until they were lost in the darkness of the summer's night.
+
+[Illustration: "THE STONY STREET OF THE HILLSIDE."--CARCASSONNE.]
+
+
+[Sidenote: Carcassonne.]
+
+The train puffed into the station at Carcassonne, and the impatient
+traveller, throwing his bags into an hotel omnibus, asked for the
+Cathedral and walked eagerly on that he might the more quickly "see in
+line the city on the hill," "the castle walls as grand as those of
+Babylon," and "gaze at last on Carcassonne." His mind was full of the
+poem, and faithfully following directions, he hurried through clean,
+narrow streets until he came at length, not upon a poetic vision of
+battlemented walls and towers, but on the most prosaic of boulevards and
+the Church of Saint-Michel which has been the Cathedral since 1803, a
+large, uncouth building with a big, unfinished tower. There is no facade
+portal, and a small door-way in the north side leads into the great
+vaulted hall, one of the most usual and commonplace forms of the Gothic
+interior of the South. This room, which is painted, receives light from
+a beautiful rose-window at the West, and a series of small roses, like
+miniatures of the greater one, are cut in the upper walls of the nave;
+and little chapels, characterised by the same heavy monotony which hangs
+like a pall over the whole Cathedral, are lost in the church's capacious
+flanks.
+
+[Illustration: "THE ANCIENT CROSS."--CARCASSONNE.]
+
+Having lost much of his enthusiasm, the traveller asked for the old--he
+had almost said the "real"--Cathedral, and with new directions, he
+started afresh. Leaving the well-built, agreeable, commonplace "Lower
+city" of the plain, he came to the bridge, and there, sitting on its
+parapet, near the ancient Cross, he feasted his longing eyes on that
+perfect vision of Mediaevalism. The high, arid, and almost isolated hill
+of the Cite stood before him, and at the top rose battlements and
+flanking towers in double range, bristling, war-like, and strong; yet
+beautiful in their mass of uneven, peaked tower-roofs and crenellations.
+He climbed wearily up the stony street of the hillside, and as he passed
+through the open gate, he realised that Hunnewell had written truly when
+he said "Carcassonne is a romance of travel." For he went into a town
+so quiet, into streets so still, so weed-grown, and lonely, and yet so
+well built, that he felt as a "fairy prince" who has penetrated into
+some enchanted castle, and it seemed as if the inhabitants were asleep
+in the upper rooms, behind those bowed windows, and as if, when the
+mysterious word of disenchantment should be uttered, all would come
+trooping forth, men-at-arms hurrying to clean their rusty swords, old
+women trudging along to fill their dusty pitchers at the well, and
+younger women staring from doors and windows to see the stranger within
+their streets.
+
+The Cadets de Gascogne knew the city before the evil spell of modern
+times was cast about it. They know and miss it now. And although they
+may no longer wear the plumed hat and clanking sword of their ancestors,
+the spirit beneath their more conventional garb is as gay and daring as
+that of Cadets more picturesque. They have conceived a plan as exciting
+as any old adventure, an idea which they present to the world, not as
+Cyrano, their most famous member, was wont to convey his thoughts at the
+end of a sword, but none the less dexterously and delightfully. This
+plan, like the magic word of the traveller's fancy, is to make the old
+Carcassonne live again, not as the traveller had timidly imagined, in
+time of peace, but in the stirring times of war and battle, and its
+magic word is "the siege of Carcassonne." Truly it is but a matter of
+bengal lights, blank cartridges, and fire-crackers, though for the
+matter of that, Cinderella's coach was but a pumpkin, yet the effect was
+none the less real.
+
+[Illustration: "OFTEN, TOO LITTLE TIME IS SPENT UPON THE
+NAVE."--CARCASSONNE.]
