St. Front has the unusual attribute of an _avant-porch_,--a sort of primitive narthen, as was a feature of tenth-century buildings (see plan and descriptions of a tenth-century church in appendix), behind which is a second porch,--a vestibule beneath the tower,--and finally the first of the group, of five central cupolas.

The _clocher_ or belfry of St. Front is accredited as being one of the most remarkable eleventh-century erections of its kind in any land. It is made up of square stages, each smaller than the other, and crowned finally by a conic cupola.

Its early inception and erection here are supposed to account for the similarity of others--not so magnificent, but like to a marked degree--in the neighbouring provinces.

Here is no trace of the piled-up tabouret style of later centuries, and it is far removed from the mosque-like minarets which were the undoubted prototypes of the mediaeval clochers. So, too, it is different, quite, from the Italian _campanile_ or the _beffroi_ which crept into civic architecture in the north; but whose sole example in the south of France is believed to be that curious structure which still holds forth in the papal city of Avignon.

Says Boura.s.se: "The cathedral of St. Front at Perigueux is unique." Its foundation dates with cert.i.tude from between 1010 and 1047, and is therefore contemporary with that of St. Marc's at Venice--which it so greatly resembles--which was rebuilt after a fire between 977 and 1071.

[Ill.u.s.tration: _Detail of the Interior of St. Front de Perigueux_]

The general effect of the interior is as impressive as it is unusual, with its lofty cupolas, its weighty and gross pillars, and its ma.s.sive arches between the cupolas; all of which are purely constructive elements.

There are few really ornamental details, and such as exist are of a severe and unprogressive type, being merely reminiscent of the antique.

In its general plan, St. Front follows that of a Grecian cross, its twelve wall-faces crowned by continuous pediments. Eight ma.s.sive pillars, whose functions are those of the later developed b.u.t.tress, flank the extremities of the cross, and are crowned by pyramidal cupolas which, with the main roofing, combine to give that distinctive character to this unusual and "foreign" cathedral of mid-France.

St. Front, from whom the cathedral takes its name, became the first bishop of Perigueux when the see was founded in the second century.

VI

ST. PIERRE DE POITIERS

IN 1317 the diocese of Poitiers was divided, and parts apportioned to the newly founded bishoprics of Maillezais and Lucon. The first bishop of Poitiers was St. Nectaire, in the third century. By virtue of the Concordat of 1801 the diocese now comprehends the Departments of Vienne and Deux-Sevres.

The cathedral of St. Pierre de Poitiers has been baldly and tersely described as a "mere Lombard sh.e.l.l with a Gothic porch." This hardly does it justice, even as to preciseness. The easterly portion is Lombard, without question, and the nave is of the northern pointed variety; a not unusual admixture of feature, but one which can but suggest that still more, much more, is behind it.

The pointed nave is of great beauty, and, in the westerly end, contains an elaborate _rosace_--an infrequent attribute in these parts.

[Ill.u.s.tration: Poitiers]

The aisles are of great breadth, and are quite as lofty in proportion. This produces an effect of great amplitude, nearly as much so as of the great halled churches at Albi or the aisleless St. Andre at Bordeaux, and contrasts forcibly in majesty with the usual Gothic conception of great height, as against extreme width.

Of Poitiers Professor Freeman says: "It is no less a city of counts than Angers; and if Counts of Anjou grew into Kings of England, one Countess of Poitiers grew no less into a Queen of England; and when the young Henry took her to wife, he took all Poitou with her, and Aquitaine and Gascogne, too, so great was his desire for lands and power." Leaving that aspect apart--to the historians and apologists--it is the churches of Poitiers which have for the traveller the greatest and all-pervading interest.

Poitiers is justly famed for its n.o.ble and numerous mediaeval church edifices. Five of them rank as a unique series of Romanesque types--the most precious in all France. In importance they are perhaps best ranked as follows: St. Hilaire, of the tenth and eleventh centuries; the Baptistere, or the Temple St. Jean, of the fourth to twelfth centuries; Notre Dame de la Grande and St. Radegonde, of the eleventh and twelfth centuries; and La Cathedrale, dating from the end of the Romanesque period. Together they present a unique series of magnificent churches, as is truly claimed.

When one crosses the Loire, he crosses the boundary not only into southern Gaul but into southern Europe as well; where the very aspects of life, as well as climatic and topographical conditions and features, are far different from those of the northern French provinces.

Looking backward from the Middle Ages--from the fourteenth century to the fourth--one finds the city less a city of counts than of bishops.

Another aspect which places Poitiers at the very head of ecclesiastical foundations is that it sustained, and still sustains, a separate religious edifice known as the Baptistere. It is here a structure of Christian-Roman times, and is a feature seldom seen north of the Alps, or even out of Italy. There is, however, another example at Le Puy and another at Aix-en-Provence. This Baptistere de St. Jean was founded during the reign of St. Hilaire as bishop of Poitiers, a prelate whose name still lives in the eglise St. Hilaire-le-Grand.

The cathedral of St. Pierre is commonly cla.s.sed under the generic style of Romanesque; more particularly it is of the Lombard variety, if such a distinction can be made between the two species with surety. At all events it marks the dividing-line--or period, when the process of evolution becomes most marked--between the almost pagan plan of many early Christian churches and the coming of Gothic.

In spite of its prominence and its beauty with regard to its accessories, St. Pierre de Poitiers does not immediately take rank as the most beautiful, nor yet the most interesting, among the churches of the city: neither has it the commanding situation of certain other cathedrals of the neighbouring provinces, such as Notre Dame at Le Puy, St. Maurice at Angers, or St. Front at Perigueux. In short, as to situation, it just misses what otherwise might have been a commanding location.

