initial commit of ebook 35212HEAD main

author: Roger Frank <rfrank@pglaf.org> 2025-10-14 20:03:17 -0700
committer: Roger Frank <rfrank@pglaf.org> 2025-10-14 20:03:17 -0700
commit: 8fab7b37bfc6a6bd343989af5d64b817eeff24b1 (patch)
tree: fcf0d87c6ef5da8ead59c56878fc0398669d836c /35212-h
241 files changed, 16472 insertions, 0 deletions
diff --git a/35212-h/35212-h.htm b/35212-h/35212-h.htm
new file mode 100644
index 0000000..922dcaf
--- /dev/null
+++ b/35212-h/35212-h.htm
@@ -0,0 +1,16472 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en">
+  <head>
+<meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+<title>
+  The Project Gutenberg eBook of The Cathedrals of Southern France, by Francis Miltoun.
+</title>
+<style type="text/css">
+ p {margin-top:.75em;text-align:justify;margin-bottom:.75em;text-indent:2%;}
+
+.c {text-align:center;text-indent:0%;}
+
+.hang {text-indent:-2%;margin-left:2%;}
+
+.heading {font-weight:bold; font-size:150%;text-indent:0%;margin-top:15%;}
+
+.heading2 {font-weight:bold; font-size:110%;text-indent:0%;margin-top:4%;text-align:center;text-indent:0%;}
+
+.nind {text-indent:0%;}
+
+.nonsp {margin:auto;}
+
+.r {text-align:right;margin-right:5%;}
+
+ h4 {text-align:center;clear:both;}
+
+ h1,h2,h3 {margin-top:15%;text-align:center;clear:both;}
+
+ hr.full {width:100%;margin:5% auto 5% auto;border:4px double gray;}
+
+ table {margin-left:auto;margin-right:auto;border:none;text-align:left;}
+
+ body{margin-left:2%;margin-right:2%;background:#fdfdfd;color:black;font-family:"Times New Roman", serif;font-size:medium;}
+
+a:link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+  link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+a:visited {background-color:#ffffff;color:purple;text-decoration:none;}
+
+a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;}
+
+.smcap  {font-variant:small-caps;font-size:95%;}
+
+ ul {list-style-type:none;text-indent:-1em;}
+
+ img {border:none;}
+
+.blockquot{margin:10% auto 5% auto;}
+
+.bbox {border:solid 1px black;padding:2%;max-width:20%;text-align:center;text-indent:0%;margin:auto;}
+
+.caption  {font-weight:bold;}
+
+.captionunder  {font-weight:bold;text-decoration:underline;
+font-style:italic;}
+
+.figcenter   {margin:auto;text-align:center;}
+
+.figleft     {clear:left;margin-left:0;margin-bottom:1em;margin-top:1em;margin-right:1em;padding:0%;text-align:center;}
+
+.figright    {float:right;clear:right;margin-left:1em;margin-bottom:1em;margin-top:1em;margin-right:0;padding:0;text-align:center;}
+
+.lg {font-size:120%;}
+
+.author {line-height:1.5em;font-size:90%;font-weight:bold;}
+
+.sml {font-size:85%;}
+
+.sml70 {font-size:70%;}
+
+.framedb  {border:double 4px black;padding-left:0.5%;padding-right:0.5%;width:360px;margin:10% auto 10% auto;}
+
+div.framing {padding:2%;border:solid #CD3801 4px;max-width:60%;margin:5% auto 5% auto;}
+
+div.framinglands {padding:2%;border:solid #CD3801 4px; max-width:100%;margin:5% auto 5% auto;}
+</style>
+  </head>
+<body>
+
+
+<pre>
+
+Project Gutenberg's The Cathedrals of Southern France, by Francis Miltoun
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Cathedrals of Southern France
+
+Author: Francis Miltoun
+
+Illustrator: Blanche McManus
+
+Release Date: February 8, 2011 [EBook #35212]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRALS OF SOUTHERN FRANCE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This book was
+produced from scanned images at the Internet Archive.)
+
+
+
+
+
+
+</pre>
+
+<hr class="full" />
+
+<table summary="note" style="background-color: #C4AF76; border: 4px double #CD1110;
+font-size: 80%; margin: 15% ; text-align:center;" cellpadding="2">
+  <tbody><tr>
+    <td valign="top">
+      The images of this ebook may be viewed larger by clicking on them.<br /><br />
+All efforts have been made to reproduce
+this book as printed.<br />
+Besides the obvious typographical
+errors, no attempt has been made to correct or equalize
+the punctuation or spelling of the English or the French of
+the original book.<br />
+(note of etext transcriber)</td></tr>
+</tbody></table>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/cover.jpg">
+<img src="images/cover_sml.jpg" width="369" height="550" alt="image of the book&#39;s cover" title="" /></a>
+</div>
+
+<p>
+<br />
+</p>
+
+<div class="figcenter" style="width: 359px;">
+<a href="images/ill_inside_cover_a.jpg">
+<img src="images/ill_inside_cover_a_sml.jpg" width="359" height="550" alt="image of the book&#39;s inside cover" title="" /></a>
+</div>
+
+<p>
+<br />
+</p>
+
+<div class="figcenter" style="width: 359px;">
+<a href="images/ill_inside_cover_b.jpg">
+<img src="images/ill_inside_cover_b_sml.jpg" width="359" height="550" alt="image of the book&#39;s inside cover" title="" /></a>
+</div>
+
+<p>
+<br />
+</p>
+
+<h1>THE CATHEDRALS OF<br />
+SOUTHERN FRANCE</h1>
+
+<div class="framedb"
+style="font-style:italic;">
+<p class="c"><span class="lg">The Cathedral Series</span></p>
+
+<p class="c"><span class="sml">The following, each 1 vol., library
+12mo, cloth, gilt top profusely
+illustrated. $2.50</span></p>
+
+<p class="c">The Cathedrals of Northern France<br /><span class="smcap">BY FRANCIS MILTOUN</span></p>
+
+<p class="c">The Cathedrals of Southern France<br /><span class="smcap">BY FRANCIS MILTOUN</span></p>
+
+<p class="c">The Cathedrals of England<br /><span class="smcap">BY MARY J. TABER</span></p>
+
+<p class="c sml">The following, each 1 vol., library 12mo, cloth, gilt top, profusely
+illustrated. Net, $2.00</p>
+
+<p class="c">The Cathedrals and Churches of the Rhine<br /><span class="smcap">BY FRANCIS MILTOUN</span></p>
+
+<p class="c">The Cathedrals of Northern Spain<br /><span class="smcap">BY CHARLES RUDY</span></p>
+
+<p class="c">
+L. C. PAGE &amp; COMPANY<br />
+<span class="sml">New England Building, Boston, Mass.</span></p>
+</div>
+
+<div class="framing" style="width: 353px;">
+<a href="images/ill_frontispiece.jpg">
+<img src="images/ill_frontispiece_sml.jpg" width="353" height="550" alt="ST. ANDR� ...
+de BORDEAUX" title="ST. ANDR� ...
+de BORDEAUX" /></a>
+<div class="figleft" style="width: 228px;">
+<img src="images/ill_frontispiece_name.jpg" width="228" height="51" alt="ST. ANDR� ...
+de BORDEAUX" title="ST. ANDR� ...
+de BORDEAUX" />
+</div>
+</div>
+
+<h1>
+THE CATHEDRALS OF<br />
+SOUTHERN FRANCE</h1>
+
+<table summary="title" cellpadding="0" cellspacing="0">
+<tbody><tr><td class="author">By FRANCIS &nbsp;MILTOUN</td></tr>
+<tr><td class="sml70">AUTHOR OF "THE CATHEDRALS&nbsp;<br />
+OF NORTHERN FRANCE," &nbsp; "THE<br />
+CATHEDRALS &nbsp; OF &nbsp; &nbsp;SOUTHERN<br />
+FRANCE," "DICKENS' &nbsp; LONDON,"<br />
+ETC., WITH NINETY &nbsp;ILLUSTRA-<br />TIONS,
+PLANS, AND DIAGRAMS,</td></tr>
+<tr><td class="author">By BLANCHE McMANUS</td></tr>
+</tbody></table>
+
+<table summary="front"
+style="border-top: 6px double black;
+border-bottom: 6px double black; padding: 3%;
+margin: 3% auto;" cellpadding="0"
+cellspacing="0"><tbody><tr><td>&nbsp;&nbsp;
+&nbsp;&nbsp;
+&nbsp;&nbsp;
+&nbsp;<a href="images/logo_lg.jpg">
+<img src="images/logo.jpg" alt="image" height="113" width="200" /></a>&nbsp; &nbsp;&nbsp;</td></tr>
+</tbody></table>
+
+<p class="c">BOSTON<br />
+<span style="font-family:old english text MT, serif;
+font-weight:bold;">L. C. Page and Company</span><br />
+<small>MDCCCCV</small></p>
+
+<p><br />
+<br />
+<br />
+</p>
+
+<p class="c"><small><i>Copyright, 1904</i><br />
+<span class="smcap">By L. C. Page &amp; Company</span><br />
+(INCORPORATED)<br />
+&mdash;&mdash;<br />
+<i>All rights reserved</i><br />
+<br />
+<br />
+<br />
+Published August, 1904<br />
+<br />
+<br />
+<br />
+<i>Third Impression</i><br />
+<br />
+<span style="font-family:old english text MT, serif;">Colonial Press</span><br />
+Electrotyped and Printed by C. H. Simonds &amp; Co.<br />
+Boston, Mass., U. S. A.</small></p>
+
+<h3><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h3>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="contents">
+
+<tr><td colspan="3" align="right"><small>PAGE</small></td></tr>
+
+<tr><td colspan="2">Introduction </td><td align="right" valign="bottom"><a href="#page_011">11</a></td></tr>
+
+<tr><td colspan="2" align="center"><span class="smcap">Part I. Southern France in General</span></td></tr>
+
+<tr><td align="right" valign="top"><a href="#I-1">I.</a></td><td>The Charm of Southern France</td><td align="right" valign="bottom"><a href="#page_023">23</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#II-1">II.</a></td><td>The Church in Gaul</td><td align="right" valign="bottom"><a href="#page_034">34</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#III-1">III.</a></td><td>The Church Architecture of Southern
+France</td><td align="right" valign="bottom"><a href="#page_050">50</a></td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr><td colspan="2" align="center"><span class="smcap">Part II. South of the Loire</span></td></tr>
+
+<tr><td align="right" valign="top"><a href="#I-2">I.</a></td><td>Introductory</td><td align="right" valign="bottom"><a href="#page_071">71</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#II-2">II.</a></td><td>L'Abbaye de Maillezais</td><td align="right" valign="bottom"><a href="#page_081">81</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#III-2">III.</a></td><td>St. Louis de la Rochelle</td><td align="right" valign="bottom"><a href="#page_082">82</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IV-2">IV.</a></td><td>Cath�drale de Lu�on</td><td align="right" valign="bottom"><a href="#page_085">85</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#V-2">V.</a></td><td>St. Front de P�rigueux</td><td align="right" valign="bottom"><a href="#page_087">87</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VI-2">VI.</a></td><td>St. Pierre de Poitiers</td><td align="right" valign="bottom"><a href="#page_092">92</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VII-2">VII.</a></td><td>St. Etienne de Limoges</td><td align="right" valign="bottom"><a href="#page_104">104</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VIII-2">VIII.</a></td><td>St. Odilon de St. Flour</td><td align="right" valign="bottom"><a href="#page_112">112</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IX-2">IX.</a></td><td>St. Pierre de Saintes</td><td align="right" valign="bottom"><a href="#page_115">115</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#X-2">X.</a></td><td>Cath�drale de Tulle</td><td align="right" valign="bottom"><a href="#page_118">118</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XI-2">XI.</a></td><td>St. Pierre d'Angoul�me</td><td align="right" valign="bottom"><a href="#page_120">120</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XII-2">XII.</a></td><td>Notre Dame de Moulins</td><td align="right" valign="bottom"><a href="#page_126">126</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIII-2">XIII.</a></td><td>Notre Dame de le Puy</td><td align="right" valign="bottom"><a href="#page_134">134</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIV-2">XIV.</a></td><td>Notre Dame de Clermont-Ferrand</td><td align="right" valign="bottom"><a href="#page_144">144</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XV-2">XV.</a></td><td>St. Fulcran de Lod�ve</td><td align="right" valign="bottom"><a href="#page_152">152</a></td></tr>
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr><td colspan="2" align="center"><span class="smcap">Part III. The Rhone Valley</span></td></tr>
+
+<tr><td align="right" valign="top"><a href="#I-3">I.</a></td><td>Introductory</td><td align="right" valign="bottom"><a href="#page_159">159</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#II-3">II.</a></td><td>St. Etienne de Chalons-sur-Sa�ne</td><td align="right" valign="bottom"><a href="#page_170">170</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#III-3">III.</a></td><td>St. Vincent de Macon</td><td align="right" valign="bottom"><a href="#page_174">174</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IV-3">IV.</a></td><td>St. Jean de Lyon</td><td align="right" valign="bottom"><a href="#page_177">177</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#V-3">V.</a></td><td>St. Maurice de Vienne</td><td align="right" valign="bottom"><a href="#page_186">186</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VI-3">VI.</a></td><td>St. Apollinaire de Valence</td><td align="right" valign="bottom"><a href="#page_190">190</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VII-3">VII.</a></td><td>Cath�drale de Viviers</td><td align="right" valign="bottom"><a href="#page_195">195</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VIII-3">VIII.</a></td><td>Notre Dame d'Orange</td><td align="right" valign="bottom"><a href="#page_197">197</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IX-3">IX.</a></td><td>St. V�ran de Cavaillon</td><td align="right" valign="bottom"><a href="#page_200">200</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#X-3">X.</a></td><td>Notre Dame des Doms d'Avignon</td><td align="right" valign="bottom"><a href="#page_204">204</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XI-3">XI.</a></td><td>St. Siffrein de Carpentras</td><td align="right" valign="bottom"><a href="#page_221">221</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XII-3">XII.</a></td><td>Cath�drale de Vaison</td><td align="right" valign="bottom"><a href="#page_226">226</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIII-3">XIII.</a></td><td>St. Trophime d'Arles</td><td align="right" valign="bottom"><a href="#page_228">228</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIV-3">XIV.</a></td><td>St. Castor de N�mes</td><td align="right" valign="bottom"><a href="#page_236">236</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XV-3">XV.</a></td><td>St. Th�odorit d'Uz�s</td><td align="right" valign="bottom"><a href="#page_245">245</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XVI-3">XVI.</a></td><td>St. Jean d'Alais</td><td align="right" valign="bottom"><a href="#page_249">249</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XVII-3">XVII.</a></td><td>St. Pierre d'Annecy</td><td align="right" valign="bottom"><a href="#page_252">252</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XVIII-3">XVIII.</a></td><td>Cath�drale de Chamb�ry</td><td align="right" valign="bottom"><a href="#page_255">255</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIX-3">XIX.</a></td><td>Notre Dame de Grenoble</td><td align="right" valign="bottom"><a href="#page_258">258</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XX-3">XX.</a></td><td>Belley and Aoste</td><td align="right" valign="bottom"><a href="#page_267">267</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXI-3">XXI.</a></td><td>St. Jean de Maurienne</td><td align="right" valign="bottom"><a href="#page_269">269</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXII-3">XXII.</a></td><td>St. Pierre de St. Claude</td><td align="right" valign="bottom"><a href="#page_272">272</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXIII-3">XXIII.</a></td><td>Notre Dame de Bourg</td><td align="right" valign="bottom"><a href="#page_277">277</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXIV-3">XXIV.</a></td><td>Gland�ve, Senez, Riez, Sisteron</td><td align="right" valign="bottom"><a href="#page_280">280</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXV-3">XXV.</a></td><td>St. Jerome de Digne</td><td align="right" valign="bottom"><a href="#page_283">283</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXVI-3">XXVI.</a></td><td>Notre Dame de Die</td><td align="right" valign="bottom"><a href="#page_287">287</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXVII-3">XXVII.</a></td><td>Notre Dame et St. Castor d'Apt</td><td align="right" valign="bottom"><a href="#page_289">289</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXVIII-3">XXVIII.</a></td><td>Notre Dame d'Embrun</td><td align="right" valign="bottom"><a href="#page_292">292</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXIX-3">XXIX.</a></td><td>Notre Dame de l'Assomption de Gap</td><td align="right"><a href="#page_296">296</a><a name="page_001" id="page_001"></a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXX-3">XXX.</a></td><td>Notre Dame de Vence</td><td align="right" valign="bottom"><a href="#page_300">300</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXXI-3">XXXI.</a></td><td>Cath�drale de Sion</td><td align="right" valign="bottom"><a href="#page_302">302</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXII-3">XXII.</a></td><td>St. Paul Troix Ch�teau</td><td align="right" valign="bottom"><a href="#page_305">305</a></td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+<tr><td colspan="2" align="center"><span class="smcap">Part IV. The Mediterranean Coast</span></td></tr>
+
+<tr><td align="right" valign="top"><a href="#I-4">I.</a></td><td>Introductory</td><td align="right" valign="bottom"><a href="#page_313">313</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#II-4">II.</a></td><td>St. Sauveur d'Aix</td><td align="right" valign="bottom"><a href="#page_323">323</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#III-4">III.</a></td><td>St. Reparata de Nice</td><td align="right" valign="bottom"><a href="#page_328">328</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IV-4">IV.</a></td><td>Ste. Marie Majeure de Toulon</td><td align="right" valign="bottom"><a href="#page_332">332</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#V-4">V.</a></td><td>St. Etienne de Fr�jus</td><td align="right" valign="bottom"><a href="#page_335">335</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VI-4">VI.</a></td><td>�glise de Grasse</td><td align="right" valign="bottom"><a href="#page_339">339</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VII-4">VII.</a></td><td>Antibes</td><td align="right" valign="bottom"><a href="#page_341">341</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VIII-4">VIII.</a></td><td>Ste. Marie Majeure de Marseilles</td><td align="right" valign="bottom"><a href="#page_342">342</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IX-4">IX.</a></td><td>St. Pierre d'Alet</td><td align="right" valign="bottom"><a href="#page_350">350</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#X-4">X.</a></td><td>St. Pierre de Montpellier</td><td align="right" valign="bottom"><a href="#page_352">352</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XI-4">XI.</a></td><td>Cath�drale d'Agde</td><td align="right" valign="bottom"><a href="#page_358">358</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XII-4">XII.</a></td><td>St. Nazaire de B�ziers</td><td align="right" valign="bottom"><a href="#page_363">363</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIII-4">XIII.</a></td><td>St. Jean de Perpignan</td><td align="right" valign="bottom"><a href="#page_368">368</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIV-4">XIV.</a></td><td>Ste. Eulalia d'Elne</td><td align="right" valign="bottom"><a href="#page_372">372</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XV-4">XV.</a></td><td>St. Just de Narbonne</td><td align="right" valign="bottom"><a href="#page_375">375</a></td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+<tr><td colspan="2" align="center"><span class="smcap">Part V. the Valley of the Garonne</span></td></tr>
+
+<tr><td align="right" valign="top"><a href="#I-5">I.</a></td><td>Introductory</td><td align="right" valign="bottom"><a href="#page_383">383</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#II-5">II.</a></td><td>St. Andr� de Bordeaux</td><td align="right" valign="bottom"><a href="#page_396">396</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#III-5">III.</a></td><td>Cath�drale de Lectoure</td><td align="right" valign="bottom"><a href="#page_402">402</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IV-5">IV.</a></td><td>Notre Dame de Bayonne</td><td align="right" valign="bottom"><a href="#page_405">405</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#V-5">V.</a></td><td>St. Jean de Bazas</td><td align="right" valign="bottom"><a href="#page_411">411</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VI-5">VI.</a></td><td>Notre Dame de Lescar</td><td align="right" valign="bottom"><a href="#page_413">413</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VII-5">VII.</a></td><td>L'Eglise de la S�de: Tarbes</td><td align="right" valign="bottom"><a href="#page_417">417</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VIII-5">VIII.</a></td><td>Cath�drale de Condom</td><td align="right" valign="bottom"><a href="#page_420">420</a><a name="page_002" id="page_002"></a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IX-5">IX.</a></td><td>Cath�drale de Montauban</td><td align="right" valign="bottom"><a href="#page_422">422</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#X-5">X.</a></td><td>St. Etienne de Cahors</td><td align="right" valign="bottom"><a href="#page_425">425</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XI-5">XI.</a></td><td>St. Caprias d'Agen</td><td align="right" valign="bottom"><a href="#page_429">429</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XII-5">XII.</a></td><td>Ste. Marie d'Auch</td><td align="right" valign="bottom"><a href="#page_432">432</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIII-5">XIII.</a></td><td>St. Etienne de Toulouse</td><td align="right" valign="bottom"><a href="#page_439">439</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIV-5">XIV.</a></td><td>St. Nazaire de Carcassone</td><td align="right" valign="bottom"><a href="#page_449">449</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XV-5">XV.</a></td><td>Cath�drale de Pamiers</td><td align="right" valign="bottom"><a href="#page_461">461</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XVI-5">XVI.</a></td><td>St. Bertrand de Comminges</td><td align="right" valign="bottom"><a href="#page_464">464</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XVII-5">XVII.</a></td><td>St. Jean-Baptiste d'Aire</td><td align="right" valign="bottom"><a href="#page_469">469</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XVIII-5">XVIII.</a></td><td>Sts. Benoit et Vincent de Castres</td><td align="right" valign="bottom"><a href="#page_471">471</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XIX-5">XIX.</a></td><td>Notre Dame de Rodez</td><td align="right" valign="bottom"><a href="#page_474">474</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XX-5">XX.</a></td><td>Ste. C�cile d'Albi</td><td align="right" valign="bottom"><a href="#page_482">482</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXI-5">XXI.</a></td><td>St. Pierre de Mende</td><td align="right" valign="bottom"><a href="#page_490">490</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#XXII-5">XXII.</a></td><td>Other Old-Time Cathedrals in and about the
+Basin of the Garonne &nbsp; &nbsp;</td><td align="right" valign="bottom"><a href="#page_495">495</a></td></tr>
+
+</table>
+
+<p>
+<br />
+</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="contents">
+<tr><td colspan="2" align="center"><span class="smcap">Appendices</span></td></tr>
+
+<tr><td align="right" valign="top"><a href="#I-APP">I.</a></td><td>Sketch Map Showing the Usual Geographical
+Divisions of France</td><td align="right" valign="bottom"><a href="#page_503">503</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#II-APP">II.</a></td><td>A Historical Table of the Dioceses of the<br />
+South of France up to the beginning of<br />
+the nineteenth century</td><td align="right" valign="bottom"><a href="#page_504">504</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#III-APP">III.</a></td><td>The Classification of Architectural Styles in<br />
+France according to De Caumont's "Ab�c�daire<br />
+d'Architecture Religieuse"</td><td align="right" valign="bottom"><a href="#page_510">510</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IV-APP">IV.</a></td><td>A Chronology of Architectural Styles in
+France</td><td align="right" valign="bottom"><a href="#page_511">511</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#V-APP">V.</a></td><td>Leading Forms of Early Cathedral Constructions</td><td align="right" valign="bottom"><a href="#page_513">513</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VI-APP">VI.</a></td><td>The Disposition of the Parts of a Tenth-Century<a name="page_003" id="page_003"></a>
+Church as defined by Violet-le-Duc &nbsp; &nbsp;</td><td align="right" valign="bottom"><a href="#page_514">514</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VII-APP">VII.</a></td><td>A Brief Definitive Gazetteer of the Natural<br />
+and Geological Divisions Included in the<br />
+Ancient Provinces and Present-Day Departments<br />
+of Southern France, together<br />
+with the local names by which the <i>pays et<br />
+pagi</i> are commonly known</td><td align="right" valign="bottom"><a href="#page_516">516</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#VIII-APP">VIII.</a></td><td>Sketch Map of the Bishoprics and Archbishoprics<br />
+of the South of France at the
+Present Day</td><td align="right" valign="bottom"><a href="#page_519">519</a></td></tr>
+
+<tr><td align="right" valign="top"><a href="#IX-APP">IX.</a></td><td>Dimensions and Chronology</td><td align="right" valign="bottom"><a href="#page_520">520</a></td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr><td colspan="2"><a href="#INDEX">Index</a></td><td align="right" valign="bottom"><a href="#page_545">545</a></td></tr>
+</table>
+
+<p><a name="page_004" id="page_004"></a></p>
+
+<p><a name="page_005" id="page_005"></a></p>
+
+<h3><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h3>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="illustrations">
+<tr><td colspan="3" align="right"><small>PAGE</small></td></tr>
+
+<tr><td align="left">St. Andr� de Bordeaux</td><td align="right" colspan="2"><i>Frontispiece</i></td></tr>
+<tr><td align="left">The Concordat (From Napoleon's Tomb)</td><td align="right" colspan="2"><a href="#page_043">43</a></td></tr>
+<tr><td align="left">St. Louis de La Rochelle</td><td align="right" colspan="2"><a href="#page_082">82</a></td></tr>
+<tr><td align="left">Cath�drale de Lu�on</td><td align="right" colspan="2"><a href="#page_085">85</a></td></tr>