+
+On the evening of "the siege," a rare, great fete, the forces of the
+Cadets with their lights and ammunition are in the "upper town", and
+long before dark, their friends and every inhabitant of the country for
+miles around have gathered in the houses which face the Cite, on the
+bridges, and along the banks of the little Aude. As the sunlight fades
+and the shadows creep along, a strange feeling of expectancy comes over
+everybody, a hush, almost a dread of danger. The towers on the hill-top
+loom dark against the sky and the battlements bristle in the moonlight,
+no sound comes from the Cite, and it seems to lay in unconcerned
+security. Memories of besieging armies which have vainly encamped in
+this valley return to the traveller's mind, memories of the treacheries
+of Simon de Montfort, and he wonders if any "crusading" sentinel ever
+paced where he now stands watching along the Aude, if any spy or even
+the terrible Simon himself had ever crept so near the walls to
+reconnoitre. Suddenly every one is startled by the sound of distant
+shots, which are repeated nearer the walls. Every one peers into the
+darkness. There is no sign of life on wall or tower, the attacking force
+must still be climbing the hill, out of range of the stones and burning
+oil of the defenders. More shots are fired, and now there are answering
+shots from the besieged; and so naturally does the din increase, that
+one can follow, by listening, the progress of the attack and the slow,
+sure gain of the invader. Some of the illusion of the anxiety and mental
+tension which war brings, steals over the watching crowd, and they
+breathlessly await the outcome of the struggle. The attacking party is
+now seen under the walls--now on them--they throw wads of burning
+cotton, which are at first extinguished. They still gain--they fire the
+walls in several places; and the defenders, who can be seen in the
+flashes of light, run frantically to the danger spots; but they are
+gradually overcome, beaten back by the intensity of the heat. Flames now
+burst forth from a tower; there is an explosion, and the fire curls and
+creeps along the walls unchecked. Another explosion follows, another
+burst of flames which soar higher and higher. The men of the Cite seem
+still more frantic and powerless. All the towers now stand out in bold
+relief,--as if they were just about to crumble into the seething mass
+below. Roofs within the walls are on fire, and finally a red tongue
+licks the turret of the Cathedral. In a few seconds its walls are
+hideously aglow, and the people in the valley--although they know the
+truth--groan aloud, so real is the illusion. The nave lines of the
+Cathedral are silhouetted as it burns, the fires along the walls growing
+brighter, spread gradually at first,--then rapidly, and the whole Cite
+is the prey of great, waving clouds of flame and smoke. Men and women,
+as if fascinated by this lurid and magnificent destruction, press
+forward to get the last view of the Cathedral's lovely rose, or the
+peaked roof of some tower which is dear to them. But slowly the deep red
+flames are growing paler, less strong, and less high. Then the glare,
+too, begins to die away; the fire turns to smoke and the light becomes
+grey and misty. "It is all over," some one whispers, and with backward
+glances at the charred, smoldering hill-top, they turn silently towards
+home.
+
+A few, sitting on the stone parapet of the bridge, remain to talk of the
+evening's magic, of the inspiration of the Cadets de Gascogne, and other
+scenes which their memory suggests, of wars and rumours of other wars.
+And when at length they turn to go, they see the moonlight on the
+glimmering Aude, the peaceful lower city, and above, Carcassonne--the
+Invincible--rising from her ashes.
+
+[Illustration: "THE CHOIR IS OF THE XIV CENTURY."--CARCASSONNE.]
+
+[Illustration: "THE FACADE--STRAIGHT AND MASSIVE."--CARCASSONNE.]
+
+The Cathedral of the Cite is worthy of great protecting walls and there
+are few churches whose destruction would have been so sad a blow to the
+architecture of the Midi. Saint-Nazaire is typical at once of the
+originality of the southern builders, of their idealism, and their
+joyous freedom from conventional thrall. The facade, straight, and
+massive, has the frowning severity of an old donjon wall. Its towers are
+solid masses of heavy stone; instead of spires, there are crenellations;
+instead of graceful flying-buttresses at the sides, there are solid,
+upright supports on the firm, plain side-walls. This is the true old
+Romanesque. A few steps further, and the apse appears, as great a
+contrast to the body of the church as a bit of Mechlin lace to a
+coat-of-mail. A little tower with gargoyles, another with a fine-carved
+turret, windows whose delicate traceries could be broken by a blow, and
+an upper balustrade which would have been as easily crushed as an
+egg-shell in the hands of the lusty Huguenots,--these are the ornaments
+of its wall, as true XIV century Gothic as the nave is XII century
+Romanesque. It is sadly disappointing to find the Cloisters in
+uninteresting ruin, but the church within is so full of great beauty
+that all other things are unimportant. The windows glow in the glory
+of their glass, and the tombs, especially those of the lower Chapel
+of the Bishop, are wonderfully carved. The first burial place of de
+Montfort, terrible persecutor of his Church's foes, lies near the High
+Altar, and in the wall, there is a rude bas-relief representing his
+siege of Toulouse. All these admirable details are puny in comparison
+with the interior which contains them. It is to be feared that often,
+too little time is spent upon the nave. Even in mid-day, lighted by the
+southern sun, its beautiful, severe lines are mellowed but little, and
+one turns too instinctively to the Gothic, the greater lightness beyond.
