IV

ST. JEAN DE LYON

The Lyonnais is the name given to that region lying somewhat to the westward of the city of Lyon. It is divided into three distinct parts, _le Lyonnais_ proper, _le Forez_, and _le Beaujolais_. Its chief appellation comes from that of its chief city, which in turn is more than vague as to its etymology: _Lugdunum_ we know, of course, and we can trace its evolution even unto the Anglicized Lyons, but when philologists, antiquarians, and "pedants of mere pretence" ask us to choose between _le corbeau_--_lougon_, _un eminence_--_dounon_, _lone_--an arm of a river, and _dun_ the Celtic word for height, we are amazed, and are willing enough to leave the solving of the problem to those who will find a greater pleasure therein.

Lyon is a widely-spread city, of magnificent proportions and pleasing aspect, situated as it is on the banks of two majestic, though characteristically different rivers, the Rhone and the Saone.

In many respects it is an ideally laid-out city, and the scene from the heights of Fourviere at night, when the city is brilliant with many-lighted workshops, is a wonderfully near approach to fairy-land.

Whether the remarkable symmetry of the city's streets and plan is the result of the genius of a past day, or of the modern progressive spirit, is in some doubt. Certainly it must originally have been a delightfully planned city, and the spirit of modernity--though great--has not by any means wholly eradicated its whilom charm of another day.

It may be remarked here that about the only navigable portion of the none too placid Rhone is found from here to Avignon and Arles, to which points, in summer at least, steam-craft--of sorts--carry pa.s.sengers with expedition and economy--down-stream; the journey up-river will amaze one by the potency of the flood of this torrential stream--so different from the slow-going Saone.

The present diocese, of which the see of Lyon is the head, comprehends the Department of the Rhone et Loire. It is known under the double vocable of Lyon et Vienne, and is the outgrowth of the more ancient ecclesiastical province of Vienne, whose archiepiscopal dignity was domiciled in St. Maurice.

It was in the second century that St. Pothin, an Asiatic Greek, came to the ancient province of Lyon as archbishop. The t.i.tle carried with it that of primate of all Gaul: hence the importance of the see, from the earliest times, may be inferred.

The architectural remains upon which is built the flamboyant Gothic church of St. Nizier are supposed to be those of the primitive cathedral in which St. Pothin and St. Irenaeus celebrated the holy rites. The claim is made, of course, not without a show of justification therefor, but it is a far cry from the second century of our era to this late day; and the sacristan's words are not convincing, in view of the doubts which many non-local experts have cast upon the a.s.sertion. The present _eglise St. Nizier_ is furthermore dedicated to a churchman who lived as late as the sixth century.

The present cathedral of St. Jean dates from the early years of the twelfth century, but there remains to-day another work closely allied with episcopal affairs--the stone bridge which spans the Saone, and which was built some two hundred years before the present cathedral by Archbishop Humbert.

Though a bridge across a river is an essentially practical and utile thing, it is, perhaps, in a way, as worthy a work for a generous and masterful prelate as church-building itself. Certainly this was the case with Humbert's bridge, he having designed the structure, superintended its erection, and a.s.sumed the expense thereof. It is recorded that this worthy churchman gained many adherents for the faith, so it may be a.s.sumed that he builded as well as he knew.

St. Jean de Lyon dates from 1180, and presents many architectural anomalies in its constructive elements, though the all-pervading Gothic is in the ascendant. From this height downward, through various interpolations, are seen suggestions of many varieties and styles of church-building. There is, too, an intimation of a motif essentially pagan if one attempts to explain the vagaries of some of the ornamentation of the unusual septagonal Lombard choir. This is further inferred when it is known that a former temple to Augustus stood on the same site. If this be so, the reasoning is complete, and the cla.s.sical ornament here is of a very early date.

