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IV
CATHÉDRALE DE LUÇON
When the see of Luçon was established in the fourteenth century it comprehended a territory over which Poitiers had previously had jurisdiction. A powerful abbey was here in the seventh century, but the first bishop, Pierre de la Veyrie, did not come to the diocese until 1317. The real fame of the diocese, in modern minds, lies in the fact that Cardinal Richelieu was made bishop of Luçon in the seventeenth century (1606 to 1624).
The cathedral at Luçon is a remarkable structure in appearance. A hybrid conglomerate thing, picturesque enough to the untrained eye, but ill-proportioned, weak, effeminate, and base.
Its graceful Gothic spire, crocketed, and of true dwindling dimensions, is superimposed on a tower which looks as though it might have been modelled with a series of children's building-blocks. This in its turn crowns a classical portal and colonnade in most uncanny fashion.
In the first stage of this tower, as it rises above the portal, is what, at a distance, appears to be a diminutive rosace. In reality it is an enormous clock-face, to which one's attention is invariably directed by the native, a species of local admiration which is universal throughout the known world wherever an ungainly clock exists.
The workmanship of the building as a whole is of every century from the twelfth to the seventeenth, with a complete "restoration" in 1853. In the episcopal palace is a cloistered arcade, the remains of a fifteenth-century work.
A rather pleasing situation sets off this pretentious but unworthy cathedral in a manner superior to that which it deserves.
V
ST. FRONT DE PÉRIGUEUX
The grandest and most notable tenth-century church yet remaining in France is unquestionably that of St. Front at Périgueux.
From the records of its history and a study of its distinctive constructive elements has been traced the development of the transition period which ultimately produced the Gothic splendours of the Isle of France.
It is more than reminiscent of St. Marc's at Venice, and is the most notable exponent of that type of roofing which employed the cupola in groups, to sustain the thrust and counterthrust, which was afterward accomplished by the ogival arch in conjunction with the flying buttress.
Here are comparatively slight sustaining walls, and accordingly no great roofed-over chambers such as we get in the later Gothic, but the whole mass is, in spite of this, suggestive of a massiveness which many more heavily walled churches do not possess. Paradoxically, too, a view over its roof-top, with its ranges of egg-like domes, suggests a frailty which but for its scientifically disposed strains would doubtless have collapsed ere now.
This ancient abbatial church succeeded an earlier basilique on the same site. Viollet-le-Duc says of it: "It is an importation from a foreign country; the most remarkable example of church-building in Gaul since the barbaric invasion."
The plan of the cathedral follows not only the form of St. Marc's, but also approximates its dimensions. The remains of the ancient basilica are only to be remarked in the portion which precedes the foremost cupola.
St. Front has the unusual attribute of an avant-porch, – a sort of primitive narthen, as was a feature of tenth-century buildings (see plan and descriptions of a tenth-century church in appendix), behind which is a second porch, – a vestibule beneath the tower, – and finally the first of the group, of five central cupolas.
The clocher or belfry of St. Front is accredited as being one of the most remarkable eleventh-century erections of its kind in any land. It is made up of square stages, each smaller than the other, and crowned finally by a conic cupola.
Its early inception and erection here are supposed to account for the similarity of others – not so magnificent, but like to a marked degree – in the neighbouring provinces.
Here is no trace of the piled-up tabouret style of later centuries, and it is far removed from the mosque-like minarets which were the undoubted prototypes of the mediæval clochers. So, too, it is different, quite, from the Italian campanile or the beffroi which crept into civic architecture in the north; but whose sole example in the south of France is believed to be that curious structure which still holds forth in the papal city of Avignon.
Says Bourassé: "The cathedral of St. Front at Périgueux is unique." Its foundation dates with certitude from between 1010 and 1047, and is therefore contemporary with that of St. Marc's at Venice – which it so greatly resembles – which was rebuilt after a fire between 977 and 1071.
The general effect of the interior is as impressive as it is unusual, with its lofty cupolas, its weighty and gross pillars, and its massive arches between the cupolas; all of which are purely constructive elements.
There are few really ornamental details, and such as exist are of a severe and unprogressive type, being merely reminiscent of the antique.
In its general plan, St. Front follows that of a Grecian cross, its twelve wall-faces crowned by continuous pediments. Eight massive pillars, whose functions are those of the later developed buttress, flank the extremities of the cross, and are crowned by pyramidal cupolas which, with the main roofing, combine to give that distinctive character to this unusual and "foreign" cathedral of mid-France.
St. Front, from whom the cathedral takes its name, became the first bishop of Périgueux when the see was founded in the second century.