+Yet it is a nave of exceedingly fine, rugged strength, and to pass on
+lightly, to belittle it in comparison with its brighter choir, is to
+wantonly miss in the great round columns, the heavy piers, and the dark
+tunnel vaulting, the conception of generations of men who had ever
+before their mind--and literally believed--"A mighty fortress is our
+God." The choir is of the XIV century, a day when the "beauty of
+holiness" seems to have been the Cathedral architect's ideal. Delicate,
+clustered columns from which Saints look down, long windows beautifully
+veined, a glorious rose at each transept's end, and high vault arches
+springing with a slender pointed grace, all these are of exquisite
+proportions; and the brilliant stained-glass adds a softening warmth of
+colour, but not too great a glow, to the cold fragility of the shafts of
+stone. Nothing in the Gothic art of the South, little of Gothic
+elsewhere, is more thoughtfully and lovingly wrought than this choir of
+Saint-Nazaire, and few churches in the Romanesque form are more finely
+constructed than its nave. On the exterior, the Gothic choir and the
+Romanesque nave are so different in style it seems they must be,
+perforce, antagonistic, that the grace of the Gothic must make
+Romanesque plainness appear dull, or that the noble simplicity of the
+rounded arch must cause the Gothic arches, here so particularly tall and
+slender, to seem almost fragile and undignified. In reality, this
+juxtaposition of the styles has justified itself; and passing from one
+to the other, the traveller is more impressed by the subtle analogies
+they suggest than by the differences of their architectural forms. On
+week-days, when the church is empty, they seem to prefigure the two
+ideals of the religion which they serve--the stern, self-conquering
+asceticism of a Saint Dominic, and the exquisite, radiant visions which
+Saint Cecelia saw when heavenly music was vouchsafed her. Or, if one has
+time to fancy further, the nave is the epic of its great religion; the
+choir, a song which is the expression of most delicate aspiration, most
+tender worship. On Sunday, when to this beauty of the godly habitation
+is added all the beauty of worship, the music of the oldest organs in
+France, slow-moving priests in gorgeous vestments, sweet smelling
+incense, chants, and prayers of a most majestic ritual, one is tempted
+to read into these stones symbolical meanings,--as if the heavy nave,
+where the dim praying figures kneel, were typical of their life of
+struggle--and their glances altarward, where all is light and beauty,
+presaged their final coming into the presence and glory of God.
+
+[Illustration: PERSPECTIVE OF THE ROMANESQUE.--CARCASSONNE.]
+
+Hunnewell has finely written, that "while the passions and the terrors
+of a fierce, rude age made unendurable the pleasant land where we may
+travel now so peacefully, ... and while Religion, grown political,
+forgot the mercy of its Lord and ruled supreme, ... an earnest faith and
+consecrated genius were creating some of the noblest tributes man has
+offered to his Creator," and it may be truly said that of these one of
+the noblest is the church begun in that most cruel age of Saint Dominic
+and de Montfort, in the very heart of the country they laid waste, in
+the city which one conquered by ruse and the other tortured by
+inquisition, the old Cathedral of Saint-Nazaire in Carcassonne.
+
+
+[Sidenote: Castres.]