The fabric of the cathedral is, in the main, of a warm-coloured freestone, not unlike dark marble, but without its brilliancy and surface. It comes from the heights of Fourviere,--on whose haunches the cathedral sits,--and by virtue of the act of foundation it may be quarried at any time, free of all cost, for use by the Church.

The situation of this cathedral is most attractive; indeed its greatest charm may be said to be its situation, so very picturesquely disposed is it, with the Quai de l'Archeveche between it and the river Saone.

The choir itself--after allowing for the interpolation of the early non-Christian fragments--is the most consistently pleasing portion. It presents in general a fairly pure, early Gothic design. Curiously enough, this choir sits below the level of the nave and presents, in the interior view, an unusual effect of amplitude.

With the nave of the thirteenth and fourteenth centuries, the style becomes more mixed--localized, one may say--if only consistent details might be traced. At any rate, the style grows perceptibly heavier and more involved, without the simplicity of pre-Gothic work. Finally, as one comes to the heavily capped towers, there is little of grace and beauty left.

In detail, at least, if not in general, St. Jean runs quite the whole scale of mediaeval architectural style--from the pure Romanesque to the definite, if rather mixed, Gothic.

Of the later elements, the most remarkable is the fifteenth-century Bourbon chapel, built by Cardinal Charles and his brother Pierre. This chapel presents the usual richness and luxuriance of its time. If all things are considered, it is the chief feature of interest within the walls.

The west front has triple portals, reminiscent, as to dimensions, of Amiens, though by no means so grandly peopled with statues; the heavy, stunted towers, too, are not unlike those of Amiens. These twin towers are of a decidedly heavy order, and are not beautiful, either as distinct features or as a component of the ensemble. Quite in keeping also are the chief decorations of the facade, which are princ.i.p.ally a series of superimposed medallions, depicting, variously, the signs of the zodiac, scenes from the life of St. Jean, and yet others suggesting scenes and incidents from Genesis, with an admixture of heraldic symbolism which is here quite meaningless and singularly inappropriate, while still other entablatures present scenes ill.u.s.trating the "Legend of St. Nicholas" and "The Law of Aristotle."

The general effect of the exterior, the facade in particular, is very dark, and except in a bright sunlight--which is usual--is indeed gloomy.

In all probability, this is due to the discolouring of the soft stone of which the cathedral is built, as the same effect is scarcely to be remarked in the interior.

In a tower on the south side--much lower, and not so clumsily built up as the twin towers--hangs one of the greatest _bourdons_ in France. It was cast in 1662, and weighs ten thousand kilos.

Another curiosity of a like nature is to be seen in the interior, an astronomical clock--known to Mr. Tristram as "that great clock of Lippius of Basle." Possessed of a crowing c.o.c.k and the usual toy-book attributes, this great clock is a source of perennial pride to the native and the makers of guide-books. Sterne, too, it would appear, waxed unduly enthusiastic over this really ingenious thing of wheels and cogs. He said: "I never understood the least of mechanism. I declare I was never able yet to comprehend the principles of a squirrel-cage or a knife-grinder's wheel, yet I will go see this wonderful clock the first thing I do." When he did see it, he quaintly observed that "it was all out of joint."

The rather crude coloured gla.s.s--though it is precious gla.s.s, for it dates from the thirteenth century, in part--sets off bountifully an interior which would otherwise appear somewhat austere.

In the nave is a marble pulpit which has been carved with more than usual skill. It ranks with that in St. Maurice, at Vienne, as one of the most beautiful in France.

The cathedral possesses two _reliques_ of real importance in the crosses which are placed to the left and right of the high-altar. These are conserved by a unique custom, in memory of an attempt made by a _concile general_ of the church, held in Lyon in 1274, to reconcile the Latin and Greek forms of religion.

The sacristy, in which the bountiful, though not historic, _tresor_ is kept, is in the south transept.

Among the archives of the cathedral there are, says a local antiquary, doc.u.ments of a testamentary nature, which provided the means for the up-keep of the fabric without expense to the church, until well into the eighteenth century.