+<tr><td align="left">St. Front de P�rigueux</td><td align="right" colspan="2"><a href="#page_087">87</a></td></tr>
+<tr><td align="left">Detail of the Interior of St. Front de P�rigueux</td><td align="right" colspan="2"><a href="#page_090">90</a></td></tr>
+<tr><td align="left">Poitiers</td><td align="right" colspan="2"><a href="#page_093">93</a></td></tr>
+<tr><td align="left">St. Etienne de Limoges</td><td align="right" colspan="2"><a href="#page_105">105</a></td></tr>
+<tr><td align="left">Reliquary of Thomas � Becket</td><td align="right" colspan="2"><a href="#page_111">111</a></td></tr>
+<tr><td align="left">Cath�drale de Tulle</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_118">118</a></td></tr>
+<tr><td align="left">St. Pierre d'Angoul�me</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_120">120</a></td></tr>
+<tr><td align="left">Notre Dame de Moulins</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_126">126</a></td></tr>
+<tr><td align="left">Notre Dame de Le Puy</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_134">134</a></td></tr>
+<tr><td align="left">Le Puy</td><td align="right" colspan="2"><a href="#page_138">138</a></td></tr>
+<tr><td align="left">The Black Virgin, Le Puy</td><td align="right" colspan="2"><a href="#page_143">143</a></td></tr>
+<tr><td align="left">Notre Dame de Clermont-Ferrand</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_144">144</a></td></tr>
+<tr><td align="left">St. Vincent de Macon</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_174">174</a></td></tr>
+<tr><td align="left">St. Jean de Lyon</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_176">176</a></td></tr>
+<tr><td align="left">St. Apollinaire de Valence</td><td align="right" colspan="2"><a href="#page_190">190</a></td></tr>
+<tr><td align="left">St. V�ran de Cavaillon</td><td align="right" colspan="2"><a href="#page_200">200</a></td></tr>
+<tr><td align="left">Notre Dame des Doms d'Avignon</td><td align="right" colspan="2"><a href="#page_205">205</a></td></tr>
+<tr><td align="left">Villeneuve-les-Avignon</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_212">212</a></td></tr>
+<tr><td align="left">Notre Dame des Doms d'Avignon</td><td align="left">facing</td><td align="right"><a href="#page_218">218</a><a name="page_006" id="page_006"></a></td></tr>
+<tr><td align="left">St. Trophime d'Arles</td><td align="right" colspan="2"><a href="#page_228">228</a></td></tr>
+<tr><td align="left">St. Trophime d'Arles</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_228">228</a></td></tr>
+<tr><td align="left">Cloisters, St. Trophime d'Arles</td><td align="right" colspan="2"><a href="#page_233">233</a></td></tr>
+<tr><td align="left">St. Castor de N�mes</td><td align="right" colspan="2"><a href="#page_236">236</a></td></tr>
+<tr><td align="left">St. Castor de N�mes</td><td align="right" colspan="2"><a href="#page_237">237</a></td></tr>
+<tr><td align="left">St. Th�odorit d'Uz�s</td><td align="right" colspan="2"><a href="#page_245">245</a></td></tr>
+<tr><td align="left">Cath�drale de Chamb�ry</td><td align="right" colspan="2"><a href="#page_255">255</a></td></tr>
+<tr><td align="left">Notre Dame de Grenoble</td><td align="right" colspan="2"><a href="#page_258">258</a></td></tr>
+<tr><td align="left">St. Bruno</td><td align="right" colspan="2"><a href="#page_261">261</a></td></tr>
+<tr><td align="left">Belley</td><td align="right" colspan="2"><a href="#page_265">265</a></td></tr>
+<tr><td align="left">St. Jean de Maurienne</td><td align="right" colspan="2"><a href="#page_269">269</a></td></tr>
+<tr><td align="left">St. Pierre de St. Claude</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_272">272</a></td></tr>
+<tr><td align="left">Notre Dame de Bourg</td><td align="right" colspan="2"><a href="#page_275">275</a></td></tr>
+<tr><td align="left">Notre Dame de Sisteron</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_280">280</a></td></tr>
+<tr><td align="left">St. Jerome de Digne</td><td align="right" colspan="2"><a href="#page_283">283</a></td></tr>
+<tr><td align="left">Notre Dame d'Embrun</td><td align="right" colspan="2"><a href="#page_292">292</a></td></tr>
+<tr><td align="left">The Ramparts of Aigues-Mortes</td><td align="right" colspan="2"><a href="#page_320">320</a></td></tr>
+<tr><td align="left">St. Sauveur d'Aix</td><td align="right" colspan="2"><a href="#page_321">321</a></td></tr>
+<tr><td align="left">Detail of Doorway of the Archbishop's Palace, Fr�jus</td><td align="right" colspan="2"><a href="#page_338">338</a></td></tr>
+<tr><td align="left">Eglise de Grasse</td><td align="right" colspan="2"><a href="#page_339">339</a></td></tr>
+<tr><td align="left">Marseilles</td><td align="right" colspan="2"><a href="#page_343">343</a></td></tr>
+<tr><td align="left">The Old Cathedral, Marseilles</td><td align="right" colspan="2"><a href="#page_345">345</a></td></tr>
+<tr><td align="left">St. Pierre de Montpellier</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_352">352</a></td></tr>
+<tr><td align="left">Cath�drale d'Agde</td><td align="right" colspan="2"><a href="#page_358">358</a></td></tr>
+<tr><td align="left">St. Nazaire de B�ziers</td><td align="right" colspan="2"><a href="#page_361">361</a></td></tr>
+<tr><td align="left">St. Jean de Perpignan</td><td align="right" colspan="2"><a href="#page_368">368</a></td></tr>
+<tr><td align="left">Ste. Eulalia d'Elne</td><td align="right" colspan="2"><a href="#page_372">372</a></td></tr>
+<tr><td align="left">St. Just de Narbonne</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_374">374</a></td></tr>
+<tr><td align="left">Cloister of St. Just de Narbonne</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_378">378</a></td></tr>
+<tr><td align="left">Notre Dame de Bayonne</td><td align="left">facing</td><td align="right"><a href="#page_404">404</a><a name="page_007" id="page_007"></a></td></tr>
+<tr><td align="left">Eglise de la S�de, Tarbes</td><td align="right" colspan="2"><a href="#page_417">417</a></td></tr>
+<tr><td align="left">St. Etienne de Cahors</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_424">424</a></td></tr>
+<tr><td align="left">Ste. Marie d'Auch</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_432">432</a></td></tr>
+<tr><td align="left">St. Etienne de Toulouse</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_438">438</a></td></tr>
+<tr><td align="left">Nave of St. Etienne de Toulouse</td><td align="right" colspan="2"><a href="#page_445">445</a></td></tr>
+<tr><td align="left">St. Nazaire de Carcassonne</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_448">448</a></td></tr>
+<tr><td align="left">The Old Cit� de Carcassonne before and after the Restoration</td><td align="right" colspan="2"><a href="#page_451">451</a></td></tr>
+<tr><td align="left">Two Capitals of Pillars in St. Nazaire de Carcassonne;</td></tr>
+<tr><td align="left"> &nbsp; &nbsp; &nbsp;and the Rude Stone Carving of Carcas</td><td align="right" colspan="2"><a href="#page_454">454</a></td></tr>
+<tr><td align="left">St. Nazaire de Carcassonne</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_454">454</a></td></tr>
+<tr><td align="left">Cath�drale de Pamiers</td><td align="right" colspan="2"><a href="#page_461">461</a></td></tr>
+<tr><td align="left">St. Bertrand de Comminges</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_464">464</a></td></tr>
+<tr><td align="left">St. Jean-Baptiste d'Aire</td><td align="right" colspan="2"><a href="#page_469">469</a></td></tr>
+<tr><td align="left">Sts. Benoit et Vincent de Castres</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_470">470</a></td></tr>
+<tr><td align="left">Notre Dame de Rodez</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_474">474</a></td></tr>
+<tr><td align="left">Choir-Stalls, Rodez</td><td align="right" colspan="2"><a href="#page_480">480</a></td></tr>
+<tr><td align="left">Ste. C�cile d'Albi</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_482">482</a></td></tr>
+<tr><td align="left">St. Pierre de Mende</td><td align="left">facing</td><td align="right" colspan="2"><a href="#page_490">490</a></td></tr>
+<tr><td align="left">Sketch Map of France</td><td align="right" colspan="2"><a href="#page_503">503</a></td></tr>
+<tr><td align="left">Medallion</td><td align="right" colspan="2"><a href="#page_510">510</a></td></tr>
+<tr><td align="left">Leading Forms of Early Cathedral Constructions</td><td align="right" colspan="2"><a href="#page_513">513</a></td></tr>
+<tr><td align="left">Plan of a Tenth Century Church</td><td align="right" colspan="2"><a href="#page_514">514</a></td></tr>
+<tr><td align="left">Sketch Map of the Bishoprics and Archbishoprics of the</td></tr>
+<tr><td align="left"> &nbsp; &nbsp; &nbsp;South of France at the Present Day</td><td align="right" colspan="2"><a href="#page_519">519</a></td></tr>
+<tr><td align="left">St. Caprias d'Agen (diagram)</td><td align="right" colspan="2"><a href="#page_520">520</a></td></tr>
+<tr><td align="left">Baptistery of St. Sauveur d'Aix (diagram)</td><td align="right" colspan="2"><a href="#page_521">521</a></td></tr>
+<tr><td align="left">Ste. C�cile d'Albi (diagram)</td><td align="right" colspan="2"><a href="#page_522">522</a></td></tr>
+<tr><td align="left">St. Pierre d'Angoul�me (diagram)</td><td align="right" colspan="2"><a href="#page_523">523</a></td></tr>
+<tr><td align="left">St. Trophime d'Arles (diagram)</td><td align="right" colspan="2"><a href="#page_524">524</a><a name="page_008" id="page_008"></a></td></tr>
+<tr><td align="left">Notre Dame des Doms d'Avignon (diagram)</td><td align="right" colspan="2"><a href="#page_525">525</a></td></tr>
+<tr><td align="left">St. Etienne de Cahors (diagram)</td><td align="right" colspan="2"><a href="#page_527">527</a></td></tr>
+<tr><td align="left">St. Veran de Cavaillon (diagram)</td><td align="right" colspan="2"><a href="#page_528">528</a></td></tr>
+<tr><td align="left">Cath�drale de Chamb�ry (diagram)</td><td align="right" colspan="2"><a href="#page_529">529</a></td></tr>
+<tr><td align="left">Notre Dame de Clermont-Ferrand (diagram)</td><td align="right" colspan="2"><a href="#page_530">530</a></td></tr>
+<tr><td align="left">St. Bertrand de Comminges (diagram)</td><td align="right" colspan="2"><a href="#page_530">530</a></td></tr>
+<tr><td align="left">Notre Dame de Le Puy (diagram)</td><td align="right" colspan="2"><a href="#page_532">532</a></td></tr>
+<tr><td align="left">St. Etienne de Limoges (diagram)</td><td align="right" colspan="2"><a href="#page_532">532</a></td></tr>
+<tr><td align="left">St. Jean de Lyon (diagram)</td><td align="right" colspan="2"><a href="#page_533">533</a></td></tr>
+<tr><td align="left">St. Just de Narbonne (diagram)</td><td align="right" colspan="2"><a href="#page_535">535</a></td></tr>
+<tr><td align="left">Notre Dame d'Orange (diagram)</td><td align="right" colspan="2"><a href="#page_536">536</a></td></tr>
+<tr><td align="left">St. Front de P�rigueux (diagram)</td><td align="right" colspan="2"><a href="#page_537">537</a></td></tr>
+<tr><td align="left">St. Jean de Perpignan (diagram)</td><td align="right" colspan="2"><a href="#page_537">537</a></td></tr>
+<tr><td align="left">St. Pierre de Poitiers (diagrams)</td><td align="right" colspan="2"><a href="#page_538">538</a></td></tr>
+<tr><td align="left">Notre Dame de Rodez (diagram)</td><td align="right" colspan="2"><a href="#page_539">539</a></td></tr>
+<tr><td align="left">St. Etienne de Toulouse (diagram)</td><td align="right" colspan="2"><a href="#page_541">541</a></td></tr>
+<tr><td align="left">St. Paul Trois Ch�teaux (diagram)</td><td align="right" colspan="2"><a href="#page_542">542</a></td></tr>
+<tr><td align="left">Cath�drale de Vaison (diagram)</td><td align="right" colspan="2"><a href="#page_543">543</a></td></tr>
+</table>
+
+<p><a name="page_009" id="page_009"></a></p>
+
+<p>
+<br />
+<br />
+</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_map.png">
+<img src="images/ill_map_sml.png" width="550" height="420" alt="" title="" /></a>
+</div>
+
+<p><a name="page_010" id="page_010"></a></p>
+
+<p><a name="page_011" id="page_011"></a></p>
+
+<p class="heading"><i>The Cathedrals<br />
+of Southern France</i></p>
+
+<h3><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h3>
+
+<p>T<small>OO</small> often&mdash;it is a half-acknowledged delusion,
+however&mdash;one meets with what appears
+to be a theory: that a book of travel must
+necessarily be a series of dull, discursive, and
+entirely uncorroborated opinions of one who
+may not be even an intelligent observer. This
+is mere intellectual pretence. Even a humble
+author&mdash;so long as he be an honest one&mdash;may
+well be allowed to claim with Mr. Howells
+the right to be serious, or the reverse,
+"with his material as he finds it;" and that
+"something personally experienced can only
+be realized on the spot where it was lived."
+This, says he, is "the prime use of travel, and
+the attempt to create the reader a partner in
+the enterprise" ... must be the excuse, then,
+for putting one's observations on paper.<a name="page_012" id="page_012"></a></p>
+
+<p>He rightly says, too, that nothing of perilous
+adventure is to-day any more like to
+happen "in Florence than in Fitchburg."</p>
+
+<p>A "literary tour," a "cathedral tour," or
+an "architectural tour," requires a formula
+wherein the author must be wary of making
+questionable estimates; but he may, with regard
+to generalities,&mdash;or details, for that
+matter,&mdash;state his opinion plainly; but he
+should state also his reasons. With respect
+to church architecture no average reader, any
+more than the average observer, willingly
+enters the arena of intellectual combat, but
+rather is satisfied&mdash;as he should be, unless he
+is a Freeman, a Gonse, or a Corroyer&mdash;with
+an ampler radius which shall command even a
+juster, though no less truthful, view.</p>
+
+<p>Not from one book or from ten, in one year
+or a score can this be had. The field is vast
+and the immensity of it all only dawns upon
+one the deeper he gets into his subject. A dictionary
+of architecture, a compendium or
+gazetteer of geography, or even the unwieldy
+mass of fact tightly held in the fastnesses of
+the Encyclop�dia Britannica will not tell one&mdash;in
+either a long or a short while&mdash;all the
+facts concerning the cathedrals of France.</p>
+
+<p>Some will consider that in this book are<a name="page_013" id="page_013"></a>
+made many apparently trifling assertions; but
+it is claimed that they are pertinent and again
+are expressive of an emotion which mayhap
+always arises of the same mood.</p>
+
+<p>Notre Dame at Rodez is a "warm, mouse-coloured
+cathedral;" St. C�cile d'Albi is at
+once "a fortress and a church," and the once
+royal city of Aigues-Mortes is to-day but "a
+shelter for a few hundred pallid, shaking
+mortals."</p>
+
+<p>Such expressions are figurative, but, so far
+as words can put it, they are the concentrated
+result of observation.</p>
+
+<p>These observations do not aspire to be considered
+"improving," though it is asserted
+that they are informative.</p>
+
+<p>Description of all kinds is an art which requires
+considerable forethought in order to be
+even readable. And of all subjects, art and
+architecture are perhaps the most difficult to
+treat in a manner which shall not arouse an
+intolerant criticism.</p>
+
+<p>Perhaps some credit will be attained for the
+attempts herein made to present in a pleasing
+manner many of the charms of the ecclesiastical
+architecture of southern France, where a
+more elaborate and erudite work would fail
+of its object. As Lady Montagu has said in<a name="page_014" id="page_014"></a>
+her "Letters,"&mdash;"We travellers are in very
+hard circumstances. If we say nothing new,
+we are dull, and have observed nothing. If
+we tell any new thing, we are laughed at as
+fabulous and romantic."</p>
+
+<p>This book is intended as a contribution to
+travel literature&mdash;or, if the reader like, to
+that special class of book which appeals
+largely to the traveller.</p>
+
+<p>Most lovers of art and literature are lovers
+of churches; indeed, the world is yearly containing
+more and more of this class. The art
+expression of a people, of France in particular,
+has most often first found its outlet in church-building
+and decoration. Some other countries
+have degenerated sadly from the idea.</p>
+
+<p>In recent times the Anglo-Saxon has mostly
+built his churches,&mdash;on what he is pleased to
+think are "improved lines,"&mdash;that, more
+than anything else, resemble, in their interiors,
+playhouses, and in their exteriors, cotton
+factories and breweries.</p>
+
+<p>This seemingly bitter view is advanced
+simply because the writer believes that it is
+the church-members, using the term in its
+broad sense, who are responsible for the
+many outrageously unseemly church-buildings
+which are yearly being erected; not the<a name="page_015" id="page_015"></a>
+architects&mdash;who have failings enough of
+their own to answer for.</p>
+
+<p>It is said that a certain great architect of
+recent times was responsible for more bad
+architecture than any man who had lived
+before or since. Not because he produced
+such himself, but because his feeble imitators,
+without his knowledge, his training, or his
+ambition, not only sought to follow in his footsteps,
+but remained a long way in the rear, and
+stumbled by the way.</p>
+
+<p>This man built churches. He built one,
+Trinity Church, in Boston, U. S. A., which
+will remain, as long as its stones endure, an
+entirely successful transplantation of an exotic
+from another land. In London a new Roman
+Catholic cathedral has recently been erected
+after the Byzantine manner, and so unexpectedly
+successful was it in plan and execution
+that its author was "medalled" by the Royal
+Academy; whatever that dubious honour may
+be worth.</p>
+
+<p>Both these great men are dead, and aside
+from these two great examples, and possibly
+the Roman Catholic cathedral, and the yet
+unachieved cathedral of St. John the Divine,
+in New York City, where, in an English-speaking
+land, has there been built, in recent<a name="page_016" id="page_016"></a>
+times, a religious edifice of the first rank
+worthy to be classed with these two old-world
+and new-world examples?</p>
+
+<p>They do these things better in France:
+Viollet-le-Duc completed St. Ouen at Rouen
+and the cathedral at Clermont-Ferrand, in
+most acceptable manner. So, too, was the treatment
+of the cathedral at Moulins-sur-Allier&mdash;although
+none of these examples are among
+the noblest or the most magnificent in France.
+They have, however, been completed successfully,
+and in the true spirit of the original.</p>
+
+<p>To know the shops and boulevards of Paris
+does not necessarily presume a knowledge of
+France. This point is mentioned here from
+the fact that many have claimed a familiarity
+with the cathedrals of France; when to all
+practical purposes, they might as well have
+begun and ended with the observation that
+Notre Dame de Paris stands on an island in
+the middle of the Seine.</p>
+
+<p>The author would not carp at the critics
+of the first volume of this series, which appeared
+last season. Far from it. They were,
+almost without exception, most generous. At
+least they granted, <i>unqualifiedly</i>, the reason for
+being for the volume which was put forth<a name="page_017" id="page_017"></a>
+bearing the title: "Cathedrals of Northern
+France."</p>
+
+<p>The seeming magnitude of the undertaking
+first came upon the author and artist while
+preparing the first volume for the press. This
+was made the more apparent when, on a certain
+occasion, just previous to the appearance
+of the book, the author made mention thereof
+to a friend who <i>did</i> know Paris&mdash;better perhaps
+than most English or American writers;
+at least he ought to have known it better.</p>
+
+<p>When this friend heard of the inception
+of this book on French cathedrals, he marvelled
+at the fact that there should be a demand
+for such; said that the subject had
+already been overdone; and much more of
+the same sort; and that only yesterday a certain
+Miss&mdash;&mdash; had sent him an "author's
+copy" of a book which recounted the results
+of a journey which she and her mother had
+recently made in what she sentimentally called
+"Romantic Touraine."</p>
+
+<p>Therein were treated at least a good half-dozen
+cathedrals; which, supplementing the
+always useful Baedeker or Joanne, and a
+handbook of Notre Dame at Paris and another
+of Rouen, covered&mdash;thought the author's<a name="page_018" id="page_018"></a>
+friend at least&mdash;quite a representative
+share of the cathedrals of France.</p>
+
+<p>This only substantiates the contention made
+in the foreword to the first volume: that there
+were doubtless many with a true appreciation
+and love for great churches who would be
+glad to know more of them, and have the
+ways&mdash;if not the means&mdash;smoothed in order
+to make a visit thereto the more simplified
+and agreeable. Too often&mdash;the preface continued&mdash;the
+tourist, alone or personally conducted
+in droves, was whirled rapidly onward
+by express-train to some more popularly or
+fashionably famous spot, where, for a previously
+stipulated sum, he might partake of
+a more lurid series of amusements than a
+mere dull round of churches.</p>
+
+<p>"Cities, like individuals, have," says Arthur
+Symons, "a personality and individuality
+quite like human beings."</p>
+
+<p>This is undoubtedly true of churches as
+well, and the sympathetic observer&mdash;the enthusiastic
+lover of churches for their peculiarities,
+none the less than their general
+excellencies&mdash;is the only person who will
+derive the maximum amount of pleasure and
+profit from an intimacy therewith.</p>
+
+<p>Whether a great church is interesting because<a name="page_019" id="page_019"></a>
+of its antiquity, its history, or its artistic
+beauties matters little to the enthusiast. He
+will drink his fill of what offers. Occasionally,
+he will find a combination of two&mdash;or
+possibly all&mdash;of these ingredients; when his
+joy will be great.</p>
+
+<p>Herein are catalogued as many of the attributes
+of the cathedrals of the south of France&mdash;and
+the records of religious or civil life
+which have surrounded them in the past&mdash;as
+space and opportunity for observation have
+permitted.</p>
+
+<p>More the most sanguine and capable of
+authors could not promise, and while in no
+sense does the volume presume to supply exhaustive
+information, it is claimed that all of
+the churches included within the classification
+of cathedrals&mdash;those of the present and those
+of a past day&mdash;are to be found mentioned
+herein, the chief facts of their history recorded,
+and their notable features catalogued.</p>
+
+<p><a name="page_020" id="page_020"></a></p>
+
+<p><a name="page_021" id="page_021"></a></p>
+
+<h2><a name="PART_I" id="PART_I"></a><i>PART I</i><br /><br />
+<i>Southern France in General</i></h2>
+
+<p><a name="page_022" id="page_022"></a></p>
+
+<p><a name="page_023" id="page_023"></a></p>
+
+<h3><a name="I-1" id="I-1"></a>I<br /><br />
+THE CHARM OF SOUTHERN FRANCE</h3>
+
+<p>The charm of southern France is such as
+to compel most writers thereon to become discursive.
+It could not well be otherwise.
+Many things go to make up pictures of travel,
+which the most polished writer could not ignore
+unless he confined himself to narrative
+pure and simple; as did Sterne.</p>
+
+<p>One who seeks knowledge of the architecture
+of southern France should perforce know
+something of the life of town and country in
+addition to a specific knowledge of, or an
+immeasurable enthusiasm for, the subject.</p>
+
+<p>Few have given Robert Louis Stevenson
+any great pre�minence as a writer of topographical
+description; perhaps not all have
+admitted his ability as an unassailable critic;
+but the fact is, there is no writer to whom the
+lover of France can turn with more pleasure
+and profit than Stevenson.</p>
+
+<p>There is a wealth of description of the country<a name="page_024" id="page_024"></a>-side
+of France in the account of his romantic
+travels on donkey-back, or, as he whimsically
+puts it, "beside a donkey," and his
+venturesome though not dangerous "Inland
+Voyage." These early volumes of Stevenson,
+while doubtless well known to lovers of his
+works, are closed books to most casual travellers.
+The author and artist of this book here
+humbly acknowledge an indebtedness which
+might not otherwise be possible to repay.</p>
+
+<p>Stevenson was devout, he wrote sympathetically
+of churches, of cathedrals, of monasteries,
+and of religion. What his predilections
+were as to creed is not so certain. Sterne was
+more worldly, but he wrote equally attractive
+prose concerning many things which English-speaking
+people have come to know more of
+since his time. Arthur Young, "an agriculturist,"
+as he has been rather contemptuously
+called, a century or more ago wrote of rural
+France after a manner, and with a profuseness,
+which few have since equalled. His
+creed, likewise, appears to be unknown; in
+that, seldom, if ever, did he mention churches,
+and not at any time did he discuss religion.</p>
+
+<p>In a later day Miss M. E. B. Edwards, an
+English lady who knows France as few of her
+countrywomen do, wrote of many things more<a name="page_025" id="page_025"></a>
+or less allied with religion, which the ordinary
+"travel books" ignored&mdash;much to their loss&mdash;altogether.</p>
+
+<p>Still more recently another English lady,
+Madam Marie Duclaux,&mdash;though her name
+would not appear to indicate her nationality,&mdash;has
+written a most charming series of observations
+on her adopted land; wherein the
+peasant, his religion, and his aims in life are
+dealt with more understandingly than were
+perhaps possible, had the author not been possessed
+of a long residence among them.</p>
+
+<p>Henry James, of all latter-day writers, has
+given us perhaps the most illuminating accounts
+of the architectural joy of great
+churches, ch�teaux and cathedrals. Certainly
+his work is marvellously appreciative,
+and his "Little Tour in France," with the
+two books of Stevenson before mentioned,
+Sterne's "Sentimental Journey,"&mdash;and Mr.
