In the tympanum are three _bas-reliefs_ superimposed one upon the other, the upper being naturally the smaller. They represent the Christ triumphant, seated on a dais between two angels, one bearing a staff and the other a veil, while above hover two other angelic figures holding respectively the moon and sun.

The arrangement is not so elaborate or gracefully executed as many, but in its simple and expressive symbolism, in spite of the fact that the whole added ornament appears an afterthought, is far more convincing than many more pretentious works of a similar nature.

Another exterior feature of note is seen at the third pillar at the right of the choir. It is a curious double (back-to-back) statue of Ste.

Anne and the Virgin. It is of stone and of the late sixteenth century, when sculpture--if it had not actually debased itself by superfluity of detail--was of an excellence of symmetry which was often lacking entirely from work of the thirteenth and fourteenth centuries.

The choir-chevet is a magnificent pyramidal ma.s.s of piers, pinnacles, and b.u.t.tresses of much elegance.

The towers which flank the north transept are adorned with an excellent disposition of ornament.

The greater part of this cathedral was constructed during the period of English domination; the choir would doubtless never have been achieved in its present form had it not been for the liberality of Edward I. and Pope Clement V., who had been the archbishop of the diocese.

The cathedral of St. Andre dates practically from 1252, and is, in inception and execution, a very complete Gothic church.

Over its aisleless nave is carried one of the boldest and most magnificent vaults known. The nave is more remarkable, however, for this gigantic attribute than for any other excellencies which it possesses.

In the choir, which rises much higher than the nave, there comes into being a double aisle on either side, as if to make up for the deficiencies of the nave in this respect.

The choir arrangement and accessories are remarkably elaborate, though many of them are not of great artistic worth. Under the organ are two sculptured Renaissance _bas-reliefs_, taken from the ancient _jube_, and representing a "Descent from the Cross" and "Christ Bearing the Cross."

There are two religious paintings of some value, one by Jordaens, and the other by Alex. Veronese. Before the left transept is a monument to Cardinal de Cheverus, with his statue. Surrounding the stonework of a monument to d'Ant de Noailles (1662) is a fine work of wood-carving.

The high-altar is of the period contemporary with the main body of the cathedral, and was brought thither from the eglise de la Reole.

The Province of Bordeaux, as the early ecclesiastical division was known, had its archiepiscopal seat at Bordeaux in the fourth century, though it had previously (in the third century) been made a bishopric.

III

CATHeDRALE DE LECTOURE

Lectoure, though defunct as a bishopric to-day, had endured from the advent of Heuterius, in the sixth century, until 1790.

In spite of the lack of ecclesiastical remains of a very great rank, there is in its one-time cathedral a work which can hardly be contemplated except with affectionate admiration.

The affairs of a past day, either with respect to Church or State, appear not to have been very vivid or highly coloured; in fact, the reverse appears to be the case. In pre-mediaeval times--when the city was known as the Roman village of _Lactora_--it was strongly fortified, like most hilltop towns of Gaul.

The cathedral dates for the most part from the thirteenth century, and in the ma.s.sive tower which enwraps its facade shows strong indications of the workmanship of an alien hand, which was neither French nor Italian. This tower is thought to resemble the Norman work of England and the north of France, and in some measure it does, though it may be questioned as to whether this is the correct cla.s.sification. This tower, whatever may have been its origin, is, however, one of those features which is to be admired for itself alone; and it amply endorses and sustains the claim of this church to a consideration more lasting than a mere pa.s.sing fancy.

The entire plan is unusually light and graceful, and though, by no stretch of opinion could it be thought of as Gothic, it has not a little of the suggestion of the style, which at a former time must have been even more p.r.o.nounced in that its western tower once possessed a spire which rose to a sky-piercing height.

The lower tower still remains, but the spire, having suffered from lightning and the winds at various times, was, a century or more ago, removed.

The nave has a series of lateral chapels, each surmounted by a sort of gallery or tribune, which would be notable in any church edifice, and there is fine traceried vaulting in the apsidal chapels, which also contain some effective, though modern coloured gla.s.s.

