With the choir comes the contrast, both inside and out.

The apside, the transepts, the eleven gorgeous windows, and the extreme grace of its piers and vaulting, all combine in the fullest expression of the architectural art of its time.

This admirable Gothic addition was the work of Bishop Pierre de Rochefort in 1321. The transept chapels and the apse are framed with light soaring arches, and the great easterly windows are set with brilliant gla.s.s.

In a side chapel is the former tomb of Simon de Montfort, whose remains were buried here in 1218. At a subsequent time they were removed to Montfort l'Amaury in the Isle of France. Another remarkable tomb is that of Bishop Radulph (1266). It shows an unusually elaborate sculptured treatment for its time, and is most ornate and beautiful.

In the choir are many fine fourteenth-century statues; a tomb with a sleeping figure, thought to be that of Bishop du Puy of Carca.s.sonne; statues of the Virgin, St. Nazaire, and the twelve apostles; an elaborate high-altar; and a pair of magnificent candlesticks, bearing the arms of Bishop Martin (1522).

An eleventh-century crypt lies beneath the choir. The sacristy, as it is to-day, was formerly a thirteenth-century chapel.

The organ is commonly supposed to be the most ancient in France. It is not of ranking greatness as a work of art, but it is interesting to know that it has some redeeming quality, aside from its conventional ugliness.

The _tour carree_, which is set in the inner rampart just in front of the cathedral, is known as the Bishop's Tower. It is a tower of many stages, and contains some beautifully vaulted chambers.

The celebrated _tour des Visigoths_, which is near by, is the most ancient of all.

The entrance to the old _Cite_ is _via_ the Pont Vieux, which is itself a mediaeval twelfth or thirteenth century architectural monument of rare beauty. In the middle of this old bridge is a very ancient iron cross.

[Ill.u.s.tration]

XV

CATHeDRALE DE PAMIERS

"Une _pet.i.te ville sur la rive droite de l'Ariege, siege d'un eveche_."

These few words, with perhaps seven accompanying lines, usually dismiss this charming little Pyrenean city, so far as information for the traveller is concerned.

It is, however, one of these neglected tourist points which the traveller has ever pa.s.sed by in his wild rush "across country."

To be sure, it is considerably off the beaten track; so too are its neighbouring ancient bishoprics of Mirepoix and St. Bertrand de Comminges, and for that reason they are comparatively unspoiled.

The great and charming attraction of Pamiers is its view of the serrated ridge of the Pyrenees from the _promenade de Castellat_, just beyond the cathedral.

For the rest, the cathedral, the fortified _eglise de Notre Dame du Camp_, the ancient _eglise de Cordeliers_, the many old houses, and the general sub-tropical aspect of the country round about, all combine to present attractions far more edifying and gratifying than the allurements of certain of the Pyrenean "watering-places."

The cathedral itself is not a great work; its charm, as before said, lies in its environments.

Its chief feature--and one of real distinction--is its octagonal _clocher_, in brick, dating from the fourteenth century. It is a singularly graceful tower, built after the local manner of the _Midi_ of France, of which St. Saturnin and the eglise des Jacobins at Toulouse are the most notable.

Its base is a broad square machicolated foundation with no openings, and suggests, as truly as does the tower at Albi, a churchly stronghold unlikely to give way before any ordinary attack.

In the main, the church is a rebuilt, rather than a restored edifice.

The nave, and indeed nearly all of the structure, except its dominant octagonal tower, is of the seventeenth century. This work was undertaken and consummated by Mansart after the manner of that period, and is far more acceptable than the effect produced by most "restored churches."

The eleventh-century abbey of St. Antoine formed originally the seat of the throne of the first bishop of Pamiers, Bernard Saisset, in 1297.