+Tristram Shandy, too, if the reader likes,&mdash;form
+a quintette of voices which will tell more
+of the glories of France and her peoples than
+any other five books in the English language.</p>
+
+<p>When considering the literature of place,
+one must not overlook the fair land of Provence
+or the "Midi of France"&mdash;that little-known
+land lying immediately to the westward<a name="page_026" id="page_026"></a>
+of Marseilles, which is seldom or never
+even tasted by the hungry tourist.</p>
+
+<p>To know what he would of these two delightful
+regions one should read Thomas Janvier,
+F�lix Gras, and M�rim�e. He will then
+have far more of an insight into the places
+and the peoples than if he perused whole
+shelves of histories, geographies, or technical
+works on arch�ology and fossil remains.</p>
+
+<p>If he can supplement all this with travel,
+or, better yet, take them hand-in-hand, he will
+be all the more fortunate.</p>
+
+<p>At all events here is a vast subject for the
+sated traveller to grasp, and <i>en passant</i> he will
+absorb not a little of the spirit of other days
+and of past history, and something of the
+attitude of reverence for church architecture
+which is apparently born in every Frenchman,&mdash;at
+least to a far greater degree than
+in any other nationality,&mdash;whatever may be
+his present-day attitude of mind toward the
+subject of religion in the abstract.</p>
+
+<p>France, be it remembered, is not to-day as
+it was a century and a half ago, when it was
+the fashion of English writers to condemn
+and revile it as a nation of degraded serfs,
+a degenerate aristocracy, a corrupt clergy, or
+as an enfeebled monarchy.<a name="page_027" id="page_027"></a></p>
+
+<p>Since then there has arisen a Napoleon,
+who, whatever his faulty morals may have
+been, undoubtedly welded into a united whole
+those widely divergent tendencies and sentiments
+of the past, which otherwise would not
+have survived. This was prophetic and far-seeing,
+no matter what the average historian
+may say to the contrary; and it has in no small
+way worked itself toward an ideal successfully,
+if not always by the most practical and
+direct path.</p>
+
+<p>One thing is certain, the lover of churches
+will make the round of the southern cathedrals
+under considerably more novel and entrancing
+conditions than in those cities of the
+north or mid-France. Many of the places
+which shelter a great cathedral church in the
+south are of little rank as centres of population;
+as, for instance, at Mende in Loz�re,
+where one suddenly finds oneself set down in
+the midst of a green basin surrounded by
+mountains on all sides, with little to distract
+his attention from its remarkably picturesque
+cathedral; or at Albi, where a Sunday-like
+stillness always seems to reign, and its fortress-church,
+which seems to regulate the very
+life of the town, stands, as it has since its
+foundation, a majestic guardian of well-being.<a name="page_028" id="page_028"></a></p>
+
+<p>There is but one uncomfortable feature to
+guard against, and that is the <i>mistral</i>, a wind
+which blows down the Rh�ne valley at certain
+seasons of the year, and, in the words of the
+habitant, "blows all before it." It is not
+really as bad as this, but its breath is uncomfortably
+cold, and it does require a firm purpose
+to stand against its blast.</p>
+
+<p>Then, too, from October until March, south
+of Lyons, the nights, which draw in so early
+at this season of the year, are contrastingly and
+uncomfortably cold, as compared with the
+days, which seem always to be blessed with
+bright and sunshiny weather.</p>
+
+<p>It may be argued that this is not the season
+which appeals to most people as being
+suitable for travelling. But why not? Certainly
+it is the fashion to travel toward the
+Mediterranean during the winter months, and
+the attractions, not omitting the allurements
+of dress clothes, gambling-houses, and <i>bals
+masqu�s</i> are surely not more appealing than
+the chain of cities which extend from Chamb�ry
+and Grenoble in the Alps, through
+Orange, N�mes, Arles, Perpignan, Carcassonne,
+and the slopes of the Pyrenees, to
+Bayonne.</p>
+
+<p>In the departments of Loz�re, Puy de<a name="page_029" id="page_029"></a>
+D�me, Gard and Auvergne and Dordogne,
+the true, unspoiled Gallic flavour abides in
+all its intensity. As Touraine, or at least Tours,
+claims to speak the purest French tongue, so
+this region of streams and mountains, of volcanic
+remains, of Protestantism, and of an&mdash;as
+yet&mdash;unspoiled old-worldliness, possesses more
+than any other somewhat of the old-time social
+independence and disregard of latter-day
+innovations.</p>
+
+<p>Particularly is this so&mdash;though perhaps it
+has been remarked before&mdash;in that territory
+which lies between Clermont-Ferrand and
+Valence in one direction, and Vienne and
+Rodez in another, to extend its confines to
+extreme limits.</p>
+
+<p>Here life goes on gaily and in animated
+fashion, in a hundred dignified and picturesque
+old towns, and the wise traveller will
+go a-hunting after those which the guide-books
+complain of&mdash;not without a sneer&mdash;as
+being dull and desultory. French, and for
+that matter the new r�gime of English, historical
+novelists are too obstinately bent on
+the study of Paris, "At all events," says Edmund
+Gosse, "since the days of Balzac and
+George Sand, and have neglected the provincial
+boroughs."<a name="page_030" id="page_030"></a></p>
+
+<p>They should study mid-France on the spot;
+and read Stevenson and M�rim�e while they
+are doing it. It will save them a deal of
+worrying out of things&mdash;with possibly wrong
+deductions&mdash;for themselves.</p>
+
+<p>The climatic conditions of France vary
+greatly. From the gray, wind-blown shores
+of Brittany, where for quite three months of
+the autumn one is in a perpetual drizzle, and
+the equally chilly and bare country of the Pas
+de Calais, and the more or less sodden French
+Flanders, to the brisk, sunny climate of the
+Loire valley, the Cevennes, Dauphin�, and
+Savoie, is a wide range of contrast. Each is
+possessed of its own peculiar characteristics,
+which the habitant alone seems to understand
+in all its vagaries. At all events, there is no
+part of France which actually merits the
+opprobrious deprecations which are occasionally
+launched forth by the residents of the
+"garden spot of England," who see no topographical
+beauties save in their own wealds
+and downs.</p>
+
+<p>France is distinctly a self-contained land.
+Its tillers of the soil, be they mere agriculturists
+or workers in the vineyards, are of a
+race as devoted and capable at their avocations
+as any alive.<a name="page_031" id="page_031"></a></p>
+
+<p>They do not, to be sure, eat meat three
+times a day&mdash;and often not once a week&mdash;but
+they thrive and gain strength on what
+many an English-speaking labourer would
+consider but a mere snack.</p>
+
+<p>Again, the French peasant is not, like the
+English labourer, perpetually reminded, by
+the independence of the wealth surrounding
+him, of his own privations and dependence.
+On the contrary, he enjoys contentment with
+a consciousness that no human intervention
+embitters his condition, and that its limits are
+only fixed by the bounds of nature, and somewhat
+by his own industry.</p>
+
+<p>Thus it is easy to inculcate in such a people
+somewhat more of that spirit of "<i>l'amour de
+la patrie</i>," or love of the land, which in
+England, at the present time, appears to be
+growing beautifully less.</p>
+
+<p>So, too, with love and honour for their
+famous citizens, the French are enthusiastic,
+beyond any other peoples, for their monuments,
+their institutions, and above all for
+their own province and department.</p>
+
+<p>With regard to their architectural monuments,
+still more are they proud and well-informed,
+even the labouring classes. Seldom,
+if ever, has the writer made an inquiry<a name="page_032" id="page_032"></a>
+but what it was answered with interest, if
+not with a superlative intelligence, and the
+Frenchman of the lower classes&mdash;be he a
+labourer of the towns or cities, or a peasant
+of the country-side&mdash;is a remarkably obliging
+person.</p>
+
+<p>In what may strictly be called the south of
+France, that region bordering along the Mediterranean,
+Provence, and the southerly portion
+of Languedoc, one is manifestly environed
+with a mellowness and brilliance of
+sky and atmosphere only to be noted in a sub-tropical
+land, a feature which finds further
+expression in most of the attributes of local
+life.</p>
+
+<p>The climate and topographical features
+take on a contrastingly different aspect, as
+does the church architecture and the mode of
+life of the inhabitants here in the southland.</p>
+
+<p>Here is the true romance country of all
+the world. Here the Proven�al tongue and its
+literature have preserved that which is fast
+fleeting from us in these days when a nation's
+greatest struggle is for commercial or political
+supremacy. It was different in the days of
+Petrarch and of Rabelais.</p>
+
+<p>But there are reminders of this glorious past
+yet to be seen, more tangible than a memory<a name="page_033" id="page_033"></a>
+alone, and more satisfying than mere written
+history.</p>
+
+<p>At Orange, N�mes, and Arles are Roman
+remains of theatres, arenas, and temples, often
+perfectly preserved, and as magnificent as in
+Rome itself.</p>
+
+<p>At Avignon is a splendid papal palace, to
+which the Holy See was transferred by Clement
+V. at the time of the Italian partition, in
+the early fourteenth century, while Laura's
+tomb, or the site of it, is also close at hand.</p>
+
+<p>At Clermont-Ferrand, in Auvergne, Pope
+Urban, whose monument is on the spot, urged
+and instigated the Crusades.</p>
+
+<p>The Christian activities of this land were
+as strenuous as any, and their remains are
+even more numerous and interesting. Southern
+Gaul, however, became modernized but
+slowly, and the influences of the Christian
+spirit were not perhaps as rapid as in the
+north, where Roman sway was more speedily
+annulled. Still, not even in the churches of
+Lombardy or Tuscany are there more strong
+evidences of the inception and growth of this
+great power, which sought at one time to rule
+the world, and may yet.<a name="page_034" id="page_034"></a></p>
+
+<h3><a name="II-1" id="II-1"></a>II<br /><br />
+THE CHURCH IN GAUL</h3>
+
+<p>Guizot's notable dictum, "If you are fond
+of romance and history," may well be paraphrased
+in this wise: "If you are fond of
+history, read the life histories of great
+churches."</p>
+
+<p>Leaving dogmatic theory aside, much, if
+not quite all, of the life of the times in France&mdash;up
+to the end of the sixteenth century&mdash;centred
+more or less upon the Church, using
+the word in its fullest sense. Aside from its
+religious significance, the influence of the
+Church, as is well known and recognized by
+all, was variously political, social, and perhaps
+economic.</p>
+
+<p>So crowded and varied were the events of
+Church history in Gaul, it would be impossible
+to include even the most important of
+them in a brief chronological arrangement
+which should form a part of a book such as
+this.<a name="page_035" id="page_035"></a></p>
+
+<p>It is imperative, however, that such as are
+mentioned should be brought together in some
+consecutive manner in a way that should indicate
+the mighty ebb and flow of religious
+events of Church and State.</p>
+
+<p>These passed rapidly and consecutively
+throughout Southern Gaul, which became a
+part of the kingdom of the French but slowly.</p>
+
+<p>Many bishoprics have been suppressed or
+merged into others, and again united with
+these sees from which they had been separated.
+Whatever may be the influences of
+the Church, monastic establishments, or more
+particularly, the bishops and their clergy, to-day,
+there is no question but that from the
+evangelization of Gaul to the end of the nineteenth
+century, the parts played by them were
+factors as great as any other in coagulating
+and welding together the kingdom of France.</p>
+
+<p>The very large number of bishops which
+France has had approximates eight thousand
+eminent and virtuous names; and it is to the
+memory of their works in a practical way,
+none the less than their devotion to preaching
+the Word itself, that the large number of
+magnificent ecclesiastical monuments have
+been left as their heritage.</p>
+
+<p>There is a large share of veneration and<a name="page_036" id="page_036"></a>
+respect due these pioneers of Christianity;
+far more, perhaps, than obtains for those of
+any other land. Here their activities were
+so very great, their woes and troubles so very
+oppressive, and their final achievement so
+splendid, that the record is one which stands
+alone.</p>
+
+<p>It is a glorious fact&mdash;in spite of certain
+lapses and influx of fanaticism&mdash;that France
+has ever recognized the sterling worth to the
+nation of the devotion and wise counsel of her
+churchmen; from the indefatigable apostles
+of Gaul to her cardinals, wise and powerful
+in councils of state.</p>
+
+<p>The evangelization of Gaul was not an easy
+or a speedy process. On the authority of
+Abb� Morin of Moulins, who, in <i>La France
+Pontificale</i>, has undertaken to "chronologize
+all the bishops and archbishops of France
+from the first century to our day," Christianity
+came first to Aix and Marseilles with
+Lazare de B�thanie in 35 or 36 <span class="smcap">A. D.</span>; followed
+shortly after by Lin de Besan�on,
+Clement de Metz, Dem�tre de Gap, and Ruf
+d'Avignon.</p>
+
+<p>Toward the end of the reign of Claudian,
+and the commencement of that of Nero (54-55
+<span class="smcap">A. D.</span>), there arrived in Gaul the seven<a name="page_037" id="page_037"></a>
+Apostle-bishops, the founders of the Church
+at Arles (St. Trophime), Narbonne (St.
+Paul), Limoges (St. Martial), Clermont (St.
+Austremoine), Tours (St. Gatien), Toulouse
+(St. Saturnin), and Tr�ves (St. Val�re).</p>
+
+<p>It was some years later that Paris received
+within its walls St. Denis, its first Apostle of
+Christianity, its first bishop, and its first
+martyr.</p>
+
+<p>Others as famous were Taurin d'Evreux,
+Lucien de Beauvais, Eutrope de Saintes,
+Aventin de Chartres, Nicaise de Rouen, Sixte
+de Reims, Savinien de Sens, and St. Crescent&mdash;the
+disciple of St. Paul&mdash;of Vienne.</p>
+
+<p>From these early labours, through the three
+centuries following, and down through fifteen
+hundred years, have passed many traditions of
+these early fathers which are well-nigh legendary
+and fabulous.</p>
+
+<p>The Abb� Morin says further: "We have
+not, it is true, an entirely complete chronology
+of the bishops who governed the Church
+in Gaul, but the names of the great and noble
+army of bishops and clergy, who for eighteen
+hundred years have succeeded closely one
+upon another, are assuredly the most beautiful
+jewels in the crown of France. Their virtues
+were many and great,&mdash;eloquence, love of<a name="page_038" id="page_038"></a>
+<i>la patrie</i>, indomitable courage in time of
+trial, mastery of difficult situation, prudence,
+energy, patience, and charity." All these
+grand virtues were practised incessantly, with
+some regrettable eclipses, attributable not
+only to misfortune, but occasionally to fault.
+A churchman even is but human.</p>
+
+<p>With the accession of the third dynasty of
+kings,&mdash;the Capetians, in 987,&mdash;the history
+of the French really began, and that of the
+Franks, with their Germanic tendencies and
+elements, became absorbed by those of the
+Romanic language and character, with the
+attendant habits and customs.</p>
+
+<p>Only the Aquitanians, south of the Loire,
+and the Burgundians on the Rh�ne, still preserved
+their distinct nationalities.</p>
+
+<p>The feudal ties which bound Aquitaine to
+France were indeed so slight that, when Hugh
+Capet, in 990, asked of Count Adelbert of
+P�rigueux, before the walls of the besieged
+city of Tours: "Who made thee count?" he
+was met with the prompt and significant rejoinder,
+"Who made thee king?"</p>
+
+<p>At the close of the tenth century, France was
+ruled by close upon sixty princes, virtually
+independent, and yet a still greater number of
+prelates,&mdash;as powerful as any feudal lord,&mdash;<a name="page_039" id="page_039"></a>who
+considered Hugh Capet of Paris only as
+one who was first among his peers. Yet he
+was able to extend his territory to such a
+degree that his hereditary dynasty ultimately
+assured the unification of the French nation.
+Less than a century later Duke William of
+Normandy conquered England (1066); when
+began that protracted struggle between
+France and England which lasted for three
+hundred years.</p>
+
+<p>Immediately after the return of the pious
+Louis VII. from his disastrous crusade, his
+queen, Eleanor, the heiress of Poitou and
+Guienne, married the young count Henry
+Plantagenet of Maine and Anjou; who, when
+he came to the English throne in 1153, "inherited
+and acquired by marriage"&mdash;as historians
+subtly put it&mdash;" the better half of all
+France."</p>
+
+<p>Until 1322 the Church in France was divided
+into the following dioceses:</p>
+
+<ul>
+<li>Provincia Remensis (Reims)</li>
+<li>Provincia Rotomagensis (All Normandy)</li>
+<li>Provincia Turonensis (Touraine, Maine, Anjou, and Brittany)</li>
+<li>Provincia Burdegalensis (Poitou, Saintonge, Angumois, P�rigord, and Bordelais)</li>
+<li>Provincia Auxitana (In Gascoigne)<a name="page_040" id="page_040"></a></li>
+<li>Provincia Bituricensis (Berri, Bourbonnais, Limosin, and Auvergne)</li>
+<li>Provincia Senonensis (Sens)</li>
+<li>Provincia Lugdunensis (Bourgogne and Lyonnais)</li>
+<li>Provincia Viennensis (Vienne on the Rh�ne)</li>
+<li>Provincia Narbonensis (Septimania)</li>
+<li>Provincia Arelatensis (Arles)</li>
+<li>Provincia Aquensis (Aix-en-Provence)</li>
+<li>Provincia Ebredunensis (The Alpine Valleys)</li>
+</ul>
+
+<p>The stormy days of the reign of Charles V.
+(late fourteenth century) throughout France
+were no less stringent in Languedoc than elsewhere.</p>
+
+<p>Here the people rose against the asserted
+domination of the Duke of Anjou, who,
+"proud and greedy," was for both qualities
+abhorred by the Languedocians.</p>
+
+<p>He sought to restrain civic liberty with a
+permanent military force, and at N�mes levied
+heavy taxes, which were promptly resented
+by rebellion. At Montpellier the
+people no less actively protested, and slew
+the chancellor and seneschal.</p>
+
+<p>By the end of the thirteenth century, social,
+political, and ecclesiastical changes had
+wrought a wonderful magic with the map
+of France. John Lackland (<i>sans terre</i>) had
+been compelled by Philippe-Auguste to relinquish<a name="page_041" id="page_041"></a>
+his feudal possessions in France, with
+the exception of Guienne. At this time also
+the internal crusades against the Waldenses
+and Albigenses in southern France had powerfully
+extended the royal flag. Again, history
+tells us that it was from the impulse and
+after influences of the crusading armies to the
+East that France was welded, under Philippe-le-Bel,
+into a united whole. The shifting fortunes
+of France under English rule were,
+however, such as to put little stop to the
+progress of church-building in the provinces;
+though it is to be feared that matters in that
+line, as most others of the time, went rather by
+favour than by right of sword.</p>
+
+<p>Territorial changes brought about, in due
+course, modified plans of the ecclesiastical
+control and government, which in the first
+years of the fourteenth century caused certain
+administrative regulations to be put into
+effect by Pope John XXII. (who lies buried
+beneath a gorgeous Gothic monument at
+Avignon) regarding the Church in the southern
+provinces.</p>
+
+<p>So well planned were these details that the
+Church remained practically under the same
+administrative laws until the Revolution.</p>
+
+<p>Albi was separated from Bourges (1317),<a name="page_042" id="page_042"></a>
+and raised to the rank of a metropolitan
+see; to which were added as suffragans
+Cahors, Rodez, and Mende, with the newly
+founded bishoprics of Castres and Vabres
+added. Toulouse was formed into an archbishopric
+in 1327; while St. Pons and Alet,
+as newly founded bishoprics, were given to
+the ancient see of Narbonne in indemnification
+for its having been robbed of Toulouse.
+The ancient diocese of Poitiers was divided
+into three, and that of Agen into two by the
+erection of suffragans at Maillezais, Lu�on,
+Sarlat, and Condom. By a later papal bull,
+issued shortly after their establishment, these
+bishoprics appear to have been abolished, as
+no record shows that they entered into the
+general scheme of the revolutionary suppression.</p>
+
+<p>On August 4, 1790, all chapters of cathedral
+churches, other than those of the metropoles
+(the mother sees), their bishops, and
+in turn their respective cur�s, were suppressed.
+This ruling applied as well to all
+collegiate churches, secular bodies, and abbeys
+and priories generally.</p>
+
+<p>Many were, of course, re�stablished at a
+subsequent time, or, at least, were permitted
+to resume their beneficent work. But it was<a name="page_043" id="page_043"></a>
+this general suppression, in the latter years of
+the eighteenth century, which led up to the
+general reapportioning of dioceses in that
+composition of Church and State thereafter
+known as the Concordat.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_043.png">
+<img src="images/ill_043_sml.png" width="550" height="329" alt="The Concordat (From Napoleon&#39;s Tomb)" title="" /></a>
+<span class="caption">The Concordat (From Napoleon&#39;s Tomb)</span>
+</div>
+
+<p>Many causes deflected the growth of the
+Church from its natural progressive pathway.
+The Protestant fury went nearly to fanaticism,
+as did the equally fervent attempts to
+suppress it. The "Temples of Reason" of
+the Terrorists were of short endurance, but
+they indicated an unrest that has only in a
+measure moderated, if one is to take later
+political events as an indication of anything
+more than a mere uncontrolled emotion.</p>
+
+<p>Whether a great future awaits Protestantism<a name="page_044" id="page_044"></a>
+in France, or not, the power of the Roman
+Church is undoubtedly waning, in attracting
+congregations, at least.</p>
+
+<p>Should a Wesley or a Whitfield arise, he
+might gain followers, as strong men do, and
+they would draw unto them others, until congregations
+might abound. But the faith could
+hardly become the avowed religion of or for
+the French people. It has, however, a great
+champion in the powerful newspaper, <i>Le
+Temps</i>, which has done, and will do, much
+to popularize the movement.</p>
+
+<p>The Protestantism of Lot and Lot et Garonne
+is considerable, and it is of very long
+standing. It is recorded, too, that as late as
+October, 1901, the Commune of Murat went
+over <i>en masse</i> to Protestantism because the
+Catholic bishop at Cahors desired his communicants
+to rise from their beds at what they
+considered an inconveniently early hour, in
+order to hear mass.</p>
+
+<p>This movement in Languedoc was not
+wholly due to the tyranny of the Duke of
+Anjou; it was caused in part by the confiscation
+or assumption of the papal authority by
+France. This caused not only an internal unrest
+in Italy, but a turbulence which spread
+throughout all the western Mediterranean,<a name="page_045" id="page_045"></a>
+and even unto the Rhine and Flanders. The
+danger which threatened the establishment of
+the Church, by making the papacy a dependence
+of France, aroused the Italian prelates
+and people alike, and gave rise to the simultaneous
+existence of both a French and an
+Italian Pope.</p>
+
+<p>Charles V. supported the French pontiff,
+as was but natural, thus fermenting a great
+schism; with its attendant controversies and
+horrors.</p>
+
+<p>French and Italian politics became for a
+time inexplicably mingled, and the kingdom
+of Naples came to be transferred to the house
+of Anjou.</p>
+
+<p>The Revolution, following close upon the
+Jansenist movement at Port Royal, and the
+bull Unigenitus of the Pope, resulted in such
+riot and disregard for all established institutions,
+monarchical, political, and religious,
+that the latter&mdash;quite as much as the others&mdash;suffered
+undue severity.</p>
+
+<p>The Church itself was at this time divided,
+and rascally intrigue, as well as betrayal, was
+the order of the day on all sides. Bishops
+were politicians, and priests were but the
+tools of their masters; this to no small degree,
+if we are to accept the written records.<a name="page_046" id="page_046"></a></p>
+
+<p>Talleyrand-P�rigord, Bishop of Autun, was
+a member of the National Assembly, and
+often presided over the sittings of that none
+too deliberate body.</p>
+
+<p>In the innovations of the Revolution, the
+Church and the clergy took, for what was believed
+to be the national good, their full and
+abiding share in the surrender of past privileges.</p>
+
+<p>At Paris, at the instance of Mirabeau, they
+even acknowledged, in some measure, the
+principle of religious liberty, in its widest application.</p>
+
+<p>The appalling massacres of September 2,
+1792, fell heavily upon the clergy throughout
+France; of whom one hundred and forty were
+murdered at the <i>Carmes</i> alone.</p>
+
+<p>The Archbishop of Arles on that eventful
+day gave utterance to the following devoted
+plea:</p>
+
+<p>"<i>Give thanks to God, gentlemen, that He
+calls us to seal with our blood the faith we
+profess. Let us ask of Him the grace of final
+perseverance, which by our own merit we
+could not obtain.</i>"</p>
+
+<p>The Restoration found the Church in a
+miserable and impoverished condition. There<a name="page_047" id="page_047"></a>
+was already a long list of dioceses without
+bishops; of cardinals, prelates, and priests
+without charges, many of them in prison.</p>
+
+<p>Congregations innumerable had been suppressed
+and many sees had been abolished.</p>
+
+<p>The new dioceses, under the Concordat of
+1801, one for each department only, were of
+vast size as compared with those which had
+existed more numerously before the Revolution.</p>
+
+<p>In 1822 thirty new sees were added to the
+prelature. To-day there are sixty-seven bishoprics
+and seventeen archbishoprics, not including
+the colonial suffragans, but including
+the diocese of Corsica, whose seat is at Ajaccio.</p>
+
+<p>Church and State are thus seen to have
+been, from the earliest times, indissolubly
+linked throughout French dominion.</p>
+
+<p>The king&mdash;while there was a king&mdash;was
+the eldest son of the Church, and, it is said,
+the Church in France remains to-day that
+part of the Roman communion which possesses
+the greatest importance for the governing
+body of that faith. This, in spite of the
+tendency toward what might be called, for
+the want of a more expressive word, irreligion.
+This is a condition, or a state, which<a name="page_048" id="page_048"></a>
+is unquestionably making headway in the
+France of to-day&mdash;as well, presumably, as
+in other countries&mdash;of its own sheer weight
+of numbers.</p>
+
+<p>One by one, since the establishment of the
+Church in Gaul, all who placed any limits
+to their ecclesiastical allegiance have been
+turned out, and so turned into enemies,&mdash;the
+Protestants, the Jansenists, followers of the
+Bishop of Ypres, and the Constitutionalists.
+Reconciliation on either side is, and ever has
+been, apparently, an impossibility.</p>
+
+<p>Freedom of thought and action is undoubtedly
+increasing its license, and the clergy in
+politics, while a thing to be desired by many,
+is, after all, a thing to be feared by the greater
+number,&mdash;for whom a popular government
+is made. Hence the curtailment of the power
+of the monks&mdash;the real secular propagandists&mdash;was
+perhaps a wise thing. We are not to-day
+living under the conditions which will
+permit of a new Richelieu to come upon the
+scene, and the recent act (1902) which suppressed
+so many monastic establishments, convents,
+and religious houses of all ranks, including
+the Alpine retreat of "La Grande
+Chartreuse," may be taken rather as a natural
+process of curtailment than a mere vindictive<a name="page_049" id="page_049"></a>
+desire on the part of the State to concern itself
+with "things that do not matter." On the
+other hand, it is hard to see just what immediate
+gain is to result to the nation.<a name="page_050" id="page_050"></a></p>
+
+<h3><a name="III-1" id="III-1"></a>III<br /><br />
+THE CHURCH ARCHITECTURE OF SOUTHERN<br />
+FRANCE</h3>
+
+<p>The best history of the Middle Ages is
+that suggested by their architectural remains.
+That is, if we want tangible or ocular demonstration,
+which many of us do.</p>
+
+<p>Many of these remains are but indications
+of a grandeur that is past and a valour and a
+heroism that are gone; but with the Church
+alone are suggested the piety and devotion
+which still live, at least to a far greater
+degree than many other sentiments and emotions;
+which in their struggle to keep pace
+with progress have suffered, or become effete
+by the way.</p>
+
+<p>To the Church, then, or rather religion&mdash;if
+the word be preferred&mdash;we are chiefly indebted
+for the preservation of these ancient
+records in stone.</p>
+
+<p>Ecclesiastical architecture led the way&mdash;<a name="page_051" id="page_051"></a>there
+is no disputing that, whatever opinions
+may otherwise be held by astute arch�ologists,
+historians, and the antiquarians, whose food
+is anything and everything so long as it reeks
+of antiquity.</p>
+
+<p>The planning and building of a great
+church was no menial work. Chief dignitaries
+themselves frequently engaged in it:
+the Abbot Suger, the foremost architect of
+his time&mdash;prime minister and regent of the
+kingdom as he was&mdash;at St. Denis; Archbishop
+Werner at Strasbourg; and William
+of Wykeham in England, to apportion such
+honours impartially.</p>
+
+<p>Gothic style appears to have turned its back
+on Italy, where, in Lombardy at all events,
+were made exceedingly early attempts in this
+style. This, perhaps, because of satisfying
+and enduring classical works which allowed
+no rivalry; a state of affairs to some extent
+equally true of the south of France. The
+route of expansion, therefore, was northward,
+along the Rhine, into the Isle of France, to
+Belgium, and finally into England.</p>
+
+<p>No more true or imaginative description of
+Gothic forms has been put into literature than
+those lines of Sir Walter Scott, which define
+its characteristics thus:<a name="page_052" id="page_052"></a></p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">"... Whose pillars with clustered shafts so trim,</td></tr>
+<tr><td align="left">With base and capital flourished 'round,</td></tr>
+<tr><td align="left">Seemed bundles of lances which garlands had bound."</td></tr>
+</table>
+
+<p>In modern times, even in France, church-building
+neither aspired to, nor achieved, any
+great distinction.</p>
+
+<p>Since the Concordat what have we had?
