XVII

ST. JEAN-BAPTISTE D'AIRE

This city of the Landes, that wild, bleak region of sand-dunes and shepherds, abuts upon the more prosperous and fertile territory of the valley of the Adour. By reason of this juxtaposition, its daily life presents a series of contrasting elements as quaint and as interesting as those of the bordering Franco-Spanish cities of Perpignan and Bayonne.

From travellers in general, and lovers of architecture in particular, it has ever received but scant consideration, though it is by no means the desert place that early Victorian writers would have us believe. It is in reality a well-built mediaeval town, with no very lurid events of the past to its discredit, and, truthfully, with no very marvellous attributes beyond a certain subtle charm and quaintness which is perhaps the more interesting because of its un.o.btrusiveness.

It has been a centre of Christian activity since the days of the fifth century, when its first bishop, Marcel, was appointed to the diocese by the mother-see of Auch.

The cathedral of St. Jean-Baptiste belongs to the minor cla.s.s of present-day cathedrals, and is of a decidedly conglomerate architectural style, with no imposing dimensions, and no really vivid or lively details of ornamentation. It was begun in the thirteenth century, and the work of rebuilding and restoration has been carried on well up to the present time.

[Ill.u.s.tration: STS. BENOIT et VINCENT _de CASTRES_]

XVIII

STS. BENOIT ET VINCENT DE CASTRES

Castres will ever rank in the mind of the wayfarer along the byways of the south of France as a marvellous bit of stage scenery, rather than as a collection of profound, or even highly interesting, architectural types.

It is one of those spots into which a traveller drops quite unconsciously _en route_ to somewhere else; and lingers a much longer time than circ.u.mstances would seem to justify.

This is perhaps inexplicable, but it is a fact, which is only in a measure accounted for by reason of the "local colour"--whatever that vague term of the popular novelist may mean--and customs which weave an entanglement about one which is difficult to resist.

The river Agout is as weird a stream as its name implies, and divides this haphazard little city of the Tarn into two distinct, and quite characteristically different, parts.

Intercourse between Castres and its faubourg, Villegondom, is carried on by two stone bridges; and from either bank of the river, or from either of the bridges, there is always in a view a ravishingly picturesque _ensemble_ of decrepit walls and billowy roof-tops, that will make the artist of brush and pencil angry with fleeting time.

The former cathedral is not an entrancingly beautiful structure; indeed, it is not after the accepted "good form" of any distinct architectural style. It is a poor battered thing which has suffered hardly in the past; notably at the hands of the Huguenots in 1567. As it stands to-day, it is practically a seventeenth-century construction, though it is yet unfinished and lacks its western facade.

The vaulting of the choir, and the chapels are the only constructive elements which warrant remark. There are a few paintings in the choir, four rather attractive life-size statues, and a series of severe but elegant choir-stalls.

The former _eveche_ is to-day the Hotel de Ville, but was built by Mansart in 1666, and has a fine _escalier_ in sculptured stone.

As a centre of Christianity, Castres is very ancient. In 647 there was a Benedictine abbey here. The bishopric, however, did not come into being until 1317, and was suppressed in 1790.

XIX

NOTRE DAME DE RODEZ

The cathedral at Rodez, whose diocese dates from the fifth century and whose first bishop was St. Amand, is, in a way, reminiscent--in its majesty of outline and dominant situation--of that at Albi.

It is not, however, after the same manner, but resembles it more particularly with respect to its west facade, which is unpierced in its lower stages by either doorway or window.

Here, too, the entrance is midway in its length, and its front presents that sheer flank of walled barrier which is suggestive of nothing but a fortification.

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

This great church--for it is truly great, pure and simple--makes up in width what it lacks in length. Its nave and aisles are just covered by a span of one hundred and twenty feet,--a greater dimension than is possessed by Chartres or Rouen, and nearly as great as Paris or Amiens.

Altogether Notre Dame de Rodez is a most pleasing church, though conglomerate as to its architecture, and as bad, with respect to the Renaissance gable of its facade, as any contemporary work in the same style.

