and became a place of such importance that the Count of Toulouse took
one of his titles from it, being also called the Count of St Gilles. It
was here that Raymond VI., Count of Toulouse, in 1209, did penance for
the murder of the Papal legate, Pierre de Castelnau, and for the part he
took on the side of the Albigenses.
The church of St Gilles was designed on a grand scale, befitting the
condition of the place at the time, but seems never to have been
completed, the works having been interrupted and destroyed during the
crusades of the Northern Franks against the Albigenses of the South.
These wars formed a sort of sequel to, or continuation of the invasions
of the barbarians. The South of Gaul, having preserved much of its Roman
civilisation and municipal institutions, had become sooner settled, and
had more quickly revived from anarchy than the North. This led to an
independent intellectual and religious development, which did not
conform to the ideas of religious unity then prevalent. Crusades against
the Infidels in Syria and Africa had now become somewhat stale and
unprofitable; but a crusade against the rich provinces of the South had
great attractions, and was heartily supported by the restless and
unsettled people of the North. Hence arose (as already pointed out) the
long and cruel war in Aquitaine and Languedoc--the Crusaders being led
by Simon de Montfort, and the people of the South by the Count of
Toulouse.
In these disastrous and bloody campaigns the whole country suffered
terribly. The towns were besieged and sacked, and the buildings
destroyed. Amongst others, St Gilles dates its decline from the
devastation then inflicted on it, and from which it never recovered.
The following inscription, said to be copied from an older one now lost,
occurs on the wall near where the ancient cloister stood:--“ANNO DOMINI,
1116, HOC TEMPLUM SANCTI EGIDII ÆDIFICARE CEPIT MENSE APRILI FERIA 2^A
IN OCTAVA PASCHAE.”
The church of St Gilles was thus begun in 1116 by Alphonse Jourdain, son
of Raymond IV. of Toulouse. There still remains a portion of a
subterranean church, which formed the substructure of the intended great
building above, and which dates from the first half of the twelfth
century. It is well lighted, and divided into two with a row of columns
supporting two low cross vaults, ornamented with dog-tooth enrichments.
In the midst of the outline of the greater works, which can still be
traced, rises the existing small church, which has all the appearance of
a temporary erection. It is in a late style and of small importance
architecturally, but it marks the decline of the wealth and prosperity
of the town from its state at the time when the great church was
founded.
The really great and valuable work, however, at St Gilles is the
splendid triple portal (Fig. 87), which is by far the largest and
richest example of Provençal decoration. Every part of the surface is
covered with work, either sculptured with figures or enriched with
ornament, and although the remainder of the building
[Illustration: FIG. 87. PORTAL OF ST GILLES.]
[Illustration: FIG. 88. SOUTH DOORWAY OF ST GILLES. (_Enlarged_).]
is incomplete, every detail of the portal is finished in the minutest
manner. At the top of a wide flight of steps rises an elevation
consisting of six pillars (five plain and one fluted) with capitals
closely imitated from the Corinthian model. The bases are of unequal
height, shewing that the shafts have been possibly borrowed from an
ancient source. The columns sustain an architrave, frieze, and cornice,
which, however, are interrupted by the round arches of the three
doorways. The arches of the two side entrances rest on the two end
pillars, while that of the central doorway, which is wide and is divided
into two openings by a central pilaster, springs from two smaller
columns set upon pedestals, and also provided with Corinthian caps. On
the bases of the columns of the lateral doors (Fig. 88) bas-reliefs
represent David as shepherd and conqueror of Goliath. The shafts
supporting the lintels of the doors rest, as was generally the case in
Romanesque designs, on lions. The abbot, sitting in the gate to render
justice, was placed between these lions; hence Charters given by him are
sometimes dated “inter leones.”
A stylobate of the height of the pedestals is continued along behind the
principal columns, on which rests a series of pilasters dividing the
background into recesses or niches containing large statues of the
apostles. The figures are executed with some freedom after the Roman
manner, and have not such a mediæval aspect as those of Arles. There is,
however, evidence of Byzantine influence in the thin folds of the
drapery, and the jewels and embroidered ornaments carved upon the
dresses. The pedestals, architrave, cornice, and arch mouldings are
enriched with Roman leaf and egg and bead ornaments, mixed with fanciful
Romanesque carvings of heads of animals &c., in the modillions. The
frieze is covered with sculptures in bas-relief of Scripture subjects.