+A few restorations, which in so far as they
+were carried out in the spirit of the original
+were excellent; a few added members, as the
+west front and spires of St. Ouen at Rouen;
+the towers and western portal at Clermont-Ferrand;
+and a few other works of like magnitude
+and worth. For the rest, where anything
+of bulk was undertaken, it was almost
+invariably a copy of a Renaissance model,
+and often a bad one at that; or a descent to
+some hybrid thing worse even than in their
+own line were the frank mediocrities of the
+era of the "Citizen-King," or the plush and
+horsehair horrors of the Second Empire.</p>
+
+<p>Most characteristic, and truly the most
+important of all, are the remains of the Gallo-Roman
+period. These are the most notable
+and forceful reminders of the relative prominence
+obtained by medi�val pontiffs, prelates,
+and peoples.<a name="page_053" id="page_053"></a></p>
+
+<p>These relations are further borne out by
+the frequent juxtaposition of ecclesiastical
+and civic institutions of the cities themselves,&mdash;fortifications,
+palaces, ch�teaux, cathedrals,
+and churches, the former indicating no
+more a predominance of power than the
+latter.</p>
+
+<p>A consideration of one, without something
+more than mere mention of the other, is not
+possible, and incidentally&mdash;even for the
+church-lover&mdash;nothing can be more interesting
+than the great works of fortification&mdash;strong,
+frowning, and massive&mdash;as are yet
+to be seen at B�ziers, Carcassonne, or Avignon.
+It was this latter city which sheltered within
+its outer walls that monumental reminder of
+the papal power which existed in this French
+capital of the "Church of Rome"&mdash;as it
+must still be called&mdash;in the fourteenth century.</p>
+
+<p>To the stranger within the gates the unconscious
+resemblance between a castellated and
+battlemented feudal stronghold and the many
+churches,&mdash;and even certain cathedrals, as at
+Albi, B�ziers, or Agde,&mdash;which were not
+unlike in their outline, will present some confusion
+of ideas.</p>
+
+<p>Between a crenelated battlement or the<a name="page_054" id="page_054"></a>
+machicolations of a city wall, as at Avignon;
+or of a h�tel de ville, as at Narbonne; or the
+same detail surmounting an episcopal residence,
+as at Albi, which is a veritable <i>donjon</i>;
+or the Palais des Papes, is not a difference
+even of degree. It is the same thing in each
+case. In one instance, however, it may have
+been purely for defence, and in the other used
+as a decorative accessory; in the latter case
+it was no less useful when occasion required.
+This feature throughout the south of France
+is far more common than in the north, and is
+bound to be strongly remarked.</p>
+
+<p>Two great groups or divisions of architectural
+style are discernible throughout the
+south, even by the most casual of observers.</p>
+
+<p>One is the Proven�al variety, which clings
+somewhat closely to the lower valley of the
+Rh�ne; and the other, the Aquitanian (with
+possibly the more restricted Auvergnian).</p>
+
+<p>These types possess in common the one distinctive
+trait, in some form or other, of the
+round-arched vaulting of Roman tradition.
+It is hardly more than a reminiscence, however,
+and while not in any way resembling the
+northern Gothic, at least in the Aquitanian
+species, hovers on the borderland between the
+sunny south and the more frigid north.<a name="page_055" id="page_055"></a></p>
+
+<p>The Proven�al type more nearly approximates
+the older Roman, and, significantly, it
+has&mdash;with less interpolation of modern ideas&mdash;endured
+the longest.</p>
+
+<p>The Aquitanian style of the cathedrals at
+P�rigueux and Angoul�me, to specialize but
+two, is supposed to&mdash;and it does truly&mdash;bridge
+the gulf between the round-arched
+style which is <i>not</i> Roman and the more brilliant
+and graceful type of Gothic.</p>
+
+<p>With this manner of construction goes, of
+course, a somewhat different interior arrangement
+than that seen in the north.</p>
+
+<p>A profound acquaintance with the subject
+will show that it bears a certain resemblance
+to the disposition of parts in an Eastern
+mosque, and to the earlier form of Christian
+church&mdash;the basilica.</p>
+
+<p>In this regard Fergusson makes the statement
+without reservation that the Eglise de
+Souillac more nearly resembles the Cair�ne
+type of Mohammedan mosque than it does a
+Christian church&mdash;of any era.</p>
+
+<p>A distinct feature of this type is the massive
+pointed arch, upon which so many have built
+their definition of Gothic. In truth, though,
+it differs somewhat from the northern Gothic
+arch, but is nevertheless very ancient. It is<a name="page_056" id="page_056"></a>
+used in early Christian churches,&mdash;at Acre
+and Jaffa,&mdash;and was adopted, too, by the
+architects of the Eastern Empire long before
+its introduction into Gaul.</p>
+
+<p>The history of its transportation might be
+made interesting, and surely instructive, were
+one able to follow its orbit with any definite
+assurance that one was not wandering from
+the path. This does not seem possible; most
+experts, real or otherwise, who have tried it
+seem to flounder and finally fall in the effort
+to trace its history in consecutive and logical,
+or even plausible, fashion.</p>
+
+<p>In illustration this is well shown by that
+wonderful and unique church of St. Front
+at P�rigueux, where, in a design simple to
+severity, it shows its great unsimilarity to anything
+in other parts of France; if we except
+La Trinit� at Anjou, with respect to its roofing
+and piers of nave.</p>
+
+<p>It has been compared in general plan and
+outline to St. Marc's at Venice, "but a St.
+Marc's stripped of its marbles and mosaics."</p>
+
+<p>In the Italian building its founders gathered
+their inspiration for many of its structural
+details from the old Byzantine East.
+At this time the Venetians were pushing their
+commercial enterprises to all parts. North-western<a name="page_057" id="page_057"></a>
+France, and ultimately the British
+Isles, was the end sought. We know, too,
+that a colony of Venetians had established
+itself as far northward as Limoges, and another
+at P�rigueux, when, in 984, this edifice,
+which might justly be called Venetian in its
+plan, was begun.</p>
+
+<p>No such decoration or ornamentation was
+presumed as in its Adriatic prototype, but it
+had much beautiful carving in the capitals
+of its pillars and yet other embellishments,
+such as pavements, monuments, and precious
+altars, which once, it is said, existed more
+numerously than now.</p>
+
+<p>Here, then, was the foundation of a new
+western style, differing in every respect from
+the Proven�al or the Angevinian.</p>
+
+<p>Examples of the northern pointed or Gothic
+are, in a large way, found as far south as
+Bayonne in its cathedral; in the spires of the
+cathedral at Bordeaux; and less grandly,
+though elegantly, disposed in St. Nazaire in
+the old <i>Cit� de Carcassonne</i>; and farther
+north at Clermont-Ferrand, where its northern-pointed
+cathedral is in strong contrast to
+the neighbouring Notre Dame du Port, a remarkable
+type distinctly local in its plan and
+details.<a name="page_058" id="page_058"></a></p>
+
+<p>From this point onward, it becomes not so
+much a question of defining and placing types,
+as of a chronological arrangement of fact with
+regard to the activities of the art of church-building.</p>
+
+<p>It is doubtless true that many of the works
+of the ninth and tenth centuries were but
+feeble imitations of the buildings of Charlemagne,
+but it is also true that the period was
+that which was bringing about the development
+of a more or less distinct style, and if
+the Romanesque churches of France were not
+wholly Roman in spirit they were at least
+not a debasement therefrom.</p>
+
+<p>Sir Walter Scott has also described the
+Romanesque manner of church-building most
+poetically, as witness the following quatrain:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">"Built ere the art was known</td></tr>
+<tr><td align="left">By pointed aisle and shafted stalk</td></tr>
+<tr><td align="left">The arcades of an alleyed walk</td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">To emulate in stone."</span></td></tr>
+</table>
+
+<p>However, little remains in church architecture
+of the pre-tenth century to compare with
+the grand theatres, arenas, monuments, arches,
+towers, and bridges which are still left to us.
+Hence comparison were futile. Furthermore,<a name="page_059" id="page_059"></a>
+there is this patent fact to be reckoned with,
+that the petty followers of the magnificent
+Charlemagne were not endowed with as luxurious
+a taste, as large a share of riches, or
+so great a power; and naturally they fell before
+the idea they would have emulated.</p>
+
+<p>As a whole France was at this period amid
+great consternation and bloodshed, and traces
+of advancing civilization were fast falling
+before wars and cruelties unspeakable. There
+came a period when the intellect, instead of
+pursuing its rise, was, in reality, degenerating
+into the darkness of superstition.</p>
+
+<p>The church architecture of this period&mdash;so
+hostile to the arts and general enlightenment&mdash;was
+undergoing a process even more fatal
+to its development than the terrors of war or
+devastation.</p>
+
+<p>It is a commonplace perhaps to repeat that
+it was the superstition aroused by the Apocalypse
+that the end of all things would come
+with the commencement of the eleventh century.
+It was this, however, that produced the
+stagnation in church-building which even the
+ardour of a few believing churchmen could
+not allay. The only great religious foundation
+of the time was the Abbey of Cluny in
+the early years of the tenth century.<a name="page_060" id="page_060"></a></p>
+
+<p>When the eleventh century actually arrived,
+Christians again bestirred themselves,
+and the various cities and provinces vied with
+each other in their enthusiastic devotion to
+church-building, as if to make up for lost
+time.</p>
+
+<p>From this time onward the art of church-building
+gave rise to that higher skill and
+handicraft, the practice of architecture as an
+art, of which ecclesiastical art, as was but
+natural, rose to the greatest height.</p>
+
+<p>The next century was productive of but
+little change in style, and, though in the north
+the transition and the most primitive of
+Gothic were slowly creeping in, the well-defined
+transition did not come until well
+forward in the twelfth century, when, so soon
+after, the new style bloomed forth in all its
+perfected glory.</p>
+
+<p>The cathedrals of southern France are
+manifestly not as lively and vigorous as those
+at Reims, Amiens, or Rouen; none have the
+splendour and vast extent of old glass as at
+Chartres, and none of the smaller examples
+equal the symmetry and delicacy of those at
+Noyon or Senlis.</p>
+
+<p>Some there be, however, which for magnificence
+and impressiveness take rank with<a name="page_061" id="page_061"></a>
+the most notable of any land. This is true of
+those of Albi, Le Puy, P�rigueux, and Angoul�me.
+Avignon, too, in the <i>ensemble</i> of its
+cathedral and the papal palace, forms an
+architectural grouping that is hardly rivalled
+by St. Peter's and the Vatican itself.</p>
+
+<p>In many of the cities of the south of France
+the memory of the past, with respect to their
+cathedrals, is overshadowed by that of their
+secular and civic monuments, the Roman
+arenas, theatres, and temples. At N�mes,
+Arles, Orange, and Vienne these far exceed
+in importance and beauty the religious establishments.</p>
+
+<p>The monasteries, abbeys, and priories of
+the south of France are perhaps not more
+numerous, nor yet more grand, than elsewhere,
+but they bring one to-day into more
+intimate association with their past.</p>
+
+<p>The "Gallia-Monasticum" enumerates
+many score of these establishments as having
+been situated in these parts. Many have
+passed away, but many still exist.</p>
+
+<p>Among the first of their kind were those
+founded by St. Hilaire at Poitiers and St.
+Martin at Tours. The great Burgundian
+pride was the Abbey of Cluny; much the
+largest and perhaps as grand as any erected<a name="page_062" id="page_062"></a>
+in any land. Its church covered over seventy
+thousand square feet of area, nearly equalling
+in size the cathedrals at Amiens and at
+Bourges, and larger than either those at
+Chartres, Paris, or Reims. This great church
+was begun in 1089, was dedicated in 1131, and
+endured for more than seven centuries. To-day
+but a few small fragments remain, but
+note should be made of the influences which
+spread from this great monastic establishment
+throughout all Europe; and were second only
+to those of Rome itself.</p>
+
+<p>The lovely cloistered remains of Provence,
+Auvergne, and Aquitaine, the comparatively
+modern Charterhouse&mdash;called reminiscently
+the Escurial of Dauphin�&mdash;near Grenoble,
+the communistic church of St. Bertrand de
+Comminges, La Chaise Dieu, Clairvaux, and
+innumerable other abbeys and monasteries
+will recall to mind more forcibly than aught
+else what their power must once have been.</p>
+
+<p>Between the seventh and tenth centuries
+these institutions flourished and developed in
+all of the provinces which go to make up
+modern France. But the eleventh and twelfth
+centuries were the golden days of these institutions.
+They rendered unto the land and
+the people immense service, and their monks<a name="page_063" id="page_063"></a>
+studied not only the arts and sciences, but
+worked with profound intelligence at all manner
+of utile labour. Their architecture exerted
+a considerable influence on this growing
+art of the nation, and many of their grand
+churches were but the forerunners of cathedrals
+yet to be. After the twelfth century,
+when the arts in France had reached the greatest
+heights yet attained, these religious establishments
+were&mdash;to give them historical justice&mdash;the
+greatest strength in the land.</p>
+
+<p>In most cases where the great cathedrals
+were not the works of bishops, who may at
+one time have been members of monastic communities
+themselves, they were the results of
+the efforts of laymen who were direct disciples
+of the architect monks.</p>
+
+<p>The most prolific monastic architect was
+undoubtedly St. B�nigne of Dijon, the Italian
+monk whose work was spread not only
+throughout Brittany and Normandy, but even
+across the Channel to England.</p>
+
+<p>One is reminded in France that the nation's
+first art expression was made through church-building
+and decoration. This proves Ruskin's
+somewhat involved dicta, that, "architecture
+is the art which disposes and adorns
+<a name="page_064" id="page_064"></a>the edifices raised by man ... a building
+raised to the honour of God has surely a use
+to which its architectural adornment fits it."</p>
+
+<p>From whatever remote period the visible
+history of France has sprung, it is surely from
+its architectural remains&mdash;of which religious
+edifices have endured the most abundantly&mdash;that
+its chronicles since Gallo-Roman times
+are built up.</p>
+
+<p>In the south of France, from the Gallic and
+Roman wars and invasions, we have a basis
+of tangibility, inasmuch as the remains are
+more numerous and definite than the mere
+pillars of stone and slabs of rock to be found
+in Bretagne, which apocryphally are supposed
+to indicate an earlier civilization. The
+<i>menhirs</i> and <i>dolmens</i> may mean much or little;
+the subject is too vague to follow here,
+but they are not found east of the Rh�ne, so
+the religion of fanaticism, of whatever species
+of fervour they may have resulted from, has
+left very little impress on France as a nation.</p>
+
+<p>After the rudest early monuments were
+erected in the south, became ruined, and fell,
+there followed gateways, arches, aqueducts,
+arenas, theatres, temples, and, finally,
+churches; and from these, however minute
+the stones, the later civilizing and Christianizing
+history of this fair land is built up.<a name="page_065" id="page_065"></a></p>
+
+<p>It is not possible to ignore these secular and
+worldly contemporaries of the great churches.
+It would be fatal to simulate blindness, and
+they could not otherwise be overlooked.</p>
+
+<p>After the church-building era was begun,
+the development of the various styles was
+rapid: Gothic came, bloomed, flourished,
+and withered away. Then came the Renaissance,
+not all of it bad, but in the main entirely
+unsuitable as a type of Christian architecture.</p>
+
+<p>Charles VIII. is commonly supposed to
+have been the introducer of the Italian Renaissance
+into France, but it was to Francois I.&mdash;that
+great artistic monarch and glorifier
+of the style in its domestic forms at least&mdash;that
+its popularization was due, who shall
+not say far beyond its deserts? Only in the
+magnificent ch�teaux, variously classed as
+Feudal, Renaissance, and Bourbon, did it
+partake of details and plans which proved
+glorious in their application. All had distinctly
+inconsistent details grafted upon them;
+how could it have been otherwise with the
+various fortunes of their houses?</p>
+
+<p>There is little or nothing of Gothic in the
+ch�teau architecture of France to distinguish
+it from the more pronounced type which can
+hardly be expressed otherwise than as "the<a name="page_066" id="page_066"></a>
+architecture of the French ch�teaux." No
+single word will express it, and no one type
+will cover them all, so far as defining their
+architectural style. The castle at Tarascon
+has a machicolated battlement; Coucy and
+Pierrefonds are towered and turreted as only
+a French ch�teau can be; the ruined and
+black-belted ch�teau of Angers is aught but
+a fortress; and Blois is an indescribable mixture
+of style which varies from the magnificent
+to the sordid. This last has ever been
+surrounded by a sentiment which is perhaps
+readily enough explained, but its architecture
+is of that decidedly mixed type which classes
+it as a mere hybrid thing, and in spite of the
+splendour of the additions by the houses of
+the Salamander and the Hedgehog, it is a
+species which is as indescribable (though
+more effective) in domestic architecture as
+is the Tudor of England.</p>
+
+<p>With the churches the sentiments aroused
+are somewhat different. The Romanesque,
+Proven�al, Auvergnian, or Aquitanian, all
+bespeak the real expression of the life of the
+time, regardless of whether individual examples
+fall below or rise above their contemporaries
+elsewhere.</p>
+
+<p>The assertion is here confidently made, that<a name="page_067" id="page_067"></a>
+a great cathedral church is, next to being a
+symbol of the faith, more great as a monument
+to its age and environment than as the product
+of its individual builders; crystallizing in
+stone the regard with which the mission of
+the Church was held in the community.
+Church-building was never a fanaticism,
+though it was often an enthusiasm.</p>
+
+<p>There is no question but that church history
+in general, and church architecture in
+particular, are becoming less and less the sole
+pursuit of the professional. One does not
+need to adopt a transcendent doctrine by
+merely taking an interest, or an intelligent
+survey, in the social and political aspects of
+the Church as an institution, nor is he becoming
+biassed or prejudiced by a true appreciation
+of the symbolism and artistic attributes
+which have ever surrounded the art of church-building
+of the Roman Catholic Church. All
+will admit that the �sthetic aspect of the
+church edifice has always been the superlative
+art expression of its era, race, and locality.</p>
+
+<p><a name="page_068" id="page_068"></a></p>
+
+<p><a name="page_069" id="page_069"></a></p>
+
+<h2><a name="PART_II" id="PART_II"></a><i>PART II</i><br /><br />
+<i>South of the Loire</i></h2>
+
+<p><a name="page_070" id="page_070"></a></p>
+
+<p><a name="page_071" id="page_071"></a></p>
+
+<h3><a name="I-2" id="I-2"></a>I<br /><br />
+INTRODUCTORY</h3>
+
+<p>The region immediately to the southward
+of the Loire valley is generally accounted the
+most fertile, abundant, and prosperous section
+of France. Certainly the food, drink, and
+shelter of all classes appear to be arranged
+on a more liberal scale than elsewhere; and
+this, be it understood, is a very good indication
+of the prosperity of a country.</p>
+
+<p>Touraine, with its luxurious sentiment of
+ch�teaux, counts, and bishops, is manifestly
+of the north, as also is the border province
+of Maine and Anjou, which marks the progress
+and development of church-building
+from the manifest Romanesque types of the
+south to the arched vaults of the northern
+variety.</p>
+
+<p>Immediately to the southward&mdash;if one
+journeys but a few leagues&mdash;in Poitou, Saintonge,
+and Angoumois, or in the east, in Berri,
+Marche, and Limousin, one comes upon a<a name="page_072" id="page_072"></a>
+very different sentiment indeed. There is an
+abundance for all, but without the opulence
+of Burgundy or the splendour of Touraine.</p>
+
+<p>Of the three regions dealt with in this section,
+Poitou is the most prosperous, Auvergne
+the most picturesque,&mdash;though the Cevennes
+are stern and sterile,&mdash;and Limousin the
+least appealing.</p>
+
+<p>Limousin and, in some measure, Berri and
+Marche are purely pastoral; and, though
+greatly diversified as to topography, lack, in
+abundance, architectural monuments of the
+first rank.</p>
+
+<p>Poitou, in the west, borders upon the ocean
+and is to a great extent wild, rugged, and
+romantic. The forest region of the Bocage
+has ever been a theme for poets and painters.
+In the extreme west of the province is the
+Vend�e, now the department of the same
+name. The struggles of its inhabitants on
+behalf of the monarchical cause, in the early
+years of the Revolution, is a lurid page of
+blood-red history that recalls one of the most
+gallant struggles in the life of the monarchy.</p>
+
+<p>The people here were hardy and vigorous,&mdash;a
+race of landlords who lived largely upon
+their own estates but still retained an attachment<a name="page_073" id="page_073"></a>
+for the feudatories round about, a feeling
+which was unknown elsewhere in France.</p>
+
+<p>Poitiers, on the river Clain, a tributary of
+the Vienne, is the chief city of Poitou. Its
+eight magnificent churches are greater, in the
+number and extent of their charms, than any
+similar octette elsewhere.</p>
+
+<p>The valley of the Charente waters a considerable
+region to the southward of Poitiers.
+"<i>Le bon Roi</i>" Henri IV. called the stream
+the most charming in all his kingdom. The
+chief cities on its banks are La Rochelle, the
+Huguenot stronghold; Rochefort, famed in
+worldly fashion for its cheeses; and Angoul�me,
+famed for its "<i>Duchesse</i>," who was
+also worldly, and more particularly for its
+great domed cathedral of St. Pierre.</p>
+
+<p>With Auvergne one comes upon a topographical
+aspect quite different from anything
+seen elsewhere.</p>
+
+<p>Most things of this world are but comparative,
+and so with Auvergne. It is picturesque,
+certainly. Le Puy has indeed been called
+"by one who knows," "the most picturesque
+place in the world." Clermont-Ferrand is
+almost equally attractive as to situation; while
+Puy de D�me, Riom, and St. Nectaire form
+a trio of naturally picturesque topographical<a name="page_074" id="page_074"></a>
+features which it would be hard to equal
+within so small a radius elsewhere.</p>
+
+<p>The country round about is volcanic, and
+the face of the landscape shows it plainly.
+Clermont-Ferrand, the capital, was a populous
+city in Roman times, and was the centre
+from which the spirit of the Church survived
+and went forth anew after five consecutive
+centuries of devastation and bloodshed of
+Vandals, Visigoths, Franks, Saracens, Carlovingians
+and Capetians.</p>
+
+<p>Puy de D�me, near Clermont-Ferrand, is
+a massive rocky mount which rises nearly five
+thousand feet above the sea-level, and presents
+one of those uncommon and curious sights
+which one can hardly realize until he comes
+immediately beneath their spell.</p>
+
+<p>Throughout this region are many broken
+volcanic craters and lava streams. At Mont
+Dor�-le-Bains are a few remains of a Roman
+thermal establishment; an indication that
+these early settlers found&mdash;if they did not
+seek&mdash;these warm springs of a unique quality,
+famous yet throughout the world.</p>
+
+<p>An alleged "Druid's altar," more probably
+merely a <i>dolmen</i>, is situated near St. Nectaire,
+a small watering-place which is also<a name="page_075" id="page_075"></a>
+possessed of an impressively simple, though
+massive, Romanesque church.</p>
+
+<p>At Issiore is the <i>Eglise de St. Pol</i>, a large
+and important church, built in the eleventh
+century, in the Romanesque manner. Another
+most interesting great church is <i>La
+Chaise Dieu</i> near Le Puy, a remarkable construction
+of the fourteenth century. It was
+originally the monastery of the <i>Casa Dei</i>. It
+has been popularly supposed heretofore that
+its floor was on a level with the summit of Puy
+de D�me, hence its appropriate nomenclature;
+latterly the assertion has been refuted, as it
+may be by any one who takes the trouble to
+compare the respective elevations in figures.
+This imposing church ranks, however, unreservedly
+among the greatest of the medi�val
+monastic establishments of France.</p>
+
+<p>The powerful feudal system of the Middle
+Ages, which extended from the Atlantic and
+German Oceans nearly to the Neapolitan and
+Spanish borders&mdash;afterward carried still farther
+into Naples and Britain&mdash;finds its most
+important and striking monument of central
+France in the Ch�teau of Polignac, only a
+few miles from Le Puy. This to-day is but
+a ruin, but it rises boldly from a depressed
+valley, and suggests in every way&mdash;ruin<a name="page_076" id="page_076"></a>
+though it be&mdash;the medi�val stronghold that
+it once was.</p>
+
+<p>Originally it was the seat of the distinguished
+family whose name it bears. The
+Revolution practically destroyed it, but such
+as is left shows completely the great extent
+of its functions both as a fortress and a palace.</p>
+
+<p>These elements were made necessary by
+long ages of warfare and discord,&mdash;local in
+many cases, but none the less bloodthirsty for
+that,&mdash;and while such institutions naturally
+promulgated the growth of Feudalism which
+left these massive and generous memorials, it
+is hard to see, even to-day, how else the end
+might have been obtained.</p>
+
+<p>Auvergne, according to Fergusson, who in
+his fact has seldom been found wanting, "has
+one of the most beautiful and numerous of the
+'round-Gothic' styles in France ... classed
+among the perfected styles of Europe."</p>
+
+<p>Immediately to the southward of Le Puy
+is that marvellous country known as the Cevennes.
+It has been commonly called sterile,
+bare, unproductive, and much that is less
+charitable as criticism.</p>
+
+<p>It is not very productive, to be sure, but a
+native of the land once delivered himself of
+this remark: "<i>Le m�rier a �t� pendant longtemps<a name="page_077" id="page_077"></a>
+l'arbre d'or du Cevenol.</i>" This is
+prima-facie evidence that the first statement
+was a libel.</p>
+
+<p>In the latter years of the eighteenth century
+the Protestants of the Cevennes were a large
+and powerful body of dissenters.</p>
+
+<p>A curious work <i>in English</i>, written by a
+native of Languedoc in 1703, states "that they
+were at least ten to one Papist. And 'twas
+observed, in many Places, the Priest said mass
+only for his Clerk, Himself, and the Walls."</p>
+
+<p>These people were not only valiant but industrious,
+and at that time held the most considerable
+trade in wool of all France.</p>
+
+<p>To quote again this eighteenth-century
+Languedocian, who aspired to be a writer of
+English, we learn:</p>
+
+<p>"God vouchsafed to Illuminate this People
+with the Truths of the Gospel, several Ages
+before the Reformation.... The <i>Waldenses</i>
+and <i>Albigenses</i> fled into the Mountains to escape
+the violence of the Crusades against
+them.... Cruel persecution did not so
+wholly extinguish the Sacred Light in the
+<i>Cevennes</i>, but that some parts of it were preserved
+among its Ashes."</p>
+
+<p>As early as 1683 the Protestants in many
+parts of southern France drew up a <i>Project</i><a name="page_078" id="page_078"></a>
+of non-compliance with the Edicts and Declarations
+against them.</p>
+
+<p>The inhabitants in general, however, of the
+wealthy cities of Montpellier, N�mes and
+Uz�s were divided much as factions are to-day,
+and the Papist preference prevailing, the
+scheme was not put into execution. Because
+of this, attempted resistance was made only
+in some parts of the Cevennes and Dauphin�.