The former episcopal residence is now the local Mairie.

On a clear day, it is said, the towers of the cathedral at Auch may be seen to the northward, while in the opposite direction the serrated ridge of the Pyrenees is likewise visible.

[Ill.u.s.tration: NOTRE DAME _de BAYONNE_]

IV

NOTRE DAME DE BAYONNE

"Distant are the violet Pyrenees, wonderful and regal in their grandeur. The sun is bright, and laughs joyously at the Bearnais peasant."

--JEAN RAMEAU.

Bayonne is an ancient town, and was known by the Romans as _Lapurdum_.

As a centre of Christianity, it was behind its neighbours, as no bishopric was founded here until Arsias Rocha held the see in the ninth century. No church-building of remark followed for at least two centuries, when the foundations were laid upon which the present cathedral was built up.

Like the cities and towns of Rousillon, at the opposite end of the Pyrenean chain, Bayonne has for ever been of mixed race and characteristics. Basques, Spaniards, Bearnese, and "alien French"--as the native calls them--went to make up its conglomerate population in the past, and does even yet in considerable proportions.

To the reader of history, the mediaeval Bearn and Navarre, which to-day forms the Department of the Ba.s.ses-Pyrenees in the southwest corner of France, will have the most lively interest, from the fact of its having been the princ.i.p.ality of _Henri Quatre_, the "good king" whose name was so justly dear. The history of the Bearnese is a wonderful record of a people of which too little is even yet known.

Bayonne itself has had many and varied historical a.s.sociations, though it is not steeped in that antiquity which is the birthright of many another favoured spot.

Guide-books and the "notes-and-queries columns" of antiquarian journals have unduly enlarged upon the fact that the bayonet--to-day a well-nigh useless appendage as a weapon of war--was first invented here. It is interesting as a fact, perhaps, but it is not of aesthetic moment.

The most gorgeous event of history connected with Bayonne and its immediate vicinity--among all that catalogue, from the minor Spanish invasions to Wellington's stupendous activities--was undoubtedly that which led up to the famous Pyrenean Treaty made on the Isle du Faisan, close beside the bridge, in the river Bida.s.soa, on the Spanish frontier.

The memory of the parts played therein by Mazarin and De Haro, and not less the gorgeous pavilion in which the function was held, form a setting which the writers of "poetical plays" and "historical romances"

seem to have neglected.

This magnificent apartment was decorated by Velasquez, who, it is said, died of his inglorious transformation into an upholsterer.

The cathedral at Bayonne is contemporary with those at Troyes, Meaux, and Auxerre, in the north of France. It resembles greatly the latter as to general proportions and situation, though it possesses two completed spires, whereas St. Etienne, at Auxerre, has but one.

In size and beauty the cathedral at Bayonne is far above the lower rank of the cathedrals of France, and in spite of extensive restorations, it yet stands forth as a mediaeval work of great importance.

From a foundation of the date of 1140, a structure was in part completed by 1213, at which time the whole existing fabric suffered the ravages of fire. Work was immediately undertaken again, commencing with the choir; and, except for the grand portal of the west front, the whole church was finished by the mid-sixteenth century.

Restoration of a late date, induced by the generosity of a native of the city, has resulted in the completion of the cathedral, which, if not a really grand church to-day, is an exceedingly near approach thereto.

The fine western towers are modern, but they form the one note which produces the effect of _ensemble_, which otherwise would be entirely wanting.

The view from the Quai Bergemet, just across the Adour, for picturesqueness of the quality which artists--tyros and masters alike--love to sketch, is reminiscent only of St. Lo in Normandy.

Aside from the charm of its general picturesqueness of situation and grouping, Notre Dame de Bayonne will appeal mostly by its interior arrangements and embellishments.

The western portal is still lacking the greatness which future ages may yet bestow upon it, and that of the north transept, by which one enters, is, though somewhat more ornate, not otherwise remarkable.