+
+In the VII century Castres, which had been the site of a Roman camp,
+became that of a Benedictine Abbey; and around this foundation, as about
+so many others, a town grew through the Middle Ages, and came safely to
+prosperity and importance. Untrue to its early protectors and in
+opposition to the fervent orthodoxy of the neighbouring city of Albi,
+Castres became a Protestant stronghold, and its fortunes rose and fell
+with the chances of religious wars. It was, perhaps, one of the most
+intrepid and obstinate of all the centres of heresy, and the centuries
+of struggle seem only to have strengthened the fierceness of its faith.
+In 1525, when the Duke de Rohan was absent and a royal army again
+summoned it to submission and conversion, the Duchess had herself
+carried from a sick bed to the gate of the city which was threatened,
+and it is related that the inhabitants of all classes, men, women, and
+children, without distinction of sex or age, armed themselves and rushed
+victoriously to her aid. Thirty-five years later, their children sacked
+churches, destroyed altars and images, and drove out monks and nuns.
+
+Bellicose incidents make history a thrilling story, but they are
+accompanied by such material destruction that they too often rob a city
+of its greatest treasures, and leave it, as far as architectural
+interest is concerned, an arid waste. Such a place is Castres,
+prosperous, industrial, historically dramatic, but actually commonplace.
+Old houses, picturesque and mouldy, with irregular, overhanging eaves,
+lean along the banks of the little river as they are wont to line the
+banks of every old stream of the Midi, and they are nearly all the
+remains of Castres' Mediaevalism. For her streets are well-paved,
+trolleys pass to and fro, department stores are frequent, and that most
+modern of vehicles, the automobile, does not seem anachronistic. No
+building could be more in harmony with the city's atmosphere of
+uninteresting prosperity than its Cathedral, and he who enters in search
+of beauty and repose, is doomed to miserable disappointment.
+
+Confronted in the XIV century by a growing heresy, John XXII devised,
+among other less Christian methods of combat, that of the creations of
+Sees, whose power and dignity of rank should check the progress of the
+enemies of the Church; and in 1317, that year which saw the beginning of
+so many of these new Sees, the old Benedictine Abbey of Castres, lying
+in the very centre of Protestantism, was created a Bishopric. The
+century, if unpropitious to Catholicism, was favourable to architecture,
+the Abbey was of ancient foundation, and from either of these facts, a
+fine Cathedral might reasonably be hoped for,--a dim Abbey-church whose
+rounded arches are lost in the gloom of its vaulting, or a bit of
+southern Gothic which the newly consecrated prelate might have
+ambitiously planned. But the Cathedral of Saint-Benoit is neither of
+these, for it was re-constructed in the XVII century, the XVII century
+in all its confusion of ideas, all its lack of taste, all its travesty
+of styles. There is the usual multitude of detail, the usual
+unworthiness. Portals which have no beauty, an expanse of unfinished
+facade, dark, ugly walls whose bareness is not sufficiently hidden by
+the surrounding houses, heavy buttresses, ridiculously topped off by
+globes of stone,--such are the salient features of the exterior of
+Saint-Benoit.
+
+The "spaciousness" of the interior has given room, if not for an
+impartial representation, at least for a reminder of all the styles of
+architecture to which the XVII century was heir. There is the
+Renaissance conception of the antique in the ornamental columns; in the
+rose-window, there is a tribute to the Gothic; the tradition of the
+South is maintained by a coat of colours--many, if subdued; and the
+ground plan of nave and side-chapels might be called Romanesque.
+Although the vaulting is high and the room large, there is no
+simplicity, no beauty, no artistic virtue in this interior.
+
+Opposite the church is the episcopal Palace which Mansart built, a large
+construction that serves admirably as a City Hall. Behind it, along the
+river, are the charming gardens designed by Le Notre, where Bishops
+walked and meditated, looking upon their not too faithful city of
+Castres. Upon this very ground was the ancient Abbey and close of the
+Benedictines; and as if in memory of these monkish predecessors, Bishop
+and builder of the XVII century left in an angle of the Palace the old
+Abbey-tower. This is the treasure of Castres' past, a Romanesque belfry
+with the pointed roofing of the campanile of Italy, heavy in comparison
+with their grace, and stout and strong.
