The cathedral is chiefly of the twelfth century, though even a near-by exterior view does not suggest any of the Gothic tendencies of that era.

It is more like the heavy bungling style which came in with the Renaissance; but it is not that either, hence it must be cla.s.sed as a unique variety, though of the period when the transition from the Romanesque to Gothic was making inroads elsewhere.

It has been said that the structure dates in part from the time of Charlemagne, but, if so, the usual splendid appointments of the true Charlemagnian manner are sadly lacking. There may be constructive foundations of the eleventh century, but they are in no way distinctive, and certainly lend no liveliness to a building which must ever be ranked as unworthy of the splendid environment.

As a church of cathedral rank, it is a tiny edifice when compared with the glorious northern ground-plans: it is not much more than two hundred feet in length, and has a width which must be considerably less than fifty feet.

The entrance, at the top of a long, winding stair which rises from the street-level of the Place du Palais to the platform of the rock, is essentially pagan in its aspect; indeed it is said to have previously formed the portal of a pagan temple which at one time stood upon the site. If this be so, this great doorway--for it is far larger in its proportions than any other detail--is the most ancient of all the interior or exterior features.

The high pediment and roof may be pointed Gothic, or it may not; at any rate, it is in but the very rudimentary stage. Authorities do not agree; which carries the suggestion still further that the cathedral at Avignon is of itself a queer, hybrid thing in its style, and with not a t.i.the of the interest possessed by its more magnificent neighbour.

The western tower, while not of great proportions, is rather more ma.s.sive than the proportions of the church body can well carry. What decoration it possesses carries the pagan suggestion still further, with its superimposed fluted pillars and Corinthian columns.

The gloomy interior is depressing in the extreme, and whatever attributes of interest that it has are largely discounted by their unattractive setting.

There are a number of old paintings, which, though they are not the work of artists of fame, might possibly prove to be of creditable workmanship, could one but see them through the gloom. In the before-mentioned porch are some frescoes by Simone Memmi, executed by him in the fourteenth century, when he came from Sienna to do the decorations in the palace.

The side chapels are all of the fourteenth century; that of St. Joseph, now forming the antechamber of the sacristy, contains a noteworthy Gothic tomb and monument of Pope John XXII. It is much mutilated to-day, and is only interesting because of the personality connected therewith.

The custodian or caretaker is in this case a most persistently voluble person, who will give the visitor little peace unless he stands by and hears her story through, or flees the place,--which is preferable.

The niches of this highly florid Gothic tomb were despoiled of their statues at the Revolution, and the rec.u.mbent effigy of the Pope has been greatly disfigured. A much simpler monument, and one quite as interesting, to another Pope, Benedict XII.,--he who was responsible for the magnificence of the papal palace,--is in a chapel in the north aisle of the nave, but the _cicerone_ has apparently no pride in this particular shrine.

An ancient (pagan?) altar is preserved in the nave. It is not beautiful, but it is undoubtedly very ancient and likewise very curious.

The chief accessory of interest for all will doubtless prove to be the twelfth-century papal throne. It is of a pure white marble, rather cold to contemplate, but livened here and there with superimposed gold ornament. What decoration there is, chiefly figures representing the bull of St. Luke and the lion of St. Mark, is simple and severe, as befitted papal dignity. To-day it serves the archbishop of the diocese as his throne of dignity, and must inspire that worthy with ambitious hopes.

The chapter of the cathedral at Avignon--as we learn from history--wears purple, in company with cardinals and kings, at all celebrations of the High Ma.s.s of Clara de Falkenstein. From a well-worn vellum quarto in the library at Avignon one may read the legend which recounts the connection of Ste. Clara de Mont Falcone with the mystery of the Holy Trinity; from which circ.u.mstance the honour and dignity of the purple has been granted to the prelates of the cathedral.

No mention of Avignon, or of Arles, or of Nimes could well be made without a reference to the revival of Provencal literature brought about by the famous "Felibrage," that brotherhood founded by seven poets, of whom Frederic Mistral is the most popularly known.

The subject is too vast, and too vastly interesting to be slighted here, so perforce mere mention must suffice.

The word Felibre was suggested by Mistral, who found it in an old hymn.

Its etymology is uncertain, but possibly it is from the Greek, meaning "a lover of the beautiful."

The original number of the Felibres was seven, and they first met on the fete-day of Ste. Estelle; in whose honour they adopted the seven-pointed star as their emblem. Significantly, the number seven has much to do with the Felibres and Avignon alike. The enthusiastic Felibre tells of Avignon's seven churches, its seven gates, seven colleges, seven hospitals, and seven popes--who reigned at Avignon for seven decades; and further that the word Felibre has seven letters, as, also, has the name of Mistral, one of its seven founders--who took seven years in writing his epics.