+Here the dissenters met with comfort and
+assurance by the preachings of several ministers,
+and finally sought to go out proselytizing
+among their outside brethren in affliction.
+This brought martyrdom, oppression, and
+bloodshed; and finally culminated in a long
+series of massacres. Children in large numbers
+were taken from their parents, and put
+under the Romish faith, as a precaution, presumably,
+that future generations should be
+more tractable and faithful.</p>
+
+<p>It is told of the Bishop of Alais that upon
+visiting the cur� at Vigan, he desired that
+forty children should be so put away, forthwith.
+The cur� could find but sixteen who
+were not dutiful toward the Church, but the
+bishop would have none of it. Forty was his
+quota from that village, and forty must be
+found. Forty <i>were</i> found, the rest being<a name="page_079" id="page_079"></a>
+made up from those who presumably stood
+in no great need of the care of the Church,
+beyond such as already came into their daily
+lives.</p>
+
+<p>It seems outrageous and unfair at this late
+day, leaving all question of Church and creed
+outside the pale, but most machination of arbitrary
+law and ruling works the same way, and
+pity 'tis that the Church should not have been
+the first to recognize this tendency. However,
+these predilections on the part of the
+people are scarcely more than a memory to-day,
+in spite of the fact that Protestantism
+still holds forth in many parts. Taine was
+undoubtedly right when he said that it was
+improbable that such a religion would ever
+satisfy the French temperament.</p>
+
+<p>Limousin partakes of many of the characteristics
+of Auvergne and Poitou. Its architectural
+types favour the latter, and its topographical
+features the former. The resemblance
+is not so very great in either case, but
+it is to be remarked. Its chief city, Limoges,
+lies to the northward of the <i>Montagnes du
+Limousin</i>, on the banks of the Vienne, which,
+through the Loire, enters the Atlantic at St.
+Nazaire.</p>
+
+<p>In a way, its topographical situation, as<a name="page_080" id="page_080"></a>
+above noted, accounts far more for its tendencies
+of life, the art expression of its
+churches, and its ancient enamels and pottery
+of to-day, than does its climatic situation. It
+is climatically of the southland, but its industry
+and its influences have been greatly northern.</p>
+
+<p>With the surrounding country this is not
+true, but with its one centre of population&mdash;Limoges&mdash;it
+is.<a name="page_081" id="page_081"></a></p>
+
+<h3><a name="II-2" id="II-2"></a>II<br /><br />
+L'ABBAYE DE MAILLEZAIS</h3>
+
+<p>Maillezais is but a memory, so far as its
+people and power are concerned. It is not
+even a Vendean town, as many suppose,
+though it was the seat of a thirteenth-century
+bishopric, which in the time of Louis Quatorze
+was transferred to La Rochelle.</p>
+
+<p>Its abbey church, the oldest portion of
+which dates from the tenth to the twelfth
+centuries, is now but a ruin.</p>
+
+<p>In the fourteenth century the establishment
+was greatly enlarged and extensive buildings
+added.</p>
+
+<p>To-day it is classed, by the Commission des
+Monuments Historiques, among those treasures
+for which it stands sponsor as to their
+antiquity, artistic worth, and future preservation.
+Aside from this and the record of the
+fact that it became, in the fourteenth century,
+the seat of a bishop's throne,&mdash;with Geoffroy
+I. as its first occupant,&mdash;it must be dismissed
+without further comment.<a name="page_082" id="page_082"></a></p>
+
+<p>
+<br />
+<br />
+</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_082.png">
+<img src="images/ill_082_sml.png" width="550" height="363" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="III-2" id="III-2"></a>III<br /><br />
+ST. LOUIS DE LA ROCHELLE</h3>
+
+<p>The city of La Rochelle will have more
+interest for the lover of history than for the
+lover of churches.</p>
+
+<p>Its past has been lurid, and the momentous
+question of the future rights of the Protestants
+of France made this natural stronghold the
+battle-ground where the most stubborn resistance
+against Church and State was made.</p>
+
+<p>The siege of 1573 was unsuccessful. But
+a little more than half a century later the city,
+after a siege of fourteen months, gave way
+before the powerful force brought against it<a name="page_083" id="page_083"></a>
+by Cardinal Richelieu in person, supported
+by Louis XIII.</p>
+
+<p>For this reason, if for no other, he who
+would know from personal acquaintance the
+ground upon which the mighty battles of the
+faith were fought will not pass the Huguenot
+city quickly by.</p>
+
+<p>The Huguenot stronghold of La Rochelle
+naturally might not be supposed to possess a
+very magnificent Roman cathedral. As a matter
+of fact it does not, and it has only ranked
+as a cathedral city since 1665, when the bishopric
+was transferred from Maillezais. The
+city was in the hands of the Huguenots from
+1557 until the siege of 1628-1629; and was,
+during all this time, the bulwark of the Protestant
+cause in France.</p>
+
+<p>The present cathedral of St. Louis dates
+only from 1735.</p>
+
+<p>Its pseudo-classic features classify it as one
+of those structures designated by the discerning
+Abb� Bourass� as being "cold-blooded
+and lacking in lustre."</p>
+
+<p>It surely is all of that, and the pity is that
+it offers no charm whatever of either shape
+or feature.</p>
+
+<p>It is of course more than likely that
+Huguenot influence was here so great as to<a name="page_084" id="page_084"></a>
+have strangled any ambition on the part of the
+medi�val builders to have erected previously
+anything more imposing. And when that
+time was past came also the demise of Gothic
+splendour. The transition from the pointed
+to the superimposed classical details, which
+was the distinctive Renaissance manner of
+church-building, was not as sudden as many
+suppose, though it came into being simultaneously
+throughout the land.</p>
+
+<p>There is no trace, however, in the cathedral
+of St. Louis, of anything but a base descent
+to features only too well recognized as having
+little of churchly mien about them; and
+truly this structure is no better or worse as an
+art object than many others of its class. The
+significant aspect being that, though it resembles
+Gothic not at all, neither does it bear
+any close relationship to the Romanesque.</p>
+
+<p>The former parish church of St. Barth�lemy,
+long since destroyed, has left behind,
+as a memory of its former greatness, a single
+lone tower, the work of a Cluniac monk,
+Mognon by name. It is worth hours of contemplation
+and study as compared with the
+minutes which could profitably be devoted to
+the cathedral of St. Louis.<a name="page_085" id="page_085"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_085.png">
+<img src="images/ill_085_sml.png" width="550" height="402" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="IV-2" id="IV-2"></a>IV<br /><br />
+CATH�DRALE DE LU�ON</h3>
+
+<p>When the see of Lu�on was established
+in the fourteenth century it comprehended a
+territory over which Poitiers had previously
+had jurisdiction. A powerful abbey was here
+in the seventh century, but the first bishop,
+Pierre de la Veyrie, did not come to the diocese
+until 1317. The real fame of the diocese,
+in modern minds, lies in the fact that Cardinal
+Richelieu was made bishop of Lu�on in the
+seventeenth century (1606 to 1624).</p>
+
+<p>The cathedral at Lu�on is a remarkable
+structure in appearance. A hybrid conglomerate<a name="page_086" id="page_086"></a>
+thing, picturesque enough to the untrained
+eye, but ill-proportioned, weak, effeminate,
+and base.</p>
+
+<p>Its graceful Gothic spire, crocketed, and of
+true dwindling dimensions, is superimposed
+on a tower which looks as though it might
+have been modelled with a series of children's
+building-blocks. This in its turn crowns a
+classical portal and colonnade in most uncanny
+fashion.</p>
+
+<p>In the first stage of this tower, as it rises
+above the portal, is what, at a distance, appears
+to be a diminutive <i>rosace</i>. In reality
+it is an enormous clock-face, to which one's
+attention is invariably directed by the native,
+a species of local admiration which is universal
+throughout the known world wherever
+an ungainly clock exists.</p>
+
+<p>The workmanship of the building as a
+whole is of every century from the twelfth to
+the seventeenth, with a complete "restoration"
+in 1853. In the episcopal palace is a
+cloistered arcade, the remains of a fifteenth-century
+work.</p>
+
+<p>A rather pleasing situation sets off this pretentious
+but unworthy cathedral in a manner
+superior to that which it deserves.<a name="page_087" id="page_087"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 502px;">
+<a href="images/ill_087.png">
+<img src="images/ill_087_sml.png" width="502" height="318" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="V-2" id="V-2"></a>V<br /><br />
+ST. FRONT DE P�RIGUEUX</h3>
+
+<p>The grandest and most notable tenth-century
+church yet remaining in France is unquestionably
+that of St. Front at P�rigueux.</p>
+
+<p>From the records of its history and a study
+of its distinctive constructive elements has
+been traced the development of the transition
+period which ultimately produced the Gothic
+splendours of the Isle of France.</p>
+
+<p>It is more than reminiscent of St. Marc's
+at Venice, and is the most notable exponent of
+that type of roofing which employed the
+cupola in groups, to sustain the thrust and
+counterthrust, which was afterward accomplished<a name="page_088" id="page_088"></a>
+by the ogival arch in conjunction with
+the flying buttress.</p>
+
+<p>Here are comparatively slight sustaining
+walls, and accordingly no great roofed-over
+chambers such as we get in the later Gothic,
+but the whole mass is, in spite of this, suggestive
+of a massiveness which many more
+heavily walled churches do not possess. Paradoxically,
+too, a view over its roof-top, with
+its ranges of egg-like domes, suggests a frailty
+which but for its scientifically disposed strains
+would doubtless have collapsed ere now.</p>
+
+<p>This ancient abbatial church succeeded an
+earlier <i>basilique</i> on the same site. Viollet-le-Duc
+says of it: "It is an importation from
+a foreign country; the most remarkable example
+of church-building in Gaul since the
+barbaric invasion."</p>
+
+<p>The plan of the cathedral follows not only
+the form of St. Marc's, but also approximates
+its dimensions. The remains of the ancient
+basilica are only to be remarked in the portion
+which precedes the foremost cupola.</p>
+
+<p>St. Front has the unusual attribute of an
+<i>avant-porch</i>,&mdash;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<a name="page_089" id="page_089"></a>
+porch,&mdash;a vestibule beneath the tower,&mdash;and
+finally the first of the group, of five
+central cupolas.</p>
+
+<p>The <i>clocher</i> 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.</p>
+
+<p>Its early inception and erection here are
+supposed to account for the similarity of others&mdash;not
+so magnificent, but like to a marked
+degree&mdash;in the neighbouring provinces.</p>
+
+<p>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 medi�val
+clochers. So, too, it is different, quite, from the
+Italian <i>campanile</i> or the <i>beffroi</i> 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.</p>
+
+<p>Says Bourass�: "The cathedral of St.
+Front at P�rigueux is unique." Its foundation
+dates with certitude from between 1010
+and 1047, and is therefore contemporary with
+that of St. Marc's at Venice&mdash;which it so<a name="page_090" id="page_090"></a>
+greatly resembles&mdash;which was rebuilt after
+a fire between 977 and 1071.</p>
+
+<div class="figcenter" style="width:600px;">
+<a href="images/ill_090.png">
+<img src="images/ill_090_sml.png" width="290" height="366" alt="Detail of the Interior of St. Front de P�rigueux" title="" /></a>
+<br />
+<span class="captionunder"><i>Detail of the Interior of St. Front de P�rigueux</i></span>
+</div>
+
+<p>The general effect of the interior is as impressive
+as it is unusual, with its lofty cupolas,
+its weighty and gross pillars, and its massive
+arches between the cupolas; all of which are
+purely constructive elements.</p>
+
+<p>There are few really ornamental details,
+and such as exist are of a severe and unprogressive
+type, being merely reminiscent of the
+antique.<a name="page_091" id="page_091"></a></p>
+
+<p>In its general plan, St. Front follows that
+of a Grecian cross, its twelve wall-faces
+crowned by continuous pediments. Eight
+massive pillars, whose functions are those of
+the later developed buttress, 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.</p>
+
+<p>St. Front, from whom the cathedral takes
+its name, became the first bishop of P�rigueux
+when the see was founded in the second century.<a name="page_092" id="page_092"></a></p>
+
+<h3><a name="VI-2" id="VI-2"></a>VI<br /><br />
+ST. PIERRE DE POITIERS</h3>
+
+<p>IN 1317 the diocese of Poitiers was divided,
+and parts apportioned to the newly founded
+bishoprics of Maillezais and Lu�on. 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-S�vres.</p>
+
+<p>The cathedral of St. Pierre de Poitiers has
+been baldly and tersely described as a "mere
+Lombard shell 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.</p>
+
+<p>The pointed nave is of great beauty, and,
+in the westerly end, contains an elaborate <i>rosace</i>&mdash;an
+infrequent attribute in these parts.</p>
+
+<p>The aisles are of great breadth, and are<a name="page_093" id="page_093"></a><a name="page_094" id="page_094"></a><a name="page_095" id="page_095"></a>
+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. Andr� at Bordeaux, and contrasts
+forcibly in majesty with the usual Gothic
+conception of great height, as against extreme
+width.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_093.png">
+<img src="images/ill_093_sml.png" width="550" height="331" alt="Poitiers" title="" /></a>
+<p><span class="captionunder"><i>Poitiers</i></span></p>
+</div>
+
+<p>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&mdash;to the historians
+and apologists&mdash;it is the churches of Poitiers
+which have for the traveller the greatest and
+all-pervading interest.</p>
+
+<p>Poitiers is justly famed for its noble and
+numerous medi�val church edifices. Five of
+them rank as a unique series of Romanesque
+types&mdash;the most precious in all France. In
+importance they are perhaps best ranked as
+follows: St. Hilaire, of the tenth and eleventh
+centuries; the Baptist�re, or the Temple St.
+Jean, of the fourth to twelfth centuries; Notre
+Dame de la Grande and St. Radegonde, of the<a name="page_096" id="page_096"></a>
+eleventh and twelfth centuries; and La Cath�drale,
+dating from the end of the Romanesque
+period. Together they present a unique
+series of magnificent churches, as is truly
+claimed.</p>
+
+<p>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.</p>
+
+<p>Looking backward from the Middle Ages&mdash;from
+the fourteenth century to the fourth&mdash;one
+finds the city less a city of counts than of
+bishops.</p>
+
+<p>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 Baptist�re. 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 Baptist�re de St. Jean was
+founded during the reign of St. Hilaire as
+bishop of Poitiers, a prelate whose name still
+lives in the �glise St. Hilaire-le-Grand.</p>
+
+<p>The cathedral of St. Pierre is commonly<a name="page_097" id="page_097"></a>
+classed 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&mdash;or period,
+when the process of evolution becomes most
+marked&mdash;between the almost pagan plan of
+many early Christian churches and the coming
+of Gothic.</p>
+
+<p>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 P�rigueux. In short,
+as to situation, it just misses what otherwise
+might have been a commanding location.</p>
+
+<p>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<a name="page_098" id="page_098"></a>
+the nearer view is not so pleasing, and somewhat
+mitigates the former estimate.</p>
+
+<p>There is a certain uncouthness in the outlines
+of this church that does not bring it into
+competition with that class of the great
+churches of France known as <i>les grandes cath�drales</i>.</p>
+
+<p>The general outline of the roof&mdash;omitting
+of course the scanty transepts&mdash;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.</p>
+
+<p>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.</p>
+
+<p>The present edifice dates from 1162, its construction<a name="page_099" id="page_099"></a>
+being largely due to the Countess
+Eleanor, queen to the young Earl Henry.</p>
+
+<p>The high altar was dedicated in 1199, but
+the choir itself was not finished until a half-century
+later.</p>
+
+<p>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 classification called
+by the Germans <i>hallenkirche</i>.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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<a name="page_100" id="page_100"></a>
+dioceses to emulate in some degree the ambitious
+works of the Isle of France."</p>
+
+<p>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&mdash;occupying
+but the width of one bay.</p>
+
+<p>The nave of eight bays and the aisles are
+of nearly equal height, which again tends to
+produce an effect of length.</p>
+
+<p>There is painted glass of the thirteenth century
+in small quantity, and a much larger
+amount of an eighteenth-century product,
+which shows&mdash;as always&mdash;the decadence of
+the art. Of this glass, that of the <i>rosace</i> at
+the westerly end is perhaps the best, judging
+from the minute portions which can be seen
+peeping out from behind the organ-case.</p>
+
+<p>The present high altar is a modern work, as
+also&mdash;comparatively&mdash;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<a name="page_101" id="page_101"></a>
+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.</p>
+
+<p>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&mdash;in
+a tangible if not a specific form&mdash;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 compass 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.</p>
+
+<p>The episcopal residence adjoins the cathedral
+on the right, and the charming Baptist�re
+St. Jean is also close to the walls of, but
+quite separate from, the main building of the
+cathedral.</p>
+
+<p>The other architectural attractions of Poitiers<a name="page_102" id="page_102"></a>
+are nearly as great as its array of
+churches.</p>
+
+<p>The Mus�e is exceedingly rich in arch�ological
+treasures. The present-day Palais de
+Justice was the former palace of the Counts
+of Poitou. It has a grand chamber in its <i>Salle
+des Pas-perdus</i>, 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 h�tel
+de ville are a series of wall decorations by
+Puvis de Chavannes. The H�tel d'Aquitaine
+(sixteenth century), in the Grand Rue, was
+the former residence of the Priors of St. John
+of Jerusalem.</p>
+
+<p>The <i>Chronique de Maillezais</i> 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<a name="page_103" id="page_103"></a>
+henceforth, for his rash edict, the bishop of
+Poitiers was banished for ever, and the see
+descended unto other hands.</p>
+
+<p>The generally recognized reputation of
+William being that of a "<i>grand trompeur
+des dames</i>," 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 nobleman's capacities
+as the first chanter of his time,&mdash;poetic measures
+of doubtful morality.<a name="page_104" id="page_104"></a></p>
+
+<h3><a name="VII-2" id="VII-2"></a>VII<br /><br />
+ST. ETIENNE DE LIMOGES</h3>
+
+<div class="blockquot"><p>"<i>Les Limosinats</i> leave their cities poor, and they return
+poor, after long years of labour."</p>
+
+<p class="r">&mdash;<span class="smcap">De la B�dolliere.</span></p>
+</div>
+
+<p>Limoges was the capital around which centred
+the life and activities of the <i>pays du
+Limousin</i> when that land marked the limits
+of the domain of the Kings of France. (Guienne
+then being under other domination.)</p>
+
+<p>The most ancient inhabitants of the province
+were known as <i>Lemovices</i>, but the transition
+and evolution of the vocable are easily followed
+to that borne by the present city of
+Limoges, perhaps best known of art lovers as
+the home of that school of fifteenth century
+artists who produced the beautiful works
+called <i>Emaux de Limoges</i>.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_105.png">
+<img src="images/ill_105_sml.png" width="550" height="343" alt="St. Etienne de Limoges" title="" /></a>
+<p><span class="captionunder"><i>St. Etienne de Limoges</i></span></p>
+</div>
+
+<p>The earliest specimens of what has come
+to be popularly known as Limoges enamel
+date from the twelfth century; and the last<a name="page_105" id="page_105"></a><a name="page_106" id="page_106"></a><a name="page_107" id="page_107"></a>
+of the great masters in the splendid art died
+in 1765.</p>
+
+<p>The real history of this truly great art,
+which may be said to have taken its highest
+forms in ecclesiology,&mdash;of which examples
+are frequently met with in the sacristies of the
+cathedral churches of France and elsewhere&mdash;is
+vague to the point of obscurity. A study
+of the subject, deep and profound, is the only
+process by which one can acquire even a nodding
+acquaintance with all its various aspects.</p>
+
+<p>It reached its greatest heights in the reign
+of that artistic monarch, Fran�ois I. To-day
+the memory and suggestion of the art of the
+enamelists of Limoges are perpetuated by,
+and, through those cursory mentors, the
+guide-books and popular histories, often confounded
+with, the production of porcelain.
+This industry not only flourishes here, but the
+famous porcelain earth of the country round
+about is supplied even to the one-time royal
+factory of S�vres.</p>
+
+<p>St. Martial was the first prelate at Limoges,
+in the third century. The diocese is to-day a
+suffragan of Bourges, and its cathedral of St.
+Etienne, while not a very ancient structure,
+is most interesting as to its storied past and
+varied and lively composition.<a name="page_108" id="page_108"></a></p>
+
+<p>Beneath the western tower are the remains
+of a Romanesque portal which must have belonged
+to an older church; but to all intents
+and purposes St. Etienne is to-day a Gothic
+church after the true northern manner.</p>
+
+<p>It was begun in 1273 under the direct influence
+of the impetus given to the Gothic development
+by the erection of Notre Dame d'Amiens,
+and in all its parts,&mdash;choir, transept, and
+nave,&mdash;its development and growth have
+been most pleasing.</p>
+
+<p>From the point of view of situation this
+cathedral is more attractively placed than
+many another which is located in a city which
+perforce must be ranked as a purely commercial
+and manufacturing town. From the Pont
+Neuf, which crosses the Vienne, the view over
+the gardens of the bishop's palace and the
+Quai de l'Ev�ch� is indeed grand and imposing.</p>
+
+<p>Chronologically the parts of this imposing
+church run nearly the gamut of the Gothic
+note&mdash;from the choir of the thirteenth, the
+transepts of the fourteenth and fifteenth, to
+the nave of the early sixteenth centuries. This
+nave has only latterly been completed, and is
+preceded by the elegant octagonal tower before
+mentioned. This <i>clocher</i> is a thirteenth-century<a name="page_109" id="page_109"></a>
+work, and rises something over two
+hundred and four feet above the pavement.</p>
+
+<p>In the north transept is a grand rose window
+after the true French medi�val excellence
+and magnitude, showing once again the
+northern spirit under which the cathedral-builders
+of Limoges worked.</p>
+
+<p>In reality the fa�ade of this north transept
+might be called the true front of the cathedral.
+The design of its portal is elaborate and elegant.
+A series of carved figures in stone are
+set against the wall of the choir just beyond
+the transept. They depict the martyrdom of
+St. Etienne.</p>
+
+<p>The interior will first of all be remarked
+for its abundant and splendidly coloured glass.
+This glass is indeed of the quality which in a
+later day has often been lacking. It dates
+from the fourteenth and fifteenth centuries,
+except a part, readily discernible, which is
+of the nineteenth.</p>
+
+<p>The remains of a precious choir-screen are
+yet very beautiful. It has been removed from
+its original position and its stones arranged in
+much disorder. Still it is a manifestly satisfying
+example of the art of the stone-carver
+of the Renaissance period. It dates from 1543.
+Bishop Langeac (d. 1541), who caused it to<a name="page_110" id="page_110"></a>
+be originally erected, is buried close by, beneath
+a contemporary monument. Bishops
+Bernard Brun (d. 1349) and Raynaud de la
+Porte (d. 1325) have also Renaissance monuments
+which will be remarked for their excess
+of ornament and elaboration.</p>
+
+<p>In the crypt of the eleventh century, presumably
+the remains of the Romanesque
+church whose portal is beneath the western
+tower, are some remarkable wall paintings
+thought to be of a contemporary era. If so,
+they must rank among the very earliest works
+of their class.</p>
+
+<p>The chief treasures of the cathedral are a
+series of enamels which are set into a reredos
+(the canon's altar in the sacristy). They are
+the work of the master, Noel Loudin, in the
+seventeenth century.</p>
+
+<p>In the Place de l'H�tel de Ville is a monumental
+fountain in bronze and porcelain, further
+enriched after the manner of the medi�val
+enamel workers.</p>
+
+<p>The <i>collection de ceramique</i> in the Mus�e
+is unique in France, or for that matter in all
+the world.</p>
+
+<p>The <i>ateliers de Limoges</i> were first established
+in the thirteenth century by the monks
+of the Abbey of Solignac.<a name="page_111" id="page_111"></a></p>
+
+<p>A remarkable example of the work of the
+<i>�mailleurs limousins</i> is the twelfth-century
+reliquary of Thomas � Becket, one-time Archbishop
+of Canterbury.</p>
+
+<div class="figcenter" style="width: 260px;">
+<a href="images/ill_111.png">
+<img src="images/ill_111_sml.png" width="260" height="332" alt="Reliquary of Thomas � Becket" title="" /></a>
+<span class="captionunder"><i>Reliquary of Thomas � Becket</i></span>
+</div>
+
+<p>At the rear of the cathedral the Vienne is
+crossed by the thirteenth-century bridge of
+St. Etienne. Like the cathedrals, ch�teaux,
+and city walls, the old bridges of France,
+where they still remain, are masterworks of
+their kind. To connect them more closely
+with the cause of religion, it is significant that
+they mostly bore the name of, and were dedicated
+to, some local saint.<a name="page_112" id="page_112"></a></p>
+
+<h3><a name="VIII-2" id="VIII-2"></a>VIII<br /><br />
+ST. ODILON DE ST. FLOUR</h3>
+
+<p>Though an ancient Christianizing centre,
+St. Flour is not possessed of a cathedral which
+gives it any great rank as a "cathedral town."</p>
+
+<p>The bishopric was founded in 1318, by
+Raimond de Vehens, and the present cathedral
+of St. Odilon is on the site of an ancient
+basilica. It was begun in 1375, dedicated in
+1496, and finished&mdash;so far as a great church
+ever comes to its completion&mdash;in 1556.</p>
+
+<p>Its exterior is strong and massive, but harmonious
+throughout. Its fa�ade has three
+portals, flanked by two square towers, which
+are capped with modern <i>couronnes</i>.</p>
+
+<p>The interior shows five small naves; that
+is, the nave proper, with two aisles on either
+side.</p>
+
+<p>Beside the western doorway are somewhat
+scanty traces of medi�val mural paintings
+depicting Purgatory, while above is the conventionally
+disposed organ <i>buffet</i>.<a name="page_113" id="page_113"></a></p>
+
+<p>A fine painting of the late French school
+is in one of the side chapels, and represents
+an incident from the life of St. Vincent de
+Paul. In another chapel is a bas-relief in
+stone of "The Last Judgment," reproduced
+from that which is yet to be seen in the north
+portal of Notre Dame de Reims. In the
+chapel of St. Anthony of Padua is a painting
+of the "Holy Family," and in another&mdash;that
+of Ste. Anne&mdash;a remarkable work depicting
+the "Martyred St. Symphorien at Autun."</p>
+
+<p>In the lower ranges of the choir is some fine
+modern glass by Th�venot, while high above
+the second range is a venerated statue of <i>Le
+Christ Noir</i>.</p>
+
+<p>From this catalogue it will be inferred that
+the great attractions of the cathedral at St.