St. Radegonde overhangs the river Clain, but is yet far below the cathedral, which stands upon the eastern flank of an eminence, and from many points is lost entirely to view. From certain distant vantage-ground, the composition is, however, as complete and imposing an ensemble as might be desired, but decidedly the nearer view is not so pleasing, and somewhat mitigates the former estimate.

There is a certain uncouthness in the outlines of this church that does not bring it into compet.i.tion with that cla.s.s of the great churches of France known as _les grandes cathedrales_.

The general outline of the roof--omitting of course the scanty transepts--is very reminiscent of Bourges; and again of Albi. The ridge-pole is broken, however, by a slight differentiation of height between the choir and the nave, and the westerly towers scarcely rise above the roof itself.

The easterly termination is decidedly unusual, even unto peculiarity. It is not, after the English manner, of the squared east-end variety, nor yet does it possess an apse of conventional form, but rather is a combination of the two widely differing styles, with considerably more than a suggested apse when viewed from the interior, and merely a flat bare wall when seen from the outside. In addition three diminutive separate apses are attached thereto, and present in the completed arrangement a variation or species which is distinctly local.

The present edifice dates from 1162, its construction being largely due to the Countess Eleanor, queen to the young Earl Henry.

The high altar was dedicated in 1199, but the choir itself was not finished until a half-century later.

There is no triforium or clerestory, and, but for the aisles, the cathedral would approximate the dimensions and interior outlines of that great chambered church at Albi; as it is, it comes well within the cla.s.sification called by the Germans _hallenkirche_.

Professor Freeman has said that a church that has aisles can hardly be called a typical Angevin church; but St. Pierre de Poitiers is distinctly Angevin in spite of the loftiness of its walls and pillars.

The west front is the most elaborate constructive element and is an addition of the fourteenth and fifteenth centuries, with flanking towers of the same period which stand well forward and to one side, as at Rouen, and at Wells, in England.

The western doorway is decorated with sculptures of the fifteenth century, in a manner which somewhat suggests the work of the northern builders; who, says Fergusson, "were aiding the bishops of the southern dioceses to emulate in some degree the ambitious works of the Isle of France."

The ground-plan of this cathedral is curious, and shows, in its interior arrangements, a narrowing or drawing in of parts toward the east. This is caused mostly by the decreasing effect of height between the nave and choir, and the fact that the attenuated transepts are hardly more than suggestions--occupying but the width of one bay.

The nave of eight bays and the aisles are of nearly equal height, which again tends to produce an effect of length.

There is painted gla.s.s of the thirteenth century in small quant.i.ty, and a much larger amount of an eighteenth-century product, which shows--as always--the decadence of the art. Of this gla.s.s, that of the _rosace_ at the westerly end is perhaps the best, judging from the minute portions which can be seen peeping out from behind the organ-case.

The present high altar is a modern work, as also--comparatively--are the tombs of various churchmen which are scattered throughout the nave and choir. In the sacristy, access to which is gained by some mystic rite not always made clear to the visitor, are supposed to be a series of painted portraits of all the former bishops of Poitiers, from the fourteenth century onward. It must be an interesting collection if the outsider could but judge for himself; as things now are, it has to be taken on faith.

A detail of distinct value, and a feature which shows a due regard for the abilities of the master workman who built the cathedral, though his name is unknown, is to be seen in the tympana of the canopies which overhang the stalls of the choir. Here is an acknowledgment--in a tangible if not a specific form--of the architectural genius who was responsible for the construction of this church. It consists of a sculptured figure in stone, which bears in its arms a compa.s.s and a T square. This suggests the possible connection between the Masonic craft and church-building of the Middle Ages; a subject which has ever been a vexed question among antiquaries, and one which doubtless ever will be.

The episcopal residence adjoins the cathedral on the right, and the charming Baptistere St. Jean is also close to the walls of, but quite separate from, the main building of the cathedral.

The other architectural attractions of Poitiers are nearly as great as its array of churches.

The Musee is exceedingly rich in archaeological treasures. The present-day Palais de Justice was the former palace of the Counts of Poitou. It has a grand chamber in its _Salle des Pas-perdus_, which dates from the twelfth to fourteenth centuries as to its decorations.

The ramparts of the city are exceedingly interesting and extensive. In the modern hotel de ville are a series of wall decorations by Puvis de Chavannes. The Hotel d'Aquitaine (sixteenth century), in the Grand Rue, was the former residence of the Priors of St. John of Jerusalem.

The _Chronique de Maillezais_ tells of a former bishop of Poitiers who, about the year 1114, sought to excommunicate that gay prince and poet, William, the ninth Count of Poitiers, the earliest of that race of poets known as the troubadours. Coming into the count's presence to repeat the formula of excommunication, he was threatened with the sword of that gay prince. Thinking better, however, the count admonished him thus: "No, I will not. I do not love you well enough to send you to paradise." He took upon himself, though, to exercise his royal prerogative; and henceforth, for his rash edict, the bishop of Poitiers was banished for ever, and the see descended unto other hands.

The generally recognized reputation of William being that of a "_grand trompeur des dames_," this action was but a duty which the honest prelate was bound to perform, disastrous though the consequences might be. Still he thought not of that, and was not willing to accept palliation for the count's venial sins in the shape of that n.o.bleman's capacities as the first chanter of his time,--poetic measures of doubtful morality.

VII

ST. ETIENNE DE LIMOGES