The central tympanum contains the figure of Christ in glory surrounded
by the emblems of the four Evangelists--that of the north doorway the
Virgin and Child in the centre, with the adoration of the Magi on one
side, and the annunciation of the birth of Christ to the shepherds on
the other. In the south doorway is represented the crucifixion. This
portal was probably completed before the breaking out of the Albigensian
conflict, about 1150.
The portals of St Gilles and Arles are the most splendid productions of
Provençal art. They stand almost alone as portals amongst the Romanesque
work of the period, which has given rise to the impression that they are
importations from a distance rather than a natural sequence from simpler
preceding forms out of which they might have grown.
It has been above pointed out that in Syria many churches were built in
the early centuries of the Christian era in which the Greco-Roman style
was perpetuated and received new developments. Many of these churches
exist between Antioch and Aleppo, in which the general design and
details of mouldings are very similar to those of the Provençal portals,
the only difference being that in the Syrian examples there are no
statues, as all such images were forbidden in the East. That country was
taken by the Crusaders in 1098, and remained, as the kingdom of Antioch,
under Western government till 1268. The seaports of Provence being the
natural centres of communication between the Frank kingdoms of the East
and West, it seemed natural that some new and foreign ideas should be
imported there. Hence it is maintained by some that Syrian models had
considerable influence on the architecture of Provence, and that it is
to that connection that much of the art expressed in the portals of St
Gilles and Arles is due. There is, however, really no necessity to go so
far afield for the models on which Provençal art in general, and these
portals in particular, were based. We have had several striking
opportunities of observing how closely the Roman examples were followed
in Provençal architecture; while innumerable instances of the Romanesque
spirit which pervaded it before and during the twelfth century, might be
adduced from the many beautiful cloisters (similar in style to those of
St Trophime and Mont-majour) which abound all over the South of France.
These have been preserved, while the churches have in many cases been
enlarged and reconstructed in the later and plainer Provençal style. One
of the most prominent elements in the older style is the figure
sculpture, and there can be no question but that the idea of the statues
was derived from the remains of ancient art so plentifully scattered
throughout the country. Statues being entirely prohibited by the Eastern
iconoclasts, that element can have had no connection with the East,
although the treatment of the ornament may be to some extent influenced
by Byzantine feeling.
The trade between the Levant and the West of the Mediterranean was
considerable, and included all kinds of artistic articles, such as
furniture, ornamental boxes, dypticks, wooden cases for manuscripts, and
carved ivory and goldsmith’s work. These were all covered with exquisite
carvings, which, no doubt, served as models to the Western nations, and
from which they acquired a taste for the special kind of sculpture known
as Byzantine.
It is from the above sources that the complete and elaborate Provençal
art displayed in the portals of St Trophime and St Gilles sprang.
Viollet-le-Duc remarks of it that it is rich and striking, but gives the
idea of an art either fixed by traditional maxims or in its decadence.
He states further, that it only succeeded in producing a curious mixture
of diverse imitations of other styles. The originality and vigour of the
Northern art was entirely awanting. The former style was satisfied with
the imitation of works already done, while the latter borrowed from
anterior art only the general idea, and created for itself a new
development. As already pointed out, the presence of the Roman remains
acted on Provençal architecture both favourably and prejudicially; in
the first place, by stimulating it into a kind of _early classic
revival_, and in the second place, by thus preventing the free and
healthy development of a natural and untramelled style, such as took
place in the North. But, so far as the Romanesque style is concerned,
that of Provence is probably quite as interesting and instructive as any
other. The connection with the art of Rome is continued almost without a
break, while the conversion of “Roman” into “Romanesque” is carried out
with a refinement and completeness which is not to be found elsewhere,
and to which the later Northern styles are considerably indebted,
especially in the matter of sculpture.