+Flour are mainly the artistic accessories with
+which it has been embellished.</p>
+
+<p>There are no remarkably beautiful or striking
+constructive elements, though the plan is
+hardy and not unbeautiful. It ranks among
+cathedrals well down in the second class, but
+it is a highly interesting church nevertheless.</p>
+
+<p>A chapel in the nave gives entrance to the
+eighteenth-century episcopal palace, which is
+in no way notable except for its beautifully<a name="page_114" id="page_114"></a>
+laid-out gardens and terraces. The sacristy
+was built in 1382 of the remains of the ancient
+Ch�teau de St. Flour, called De Brezons,
+which was itself originally built in the year
+1000.<a name="page_115" id="page_115"></a></p>
+
+<h3><a name="IX-2" id="IX-2"></a>IX<br /><br />
+ST. PIERRE DE SAINTES</h3>
+
+<p>The chief architectural feature of this
+ancient town&mdash;the <i>Mediolanum Santonum</i>,
+chief town of the Santoni&mdash;is not its rather
+uninspiring cathedral (rebuilt in 1585), nor
+yet the church of St. Eutrope (1081&mdash;96)
+with its underground crypt&mdash;the largest in
+France.</p>
+
+<p>As a historical monument of rank far more
+interest centres around the Arc de Triomphe
+of Germanicus, which originally formed a
+part of the bridge which spans the Charente
+at this point. It was erected in the reign of
+Nero by Caius Julius Rufus, a priest of Roma
+and Augustus, in memory of Germanicus, Tiberius,
+his uncle, and his father, Drusus.</p>
+
+<p>The bridge itself, or what was left of it,
+was razed in the nineteenth century, which is
+of course to be regretted. A monument which
+could have endured a matter of eighteen hundred
+years might well have been left alone to<a name="page_116" id="page_116"></a>
+takes its further chances with Father Time.
+Since then the bridge has been rebuilt on its
+former site, a procedure which makes the
+hiatus and the false position of the arch the
+more apparent. The cloister of the cathedral,
+in spite of the anachronism, is in the early
+Gothic manner, and the campanile is of the
+fifteenth century.</p>
+
+<p>Saintes became a bishopric, in the province
+of Bordeaux, in the third century. St. Eutrope&mdash;whose
+name is perpetuated in a fine
+Romanesque church of the city&mdash;was the
+first bishop. The year 1793 saw the suppression
+of the diocesan seat here, in favour of Angoul�me.</p>
+
+<p>In the main, the edifice is of a late date,
+in that it was entirely rebuilt in the latter
+years of the sixteenth century, after having
+suffered practical devastation in the religious
+wars of that time.</p>
+
+<p>The first mention of a cathedral church here
+is of a structure which took form in 1117&mdash;the
+progenitor of the present edifice. Such
+considerable repairs as were necessary were
+undertaken in the fifteenth century, but the
+church seen to-day is almost entirely of the
+century following.</p>
+
+<p>The most remarkable feature of note, in<a name="page_117" id="page_117"></a>
+connection with this <i>ci-devant</i> cathedral, is
+unquestionably the luxurious flamboyant tower
+of the fifteenth century.</p>
+
+<p>This really fine tower is detached from the
+main structure and occupies the site of the
+church erected by Charlemagne in fulfilment
+of his vow to Pepin, his father, after defeating
+Gaiffre, Duc d'Aquitaine.</p>
+
+<p>In the interior two of the bays of the transepts&mdash;which
+will be readily noted&mdash;date
+from the twelfth century, while the nave is
+of the fifteenth, and the vaulting of nave and
+choir&mdash;hardy and strong in every detail&mdash;is,
+in part, as late as the mid-eighteenth century.</p>
+
+<p>The �glise de St. Eutrope, before mentioned,
+is chiefly of the twelfth century, though
+its crypt, reputedly the largest in all France,
+is of a century earlier.</p>
+
+<p>Saintes is renowned to lovers of ceramics
+as being the birthplace of Bernard Pallisy, the
+inventor of the pottery glaze; and is the scene
+of many of his early experiments. A statue
+to his memory adorns the Place Bassompierre
+near the Arc de Triomphe.<a name="page_118" id="page_118"></a></p>
+
+<h3><a name="X-2" id="X-2"></a>X<br /><br />
+CATH�DRALE DE TULLE</h3>
+
+<p>The charm of Tulle's cathedral is in its
+imposing and dominant character, rather than
+in any inherent grace or beauty which it possesses.</p>
+
+<p>It is not a beautiful structure; it is not even
+picturesquely disposed; it is grim and gaunt,
+and consists merely of a nave in the severe
+Romanesque-Transition manner, surmounted
+by a later and non-contemporary tower and
+spire.</p>
+
+<p>In spite of this it looms large from every
+view-point in the town, and is so lively a component
+of the busy life which surrounds it
+that it is&mdash;in spite of its severity of outline&mdash;a
+very appealing church edifice in more senses
+than one.</p>
+
+<div class="framing" style="width: 334px;">
+<a href="images/ill_118.jpg">
+<img src="images/ill_118_sml.jpg" width="334" height="550" alt="CATH�DRALE
+de TULLE...." title="" /></a>
+<br />
+<div class="figleft" style="width: 207px;">
+<img src="images/ill_118_name.jpg" width="207" height="62" alt="" title="" />
+</div>
+</div>
+
+<p>Its tall, finely-proportioned tower and spire,
+which indeed is the chief attribute of grace
+and symmetry, is of the fourteenth century,
+and, though plain and primitive in its outlines,<a name="page_119" id="page_119"></a>
+is far more pleasing than the crocketed and
+rococo details which in a later day were composed
+into something which was thought to be
+a spire.</p>
+
+<p>In the earliest days of its history, this rather
+bare and cold church was a Benedictine monastery
+whose primitive church dated as far
+back as the seventh century. There are yet
+remains of a cloister which may have belonged
+to the early church of this monastic house,
+and as such is highly interesting, and withal
+pleasing.</p>
+
+<p>The bishopric was founded in 1317 by Arnaud
+de St. Astier. The Revolution caused
+much devastation here in the precincts of this
+cathedral, which was first stripped of its
+<i>tr�sor</i>, and finally of its dignity, when the see
+was abolished.<a name="page_120" id="page_120"></a></p>
+
+<h3><a name="XI-2" id="XI-2"></a>XI<br /><br />
+ST. PIERRE D'ANGOUL�ME</h3>
+
+<p>Angoul�me is often first called to mind
+by its famous or notorious Duchesse, whose
+fame is locally perpetuated by a not very suitable
+column, erected in the Promenade Beaulieu
+in 1815. There is certainly a wealth of
+romance to be conjured up from the recollection
+of the famous Counts of Angoul�me and
+their adherents, who made their residence in
+the ancient ch�teau which to-day forms in part
+the H�tel de Ville, and in part the prison.
+Here in this ch�teau was born Marguerite de
+Valois, the Marguerite of Marguerites, as
+Fran�ois I. called her; here took welcome
+shelter, Marie de Medici after her husband's
+assassination; and here, too, much more of
+which history tells.</p>
+
+<div class="framing" style="width: 323px;">
+<a href="images/ill_120.jpg">
+<img src="images/ill_120_sml.jpg" width="323" height="550" alt="ST. PIERRE ... a&#39; ANGOUL�ME" title="" /></a>
+<div class="figleft" style="width: 242px;">
+<img src="images/ill_120_name.jpg" width="242" height="59" alt="" title="" />
+</div>
+</div>
+
+<p>What most histories do not tell is that the
+cathedral of St. Pierre d'Angoul�me, with the
+cathedral of St. Front at P�rigueux and Notre
+Dame de Poitiers, ranks at the very head of<a name="page_121" id="page_121"></a>
+that magnificent architectural style known as
+Aquitanian.</p>
+
+<p>St. Ansone was the first bishop of the diocese&mdash;in
+the third century. The see was then, as
+now, a suffragan of Bordeaux. Religious
+wars, here as throughout Aquitaine, were responsible
+for a great unrest among the people,
+as well as the sacrilege and desecration of
+church property.</p>
+
+<p>The most marked spoliation was at the
+hands of the Protestant Coligny, the effects of
+whose sixteenth-century ravages are yet visible
+in the cathedral.</p>
+
+<p>A monk&mdash;Michel Grillet&mdash;was hung to
+a mulberry-tree,&mdash;which stood where now is
+the Place du Murier (mulberry),&mdash;by Coligny,
+who was reviled thus in the angry dying
+words of the monk: "You shall be thrown
+out of the window like Jezebel, and shall be
+ignominiously dragged through the streets."
+This prophecy did not come true, but Coligny
+died an inglorious death in 1572, at the instigation
+of the Duc de Guise.</p>
+
+<p>This cathedral ranks as one of the most
+curious in France, and, with its alien plan and
+details, has ever been the object of the profound
+admiration of all who have studied its
+varied aspects.<a name="page_122" id="page_122"></a></p>
+
+<p>Mainly it is a twelfth-century edifice
+throughout, in spite of the extensive restorations
+of the nineteenth century, which have
+eradicated many crudities that might better
+have been allowed to remain. It is ranked
+by the Minist�re des Beaux Arts as a <i>Monument
+Historique</i>.</p>
+
+<p>The west front, in spite of the depredations
+before, during, and after the Revolution, is
+notable for its rising tiers of round-headed
+arches seated firmly on proportionate though
+not gross columns, its statued niches, the rich
+bas-reliefs of the tympanum of its portal, the
+exquisite arabesques, of lintel, frieze, and
+archivolt, and, above all, its large central arch
+with <i>Vesica piscis</i>, and the added decorations
+of emblems of the evangels and angels.
+In addition to all this, which forms a gallery
+of artistic details in itself, the general disposition
+of parts is luxurious and remarkable.</p>
+
+<p>As a whole, St. Pierre is commonly credited
+as possessing the finest Lombard detail to be
+found in the north; some say outside of Italy.
+Certainly it is prodigious in its splendour,
+whatever may be one's predilections for or
+against the expression of its art.</p>
+
+<p>The church follows in general plan the same<a name="page_123" id="page_123"></a>
+distinctive style. Its tower, too, is Lombard,
+likewise the rounded apside, and&mdash;though
+the church is of the elongated Latin or cruciform
+ground-plan&mdash;its possession of a great
+central dome (with three others above the
+nave&mdash;and withal aisleless) points certainly
+to the great domed churches of the Lombard
+plain for its ancestry.</p>
+
+<p>The western dome is of the eleventh century,
+the others of the twelfth. Its primitiveness
+has been more or less distorted by later
+additions, made necessary by devastation in
+the sixteenth century, but it ranks to-day, with
+St. Front at P�rigueux, as the leading example
+of the style known as Aquitanian.</p>
+
+<p>Above the western portal is a great window,
+very tall and showing in its glass a "Last
+Judgment."</p>
+
+<p>A superb tower ends off the <i>croisillon</i> on
+the north and rises to the height of one hundred
+and ninety-seven feet. "Next to the west
+front and the domed roofing of the interior,
+this tower ranks as the third most curious and
+remarkable feature of this unusual church."
+This tower, in spite of its appealing properties,
+is curiously enough not the original to which
+the previous descriptive lines applied; but<a name="page_124" id="page_124"></a>
+their echo may be heard to-day with respect
+to the present tower, which is a reconstruction,
+of the same materials, and after the same manner,
+so far as possible, as the original.</p>
+
+<p>As the most notable and peculiar details of
+the interior, will be remarked the cupolas of
+the roof, and the lantern at the crossing, which
+is pierced by twelve windows.</p>
+
+<p>For sheer beauty, and its utile purpose as
+well, this great <i>lanthorn</i> is further noted as
+being most unusual in either the Romanesque
+or Gothic churches of France.</p>
+
+<p>The choir is apse-ended and is surrounded
+by four chapels of no great prominence or
+beauty.</p>
+
+<p>The south transept has a <i>tour</i> in embryo,
+which, had it been completed, would doubtless
+have been the twin of that which terminates
+the transept on the north.</p>
+
+<p>The foundations of the episcopal residence,
+which is immediately beside the cathedral (restored
+in the nineteenth century), are very ancient.
+In its garden stands a colossal statue
+to Comte Jean, the father of Fran�ois I.</p>
+
+<p>Angoul�me was the residence of the Black
+Prince after the battle of Poitiers, though no
+record remains as to where he may have<a name="page_125" id="page_125"></a>
+lodged. A house in the Rue de Gen�ve has
+been singled out in the past as being where
+John Calvin lived in 1533, but it is not recognizable
+to-day.<a name="page_126" id="page_126"></a></p>
+
+<h3><a name="XII-2" id="XII-2"></a>XII<br /><br />
+NOTRE DAME DE MOULINS</h3>
+
+<div class="blockquot"><p>"<i>Les Bourbonnais sont aimables, mais vains, l�gers et
+facilement oublieux, avec rien d'excessif, rien d'exub�rance
+dans leur nature.</i>"</p>
+
+<p class="r">&mdash;<span class="smcap">Andr� Rolland.</span></p></div>
+
+<p>Until he had travelled through Bourbonnais,
+"the sweetest part of France&mdash;in the
+hey-day of the vintage," said Sterne, "I never
+felt the distress of plenty."</p>
+
+<p>This is an appropriate enough observation
+to have been promulgated by a latter-day
+traveller. Here the abundance which apparently
+pours forth for every one's benefit knows
+no diminution one season from another. One
+should not allow his pen to ramble to too great
+an extent in this vein, or he will soon say with
+Sterne: "Just Heaven! it will fill up twenty
+volumes,&mdash;and alas, there are but a few small
+pages!"</p>
+
+<div class="framing" style="width: 391px;">
+<a href="images/ill_126.jpg">
+<img src="images/ill_126_sml.jpg" width="391" height="550" alt="NOTRE DAME
+de MOULINS" title="" /></a>
+<div class="figleft" style="width: 220px;">
+<img src="images/ill_126_name.jpg" width="220" height="61" alt="" title="" />
+</div>
+</div>
+
+<p>It suffices, then, to reiterate, that in this<a name="page_127" id="page_127"></a>
+plenteous land of mid-France there is, for all
+classes of man and beast, an abundance and
+excellence of the harvest of the soil which
+makes for a fondness to linger long within the
+confines of this region. Thus did the far-seeing
+Bourbons, who, throughout the country
+which yet is called of them, set up many magnificent
+establishments and ensconced themselves
+and their retainers among the comforts
+of this world to a far greater degree than many
+other ruling houses of medi�val times. Perhaps
+none of the great names, among the long
+lists of lords, dukes, and kings, whose lands
+afterward came to make the solidarity of the
+all-embracing monarchy, could be accused of
+curtailing the wealth of power and goods
+which conquest or bloodshed could secure or
+save for them.</p>
+
+<p>The power of the Bourbons endured, like
+the English Tudors, but a century and a half
+beyond the period of its supremacy; whence,
+from its maturity onward, it rotted and was
+outrooted bodily.</p>
+
+<p>The literature of Moulins, for the English
+reading and speaking world, appears to be
+an inconsiderable quantity. Certain romances
+have been woven about the ducal ch�teau,
+and yet others concerning the all-powerful<a name="page_128" id="page_128"></a>
+Montmorencies, besides much history, which
+partakes generously of the components of
+literary expression.</p>
+
+<p>In the country round about&mdash;if the traveller
+has come by road, or for that matter by
+"<i>train omnibus</i>"&mdash;if he will but keep his
+eyes open, he will have no difficulty in recognizing
+this picture: "A little farmhouse,
+surrounded with about twenty acres of vineyard,
+and about as much corn&mdash;and close to
+the house, on one side, a <i>potagerie</i> of an acre
+and a half, full of everything which could
+make plenty in a French peasant's house&mdash;and
+on the other side a little wood, which furnished
+wherewithal to dress it."</p>
+
+<p>To continue, could one but see into that
+house, the picture would in no small degree
+differ from this: "A family consisting of an
+old, gray-headed man and his wife, with five
+or six sons and sons-in-law, and their several
+wives, and a joyous genealogy out of them
+... all sitting down together to their lentil
+soup; a large wheaten loaf in the middle of
+the table; and a flagon of wine at each end
+of it, and promised joy throughout the various
+stages of the repast."</p>
+
+<p>Where in any other than this land of plenty,
+for the peasant and prosperous alike, could<a name="page_129" id="page_129"></a>
+such a picture be drawn of the plenitude
+which surrounds the home life of a son of the
+soil and his nearest kin? Such an equipment
+of comfort and joy not only makes for a continuous
+and placid contentment, but for character
+and ambition; in spite of all that harum-scarum
+Jeremiahs may proclaim out of their
+little knowledge and less sympathy with other
+affairs than their own. No individualism is
+proclaimed, but it is intimated, and the reader
+may apply the observation wherever he may
+think it belongs.</p>
+
+<p>Moulins is the capital of the Bourbonnais&mdash;the
+name given to the province and the
+people alike. The derivation of the word
+Bourbon is more legendary than historical,
+if one is to give any weight to the discovery
+of a tablet at <i>Bourbonne-les-Bains,</i> in 1830,
+which bore the following dedication:</p>
+
+<p class="bbox">
+DEO, APOL<br />
+LINI BORVONI<br />
+ET DAMONAE<br />
+C DAMINIUS<br />
+FEROX CIVIS<br />
+LINGONUS EX<br />
+VOTO<br />
+</p>
+
+<p><a name="page_130" id="page_130"></a></p>
+
+<p>Its later application to the land which sheltered
+the race is elucidated by a French writer,
+thus:</p>
+
+<p>"Considering that the names of all the
+cities and towns known as <i>des sources d'eaux
+thermales</i> commence with either the prefix
+<i>Bour</i> or <i>Bor</i>, indicates a common origin of the
+word ... from the name of the divinity
+which protects the waters."</p>
+
+<p>This is so plausible and picturesque a conjecture
+that it would seem to be true.</p>
+
+<p>Arch�ologists have singled out from among
+the most beautiful <i>chapelles seigneuriales</i> the
+one formerly contained in the ducal palace
+of the Bourbons at Moulins. This formed,
+of course, a part of that gaunt, time-worn
+fabric which faces the westerly end of the
+cathedral.</p>
+
+<p>Little there is to-day to suggest this splendour,
+and for such one has to look to those
+examples yet to be seen at Chambord or Chenonceaux,
+or that of the Maison de Jacques
+C&oelig;ur at Bourges, with which, in its former
+state, this private chapel of the Bourbons was
+a contemporary.</p>
+
+<p>The other chief attraction of Moulins is the
+theatrical Mausol�e de Henri de Montmorency,
+a seventeenth-century work which is<a name="page_131" id="page_131"></a>
+certainly gorgeous and splendid in its magnificence,
+if not in its �sthetic value as an art
+treasure.</p>
+
+<p>The fresh, modern-looking cathedral of
+Notre Dame de Moulins is a more ancient
+work than it really looks, though in its completed
+form it dates only from the late nineteenth
+century, when the indefatigable Viollet-le-Duc
+erected the fine twin towers and completed
+the western front.</p>
+
+<p>The whole effect of this fresh-looking edifice
+is of a certain elegance, though in reality
+of no great luxuriousness.</p>
+
+<p>The portal is deep but unornamented, and
+the rose window above is of generous design,
+though not actually so great in size as at first
+appears. Taken <i>tout ensemble</i> this west front&mdash;of
+modern design and workmanship&mdash;is
+far more expressive of the excellent and true
+proportions of the medi�val workers than is
+usually the case.</p>
+
+<p>The spires are lofty (312 feet) and are decidedly
+the most beautiful feature of the entire
+design.</p>
+
+<p>The choir, the more ancient portion (1465-1507),
+expands into a more ample width than
+the nave and has a curiously squared-off termination
+which would hardly be described<a name="page_132" id="page_132"></a>
+as an apside, though the effect is circular when
+viewed from within. The choir, too, rises to
+a greater height than the nave, and, though
+there is no very great discrepancy in style between
+the easterly and westerly ends, the line
+of demarcation is readily placed. The square
+flanking chapels of the choir serve to give an
+ampleness to the ambulatory which is unusual,
+and in the exterior present again a
+most interesting arrangement and effect.</p>
+
+<p>The cathedral gives on the west on the
+Place du Ch�teau, with the bare, broken wall
+of the ducal ch�teau immediately <i>en face</i>,
+and the Gendarmerie, which occupies a most
+interestingly picturesque Renaissance building,
+is immediately to the right.</p>
+
+<p>The interior arrangements of this brilliant
+cathedral church are quite as pleasing and
+true as the exterior. There is no poverty in
+design or decoration, and no overdeveloped
+luxuriance, except for the accidence of the
+Renaissance tendencies of its time.</p>
+
+<p>There is no flagrant offence committed,
+however, and the ambulatory of the choir and
+its queer overhanging gallery at the rear of
+the altar are the only unusual features from
+the conventional decorated Gothic plan; if
+we except the <i>baldachino</i> which covers the<a name="page_133" id="page_133"></a>
+altar-table, and which is actually hideous in
+its enormity.</p>
+
+<p>The bishop's throne, curiously enough,&mdash;though
+the custom is, it appears, very, very
+old,&mdash;is placed <i>behind</i> the high-altar.</p>
+
+<p>The triforium and clerestory of the choir
+have gracefully heightened arches supported
+by graceful pillars, which give an effect of
+exceeding lightness.</p>
+
+<p>In the nave the triforium is omitted, and
+the clerestory only overtops the pillars of nave
+and aisles.</p>
+
+<p>The transepts are not of great proportions,
+but are not in any way attenuated.</p>
+
+<p>Under the high-altar is a "Holy Sepulchre"
+of the sixteenth century, which is penetrated
+by an opening which gives on the ambulatory
+of the choir.</p>
+
+<p>There is a bountiful display of coloured
+glass of the Renaissance period, and, in the
+sacristy, a <i>triptych</i> attributed to Ghirlandajo.</p>
+
+<p>There are no other artistic accessories of
+note, and the cathedral depends, in the main,
+for its satisfying qualities in its general completeness
+and consistency.<a name="page_134" id="page_134"></a></p>
+
+<h3><a name="XIII-2" id="XIII-2"></a>XIII<br /><br />
+NOTRE DAME DE LE PUY</h3>
+
+<div class="blockquot"><p>"Under the sun of the <i>Midi</i> I have seen the Pyrenees
+and the Alps, crowned in rose and silver, but I best love
+Auvergne and its bed of gorse."</p>
+
+<p class="r">&mdash;<span class="smcap">Pierre de Nolhac</span>.</p></div>
+
+<p>Le Puy has been called&mdash;by a discerning
+traveller&mdash;and rightly enough, too, in the
+opinion of most persons&mdash;"<i>the most picturesque
+spot in the world</i>." Whether every
+visitor thereto will endorse this unqualifiedly
+depends somewhat on his view-point, and still
+more on his ability to discriminate.</p>
+
+<p>Le Puy certainly possesses an unparalleled
+array of what may as well be called rare attractions.
+These are primarily the topographical,
+architectural, and, first, last, and all
+times, picturesque elements which only a
+blind man could fail to diagnose as something
+unique and not to be seen elsewhere.</p>
+
+<div class="framing" style="width: 391px;">
+<a href="images/ill_134.jpg">
+<img src="images/ill_134_sml.jpg" width="391" height="550" alt="NOTRE DAME
+de LE PUY." title="" /></a>
+<div class="figleft" style="width: 226px;">
+<img src="images/ill_134_name.jpg" width="226" height="51" alt="NOTRE DAME
+de LE PUY." title="" />
+</div>
+</div>
+
+<p>In the first category are the extraordinary<a name="page_135" id="page_135"></a>
+pinnacles of volcanic rock with which the
+whole surrounding landscape is peopled; in
+the second, the city's grand architectural
+monuments, cathedrals, churches, monastery
+and the ch�teau of Polignac; while thirdly,
+the whole aspect is irritatingly picturesque to
+the lover of topographical charm and feature.
+Here the situation of the city itself, in a basin
+of surrounding peaks, its sky-piercing, turreted
+rocks, and the general effect produced
+by its architectural features all combine to
+present emotions which a large catalogue
+were necessary to define.</p>
+
+<p>Moreover, Le Puy is the gateway to a hitherto
+almost unknown region to the English-speaking
+tourist. At least it would have been
+unknown but for the eulogy given it by the
+wandering Robert Louis Stevenson, who, in
+his "Travels with a Donkey," (not "On a
+Donkey,"&mdash;mark the distinction), has made
+the Cevennes known, at least as a nodding acquaintance,
+to&mdash;well, a great many who
+would never have consciously realized that
+there was such a place.</p>
+
+<p>Le Puy is furthermore as yet unspoiled by
+the "conducted tourist," and lives the same
+life that it has for many generations. Electric
+trams have come to be sure, and certain improvements<a name="page_136" id="page_136"></a>
+in the way of boulevards and
+squares have been laid out, but, in the main,
+the narrow, tortuous streets which ascend to its
+cathedral-crowned height are much as they
+always were; and the native pays little heed
+to the visitor, of which class not many ever
+come to the city&mdash;perhaps for the reason that
+Le Puy is not so very accessible by rail. Both
+by the line which descends the Rh�ne valley
+and its parallel line from Paris to N�mes, one
+has to branch off, and is bound to lose from
+three to six hours&mdash;or more, at some point or
+other, making connections. This is as it should
+be&mdash;in spite of the apparent retrogression.</p>
+
+<p>When one really does get to Le Puy nothing
+should satisfy him but to follow the trail of
+Stevenson's donkey into the heart of the
+Cevennes, that wonderful country which lies
+to the southward, and see and know for himself
+some of the things which that delectable
+author set forth in the record of his travels.</p>
+
+<p>Monastier, Le Cheylard, La Bastide, Notre
+Dame des Neiges, Mont M�zenac, and many
+more delightful places are, so far as personal
+knowledge goes, a sealed book to most folk;
+and after one has visited them for himself, he
+may rest assured they will still remain a sealed
+book to the mass.<a name="page_137" id="page_137"></a></p>
+
+<p>The ecclesiastical treasures of Le Puy are
+first and foremost centred around its wonderful,
+though bizarre, Romanesque cathedral of
+Notre Dame.</p>
+
+<p>Some have said that this cathedral church
+dates from the fifth century. Possibly this is
+so, but assuredly there is no authority which
+makes a statement which is at all convincing
+concerning any work earlier than the tenth
+century.</p>
+
+<p>Le Puy's first bishop was St. Georges,&mdash;in
+the third century,&mdash;at which time, as now,
+the diocese was a suffragan of Bourges.</p>
+
+<p>The cathedral itself is perched on a hilltop
+behind which rises an astonishing crag or pinnacle,&mdash;the
+<i>rocher Corneille</i>, which, in turn,
+is surmounted by a modern colossal bronze
+figure, commonly called <i>Notre Dame de
+France</i>. The native will tell you that it is
+called "the Virgin of Le Puy." Due allowance
+for local pride doubtless accounts for this.