Rodez lacks, however, the great enfolding tower central of Albi.

This mellow and warm-toned cathedral, from its beginnings in the latter years of the thirteenth century to the time when the Renaissance cast its dastardly spell over the genius who inspired its original plan, was the result of the persevering though intermittent work of three centuries, and even then the two western towers were left incomplete.

This perhaps was fortunate; otherwise they might have been topped with such an excrescence as looms up over the doorless west facade.

The Gascon compares the pyramidal roofs which cap either tower--and with some justness, too--to the pyramids of Egypt, and for that reason the towers are, to him, the most wonderful in the universe. Subtle humour this, and the observer will have little difficulty in tracing the a.n.a.logy.

Still, they really are preferable, as a decorative feature, to the tomb-like headboard which surmounts the central gable which they flank.

The ground-plan is singularly uniform, with transepts scarcely defined--except in the interior arrangements--and yet not wholly absent.

The elaborate tower, called often and with some justification the _beffroi_, which flanks, or rather indicates, the northerly transept, is hardly pure as to its Gothic details, but it is a magnificent work nevertheless.

It dates from 1510, is two hundred and sixty-five feet high, and is typical of most of the late pointed work of its era. The final stage is octagonal and is surmounted by a statue of the Virgin surrounded by the Evangelists. This statue may or may not be a worthy work of art; it is too elevated, however, for one to decide.

The decorations of the west front, except for the tombstone-like Renaissance gable, are mainly of the same period as the north transept tower, and while perhaps ultra-florid, certainly make a fine appearance when viewed across the _Place d'Armes_.

This west front, moreover, possesses that unusual attribute of a southern church, an elaborate Gothic rose window; and, though it does not equal in size or design such magnificent examples as are seen in the north, at Reims, Amiens, or Chartres, is, after all, a notable detail of its kind.

The choir, chevet, and apside are of ma.s.sive building, though not lacking grace, in spite of the absence of the _arcs-boutants_ of the best Gothic.

Numerous grotesque gargoyles dot the eaves and gables, though whether of the spout variety or mere symbols of superst.i.tion one can hardly tell with accuracy when viewed from the ground level.

The north and south portals of the transepts are of a florid nature, after the manner of most of the decorations throughout the structure, and are acceptable evidence of the ingenious craft of the stone-carver, if nothing more.

The workmanship of these details, however, does not rise to the heights achieved by the architect who outlined the plan and foundation upon which they were latterly imposed. They are, too, sadly disfigured, the tympanum in the north portal having been disgracefully ravished.

The interior arrangements are doubly impressive, not only from the effect of great size, but from the novel colour effect--a sort of dull, glowing pink which seems to pervade the very atmosphere, an effect which contrasts strangely with the colder atmosphere of the Gothic churches of the north. A curious feature to be noted here is that the sustaining walls of the vault rest directly on piers _sans_ capitals; as effective, no doubt, as the conventional manner, but in this case hardly as pleasing.

Two altars, one at either end of nave and choir, duplicate the arrangement seen at Albi.

The organ _buffet_, too, is of the same ma.s.siveness and elaborateness, and is consequently an object of supreme pride to the local authorities.

It seems difficult to make these useful and necessary adjuncts to a church interior of the quality of beauty shared by most other accessories, such as screens, altars, and choir-stalls, which, though often of the contemporary Renaissance period, are generally beautiful in themselves. The organ-case, however, seems to run either to size, heaviness, or grotesqueness, or a combination of all. This is true in this case, where its great size, and plentifully besprinkled _rococo_ ornament, and unpleasantly dull and dingy "pipes" are of no aesthetic value whatever. The organ, moreover, occupies the unusual position--in a French church--of being over the western doorway.

The nave is of extreme height, one hundred and ten feet, and is of unusual width, as are also the aisles.

The rose window, before remarked, shows well from the inside, though its gla.s.s is not notable.