+
+
+[Sidenote: Toulouse.]
+
+Toulouse is one of the most charming cities of the South of France. It
+is also one of the largest; but in spite of its size, it is neither
+noisy nor stupidly conventional; it is, on the contrary, an ideal
+provincial "capital," where everything, even the climate, corresponds to
+our preconceived and somewhat romantic ideal of the southern type. When
+the wind blows from the desert it comes with fierce and sudden passion,
+the sun shines hot, and under the awnings of the open square, men fan
+themselves lazily during a long lunch hour. Under this appearance of
+semi-tropical languor, there is the persistent energy of the great
+southern peoples, an energy none the less real because it is broken by
+the long siestas, the leisurely meal-times, and the day-time idling,
+which seem so shiftless and so strange to northern minds. This is the
+energy, however, which has made Toulouse a rich, opulent city,--a city
+with broad boulevards, open squares, and fine buildings, and a city of
+the gay Renaissance rather than of the stern Middle Ages. Yet for
+Toulouse the Middle Ages were a dark time. What could be gotten by the
+sword was taken by the sword, and even the mind of man, in that gross
+age, was forced and controlled by the agony of his body. It is a time
+whose most peaceful outward signs, the churches, have been preserved to
+Toulouse, and the war-signs, towers, walls, and fortifications,
+dungeons, and the torture-irons of inquisition, are now--and
+wisely--hidden or destroyed. Of the fierce tragedies which were played
+in Toulouse, even to the days of the great Revolution, few traces
+remain,--the stern, orthodox figure of Simon de Montfort, and of Count
+Raymond, his too politic foe, and the anguish of the Crusaders' siege,
+the bent form of Jean Calas and the shrewd, keen face of Voltaire, who
+vindicated him from afar, these memories seem dimmed; and those which
+live are of light-hearted troubadours and gaily dressed ladies of the
+city of the gay, insouciant Renaissance to whom an auto-da-fe was a gala
+between the blithesome robing of the morning and the serenade in the
+moonlight. Fierce and steadfast, sentimentally languishing, dying for a
+difference of faith, or dying as violently to avenge the insult of a
+frown or a lifted eye-brow, such are the Languedocians whom Toulouse
+evokes, near to the Gascons and akin to them. Here is the Academie des
+Jeux-Floreaux, the "College of Gay Wit" which was founded in the XIV
+century, and still distributes on the third of every May prizes of gold
+and silver flowers to poets, and writers of fine prose; and here are
+many "hotels" of the Renaissance, rich and beautiful homes of the old
+Toulousan nobility whose courts are all too silent. Here is the Hotel du
+Vieux-Raisin, the Maison de Pierre, and the Hotel d'Assezat where Jeanne
+d'Albret lived; and near-by is a statue of her son, the strongest,
+sanest, and most debonnaire of all the great South-men, Henry of
+Navarre. Here in Toulouse is indeed material for a thousand fancies.
+
+[Illustration: "THE NAVE OF THE XIII CENTURY IS AN AISLE-LESS CHAMBER,
+LOW AND BROADLY ARCHED."--TOULOUSE.]
+
+And here the Cathedral-seeker, who had usually had the proud task of
+finding the finest building in every city he visited, was doomed to
+disappointment. In vain he tried to console himself with the fact that
+Toulouse had had two Cathedrals. Of one there was no trace; in the
+other, confusion; and he was met with the axiom, true in architecture
+as in other things, that two indifferent objects do not make one good
+one. The "Dalbade," formerly the place of worship of the Knights of
+Malta, has a more elegant tower; the Church of the Jacobins a more
+interesting one; the portal of the old Chartreuse is more beautiful; the
+Church of the Bull, more curious; and the Basilica of Saint-Sernin so
+interesting and truly glorious that the Cathedral pales in colourless
+insignificance.
+
+Some cities of mediaeval France possessed, at the same time, two
+Cathedrals, two bodies of Canons, and two Chapters under one and the
+same Bishop. Such a city was Toulouse; and until the XII century,
+Saint-Jacques and Saint-Etienne were rival Cathedrals. Then, for some
+reason obscure to us, Saint-Jacques was degraded from its episcopal rank
+and remained a simple church until 1812 when it was destroyed. The
+present Cathedral of Saint-Etienne is a combination of styles and a
+violation of every sort of architectural unity, and realises a confusion
+which the most perverse imagination could scarcely have conceived.