+Its height is fifty feet, and while astonishingly
+impressive in many ways, is, as a work of art,
+without beauty in itself.</p>
+
+<div class="figcenter" style="width: 299px;">
+<a href="images/ill_138.png">
+<img src="images/ill_138_sml.png" width="299" height="458" alt="Le Puy" title="" /></a>
+<p><span class="captionunder">Le Puy</span></p>
+</div>
+
+<p>There is a sort of subterranean or crypt-like
+structure, beneath the westerly end of the
+cathedral, caused by the extreme slope of the
+rock upon which the choir end is placed. One<a name="page_138" id="page_138"></a>
+enters by a stairway of sixty steps, which is
+beneath the parti-coloured fa�ade of the
+twelfth century. It is very striking and must
+be a unique approach to a cathedral; the entrance
+here being two stories below that of the
+pavement of nave and choir. This porch of
+three round-arched naves is wholly unusual.<a name="page_139" id="page_139"></a>
+Entrance to the main body of the church is
+finally gained through the transept.</p>
+
+<p>The whole structure is curiously kaleidoscopic,
+with blackish and dark brown tints
+predominating, but alternating&mdash;in the west
+fa�ade, which has been restored in recent
+times&mdash;with bands of a lighter and again
+a darker stone. It has been called by a certain
+red-robed mentor of travel-lore an ungainly,
+venerable, but singular edifice: quite a non-committal
+estimate, and one which, like most
+of its fellows, is worse than a slander. It is
+most usually conceded by French authorities&mdash;<i>who
+might naturally be supposed to know
+their subject</i>&mdash;that it is very nearly the most
+genuinely interesting exposition of a local
+manner of church-building extant; and as
+such the cathedral at Le Puy merits great consideration.</p>
+
+<p>The choir is the oldest portion, and is probably
+not of later date than the tenth century.
+The glass therein is modern. It has a possession,
+a "miraculous virgin,"&mdash;whose predecessor
+was destroyed in the fury of the
+Revolution,&mdash;which is supposed to work wonders
+upon those who bestow an appropriate
+votive offering. To the former shrine came
+many pilgrims, numbering among them, it is<a name="page_140" id="page_140"></a>
+said rather indefinitely and doubtfully, "several
+popes and the following kings: Louis
+VII., Philippe-Auguste, Philippe-le-Hardi,
+Charles VI., Charles VII., Louis XI., and
+Charles VIII."</p>
+
+<p>To-day, as if doubtful of the shrine's efficacy,
+the pilgrims are few in number and
+mostly of the peasant class.</p>
+
+<p>The bays of the nave are divided by round-headed
+arches, but connected with the opposing
+bay by the ogival variety.</p>
+
+<p>The transepts have apsidal terminations, as
+is much more frequent south of the Loire than
+in the north of France, but still of sufficient
+novelty to be remarked here. The east end is
+rectangular&mdash;which is really a very unusual
+attribute in any part of France, only two examples
+elsewhere standing out prominently&mdash;the
+cathedrals at Laon and Dol-de-Bretagne.
+The cloister of Notre Dame, small and simple
+though it be, is of a singular charm and tranquillity.</p>
+
+<p>With the tower or cupola of this cathedral
+the architects of Auvergne achieved a result
+very near the <i>perfectionnement</i> of its style.
+Like all of the old-time <i>clochers</i> erected in this
+province&mdash;anterior to Gothic&mdash;it presents a
+great analogy to Byzantine origin, though, in<a name="page_141" id="page_141"></a>
+a way, not quite like it either. Still the effect
+of columns and pillars, in both the interior
+construction and exterior decoration of these
+fine towers, forms something which suggests,
+at least, a development of an ideal which bears
+little, or no, relation to the many varieties of
+<i>campanile</i>, <i>beffroi</i>, <i>tour</i> or <i>clocher</i> seen elsewhere
+in France. The spire, as we know it
+elsewhere, a dominant pyramidal termination,
+the love of which Mistral has said is the foundation
+of patriotism, is in this region almost
+entirely wanting; showing that the influence,
+from whatever it may have sprung, was no
+copy of anything which had gone before, nor
+even the suggestion of a tendency or influence
+toward the pointed Gothic, or northern style.
+Therefore the towers, like most other features
+of this style, are distinctly of the land of its
+environment&mdash;Auvergnian.</p>
+
+<p>This will call to mind, to the American, the
+fact that Trinity Church in Boston is manifestly
+the most distinctive application, in foreign
+lands, of the form and features of the
+manner of church-building of the Auvergne.</p>
+
+<p>Particularly is this to be noted by viewing
+the choir exterior with its inlaid or geometrically
+planned stonework: a feature which is
+Romanesque if we go back far enough, but<a name="page_142" id="page_142"></a>
+which is distinctly Auvergnian in its medi�val
+use.</p>
+
+<p>For sheer novelty, before even the towering
+bronze statue of the Virgin, which overtops
+the cathedral, must be placed that other
+needle-like basaltic eminence which is
+crowned by a tiny chapel dedicated to St.
+Michel.</p>
+
+<p>This "<i>aiguille</i>," as it is locally known, rises
+something over two hundred and fifty feet
+from the river-bed at its base; like a sharp
+cone, dwindling from a diameter of perhaps
+five hundred feet at its base to a scant fifty at
+its apex.</p>
+
+<p>St. Michel has always had a sort of vested
+proprietorship in such pinnacles as this, and
+this tiny chapel in his honour was the erection
+of a prelate of the diocese of Le Puy in the
+tenth century. The chapel is Romanesque,
+octagonal, and most curious; with its isolated
+situation,&mdash;only reached by a flight of many
+steps cut in the rock,&mdash;and its tesselated stone
+pavements, its mosaic in basalt of the portal,
+and its few curious sculptures in stone. As
+a place of pilgrimage for a twentieth-century
+tourist it is much more appealing than
+the Virgin-crowned <i>rocher Corneille</i>; each
+will anticipate no inconsiderable amount of<a name="page_143" id="page_143"></a>
+physical labour, which, however, is the true
+pilgrim spirit.</p>
+
+<p>The ch�teau of Polignac <i>compels</i> attention,
+and it is not so very foreign to church affairs
+after all; the house of the name gave to the
+court of Louis XIV. a cardinal.</p>
+
+<p>To-day this one-time feudal stronghold is
+but a mere ruin. The Revolution finished it,
+as did that fury many another architectural
+glory of France.</p>
+
+<div class="figcenter" style="width: 230px;">
+<a href="images/ill_143.png">
+<img src="images/ill_143_sml.png" width="230" height="228" alt="The Black Virgin, Le Puy" title="" /></a>
+<span class="captionunder">The Black Virgin, Le Puy</span>
+</div>
+
+<p><a name="page_144" id="page_144"></a></p>
+
+<h3><a name="XIV-2" id="XIV-2"></a>XIV<br /><br />
+NOTRE DAME DE CLERMONT-FERRAND</h3>
+
+<p>Clermont-Ferrand is the hub from which
+radiates in the season,&mdash;from April to October,&mdash;and
+in all directions, the genuine
+French <i>touriste</i>. He is a remarkable species
+of traveller, and he apportions to himself the
+best places in the <i>char-� bancs</i> and the most
+convenient seats at <i>table d'h�te</i> with a discrimination
+that is perfection. He is not much
+interested in cathedrals, or indeed in the twin
+city of Clermont-Ferrand itself, but rather
+his choice lies in favour of Mont Dor�, Puy
+de D�me, Royat, St. Nectaire, or a dozen
+other alluring tourist resorts in which the
+neighbouring volcanic region abounds.</p>
+
+<p>By reason of this&mdash;except for its hotels and
+caf�s&mdash;Clermont-Ferrand is justly entitled to
+rank as one of the most ancient and important
+centres of Christianity in France.</p>
+
+<div class="framing" style="width: 335px;">
+<a href="images/ill_144.jpg">
+<img src="images/ill_144_sml.jpg" width="335" height="550" alt="NOTRE DAME
+de CLERMONT-FERRAND" title="" /></a>
+<div class="figcenter" style="width: 385px;">
+<img src="images/ill_144_name.jpg" width="385" height="61" alt="NOTRE DAME de CLERMONT-FERRAND" title="" />
+</div>
+</div>
+
+<p>Its cathedral is not of the local manner of
+building: it is of manifest Norman example.<a name="page_145" id="page_145"></a>
+But the �glise Notre Dame du Port is Auvergnian
+of the most profound type, and
+withal, perhaps more appealing than the
+cathedral itself. Furthermore the impulse of
+the famous crusades first took form here under
+the fervent appeal of Urban II., who was in
+the city at the Council of the Church held in
+1095. Altogether the part played by this city
+of mid-France in the affairs of the Christian
+faith was not only great, but most important
+and far-reaching in its effect.</p>
+
+<p>In its cathedral are found to a very considerable
+extent those essentials to the realization
+of the pure Gothic style, which even Sir
+Christopher Wren confessed his inability to
+fully comprehend.</p>
+
+<p>It is a pleasant relief, and a likewise pleasant
+reminder of the somewhat elaborate glories
+of the Isle of France, to come upon an
+edifice which at least presents a semblance to
+the symmetrical pointed Gothic of the north.
+The more so in that it is surrounded by Romanesque
+and local types which are peers
+among their class.</p>
+
+<p>Truly enough it is that such churches as
+Notre Dame du Port, the cathedral at Le
+Puy, and the splendid series of Romanesque
+churches at Poitiers are as interesting and as<a name="page_146" id="page_146"></a>
+worthy of study as the resplendent modern
+Gothic. On the other hand, the transition
+to the baseness of the Renaissance,&mdash;without
+the intervention of the pointed style,&mdash;while
+not so marked here as elsewhere, is yet even
+more painfully impressed upon one.</p>
+
+<p>The contrast between the Romanesque
+style, which was manifestly a good style,
+and the Renaissance, which was palpably
+bad, suggests, as forcibly as any event of history,
+the change of temperament which came
+upon the people, from the fifteenth to the
+seventeenth centuries.</p>
+
+<p>This cathedral is possessed of two fine western
+towers (340 feet in height), graceful in
+every proportion, hardy without being
+clumsy, symmetrical without weakness, and
+dwindling into crowning spires after a manner
+which approaches similar works at Bordeaux
+and Quimper. These examples are not
+of first rank, but, if not of masterful design,
+are at least acceptable exponents of the form
+they represent.</p>
+
+<p>These towers, as well as the western portal,
+are, however, of a very late date. They are
+the work of Viollet-le-Duc in the latter half
+of the nineteenth century, and indicate&mdash;if
+nothing more&mdash;that, where a good model is<a name="page_147" id="page_147"></a>
+used, a modern Gothic work may still betray
+the spirit of antiquity. This gifted architect
+was not so successful with the western towers
+of the abbey church of St. Ouen at Rouen.
+Externally the cathedral at Clermont-Ferrand
+shows a certain lack of uniformity.</p>
+
+<p>Its main fabric, of a black volcanic stone,
+dates from 1248 to 1265. At this time the
+work was in charge of one Jean Deschamps.</p>
+
+<p>The church was not, however, consecrated
+until nearly a century later, and until the completion
+of the west front remained always an
+unfinished work which received but scant
+consideration from lovers of church architecture.</p>
+
+<p>The whole structure was sorely treated at
+the Revolution, was entirely stripped of its
+ornaments and what monuments it possessed,
+and was only saved from total destruction by
+a subterfuge advanced by a local magistrate,
+who suggested that the edifice might be put to
+other than its original use.</p>
+
+<p>The first two bays of the nave are also of
+nineteenth-century construction. This must
+account for the frequent references of a former
+day to the general effect of incompleteness.
+To-day it is a coherent if not a perfect whole,<a name="page_148" id="page_148"></a>
+though works of considerable magnitude are
+still under way.</p>
+
+<p>The general effect of the interior is harmonious,
+though gloomy as to its lighting, and
+bare as to its walls.</p>
+
+<p>The vault rises something over a hundred
+feet above the pavement, and the choir platform
+is considerably elevated. The aisles of
+the nave are doubled, and very wide.</p>
+
+<p>The joints of pier and wall have been newly
+"pointed," giving an impression of a more
+modern work than the edifice really is.</p>
+
+<p>The glass of the nave and choir is of a rare
+quality and unusually abundant. How it escaped
+the fury of the Revolution is a mystery.</p>
+
+<p>There are two fifteenth-century rose windows
+in the transepts, and a more modern example
+in the west front, the latter being
+decidedly inferior to the others. The glass
+of the choir is the most beautiful of all, and is
+of the time of Louis IX., whose arms, quartered
+with those of Spain, are shown therein.
+The general effect of this coloured glass is not
+of the supreme excellence of that at Chartres,
+but the effect of mellowness, on first entering,
+is in every way more impressive than that of
+any other cathedral south of the Loire.</p>
+
+<p>The organ <i>buffet</i> has, in this instance, been<a name="page_149" id="page_149"></a>
+cut away to allow of the display of the modern
+<i>rosace</i>. This is a most thoughtful consideration
+of the attributes of a grand window;
+which is obviously that of giving a pleasing
+effect to an interior, rather than its inclusion
+in the exterior scheme of decoration.</p>
+
+<p>In the choir is a <i>retable</i> of gilded and
+painted wood, representing the life of St.
+Cr�pinien, a few tombs, and in the chapels
+some frescoes of the thirteenth century. There
+is the much-appreciated astronomical clock&mdash;a
+curiosity of doubtful artistic work and
+symbolism&mdash;in one of the transepts.</p>
+
+<p>A statue of Pope Urban II. is <i>en face</i> to the
+right of the cathedral.</p>
+
+<p>At the Council of 1095 Urban II. preached
+for the first crusade to avenge the slaughter
+"of pilgrims, princes, and bishops," which
+had taken place at Romola in Palestine, and
+to regain possession of Jerusalem and the Holy
+Sepulchre from the Turkish Sultan, Ortock.</p>
+
+<p>The enthusiasm of the pontiff was so great
+that the masses forthwith entered fully into
+the spirit of the act, the nobles tearing their
+red robes into shreds to form the badge of the
+crusader's cross, which was given to all who
+took the vow.</p>
+
+<p>By command of the Pope, every serf who<a name="page_150" id="page_150"></a>
+took the cross was to obtain his liberty from
+his overlord. This fact, perhaps, more than
+any other led to the swelled ranks of the first
+crusade under Peter the Hermit.</p>
+
+<p>The rest is history, though really much of
+its written chronicle is really romance.</p>
+
+<p>Clermont was a bishopric in the third century,
+with St. Austremoine as its first bishop.
+The diocese is to-day a suffragan of Bourges.</p>
+
+<p>At the head of the Cours Sablon is a fifteenth-century
+fountain, executed to the order
+of a former bishop, Jacques d'Amboise.</p>
+
+<p>The biblioth�que still preserves, among
+fifty thousand volumes and eleven hundred
+MSS., an illuminated folio Bible of the
+twelfth century, a missal which formerly belonged
+to Pope Clement VI., and a ninth-century
+manuscript of the monk, Gregory of
+Tours.</p>
+
+<p>Near the cathedral in the Rue de Petit Gras
+is the birthplace of the precocious Blaise Pascal,
+who next to Urban II.&mdash;if not even before
+him&mdash;is perhaps Clermont's most famous
+personage. A bust of the celebrated writer is
+let into the wall which faces the Passage Vernines,
+and yet another adorns the entrance to
+the biblioth�que; and again another&mdash;a full-length
+figure this time&mdash;is set about with<a name="page_151" id="page_151"></a>
+growing plants, in the Square Blaise Pascal.
+Altogether one will judge that Pascal is indeed
+the most notable figure in the secular history
+of the city. This most original intellect of his
+time died in 1662, at the early age of thirty-nine.<a name="page_152" id="page_152"></a></p>
+
+<h3><a name="XV-2" id="XV-2"></a>XV<br /><br />
+ST. FULCRAN DE LOD�VE</h3>
+
+<p>Lod�ve, seated tightly among the mountains,
+near the confluence of the rivers Solondre
+and Lergue, not far from the Cevennes
+and the borders of the G�vaudan, was a bishopric,
+suffragan of Narbonne, as early as the
+beginning of the fourth century.</p>
+
+<p>It had been the capital of the Gallic tribe of
+the Volsques, then a pagan Roman city, and
+finally was converted to Christianity in the
+year 323 by the apostle St. Flour, who founded
+the bishopric, which, with so many others, was
+suppressed at the Revolution.</p>
+
+<p>The city suffered greatly from the wars of
+the Goths, the Albigenses, and later the civil
+wars of the Protestants and Catholics. The
+bishops of Lod�ve were lords by virtue of the
+fact that the title was bought from the viscounts
+whose honour it had previously held.
+<i>St. Guillem Ley Desert</i> (O. F.), a famous<a name="page_153" id="page_153"></a>
+abbey of the Benedictines, founded by an ancestor
+of the Prince of Orange, is near by.</p>
+
+<p>The ancient cathedral of St. Fulcran is
+situated in the <i>haute-ville</i> and dates, as to its
+foundation walls, from the middle of the tenth
+century. The reconstructed present-day edifice
+is mainly of the thirteenth century, and
+as an extensive work of its time is entitled to
+rank with many of the cathedral churches
+which survived the Revolution. By the end
+of the sixteenth century, the last remaining
+work and alterations were completed, and one
+sees therefore a fairly consistent medi�val
+church. The west fa�ade is surmounted by
+<i>tourelles</i> which are capped with a defending
+<i>m�chicoulis</i>, presumably for defence from attack
+from the west, as this battlement could
+hardly have been intended for mere ornament,
+decorative though it really is. The interior
+height rises to something approximating
+eighty feet, and is imposing to a far greater
+degree than many more magnificent and
+wealthy churches.</p>
+
+<p>The choir is truly elegant in its proportions
+and decorations, its chief ornament being that
+of the high-altar, and the white marble lions
+which flank the stalls. From the choir one
+enters the ruined cloister of the fifteenth century;<a name="page_154" id="page_154"></a>
+which, if not remarkable in any way,
+is at least distinctive and a sufficiently uncommon
+appendage of a cathedral church to
+be remarked.</p>
+
+<p>A marble tomb of a former bishop,&mdash;Plantavit
+de la Pause,&mdash;a distinguished prelate
+and bibliophile, is also in the choir. This
+monument is a most worthy artistic effort,
+and shows two lions lying at the foot of a full-length
+figure of the churchman. It dates
+from 1651, and, though of Renaissance workmanship,
+its design and sculpture&mdash;like most
+monumental work of its era&mdash;are far ahead
+of the quality of craftsmanship displayed by
+the builders and architects of the same period.</p>
+
+<p>The one-time episcopal residence is now
+occupied by the <i>h�tel de ville</i>, the <i>tribunal</i>,
+and the <i>caserne de gendarmerie</i>. As a shelter
+for civic dignity this is perhaps not a descent
+from its former glory, but as a <i>caserne</i> it is
+a shameful debasement; not, however, as
+mean as the level to which the papal palace
+at Avignon has fallen.</p>
+
+<p>The guide-book information&mdash;which, be it
+said, is not disputed or reviled here&mdash;states
+that the city's manufactories supply <i>surtout
+des draps</i> for the army; but the church-lover
+will get little sustenance for his refined<a name="page_155" id="page_155"></a>
+appetite from this kernel of matter-of-fact information.</p>
+
+<p>Lod�ve is, however, a charming provincial
+town, with two ancient bridges crossing its
+rivers, a ruined ch�teau, <i>Montbrun</i>, and a fine
+promenade which overlooks the river valleys
+round about.</p>
+
+<p><a name="page_156" id="page_156"></a></p>
+
+<p><a name="page_157" id="page_157"></a></p>
+
+<h2><a name="PART_III" id="PART_III"></a><i>PART III<br /><br />
+The Rh�ne Valley</i></h2>
+
+<p><a name="page_158" id="page_158"></a></p>
+
+<p><a name="page_159" id="page_159"></a></p>
+
+<h3><a name="I-3" id="I-3"></a>I<br /><br />
+INTRODUCTORY</h3>
+
+<p>The knowledge of the geographer Ptolemy,
+who wrote in the second century with
+regard to the Rh�ne, was not so greatly at
+fault as with respect to other topographical
+features, such as coasts and boundaries.</p>
+
+<p>Perhaps the fact that Gaul had for so long
+been under Roman dominion had somewhat
+to do with this.</p>
+
+<p>He gives, therefore, a tolerably correct account
+as to this mighty river, placing its
+sources in the Alps, and tracing its flow
+through the lake <i>Lemannus</i> (Leman) to
+<i>Lugdunum</i> (Lyon); whence, turning sharply
+to the southward, it enters the Mediterranean
+south of Arles. Likewise, he correctly adds
+that the upper river is joined with the combined
+flow of the Doubs and Sa�ne, but commits
+the error of describing their source to
+be also in the Alps.</p>
+
+<p>Philip Gilbert Hamerton, who knew<a name="page_160" id="page_160"></a>
+these parts well,&mdash;his home was near Autun,&mdash;has
+described the confluence of the Sa�ne
+and Rh�ne thus:</p>
+
+<p>"The width and depth of the two rivers
+are equal, but the swift-flowing Rh�ne discharges
+twice the volume of water of the slow-running
+Sa�ne. They also differ remarkably
+in colour. The Sa�ne is emerald-green and
+the Rh�ne blue-green. Here the minor river
+loses its name and character, and, by an unusual
+process, the slowest and most navigable
+stream in Europe joins the swiftest and least
+navigable. The <i>Flumen Araris</i> ceases and
+becomes the <i>Rhodanus</i>."</p>
+
+<p>The volume of water which yearly courses
+down the Rh�ne is perhaps greater than
+would first appear, when, at certain seasons
+of the year, one sees a somewhat thin film of
+water gliding over a wide expanse of yellow
+sand and shingle.</p>
+
+<p>Throughout, however, it is of generous
+width and at times rises in a true torrential
+manner: this when the spring freshets and
+melting Alpine snows are directed thither
+toward their natural outlet to the sea. "Rivers,"
+said Blaise Pascal, "are the roads that
+move." Along the great river valleys of the
+Rh�ne, the Loire, the Seine, and the Rhine<a name="page_161" id="page_161"></a>
+were made the first Roman roads, the prototypes
+of the present-day means of communication.</p>
+
+<p>The development of civilization and the
+arts along these great pathways was rapid and
+extensive. Two of them, at least, gave birth
+to architectural styles quite differing from
+other neighbouring types: the <i>Romain-Germanique</i>&mdash;bordering
+along the Rhine and
+extending to Alsace and the Vosges; and the
+<i>Romain-Bourguignon</i>, which followed the
+valley of the Rh�ne from Bourgogne to the
+Mediterranean and the Italian frontier, including
+all Provence.</p>
+
+<p>The true source of the Rh�ne is in the Pennine
+Alps, where, in consort with three other
+streams, the Aar, the Reuss, and the Ticino,
+it rises in a cloven valley close to the lake of
+Brienz, amid that huge jumble of mountain-tops,
+which differs so greatly from the popular
+conception of a mountain range.</p>
+
+<p>Dauphin� and Savoie are to-day comparatively
+unknown by parlour-car travellers.
+Dauphin�, with its great historical associations,
+the wealth and beauty of its architecture,
+the magnificence of its scenery, has always
+had great attractions for the historian,
+the arch�ologist, and the scholar; to the tourist,<a name="page_162" id="page_162"></a>
+however, even to the French tourist, it
+remained for many years a <i>terra incognita</i>.
+Yet no country could present the traveller
+with a more wonderful succession of ever-changing
+scenery, such a rich variety of landscape,
+ranging from verdant plain to mountain
+glacier, from the gay and picturesque to
+the sublime and terrible. Planted in the very
+heart of the French Alps, rising terrace above
+terrace from the lowlands of the Rh�ne to the
+most stupendous heights, Dauphin� may with
+reason claim to be the worthy rival of Switzerland.</p>
+
+<p>The romantic associations of "La Grande
+Chartreuse"; of the charming valley towns of
+Sion and Aoste, famed alike in the history of
+Church and State; and of the more splendidly
+appointed cities of Grenoble and Chamb�ry,
+will make a new leaf in the books of
+most peoples' experiences.</p>
+
+<p>The rivers Durance, Is�re, and Dr�me
+drain the region into the more ample basin
+of the Rh�ne, and the first of the three&mdash;for
+sheer beauty and romantic picturesqueness&mdash;will
+perhaps rank first in all the world.</p>
+
+<p>The chief associations of the Rh�ne valley
+with the Church are centred around Lyon,
+Vienne, Avignon, and Arles. The associations<a name="page_163" id="page_163"></a>
+of history&mdash;a splendid and a varied
+past&mdash;stand foremost at Orange, N�mes, Aix,
+and Marseilles. It is not possible to deal here
+with the many <i>pays et pagi</i> of the basin of the
+Rh�ne.</p>
+
+<p>Of all, Provence&mdash;that golden land&mdash;stands
+foremost and compels attention. One
+might praise it <i>ad infinitum</i> in all its splendid
+attributes and its glorious past, but one could
+not then do it justice; better far that one
+should sum it up in two words&mdash;"Mistral's
+world."</p>
+
+<p>The popes and the troubadours combined
+to cast a glamour over the "fair land of Provence"
+which is irresistible. Here were
+architectural monuments, arches, bridges,
+aqueducts, and arenas as great and as splendid
+as the world has ever known. Aix-en-Provence,
+in King Ren�'s time, was the gayest
+capital of Europe, and the influence of its
+arts and literature spread to all parts.</p>
+
+<p>To the south came first the Visigoths, then
+the conflicting and repelling Ostrogoths; between
+them soon to supplant the Gallo-Roman
+cultivation which had here grown so vigorously.</p>
+
+<p>It was as late as the sixth century when the
+Ostrogoths held the brilliant sunlit city of<a name="page_164" id="page_164"></a>
+Arles; when follows a history&mdash;applicable
+as well to most of all southern France&mdash;of
+many dreary centuries of discordant races,
+of varying religious faiths, and adherence
+now to one lord and master, and then to
+another.</p>
+
+<p>Monuments of various eras remain; so
+numerously that one can rebuild for themselves
+much that has disappeared for ever:
+palaces as at Avignon, castles as at Tarascon
+and Beaucaire, and walled cities as at Aigues-Morte.