St Gilles is the most convenient point from which to visit the solitary
and now desolate town of LES SAINTES MARIES. Situated near the mouth of
the Petit-Rhône it was formerly a place of some distinction. Here
landed, according to tradition, corroborated by the investigations of
Lenthéric, Mary Jacobi, sister of the Blessed Virgin, Mary Salome,
Mother of the Apostles James (the Greater) and John, their servant
Sarah, Lazarus, Martha, Mary Magdalene, and St Maximin (who had received
his sight by the word of Christ), having all been driven from Jerusalem
by persecution. Mary Jacobi and Mary Salome remained here, and were here
buried, whence the name and fame of the town and the crowds of pilgrims
who at one time frequented it.
The church (Fig. 89) is a very remarkable one. It was built in the
twelfth century on the site of one destroyed by the Saracens, and
consists of the usual single nave, having seven bays in its length,
roofed with a pointed barrel vault, and finished with an eastern apse.
Externally the whole building is surmounted with a crenellated and
machicolated parapet, and presents the appearance of a strong
fortification, with a keep tower rising above the eastern end. The
latter includes the apse, which comprises three chapels, one over the
other. The lowest, or crypt, contains the tomb of Sarah; the middle apse
forms the choir of the church; while above this there rises a third
chapel in the tower above the roof, containing the relics of the
“Saintes Maries.” Rudely sculptured lions adorn the south entrance door,
and in the nave there is a well, to supply water to the congregation,
who would likewise form the garrison in case of siege. This remarkable
structure may be regarded as a typical example of the defensive style so
much practised in the South-West of France.
[Illustration: FIG. 89.
CHURCH OF LES SAINTES MARIES. (From _Révoil_.)]
MARSEILLES.--Few relics are preserved in this ancient city of its Roman
or mediæval structures; of the latter the most remarkable is the church
of ST VICTOR. We have here an instance of the partial adoption of the
Gothic style in the South, and an attempt to combine Gothic details with
Southern structural features. This curious church, which stands near the
ancient port, is all that remains of the once extensive buildings of the
famous monastery founded in the fifth century by St Cassien. Some
portions of the primitive masonry are still to be seen in
[Illustration: FIG. 90. ST VICTOR, MARSEILLES.]
the crypt. The buildings were several times destroyed by the Saracens,
but they were finally rebuilt in their existing form about the year 1350
by Pope Urban V. (formerly abbot of this monastery), who also caused to
be erected the great square towers and crenellated parapets which give
the building externally the appearance of a fortress (Fig. 90). Some
relics of the early Romanesque work are still visible in the entrance
porch. The general design of the interior (Fig. 91) is that of a
basilica, with central nave and side aisles, the former roofed with a
pointed tunnel vault strengthened with transverse ribs, and originally
without a clerestory, although openings have more recently been cut in
the vault. These general dispositions are common in Provençal
architecture. But the details of the nave piers, with their numerous
small shafts and foliated caps and bases are all borrowed from the
Gothic of the North; while the tomb erected in the west-most bay of the
south aisle (Fig. 92) is a completely Northern design.
[Illustration: FIG. 91. ST VICTOR, MARSEILLES.]
The fortification of the exterior is a feature of almost universal
occurrence in the churches of the South, as has been already noticed,
and we shall meet with other instances. This peculiar characteristic
probably dates from the time of the crusades against the Albigenses in
the twelfth and thirteenth centuries, when the inhabitants were glad to
adopt every means in their power to obtain protection, and had to turn
even their churches, which were not sacred in the eyes of their
assailants, into fortresses for their defence.
[Illustration: FIG. 92. MONUMENT IN ST VICTOR’S, MARSEILLES.]
The frequent attacks of the Saracens may also have had some influence in
producing this style of exterior in the churches near the sea-coast.
[Illustration: FIG. 93. ST SAUVEUR, AIX-EN-PROVENCE.]