+According to every convention of building, the Cathedral is not only
+artistically poor, but mathematically insupportable. The proportions are
+execrable; and the interior, the finest part of the church, reminds one
+irresistibly of a good puzzle badly put together. The weak tower is a
+sufficient excuse for the absence of the other; from the tower the roof
+slopes sharply and unreasonably, and the rose-window is perched, with
+inappropriate jauntiness, to the left of the main portal. The whole
+structure is not so much the vagary of an architect as the sport of
+Fate, the self-evident survival of two unfitting facades. Walking
+through narrow streets, one comes upon the apse as upon another church,
+so different is its style. It is disproportionately higher than the
+facade; instead of being conglomerate, it is homogeneous; instead of a
+squat appearance, uninterestingly grotesque, it has the dignity of
+height and unity. And although it is too closely surrounded by houses
+and narrow streets, and although a view of the whole apse is entirely
+prevented by the high wall of some churchly structure, it is the only
+worthy part of the exterior and, by comparison, even its rather timid
+flying-buttresses and insignificant stone traceries are impressive.
+
+[Illustration: "THE PRESENT CATHEDRAL IS A COMBINATION OF
+STYLES."--TOULOUSE.]
+
+The nave of the early XIII century is an aisle-less chamber, low and
+broadly arched. As the eye continues down its length, it is met by the
+south aisle of the choir,--opening directly into the centre of the nave.
+Except for this curiously bad juxtaposition, both are normally
+constructed, and each is of so differing a phase of Gothic that they
+give the effect of two adjoining churches. The choir was begun in the
+late XII century, on a new axis, and was evidently the commencement of
+an entire and improved re-construction. In spite of the poorly planned
+restoration in the XVII century, the worthy conception of this choir is
+still realised. It is severe, lofty Gothic, majestic by its own
+intrinsic virtue, and doubly so in comparison with the uncouth
+puzzle-box effect of the whole. Its unity came upon the traveller with a
+shock of surprise, relieving and beautiful, and after he had walked
+about its high, narrow aisles and refreshed his disappointed vision, he
+left the Cathedral quickly--looking neither to the right nor to the
+left, without a trace of the temptation of Lot's wife, to "glance
+backward."
+
+
+[Sidenote: Montauban.]
+
+Although Montauban was founded on the site of a Roman station, the Mons
+Albanus, it is really a city of the late Middle Ages, re-created, as it
+were, by Alphonse I., Count of Toulouse in 1144. And it was even a
+greater hot-bed of heretics than Beziers. Incited first by hatred of
+the neighbouring monks of Le Moustier, and then by the bitter agonies of
+the Inquisition, it became fervently Albigensian, and as fervently
+Huguenot; and even now it has many Protestant inhabitants and a
+Protestant Faculty teaching Theology.
+
+The Montauban of the present day is busy and prosperous, very prettily
+situated on the turbid little Tarn. In spite of her constant loyalty to
+the Huguenot cause, perhaps partly because of it, she has had three
+successive Cathedrals; Saint-Martin, burned in 1562; the Pro-cathedral
+of Saint-Jacques; and, finally, Notre-Dame, the present episcopal
+church, a heavy structure in the Italian style of the XVIII century.
+Large and light and bare, the nudeness of the interior is uncouth, and
+the stiff exterior, decorated with statues, impresses one as pleasantly
+as clothes upon crossed bean-poles. It is artificial and mannered; the
+last of the City Cathedrals of Languedoc and the least. If the notorious
+vices of the XVIII century were as bad as its style of ecclesiastical
+architecture, they must have been indeed monstrous.
+
+
+
+
+END OF VOLUME I.
+
+
+
+
+
+End of the Project Gutenberg EBook of Cathedrals and Cloisters of the South
+of France, Volume 1, by Elise Whitlock Rose
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CATHEDRALS AND CLOISTERS ***
+
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