[Ill.u.s.tration: NOTRE DAME _des DOMS d'AVIGNON_]

The machicolated walls, towers, and gateways of Avignon, which protected the city in mediaeval times, and--history tells us--sheltered twice as many souls as now, are in a remarkable state of preservation and completeness, and rank foremost among the masterworks of fortification of their time. This outer wall, or _enceinte_, was built at the instigation of Clement VI., in 1349, and was the work of but fourteen years.

A hideously decorated building opposite the papal palace--now the _Conservatoire de Musique_--was formerly the papal mint.

The ruined bridge of St. Benezet, built in the twelfth century, is a remarkable example of the engineering skill of the time. Surmounting the four remaining arches--still perfect as to their configuration--is a tiny chapel dedicated to St. Nicholas, which formerly contained _reliques_ of St. Benezet.

The extraordinary circ.u.mstance which led up to the building of this bridge seems legendary, to say the least.

It is recorded that St. Benezet, its founder, who was a mere shepherd, became inspired by G.o.d to undertake this great work. The inspiration must likewise have brought with it not a little of the uncommon skill of the bridge-builder, and, considering the extent and scope of the projected work, something of the spirit of benefaction as well.

The foundation was laid in 1171, and it was completed, after seventeen years of labour, in 1188.

On this bridge, near the entrance to the city, was erected a hospital of religious persons, who were denominated _Les Freres du Pont_, their offices being to preserve the fabric, and to afford succour to all manner of travellers.

The boldness and utility of this undertaking,--it being the only means of communication between Avignon and the French territory beyond the Rhone,--as well as the permanency a.s.sured to it by the annexing of a religious foundation, cannot fail to grant to the memory of its holy founder something more than a due share of veneration on behalf of his genius and perspicacity.

XI

ST. SIFFREIN DE CARPENTRAS

The tiny city of Carpentras, most picturesquely situated on the equally diminutive river Auzon which enters the Rhone between Orange and Avignon, was a Roman colony under Augustus, and a bishopric under St.

Valentin in the third century.

A suffragan of Avignon, the papal city, the see was suppressed in 1790.

The Bishops of Carpentras, it would appear, were a romantic and luxury-loving line of prelates, though this perhaps is aught against their more devout virtues.

They had a magnificent palace overhanging the famous "Fountain of Vaucluse," and repaired thither in mediaeval times for the relaxation which they evidently much appreciated. They must have been veritable patrons of literature and the arts, as Petrarch and his fellows-in-art were frequently of their household.

The ancient cathedral of St. Siffrein is dedicated to a former bishop of Carpentras, who died in the sixth century.

As this church now stands, its stones are mainly of the early sixteenth century. The west facade is entirely without character, and is pierced at the pavement with a gross central doorway flanked by two others; poor copies of the _Greco-Romain_ style, which, in many of its original forms, was certainly more pleasing than here. Each of these smaller doorways have for their jambs two beautifully toned columns of red jasper, from a baptistere of which there are still extensive remains at Venasque near by.

This baptistere, by the way, and its neighbouring Romanesque and Gothic church, is quite worth the energy of making the journey countryward, eleven kilometres from Carpentras, to see.

It is nominally of the tenth century, but is built up from fragments of a former Temple to Venus, and its situation amid the rocks and tree-clad hilltops of the Nesque valley is most agreeable.

The portal on the south side--though, for a fact, it hardly merits the dignity of such a cla.s.sification--is most ornately sculptured. A figure of the Virgin, in the doorway, it locally known as Notre Dame des Neiges.

Much iconographic symbolism is to be found in this doorway, capable of various plausible explanations which shall not be attempted here.

It must suffice to say that nowhere in this neighbourhood, indeed possibly not south of the Loire, is so varied and elaborate a collection of symbolical stone-carving to be seen.

There is no regularly completed tower to St. Siffrein, but a still unachieved tenth-century _clocher_ in embryo attaches itself on the south.

The interior presents the general effect of Gothic, and, though of late construction, is rather of the primitive order.

There are no aisles, but one single nave, very wide and very high, while the apse is very narrow, with lateral chapels.

Against the western wall are placed four paintings; not worthy of remark, perhaps, except for their great size. They are of the seventeenth or eighteenth century. A private corridor, or gallery, leads from this end of the church to the episcopal palace, presumably for the sole use of the bishops and their guests. The third chapel on the right is profusely decorated and contains a valuable painting by Dominique de Carton. Another contains a statue of the Virgin, of the time of Louis XIV., and is very beautiful.

A tomb of Bishop Laurent Buti (d. 1710) is set against the wall, where the apse adjoins the nave.

Rearward on the high-altar is a fine painting by an unknown artist of the Italian school.

The old-time cathedral of St. Siffrein was plainly not of the poverty-stricken cla.s.s, as evinced by the various accessories and details of ornamentation mentioned above. It had, moreover, in conjunction with it, a most magnificent and truly palatial episcopal residence, built by a former cardinal-bishop, Alexandri Bichi, in 1640.

To-day it serves the functions of the _Palais de Justice_ and a prison; in the latter instance certainly a fall from its. .h.i.therto high estate.