VI
ST. PIERRE DE POITIERS
IN 1317 the diocese of Poitiers was divided, and parts apportioned to the newly founded bishoprics of Maillezais and Luçon. The first bishop of Poitiers was St. Nectaire, in the third century. By virtue of the Concordat of 1801 the diocese now comprehends the Departments of Vienne and Deux-Sèvres.
The cathedral of St. Pierre de Poitiers has been baldly and tersely described as a "mere Lombard shell with a Gothic porch." This hardly does it justice, even as to preciseness. The easterly portion is Lombard, without question, and the nave is of the northern pointed variety; a not unusual admixture of feature, but one which can but suggest that still more, much more, is behind it.
The pointed nave is of great beauty, and, in the westerly end, contains an elaborate rosace– an infrequent attribute in these parts.
The aisles are of great breadth, and are quite as lofty in proportion. This produces an effect of great amplitude, nearly as much so as of the great halled churches at Albi or the aisleless St. André at Bordeaux, and contrasts forcibly in majesty with the usual Gothic conception of great height, as against extreme width.
Of Poitiers Professor Freeman says: "It is no less a city of counts than Angers; and if Counts of Anjou grew into Kings of England, one Countess of Poitiers grew no less into a Queen of England; and when the young Henry took her to wife, he took all Poitou with her, and Aquitaine and Gascogne, too, so great was his desire for lands and power." Leaving that aspect apart – to the historians and apologists – it is the churches of Poitiers which have for the traveller the greatest and all-pervading interest.
Poitiers is justly famed for its noble and numerous mediæval church edifices. Five of them rank as a unique series of Romanesque types – the most precious in all France. In importance they are perhaps best ranked as follows: St. Hilaire, of the tenth and eleventh centuries; the Baptistère, or the Temple St. Jean, of the fourth to twelfth centuries; Notre Dame de la Grande and St. Radegonde, of the eleventh and twelfth centuries; and La Cathédrale, dating from the end of the Romanesque period. Together they present a unique series of magnificent churches, as is truly claimed.
When one crosses the Loire, he crosses the boundary not only into southern Gaul but into southern Europe as well; where the very aspects of life, as well as climatic and topographical conditions and features, are far different from those of the northern French provinces.
Looking backward from the Middle Ages – from the fourteenth century to the fourth – one finds the city less a city of counts than of bishops.
Another aspect which places Poitiers at the very head of ecclesiastical foundations is that it sustained, and still sustains, a separate religious edifice known as the Baptistère. It is here a structure of Christian-Roman times, and is a feature seldom seen north of the Alps, or even out of Italy. There is, however, another example at Le Puy and another at Aix-en-Provence. This Baptistère de St. Jean was founded during the reign of St. Hilaire as bishop of Poitiers, a prelate whose name still lives in the Église St. Hilaire-le-Grand.
The cathedral of St. Pierre is commonly classed under the generic style of Romanesque; more particularly it is of the Lombard variety, if such a distinction can be made between the two species with surety. At all events it marks the dividing-line – or period, when the process of evolution becomes most marked – between the almost pagan plan of many early Christian churches and the coming of Gothic.
In spite of its prominence and its beauty with regard to its accessories, St. Pierre de Poitiers does not immediately take rank as the most beautiful, nor yet the most interesting, among the churches of the city: neither has it the commanding situation of certain other cathedrals of the neighbouring provinces, such as Notre Dame at Le Puy, St. Maurice at Angers, or St. Front at Périgueux. In short, as to situation, it just misses what otherwise might have been a commanding location.
St. Radegonde overhangs the river Clain, but is yet far below the cathedral, which stands upon the eastern flank of an eminence, and from many points is lost entirely to view. From certain distant vantage-ground, the composition is, however, as complete and imposing an ensemble as might be desired, but decidedly the nearer view is not so pleasing, and somewhat mitigates the former estimate.
There is a certain uncouthness in the outlines of this church that does not bring it into competition with that class of the great churches of France known as les grandes cathédrales.
The general outline of the roof – omitting of course the scanty transepts – is very reminiscent of Bourges; and again of Albi. The ridge-pole is broken, however, by a slight differentiation of height between the choir and the nave, and the westerly towers scarcely rise above the roof itself.
The easterly termination is decidedly unusual, even unto peculiarity. It is not, after the English manner, of the squared east-end variety, nor yet does it possess an apse of conventional form, but rather is a combination of the two widely differing styles, with considerably more than a suggested apse when viewed from the interior, and merely a flat bare wall when seen from the outside. In addition three diminutive separate apses are attached thereto, and present in the completed arrangement a variation or species which is distinctly local.