On the apex of the height which rises above the cathedral is the Basilique de Notre Dame de Fourviere--"one of those places of pilgrimage, the most venerated in all the world," says a confident French writer. This may be so; it overlooks ground which has long been hallowed by the Church, to a far greater degree than many other parts, but, like so many places of pilgrimage of a modern day, its nondescript religious edifice is enough to make the church-lover willingly pa.s.s it by. The site is that of the ancient _Forum Vetus_ of the Romans, and as such is more appealing to most than as a place of pilgrimage.

V

ST. MAURICE DE VIENNE

"At the feet of seven mountains; on the banks of a large river; an antique city and a _cite neuve_."

--FRANcOIS PONSARD.

Though widowed to-day of its bishop's throne, Vienne enjoys with Lyon the distinction of having its name attached to an episcopal see. The ancient archbishopric ruled over what was known as the Province of Vienne, which, if not more ancient than that of Lyon, dates from the same century--the second of our Christian era--and probably from a few years anterior, as it is known that St. Crescent, the first prelate of the diocese, was firmly established here as early as 118 A. D. In any event, it was one of the earliest centres of Christianity north of the Alps.

To-day, being merged with the diocese of Lyon, Vienne is seldom credited as being a cathedral city. Locally the claim is very strongly made, but the Mediterranean tourist never finds this out, unless, perchance, he "drops off" from the railway in order to make acquaintance with that remarkable Roman temple to Augustus, of which he may have heard.

Then he will learn from the _habitants_ that by far their greatest respect and pride are for their _ancienne Cathedrale de St. Maurice_, which sits boldly upon a terrace dominating the course of the river Rhone.

In many respects St. Maurice de Vienne will strike the student and lover of architecture as being one of the most lively and appealing edifices of its kind. The Lombard origin of many of its features is without question; notably the delightful gallery on the north side, with its supporting columns of many grotesque shapes.

Again the parapet and terrace which precede this church, the ground-plan, and some of the elevations are pure Lombard in motive.

There are no transepts and no ancient chapels at the eastern termination; the windows running down to the pavement. This, however, does not make for an appearance at all _outre_--quite the reverse is the case. The general effect of the entire internal distribution of parts, with its fine approach from the nave to the sanctuary and choir, is exceedingly notable.

Of the remains of the edifice, which was erected on the foundations of a still earlier church, in 1052 (reconstructed in 1515), we have those of the primitive, but rich, ornamentation of the facade as the most interesting and appealing.

The north doorway, too, indicates in its curious _bas-reliefs_, of the twelfth or thirteenth centuries, a luxuriance which in the north--in the Romanesque churches at least--came only with later centuries.

There are few accessories of note to be seen in the choir or chapels: a painting of St. Maurice by Desgoffes, a small quant.i.ty of fourteenth-century gla.s.s, the mausoleum of Cardinal de Montmorin, a sixteenth-century tomb, and, in one of the chapels, some modern gla.s.s of more than usual brilliance.

The pulpit is notable, and, with that in St. Jean de Lyon, ranks as one of the most elaborate in France.

For the rest, one's admiration for St. Maurice de Vienne must rest on the glorious antiquity of the city, as a centre of civilizing and Christianizing influence.

When Pope Paschal II. (1099-1118) confirmed the metropolitan privileges of Vienne, and sent the _pallium_ to its archbishop, he a.s.signed to him as suffragans the bishops of Gren.o.ble, Valence, Die, Viviers, Geneva, and St. Jean de Maurienne, and conferred upon him the honorary office of primate over Monstiers in Tarentaise. Still later, Calixtus II.

(1119-24) favoured the archbishopric still further by not only confirming the privileges which had gone before, but investing the archbishop with the still higher dignity of the office of primate over the seven ecclesiastical Provinces of Vienne, Bourges, Bordeaux, Auch, Narbonne, Aix, and Embrun.