AIX-EN-PROVENCE, which is easily reached from Marseilles by a delightful
railway route through the mountains, retains few marks of its
distinction as the first settlement of the Romans in Gaul. A few Roman
walls and pillars from the temple of Apollo, together with some
fragments in the Museum, are all that Aix can shew of the original Aquæ
Sextiæ. But the ancient church of St Sauveur and its octagonal
baptistery exhibit the Roman influence, extending down to a
comparatively late date. The baptistery is of the sixth century, but the
upper portion has been restored in the style of the eighteenth century,
and has thus completely lost its proper character. It is octagonal on
plan, with eight monolithic granite columns taken from the ancient
temple of Apollo set in the angles.
[Illustration: FIG. 94. ST SAUVEUR, AIX.]
The church of St Sauveur was erected in 1103, and is supposed to have
been built on part of the cella of the temple of Apollo. It now forms
the south aisle of the enlarged cathedral erected in the fifteenth
century. But
[Illustration: FIG. 95. CLOISTERS, ST SAUVEUR, AIX-EN-PROVENCE.]
this old church (according to Mérimée) is itself a restoration of a
still more ancient building, of which some remains are yet preserved in
the western portal (Fig. 93), the architecture of which strongly recalls
that of Notre Dame des Doms at Avignon. Here we have the same fluted
Corinthian columns and cornice with Roman enrichments, and arched
opening between. The small engaged columns with twisted and fluted
shafts and straight arched lintel are, however, restorations of the
twelfth century. To that date also belongs the interior (Fig. 94), with
its pointed tunnel vault strengthened at intervals with transverse
arches. The arches which carry the dome over the original central
compartment are round. The dome itself is octagonal, the angles being
filled with arched pendentives. The piers are simple pilasters, with
small classic-like pillars introduced in the angles near the top, to
carry the springing of the transverse arches. This was a common
arrangement in Provençal churches, as, for instance, at St Trophime,
Arles. The cloister of St Sauveur (Fig. 95) is a fine specimen of the
twelfth century erections of that description, so numerous in this part
of France. It is built in white marble, and enriched with a great
variety of the Romanesque or Lombardic sculpture which distinguished the
work of the Northern races. The shafts are particularly remarkable from
the great variety of their forms and ornament. Some are octagonal, while
others are twisted and fluted, and some are actually knotted together,
and nearly all are covered with carved ornamentation. In these and
similar works we have very palpable examples of the innovations on the
older traditional forms for which the twelfth century is so much noted.
Of the later church, the carved Gothic west doors (executed 1503),
containing figures of theological virtues, prophets, &c., mingled with
Gothic canopies and traceries, are worthy of careful inspection.
* * * * *
In his exhaustive work, entitled “Les Villes Mortes du Golfe de Lyon,”
Mons. C. Lenthéric gives a full and interesting account of the ancient
towns of Southern Gaul between the Rhone and the Pyrenees. Their origin
and fall are shewn to be both attributable to causes arising from the
natural configuration of the coast. The land in this locality is flat,
and the beach shallow and sandy, while at the same time it is exposed to
the full force of the violent storms raised by the east winds which
sweep over it from the Mediterranean. The rivers emptying into this
shallow sea bring down large quantities of sand and mud, which, being
driven back by the tides and storms, have in the course of ages formed
bars or long lines of sandy dunes at some distance from the land. Within
these sand banks are thus enclosed long lagunes, similar to the shallow
sea, bounded by the well known Lido, in the midst of which Venice
stands.
These lagunes formed convenient and safe harbours for the early
Phœnicians and other navigators, and were suitable in depth for the size
of the craft then in use. But gradually the floods of the rivers brought
down more deposits, and even in Roman times threatened to block up the
passages through the lagunes to the open sea. It was only by building a
strong wall for the purpose of forcing the river Aude to keep in a
certain channel, so that when in flood it might scour out the passage,
and by the erection of beacons in the lagune to mark the navigable
course, that the Roman port of Narbonne could be kept open. In 1320 a
great flood destroyed the retaining wall and changed the course of the
river, after which the ruin of Narbonne as a seaport was complete. The
town is now 8 miles from the sea, and is connected with “la Robine”
branch of the Canal du Midi, which unites the Mediterranean with the Bay
of Biscay. A similar process to that at Narbonne has contributed to the
ruin of several other ancient towns in this province,--a district which
has also suffered more severely than any other at the hands of the
Saracens. Forming as it does the easiest access from Spain into
Provence, it necessarily lay open to constant attack. Besides, the
Moors, although driven across the Pyrenees, were still masters of the
sea, and as corsairs or pirates they scoured the Mediterranean for many
centuries after the time of C. Martel, attacking and plundering the
smaller towns all round the coast, and in some instances fortifying
themselves on land in strong places whence they could issue to plunder
the more inland country. Such was their establishment at the Grand
Fraxinet, in the mountainous district lying to the east of Toulon, which
is still known as the “chaine des Maures.”