The present edifice dates from 1162, its construction being largely due to the Countess Eleanor, queen to the young Earl Henry.
The high altar was dedicated in 1199, but the choir itself was not finished until a half-century later.
There is no triforium or clerestory, and, but for the aisles, the cathedral would approximate the dimensions and interior outlines of that great chambered church at Albi; as it is, it comes well within the classification called by the Germans hallenkirche.
Professor Freeman has said that a church that has aisles can hardly be called a typical Angevin church; but St. Pierre de Poitiers is distinctly Angevin in spite of the loftiness of its walls and pillars.
The west front is the most elaborate constructive element and is an addition of the fourteenth and fifteenth centuries, with flanking towers of the same period which stand well forward and to one side, as at Rouen, and at Wells, in England.
The western doorway is decorated with sculptures of the fifteenth century, in a manner which somewhat suggests the work of the northern builders; who, says Fergusson, "were aiding the bishops of the southern dioceses to emulate in some degree the ambitious works of the Isle of France."
The ground-plan of this cathedral is curious, and shows, in its interior arrangements, a narrowing or drawing in of parts toward the east. This is caused mostly by the decreasing effect of height between the nave and choir, and the fact that the attenuated transepts are hardly more than suggestions – occupying but the width of one bay.
The nave of eight bays and the aisles are of nearly equal height, which again tends to produce an effect of length.
There is painted glass of the thirteenth century in small quantity, and a much larger amount of an eighteenth-century product, which shows – as always – the decadence of the art. Of this glass, that of the rosace at the westerly end is perhaps the best, judging from the minute portions which can be seen peeping out from behind the organ-case.
The present high altar is a modern work, as also – comparatively – are the tombs of various churchmen which are scattered throughout the nave and choir. In the sacristy, access to which is gained by some mystic rite not always made clear to the visitor, are supposed to be a series of painted portraits of all the former bishops of Poitiers, from the fourteenth century onward. It must be an interesting collection if the outsider could but judge for himself; as things now are, it has to be taken on faith.
A detail of distinct value, and a feature which shows a due regard for the abilities of the master workman who built the cathedral, though his name is unknown, is to be seen in the tympana of the canopies which overhang the stalls of the choir. Here is an acknowledgment – in a tangible if not a specific form – of the architectural genius who was responsible for the construction of this church. It consists of a sculptured figure in stone, which bears in its arms a compass and a T square. This suggests the possible connection between the Masonic craft and church-building of the Middle Ages; a subject which has ever been a vexed question among antiquaries, and one which doubtless ever will be.
The episcopal residence adjoins the cathedral on the right, and the charming Baptistère St. Jean is also close to the walls of, but quite separate from, the main building of the cathedral.
The other architectural attractions of Poitiers are nearly as great as its array of churches.
The Musée is exceedingly rich in archæological treasures. The present-day Palais de Justice was the former palace of the Counts of Poitou. It has a grand chamber in its Salle des Pas-perdus, which dates from the twelfth to fourteenth centuries as to its decorations. The ramparts of the city are exceedingly interesting and extensive. In the modern hôtel de ville are a series of wall decorations by Puvis de Chavannes. The Hôtel d'Aquitaine (sixteenth century), in the Grand Rue, was the former residence of the Priors of St. John of Jerusalem.
The Chronique de Maillezais tells of a former bishop of Poitiers who, about the year 1114, sought to excommunicate that gay prince and poet, William, the ninth Count of Poitiers, the earliest of that race of poets known as the troubadours. Coming into the count's presence to repeat the formula of excommunication, he was threatened with the sword of that gay prince. Thinking better, however, the count admonished him thus: "No, I will not. I do not love you well enough to send you to paradise." He took upon himself, though, to exercise his royal prerogative; and henceforth, for his rash edict, the bishop of Poitiers was banished for ever, and the see descended unto other hands.
The generally recognized reputation of William being that of a "grand trompeur des dames," this action was but a duty which the honest prelate was bound to perform, disastrous though the consequences might be. Still he thought not of that, and was not willing to accept palliation for the count's venial sins in the shape of that nobleman's capacities as the first chanter of his time, – poetic measures of doubtful morality.
VII
ST. ETIENNE DE LIMOGES
"Les Limosinats leave their cities poor, and they return poor, after long years of labour."
– De la Bédolliere.
Limoges was the capital around which centred the life and activities of the pays du Limousin when that land marked the limits of the domain of the Kings of France. (Guienne then being under other domination.)
