The Cathedrals of Southern France. Mansfield Milburg Francisco

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      Gothic style appears to have turned its back on Italy, where, in Lombardy at all events, were made exceedingly early attempts in this style. This, perhaps, because of satisfying and enduring classical works which allowed no rivalry; a state of affairs to some extent equally true of the south of France. The route of expansion, therefore, was northward, along the Rhine, into the Isle of France, to Belgium, and finally into England.

      No more true or imaginative description of Gothic forms has been put into literature than those lines of Sir Walter Scott, which define its characteristics thus:

      "… Whose pillars with clustered shafts so trim,

      With base and capital flourished 'round,

      Seemed bundles of lances which garlands had bound."

      In modern times, even in France, church-building neither aspired to, nor achieved, any great distinction.

      Since the Concordat what have we had? A few restorations, which in so far as they were carried out in the spirit of the original were excellent; a few added members, as the west front and spires of St. Ouen at Rouen; the towers and western portal at Clermont-Ferrand; and a few other works of like magnitude and worth. For the rest, where anything of bulk was undertaken, it was almost invariably a copy of a Renaissance model, and often a bad one at that; or a descent to some hybrid thing worse even than in their own line were the frank mediocrities of the era of the "Citizen-King," or the plush and horsehair horrors of the Second Empire.

      Most characteristic, and truly the most important of all, are the remains of the Gallo-Roman period. These are the most notable and forceful reminders of the relative prominence obtained by mediæval pontiffs, prelates, and peoples.

      These relations are further borne out by the frequent juxtaposition of ecclesiastical and civic institutions of the cities themselves, – fortifications, palaces, châteaux, cathedrals, and churches, the former indicating no more a predominance of power than the latter.

      A consideration of one, without something more than mere mention of the other, is not possible, and incidentally – even for the church-lover – nothing can be more interesting than the great works of fortification – strong, frowning, and massive – as are yet to be seen at Béziers, Carcassonne, or Avignon. It was this latter city which sheltered within its outer walls that monumental reminder of the papal power which existed in this French capital of the "Church of Rome" – as it must still be called – in the fourteenth century.

      To the stranger within the gates the unconscious resemblance between a castellated and battlemented feudal stronghold and the many churches, – and even certain cathedrals, as at Albi, Béziers, or Agde, – which were not unlike in their outline, will present some confusion of ideas.

      Between a crenelated battlement or the machicolations of a city wall, as at Avignon; or of a hôtel de ville, as at Narbonne; or the same detail surmounting an episcopal residence, as at Albi, which is a veritable donjon; or the Palais des Papes, is not a difference even of degree. It is the same thing in each case. In one instance, however, it may have been purely for defence, and in the other used as a decorative accessory; in the latter case it was no less useful when occasion required. This feature throughout the south of France is far more common than in the north, and is bound to be strongly remarked.

      Two great groups or divisions of architectural style are discernible throughout the south, even by the most casual of observers.

      One is the Provençal variety, which clings somewhat closely to the lower valley of the Rhône; and the other, the Aquitanian (with possibly the more restricted Auvergnian).

      These types possess in common the one distinctive trait, in some form or other, of the round-arched vaulting of Roman tradition. It is hardly more than a reminiscence, however, and while not in any way resembling the northern Gothic, at least in the Aquitanian species, hovers on the borderland between the sunny south and the more frigid north.

      The Provençal type more nearly approximates the older Roman, and, significantly, it has – with less interpolation of modern ideas – endured the longest.

      The Aquitanian style of the cathedrals at Périgueux and Angoulême, to specialize but two, is supposed to – and it does truly – bridge the gulf between the round-arched style which is not Roman and the more brilliant and graceful type of Gothic.

      With this manner of construction goes, of course, a somewhat different interior arrangement than that seen in the north.

      A profound acquaintance with the subject will show that it bears a certain resemblance to the disposition of parts in an Eastern mosque, and to the earlier form of Christian church – the basilica.

      In this regard Fergusson makes the statement without reservation that the Eglise de Souillac more nearly resembles the Cairène type of Mohammedan mosque than it does a Christian church – of any era.

      A distinct feature of this type is the massive pointed arch, upon which so many have built their definition of Gothic. In truth, though, it differs somewhat from the northern Gothic arch, but is nevertheless very ancient. It is used in early Christian churches, – at Acre and Jaffa, – and was adopted, too, by the architects of the Eastern Empire long before its introduction into Gaul.

      The history of its transportation might be made interesting, and surely instructive, were one able to follow its orbit with any definite assurance that one was not wandering from the path. This does not seem possible; most experts, real or otherwise, who have tried it seem to flounder and finally fall in the effort to trace its history in consecutive and logical, or even plausible, fashion.

      In illustration this is well shown by that wonderful and unique church of St. Front at Périgueux, where, in a design simple to severity, it shows its great unsimilarity to anything in other parts of France; if we except La Trinité at Anjou, with respect to its roofing and piers of nave.

      It has been compared in general plan and outline to St. Marc's at Venice, "but a St. Marc's stripped of its marbles and mosaics."

      In the Italian building its founders gathered their inspiration for many of its structural details from the old Byzantine East. At this time the Venetians were pushing their commercial enterprises to all parts. North-western France, and ultimately the British Isles, was the end sought. We know, too, that a colony of Venetians had established itself as far northward as Limoges, and another at Périgueux, when, in 984, this edifice, which might justly be called Venetian in its plan, was begun.

      No such decoration or ornamentation was presumed as in its Adriatic prototype, but it had much beautiful carving in the capitals of its pillars and yet other embellishments, such as pavements, monuments, and precious altars, which once, it is said, existed more numerously than now.

      Here, then, was the foundation of a new western style, differing in every respect from the Provençal or the Angevinian.

      Examples of the northern pointed or Gothic are, in a large way, found as far south as Bayonne in its cathedral; in the spires of the cathedral at Bordeaux; and less grandly, though elegantly, disposed in St. Nazaire in the old Cité de Carcassonne; and farther north at Clermont-Ferrand, where its northern-pointed cathedral is in strong contrast to the neighbouring Notre Dame du Port, a remarkable type distinctly local in its plan and details.

      From this point onward, it becomes not so much a question of defining and placing types, as of a chronological arrangement of fact with regard to the activities of the art of church-building.

      It is doubtless true that many of the works of the ninth and tenth centuries were but СКАЧАТЬ