We shall have occasion to observe some architectural effects resulting
from their invasions, particularly how the inhabitants were forced to
seek refuge on the rocky heights, and to build their towns on the top of
almost inaccessible mountains. The Moors have also left traces of their
presence both in the general design and details of several of the
edifices of the Western Riviera.
Proceeding westwards from Marseilles by rail and passing St Gilles, we
reach Montpellier, the architecture of which is chiefly modern. The
ancient church of Maguelonne, situated on the outer boundary of the
lagunes, may however, be visited from here. It was fortified and not
unlike that of the Stes. Maries. Omitting for the present the wonderful
town of Aigues-Mortes, to which we shall again return, we continue our
journey amongst the lagunes, past the crowded modern seaport of Cette,
and the ancient town of Agde, with its dark church crowned with frowning
fortifications, and at last reach Béziers, a place whose architecture
claims our attention.
BÉZIERS is an ancient Roman town, which has still a few relics in the
shape of Roman walls, but no classic buildings of any importance. It
stands upon a steep hill with almost perpendicular faces towards the
river Orbe, which flows round its base. The town was strongly fortified,
and held a prominent place as a fortress in the Middle Ages. Large
masses of these fortifications are still observable to the right of the
terrace at the west
[Illustration: FIG. 96. BÉZIERS, FROM THE ORBE.]
end of the cathedral (Fig. 96), now crowned with a large block of
building occupied as a House of Detention.
The spacious main street of the town ascends the hill from the
south-east, and presents on either hand indications of the chief
industry of the place in the immense and cavernous-looking cellars
filled with innumerable barrels of alcohol, which, being in many cases
too numerous for the cellars to contain, encumber the street in great
piles. The effect of a street composed of these great vaulted caves is
unique and remarkable.
The Cathedral of St Nazaire stands on the summit of the hill. It was
surrounded with a fortified enceinte, and, forming the chief citadel of
the town, it was strongly built and designed for defence. The transept
is the oldest portion, dating from the twelfth century. The southern
angle buttresses are crowned with a parapet, pierced with flanking
loop-holes, angled so as to send missiles in every direction. The
cornice of these parapets is remarkable, and presents a good
illustration of the Oriental or Saracenic influence above referred to
(Fig. 97). The south transept commands the cloister, the walls of which
were crenellated.
[Illustration: FIG. 97.
TOWER SOUTH SIDE OF ST NAZAIRE, BÉZIERS.]
Béziers suffered more, perhaps, than any other place during the
Albigensian Crusades. On one occasion, when the town was taken, every
human being was put to the sword, to the number, it is said, of 60,000
souls. The buildings and defences were in great measure destroyed, and
the cathedral was partly rebuilt and re-fortified in the fourteenth
century.
The west end commands the walls which crown the escarpments above the
Orbe, and is strongly defended with two crenellated towers, and by a
wide arched machicolation surmounting the west doorway and Rose window
above it (Fig. 96). An embrasured parapet is placed above this, and
three ornamental corbels jut out from the face of the wall, to enable
the defenders to approach the parapet and man it. These corbels are,
however, not joined to the parapet, although they divide the long arched
machicolation into four smaller ones. The embrasures and machicolations
are all provided (as usual in fourteenth and fifteenth century work)
with bold beads or mouldings, to prevent arrows and bolts from
ricocheting within the parapet.
[Illustration: FIG. 98. APSE, ST NAZAIRE, BÉZIERS.]