The most ancient inhabitants of the province were known as Lemovices, but the transition and evolution of the vocable are easily followed to that borne by the present city of Limoges, perhaps best known of art lovers as the home of that school of fifteenth century artists who produced the beautiful works called Emaux de Limoges.
The earliest specimens of what has come to be popularly known as Limoges enamel date from the twelfth century; and the last of the great masters in the splendid art died in 1765.
The real history of this truly great art, which may be said to have taken its highest forms in ecclesiology, – of which examples are frequently met with in the sacristies of the cathedral churches of France and elsewhere – is vague to the point of obscurity. A study of the subject, deep and profound, is the only process by which one can acquire even a nodding acquaintance with all its various aspects.
It reached its greatest heights in the reign of that artistic monarch, François I. To-day the memory and suggestion of the art of the enamelists of Limoges are perpetuated by, and, through those cursory mentors, the guide-books and popular histories, often confounded with, the production of porcelain. This industry not only flourishes here, but the famous porcelain earth of the country round about is supplied even to the one-time royal factory of Sèvres.
St. Martial was the first prelate at Limoges, in the third century. The diocese is to-day a suffragan of Bourges, and its cathedral of St. Etienne, while not a very ancient structure, is most interesting as to its storied past and varied and lively composition.
Beneath the western tower are the remains of a Romanesque portal which must have belonged to an older church; but to all intents and purposes St. Etienne is to-day a Gothic church after the true northern manner.
It was begun in 1273 under the direct influence of the impetus given to the Gothic development by the erection of Notre Dame d'Amiens, and in all its parts, – choir, transept, and nave, – its development and growth have been most pleasing.
From the point of view of situation this cathedral is more attractively placed than many another which is located in a city which perforce must be ranked as a purely commercial and manufacturing town. From the Pont Neuf, which crosses the Vienne, the view over the gardens of the bishop's palace and the Quai de l'Evêché is indeed grand and imposing.
Chronologically the parts of this imposing church run nearly the gamut of the Gothic note – from the choir of the thirteenth, the transepts of the fourteenth and fifteenth, to the nave of the early sixteenth centuries. This nave has only latterly been completed, and is preceded by the elegant octagonal tower before mentioned. This clocher is a thirteenth-century work, and rises something over two hundred and four feet above the pavement.
In the north transept is a grand rose window after the true French mediæval excellence and magnitude, showing once again the northern spirit under which the cathedral-builders of Limoges worked.
In reality the façade of this north transept might be called the true front of the cathedral. The design of its portal is elaborate and elegant. A series of carved figures in stone are set against the wall of the choir just beyond the transept. They depict the martyrdom of St. Etienne.
The interior will first of all be remarked for its abundant and splendidly coloured glass. This glass is indeed of the quality which in a later day has often been lacking. It dates from the fourteenth and fifteenth centuries, except a part, readily discernible, which is of the nineteenth.
The remains of a precious choir-screen are yet very beautiful. It has been removed from its original position and its stones arranged in much disorder. Still it is a manifestly satisfying example of the art of the stone-carver of the Renaissance period. It dates from 1543. Bishop Langeac (d. 1541), who caused it to be originally erected, is buried close by, beneath a contemporary monument. Bishops Bernard Brun (d. 1349) and Raynaud de la Porte (d. 1325) have also Renaissance monuments which will be remarked for their excess of ornament and elaboration.
In the crypt of the eleventh century, presumably the remains of the Romanesque church whose portal is beneath the western tower, are some remarkable wall paintings thought to be of a contemporary era. If so, they must rank among the very earliest works of their class.
The chief treasures of the cathedral are a series of enamels which are set into a reredos (the canon's altar in the sacristy). They are the work of the master, Noel Loudin, in the seventeenth century.
In the Place de l'Hôtel de Ville is a monumental fountain in bronze and porcelain, further enriched after the manner of the mediæval enamel workers.
The collection de ceramique in the Musée is unique in France, or for that matter in all the world.
The ateliers de Limoges were first established in the thirteenth century by the monks of the Abbey of Solignac.
A remarkable example of the work of the émailleurs limousins is the twelfth-century reliquary of Thomas à Becket, one-time Archbishop of Canterbury.
At the rear of the cathedral the Vienne is crossed by the thirteenth-century bridge of St. Etienne. Like the cathedrals, châteaux, and city walls, the old bridges of France, where they still remain, are masterworks of their kind. To connect them more closely with the cause of religion, it is significant that they mostly bore the name of, and were dedicated to, some local saint.