XVI

ST. BERTRAND DE COMMINGES

To-day St. Bertrand de Comminges, the ancient _Lugdunum Convenarum_ (through which one traces its communistic foundation), is possessed of something less than six hundred inhabitants. Remains of the Roman ramparts are yet to be seen, and its _ci-devant_ cathedral,--of the twelfth to fourteenth centuries--suppressed in 1790, still dominates the town from its heights. Arthur Young, writing in the eighteenth century, describes its situation thus: "The mountains rise proudly around and give their rough frame to this exquisite little picture."

The diocese grew out of the monkish community which had settled here in the sixth century, when the prelate Suavis became its first bishop.

To-day the nearest bishop's seat is at Tarbes, in the archbishopric of Auch.

[Ill.u.s.tration: ST. BERTRAND _de COMMINGES_]

As to architectural style, the cathedral presents what might ordinarily be called an undesirable mixture, though it is in no way uninteresting or even unpleasing.

The west front has a curious Romanesque doorway, and there is a ma.s.siveness of wall and b.u.t.tress which the rather diminutive proportions of the general plan of the church make notably apparent. Otherwise the effect, from a not too near view-point, is one of a solidity and firmness of building only to be seen in some of the neighbouring fortress-churches.

A tower of rather heavy proportions is to-day capped with a pyramidal slate or timbered apex after the manner of the western towers at Rodez.

From a distance, this feature has the suggestion of the development of what may perhaps be a local type of _clocher_. Closer inspections, when its temporary nature is made plain, disabuses this idea entirely. It is inside the walls that the great charm of this church lies. It is elaborately planned, profuse in ornament,--without being in any degree redundant,--and has a warmth and brilliancy which in most Romanesque interiors is wanting.

This interior is representative, on a small scale, of that cla.s.s of structure whose distinctive feature is what the French architect calls a _nef unique_, meaning, in this instance, one of those great single-chambered churches without aisles, such as are found at Perpignan, new Carca.s.sonne, Lodeve, and in a still more amplified form at Albi.

There are of course no aisles; and for a length of something over two hundred feet, and a breadth of fifty-five, the bold vault--in the early pointed style--roofs one of the most attractive and pleasing church interiors it is possible to conceive.

Of the artistic accessories it is impossible to be too enthusiastic.

There are sixty-six choir-stalls, most elaborately carved in wood--perhaps mahogany--of a deep rich colouring seldom seen. Numerous other sculptured details in wood and stone set off with unusual effect the great and well-nigh windowless side walls.

The organ _buffet_ of Renaissance workmanship--as will naturally be inferred--is a remarkably elaborate work, much more to be admired than many of its contemporaries.

Among the other decorative features are an elaborately conceived "tree of Jesse," an unusually ma.s.sive rood-loft or _jube_, and a high-altar of much magnificence.

The choir is surrounded by eleven chapels, showing in some instances the pure pointed style, and in the latter ones that of the Renaissance.

A fourteenth-century funeral monument of Bishop Hugh de Castillione is an elaborate work in white marble; while a series of paintings on the choir walls,--ill.u.s.trating the miracles of St. Bertrand,--though of a certain crudity, tend to heighten the interest without giving that effect of the over-elaboration of irrelative details not unfrequently seen in some larger churches.

At St. Bertrand de Comminges and the cathedrals at Arles, Cavaillon, and Aix-en-Provence, Elne-en-Roussillon, and Le Puy-en-Velay are conserved--in a more or less perfect state of preservation--a series of delightful twelfth-century cloisters. These churches possess this feature in common with the purely monastic houses, whose builders so frequently lavished much thought and care on these enclosed and cloistered courtyards.

As a mere detail--or accessory, if you will,--an ample cloister is expressive of much that is wanting in a great church which lacks this contributory feature.

Frequently this part was the first to succ.u.mb to the destroying influence of time, and leave a void for which no amount of latter-day improvement could make up. Even here, while the cloister ranks as one of the most beautiful yet to be seen, it is part in a ruinous condition.

[Ill.u.s.tration]