+What limitless suggestion is in the
+thought of the assembled throngs who peopled
+the tiers of the arenas and theatres of Arles
+and N�mes in days gone by. The sensation is
+mostly to be derived, however, from thought
+and conjecture. The painful and nullifying
+"<i>spectacles</i>" and "<i>courses des taureaux</i>,"
+which periodically hold forth to-day in these
+noble arenas, are mere travesties on their
+splendid functions of the past. Much more
+satisfying&mdash;and withal more artistic&mdash;are
+the theatrical representations in that magnificent
+outdoor theatre at Orange; where so recently
+as the autumn of 1903 was given a
+grand representation of dramatic art, with
+Madame Bernhardt, Coquelin, and others of<a name="page_165" id="page_165"></a>
+the galaxy which grace the French stage to-day,
+taking part therein.</p>
+
+<p>Proven�al literature is a vast and varied
+subject, and the women of Arles&mdash;the true
+Arlesians of the poet and romancer&mdash;are astonishingly
+beautiful. Each of these subjects&mdash;to
+do them justice&mdash;would require much
+ink and paper. Daudet, in "<i>Tartarin</i>," has
+these opening words, as if no others were
+necessary in order to lead the way into a new
+world: "<span class="smcap">It was September and it was
+Provence</span>." Frederic Mistral, in "Mir�io,"
+has written the great modern epic of Provence,
+which depicts the life as well as
+the literature of the ancient troubadours.
+The "Fountain of Vaucluse" will carry
+one back still further in the ancient Proven�al
+atmosphere; to the days of Petrarch
+and Laura, and the "little fish of
+Sorgues."</p>
+
+<p>What the Romance language really was,
+authorities&mdash;if they be authorities&mdash;differ.
+Hence it were perhaps well that no attempt
+should be made here to define what others
+have failed to place, beyond this observation,
+which is gathered from a source now lost to
+recollection, but dating from a century ago
+at least:<a name="page_166" id="page_166"></a></p>
+
+<p>"The southern or Romance language, the
+tongue of all the people who obeyed Charlemagne
+in the south of Europe, proceeded
+from the parent-vitiated Latin.</p>
+
+<p>"The Proven�aux assert, and the Spaniards
+deny, that the Spanish tongue is derived from
+the original Romance, though neither the
+Italians nor the French are willing to owe
+much to it as a parent, in spite of the fact
+that Petrarch eulogized it, and the troubadours
+as well.</p>
+
+<p>"The Toulousans roundly assert that the
+Proven�al is the root of all other dialects
+whatever (<i>vide Cazeneuve</i>). Most Spanish
+writers on the other hand insist that the Proven�al
+is derived from the Spanish (<i>vide
+Coleccion de Poesias Castellanas; Madrid,
+1779</i>)."</p>
+
+<p>At all events the idiom, from whatever it
+may have sprung, took root, propagated and
+flourished in the land of the Proven�al troubadours.</p>
+
+<p>Whatever may have been the real extent of
+the influences which went out from Provence,
+it is certain that the marriage of Robert with
+Constance&mdash;daughter of the first Count of
+Provence, about the year 1000&mdash;was the
+period of a great change in manners and<a name="page_167" id="page_167"></a>
+customs throughout the kingdom. Some even
+have asserted that this princess brought in
+her train the troubadours who spread the
+taste for poetry and its accompaniments
+throughout the north of France.</p>
+
+<p>The "Provence rose," so celebrated in
+legend and literature, can hardly be dismissed
+without a word; though, in truth, the casual
+traveller will hardly know of its existence,
+unless he may have a sweet recollection of
+some rural maid, who, with sleeves carefully
+rolled up, stood before her favourite rose-tree,
+tenderly examining it, and driving away
+a buzzing fly or a droning wasp.</p>
+
+<p>These firstlings of the season are tended
+with great pride. The distinctive "rose of
+Provence" is smaller, redder, and more elastic
+and concentric than the <i>centifoli�</i> of the
+north, and for this reason, likely, it appears
+the more charming to the eye of the native
+of the north, who, if we are to believe the
+romanticists, is made a child again by the
+mere contemplation of this lovely flower.</p>
+
+<p>The glory of this rich red "Provence
+rose" is in dispute between Provence and
+Provins, the ancient capital of La Brie; but
+the weight of the argument appears to favour
+the former.<a name="page_168" id="page_168"></a></p>
+
+<p>Below Arles and N�mes the Rh�ne broadens
+out into a many-fingered estuary, and
+mingles its Alpine flood with the blue waters
+of the Mediterranean.</p>
+
+<p>The delta has been formed by the activity
+and energy of the river itself, from the fourth
+century&mdash;when it is known that Arles lay sixteen
+miles from the sea&mdash;till to-day, when it
+is something like thirty. This ceaseless carrying
+and filling has resulted in a new coast-line,
+which not only has changed the topography
+of the region considerably, but may be supposed
+to have actually worked to the commercial
+disadvantage of the country round
+about.</p>
+
+<p>The annual prolongation of the shores&mdash;the
+reclaimed water-front&mdash;is about one hundred
+and sixty-four feet, hence some considerable
+gain is accounted for, but whether to
+the nation or the "squatter" statistics do not
+say.</p>
+
+<p>The delta of the Rh�ne has been described
+by an expansive French writer as: "Something
+quite separate from the rest of France.
+It is a wedge of Greece and of the East thrust
+into Gaul. It came north a hundred (or
+more) years ago and killed the Monarchy.<a name="page_169" id="page_169"></a>
+It caught the value in, and created the great
+war-song of the Republic."</p>
+
+<p>There is a deal of subtlety in these few lines,
+and they are given here because of their truth
+and applicability.<a name="page_170" id="page_170"></a></p>
+
+<h3><a name="II-3" id="II-3"></a>II<br /><br />
+ST. ETIENNE DE CHALONS-SUR-SA�NE</h3>
+
+<p>"The cathedral at Chalons," says Philip
+Gilbert Hamerton,&mdash;who knew the entire
+region of the Sa�ne better perhaps than any
+other Anglo-Saxon,&mdash;"has twin towers,
+which, in the evening, at a distance, recall
+Notre Dame (at Paris), and there are domes,
+too, as in the capital."</p>
+
+<p>An imaginative description surely, and one
+that is doubtless not without truth were one
+able to first come upon this riverside city
+of mid-France in the twilight, and by boat
+from the upper river.</p>
+
+<p>Chalons is an ideally situated city, with a
+placidness which the slow current of the
+Sa�ne does not disturb. But its cathedral!
+It is no more like its Parisian compeer than
+it is like the Pyramids of Egypt.</p>
+
+<p>In the first place, the cathedral towers are
+a weak, effeminate imitation of a prototype
+which itself must have been far removed from<a name="page_171" id="page_171"></a>
+Notre Dame, and they have been bolstered
+and battened in a shameful fashion.</p>
+
+<p>The cathedral at Chalons is about the most
+ancient-looking possession of the city, which
+in other respects is quite modern, and, aside
+from its charming situation and general attractiveness,
+takes no rank whatever as a centre
+of ancient or medi�val art.</p>
+
+<p>Its examples of Gallic architecture are not
+traceable to-day, and of Roman remains it
+possesses none. As a Gallic stronghold,&mdash;it
+was never more than that,&mdash;it appealed to
+C�sar merely as a base from which to advance
+or retreat, and its history at this time is not
+great or abundant.</p>
+
+<p>A Roman wall is supposed to have existed,
+but its remains are not traceable to-day,
+though tradition has it that a quantity of its
+stones were transported by the monk B�nigne
+for the rotunda which he built at Dijon.</p>
+
+<p>The city's era of great prosperity was the
+fifteenth and sixteenth centuries, when its
+fortifications were built up anew, its cathedral
+finished, and fourteen churches held
+forth.</p>
+
+<p>From this high estate it has sadly fallen,
+and there is only its decrepit cathedral, rebuilt
+after a seventeenth-century fire, and two<a name="page_172" id="page_172"></a>
+churches&mdash;one of them modern&mdash;to uphold
+its ecclesiastical dignity.</p>
+
+<p>The towers of the cathedral are of the seventeenth
+century, but the so-called "Deanery
+Tower" is more ancient, and suggestive of
+much that is militant and very little that is
+churchly.</p>
+
+<p>The interior has been restored, not wholly
+with success, but yet not wholly spoiled.</p>
+
+<p>In plan and arrangement it is a simple and
+severe church, but acceptable enough when
+one contemplates changes made elsewhere.
+Here are to be seen no debased copies of
+Greek or Roman orders; which is something
+to be thankful for.</p>
+
+<p>The arches of the nave and choir are strong
+and bold, but not of great spread. The height
+of the nave, part of which has come down
+from the thirteenth century, is ninety feet at
+least.</p>
+
+<p>There are well-carved capitals to the pillars
+of the nave, and the coloured glass of the
+windows of triforium and clerestory is rich
+without rising to great beauty.</p>
+
+<p>In general the style is decidedly a <i>m�lange</i>,
+though the cathedral is entitled to rank as a
+Gothic example. Its length is 350 feet.<a name="page_173" id="page_173"></a></p>
+
+<p>The <i>ma�tre-autel</i> is one of the most elegant
+in France.</p>
+
+<p>Modern improvement has cleared away
+much that was picturesque, but around the
+cathedral are still left a few gabled houses,
+which serve to preserve something of the
+medi�val setting which once held it.</p>
+
+<p>The courtyard and its dependencies at the
+base of the "Deanery Tower" are the chief
+artistic features. They appeal far more
+strongly than any general accessory of the
+cathedral itself, and suggest that they once
+must have been the components of a cloister.</p>
+
+<p>The see was founded in the fifth century as
+a suffragan of Lyon.<a name="page_174" id="page_174"></a></p>
+
+<h3><a name="III-3" id="III-3"></a>III<br /><br />
+ST. VINCENT DE MACON</h3>
+
+<p>The <i>Mastieo</i> of the Romans was not the
+Macon of to-day, though, by evolution, or
+corruption, or whatever the process may have
+been, the name has come down to us as referring
+to the same place. The former city did
+not border the river, but was seated on a
+height overlooking the Sa�ne, which flows
+by the doors of the present city of Macon.</p>
+
+<p>Its site is endowed with most of the attributes
+included in the definition of "commanding,"
+and, though not grandly situated,
+is, from any riverside view-point, attractive
+and pleasing.</p>
+
+<p>When it comes to the polygonal towers of
+its olden cathedral, this charming and pleasing
+view changes to that of one which is curious
+and interesting. The cathedral of St.
+Vincent is a battered old ruin, and no amount
+of restoration and rebuilding will ever endow
+it with any more deserving qualities.<a name="page_175" id="page_175"></a></p>
+
+<div class="framing" style="width: 312px;">
+<a href="images/ill_174.jpg">
+<img src="images/ill_174_sml.jpg" width="312" height="550" alt="ST. VINCENT
+de MACON." title="" /></a>
+<div class="figleft" style="width: 195px;">
+<img src="images/ill_174_name.jpg" width="195" height="54" alt="ST. VINCENT de MACON." title="" />
+</div>
+</div>
+
+<p>The Revolution was responsible for its
+having withered away, as it was also for the
+abolishment of the see of Macon.</p>
+
+<p>The towers stand to-day&mdash;lowered somewhat
+from their former proportions&mdash;gaunt
+and grim, and the rich Burgundian narthen,
+which lay between, has been converted&mdash;not
+restored, mark you&mdash;into an inferior sort
+of chapel.</p>
+
+<p>The destruction that fell upon various parts
+of this old church might as well have been
+more sweeping and razed it to the ground
+entirely. The effect could not have been more
+disheartening.</p>
+
+<p>Macon formerly had twelve churches.
+Now it has three&mdash;if we include this poor
+fragment of its one-time cathedral. Between
+the Revolution and the coronation of Napoleon
+I. the city was possessed of no place of
+worship.</p>
+
+<p>Macon became an episcopal see, with
+Placide as its first bishop, in the sixth century.
+It was suppressed in 1790.</p>
+
+<p>The bridge which crosses the river to the
+suburb of St. Laurent is credited as being
+the finest work of its kind crossing the Sa�ne.
+Hamerton has said that "its massive arches
+and piers, wedge-shaped to meet the wind, are<a name="page_176" id="page_176"></a>
+pleasant to contemplate after numerous festoons
+of wire carrying a roadway of planks."
+This bridge was formerly surmounted, at
+either end, with a castellated gateway, but,
+like many of these accessories elsewhere, they
+have disappeared.</p>
+
+<p>The famous bridge at Cahors (shown elsewhere
+in this book) is the best example of
+such a bridge still existing in France.</p>
+
+<p>As a "cathedral city," Macon will not take
+a high rank. The "great man" of Macon
+was Lamartine. His birthplace is shown to
+visitors, but its present appearance does not
+suggest the splendid appointments of its description
+in that worthy's memoirs.</p>
+
+<p>Macon is the <i>entrep�t</i> of the abundant and
+excellent <i>vin du Bourgogne</i>, and the strictly
+popular repute of the city rests entirely on this
+fact.<a name="page_177" id="page_177"></a></p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_176.jpg">
+<img src="images/ill_176_sml.jpg" width="550" height="358" alt="ST. JEAN de LYON." title="" /></a>
+<div class="figleft" style="width: 129px;">
+<img src="images/ill_176_name.jpg" width="129" height="71" alt="ST. JEAN de LYON." title="" />
+</div>
+</div>
+
+<h3><a name="IV-3" id="IV-3"></a>IV<br /><br />
+ST. JEAN DE LYON</h3>
+
+<p>The Lyonnais is the name given to that
+region lying somewhat to the westward of the
+city of Lyon. It is divided into three distinct
+parts, <i>le Lyonnais</i> proper, <i>le Forez</i>, and
+<i>le Beaujolais</i>. Its chief appellation comes
+from that of its chief city, which in turn is
+more than vague as to its etymology: <i>Lugdunum</i>
+we know, of course, and we can trace
+its evolution even unto the Anglicized Lyons,
+but when philologists, antiquarians, and "pedants
+of mere pretence" ask us to choose
+between <i>le corbeau</i>&mdash;<i>lougon</i>, <i>un eminence</i>&mdash;<i>dounon</i>,
+<i>lone</i>&mdash;an arm of a river, and <i>dun</i> the
+Celtic word for height, we are amazed, and
+are willing enough to leave the solving of
+the problem to those who will find a greater
+pleasure therein.</p>
+
+<p>Lyon is a widely-spread city, of magnificent
+proportions and pleasing aspect, situated
+as it is on the banks of two majestic, though<a name="page_178" id="page_178"></a>
+characteristically different rivers, the Rh�ne
+and the Sa�ne.</p>
+
+<p>In many respects it is an ideally laid-out
+city, and the scene from the heights of Fourvi�re
+at night, when the city is brilliant with
+many-lighted workshops, is a wonderfully
+near approach to fairy-land.</p>
+
+<p>Whether the remarkable symmetry of the
+city's streets and plan is the result of the genius
+of a past day, or of the modern progressive
+spirit, is in some doubt. Certainly it must
+originally have been a delightfully planned
+city, and the spirit of modernity&mdash;though
+great&mdash;has not by any means wholly eradicated
+its whilom charm of another day.</p>
+
+<p>It may be remarked here that about the only
+navigable portion of the none too placid
+Rh�ne is found from here to Avignon and
+Arles, to which points, in summer at least,
+steam-craft&mdash;of sorts&mdash;carry passengers with
+expedition and economy&mdash;down-stream; the
+journey up-river will amaze one by the potency
+of the flood of this torrential stream&mdash;so
+different from the slow-going Sa�ne.</p>
+
+<p>The present diocese, of which the see of
+Lyon is the head, comprehends the Department
+of the Rh�ne et Loire. It is known
+under the double vocable of Lyon et Vienne,<a name="page_179" id="page_179"></a>
+and is the outgrowth of the more ancient
+ecclesiastical province of Vienne, whose archiepiscopal
+dignity was domiciled in St. Maurice.</p>
+
+<p>It was in the second century that St. Pothin,
+an Asiatic Greek, came to the ancient province
+of Lyon as archbishop. The title carried
+with it that of primate of all Gaul: hence
+the importance of the see, from the earliest
+times, may be inferred.</p>
+
+<p>The architectural remains upon which is
+built the flamboyant Gothic church of St.
+Nizier are supposed to be those of the primitive
+cathedral in which St. Pothin and St.
+Iren�us celebrated the holy rites. The claim
+is made, of course, not without a show of justification
+therefor, but it is a far cry from
+the second century of our era to this late day;
+and the sacristan's words are not convincing,
+in view of the doubts which many non-local
+experts have cast upon the assertion. The
+present <i>�glise St. Nizier</i> is furthermore dedicated
+to a churchman who lived as late as the
+sixth century.</p>
+
+<p>The present cathedral of St. Jean dates
+from the early years of the twelfth century,
+but there remains to-day another work closely
+allied with episcopal affairs&mdash;the stone<a name="page_180" id="page_180"></a>
+bridge which spans the Sa�ne, and which was
+built some two hundred years before the present
+cathedral by Archbishop Humbert.</p>
+
+<p>Though a bridge across a river is an essentially
+practical and utile thing, it is, perhaps,
+in a way, as worthy a work for a generous and
+masterful prelate as church-building itself.
+Certainly this was the case with Humbert's
+bridge, he having designed the structure,
+superintended its erection, and assumed the
+expense thereof. It is recorded that this
+worthy churchman gained many adherents
+for the faith, so it may be assumed that he
+builded as well as he knew.</p>
+
+<p>St. Jean de Lyon dates from 1180, and presents
+many architectural anomalies in its constructive
+elements, though the all-pervading
+Gothic is in the ascendant. From this height
+downward, through various interpolations,
+are seen suggestions of many varieties and
+styles of church-building. There is, too, an
+intimation of a motif essentially pagan if one
+attempts to explain the vagaries of some of the
+ornamentation of the unusual septagonal Lombard
+choir. This is further inferred when
+it is known that a former temple to Augustus
+stood on the same site. If this be so, the reasoning<a name="page_181" id="page_181"></a>
+is complete, and the classical ornament
+here is of a very early date.</p>
+
+<p>The fabric of the cathedral is, in the main,
+of a warm-coloured freestone, not unlike dark
+marble, but without its brilliancy and surface.
+It comes from the heights of Fourvi�re,&mdash;on
+whose haunches the cathedral sits,&mdash;and by
+virtue of the act of foundation it may be quarried
+at any time, free of all cost, for use by
+the Church.</p>
+
+<p>The situation of this cathedral is most attractive;
+indeed its greatest charm may be
+said to be its situation, so very picturesquely
+disposed is it, with the Quai de l'Archev�ch�
+between it and the river Sa�ne.</p>
+
+<p>The choir itself&mdash;after allowing for the
+interpolation of the early non-Christian fragments&mdash;is
+the most consistently pleasing portion.
+It presents in general a fairly pure,
+early Gothic design. Curiously enough, this
+choir sits below the level of the nave and
+presents, in the interior view, an unusual effect
+of amplitude.</p>
+
+<p>With the nave of the thirteenth and fourteenth
+centuries, the style becomes more
+mixed&mdash;localized, one may say&mdash;if only
+consistent details might be traced. At any
+rate, the style grows perceptibly heavier and<a name="page_182" id="page_182"></a>
+more involved, without the simplicity of pre-Gothic
+work. Finally, as one comes to the
+heavily capped towers, there is little of grace
+and beauty left.</p>
+
+<p>In detail, at least, if not in general, St. Jean
+runs quite the whole scale of medi�val architectural
+style&mdash;from the pure Romanesque
+to the definite, if rather mixed, Gothic.</p>
+
+<p>Of the later elements, the most remarkable
+is the fifteenth-century Bourbon chapel, built
+by Cardinal Charles and his brother Pierre.
+This chapel presents the usual richness and
+luxuriance of its time. If all things are considered,
+it is the chief feature of interest
+within the walls.</p>
+
+<p>The west front has triple portals, reminiscent,
+as to dimensions, of Amiens, though
+by no means so grandly peopled with statues;
+the heavy, stunted towers, too, are not unlike
+those of Amiens. These twin towers are of a
+decidedly heavy order, and are not beautiful,
+either as distinct features or as a component
+of the ensemble. Quite in keeping also are
+the chief decorations of the fa�ade, which are
+principally a series of superimposed medallions,
+depicting, variously, the signs of the
+zodiac, scenes from the life of St. Jean, and
+yet others suggesting scenes and incidents<a name="page_183" id="page_183"></a>
+from Genesis, with an admixture of heraldic
+symbolism which is here quite meaningless
+and singularly inappropriate, while still other
+entablatures present scenes illustrating the
+"Legend of St. Nicholas" and "The Law
+of Aristotle."</p>
+
+<p>The general effect of the exterior, the
+fa�ade in particular, is very dark, and except
+in a bright sunlight&mdash;which is usual&mdash;is
+indeed gloomy. In all probability, this is
+due to the discolouring of the soft stone of
+which the cathedral is built, as the same effect
+is scarcely to be remarked in the interior.</p>
+
+<p>In a tower on the south side&mdash;much lower,
+and not so clumsily built up as the twin towers&mdash;hangs
+one of the greatest <i>bourdons</i> in
+France. It was cast in 1662, and weighs ten
+thousand kilos.</p>
+
+<p>Another curiosity of a like nature is to be
+seen in the interior, an astronomical clock&mdash;known
+to Mr. Tristram as "that great clock
+of Lippius of Basle." Possessed of a crowing
+cock and the usual toy-book attributes, this
+great clock is a source of perennial pride to
+the native and the makers of guide-books.
+Sterne, too, it would appear, waxed unduly
+enthusiastic over this really ingenious thing
+of wheels and cogs. He said: "I never<a name="page_184" id="page_184"></a>
+understood the least of mechanism. I declare
+I was never able yet to comprehend the principles
+of a squirrel-cage or a knife-grinder's
+wheel, yet I will go see this wonderful clock
+the first thing I do." When he did see it, he
+quaintly observed that "it was all out of
+joint."</p>
+
+<p>The rather crude coloured glass&mdash;though
+it is precious glass, for it dates from the thirteenth
+century, in part&mdash;sets off bountifully
+an interior which would otherwise appear
+somewhat austere.</p>
+
+<p>In the nave is a marble pulpit which has
+been carved with more than usual skill. It
+ranks with that in St. Maurice, at Vienne, as
+one of the most beautiful in France.</p>
+
+<p>The cathedral possesses two <i>reliques</i> of real
+importance in the crosses which are placed
+to the left and right of the high-altar. These
+are conserved by a unique custom, in memory
+of an attempt made by a <i>concile g�n�ral</i> of
+the church, held in Lyon in 1274, to reconcile
+the Latin and Greek forms of religion.</p>
+
+<p>The sacristy, in which the bountiful, though
+not historic, <i>tr�sor</i> is kept, is in the south transept.</p>
+
+<p>Among the archives of the cathedral there
+are, says a local antiquary, documents of a<a name="page_185" id="page_185"></a>
+testamentary nature, which provided the
+means for the up-keep of the fabric without
+expense to the church, until well into the
+eighteenth century.</p>
+
+<p>On the apex of the height which rises above
+the cathedral is the Basilique de Notre Dame
+de Fourvi�re&mdash;"one of those places of pilgrimage,
+the most venerated in all the world,"
+says a confident French writer. This may
+be so; it overlooks ground which has long
+been hallowed by the Church, to a far greater
+degree than many other parts, but, like so
+many places of pilgrimage of a modern day,
+its nondescript religious edifice is enough to
+make the church-lover willingly pass it by.
+The site is that of the ancient <i>Forum Vetus</i>
+of the Romans, and as such is more appealing
+to most than as a place of pilgrimage.<a name="page_186" id="page_186"></a></p>
+
+<h3><a name="V-3" id="V-3"></a>V<br /><br />
+ST. MAURICE DE VIENNE</h3>
+
+<div class="blockquot"><p>"At the feet of seven mountains; on the banks of a
+large river; an antique city and a <i>cit� neuve</i>."</p>
+
+<p class="r"><span class="smcap">&mdash;Fran�ois Ponsard.</span></p></div>
+
+<p>Though widowed to-day of its bishop's
+throne, Vienne enjoys with Lyon the distinction
+of having its name attached to an episcopal
+see. The ancient archbishopric ruled
+over what was known as the Province of
+Vienne, which, if not more ancient than that
+of Lyon, dates from the same century&mdash;the
+second of our Christian era&mdash;and probably
+from a few years anterior, as it is known that
+St. Crescent, the first prelate of the diocese,
+was firmly established here as early as 118
+<span class="smcap">a. d.</span> In any event, it was one of the earliest
+centres of Christianity north of the Alps.</p>
+
+<p>To-day, being merged with the diocese of
+Lyon, Vienne is seldom credited as being
+a cathedral city. Locally the claim is very<a name="page_187" id="page_187"></a>
+strongly made, but the Mediterranean tourist
+never finds this out, unless, perchance, he
+"drops off" from the railway in order to
+make acquaintance with that remarkable
+Roman temple to Augustus, of which he may
+have heard.</p>
+
+<p>Then he will learn from the <i>habitants</i> that
+by far their greatest respect and pride are for
+their <i>ancienne Cath�drale de St. Maurice</i>,
+which sits boldly upon a terrace dominating
+the course of the river Rh�ne.</p>
+
+<p>In many respects St. Maurice de Vienne
+will strike the student and lover of architecture
+as being one of the most lively and appealing
+edifices of its kind. The Lombard
+origin of many of its features is without
+question; notably the delightful gallery on
+the north side, with its supporting columns of
+many grotesque shapes.</p>
+
+<p>Again the parapet and terrace which precede
+this church, the ground-plan, and some
+of the elevations are pure Lombard in motive.</p>
+
+<p>There are no transepts and no ancient chapels
+at the eastern termination; the windows
+running down to the pavement. This, however,
+does not make for an appearance at all
+<i>outr�</i>&mdash;quite the reverse is the case. The
+general effect of the entire internal distribution<a name="page_188" id="page_188"></a>
+of parts, with its fine approach from the
+nave to the sanctuary and choir, is exceedingly
+notable.</p>
+
+<p>Of the remains of the edifice, which was
+erected on the foundations of a still earlier
+church, in 1052 (reconstructed in 1515), we
+have those of the primitive, but rich, ornamentation
+of the fa�ade as the most interesting
+and appealing.</p>
+
+<p>The north doorway, too, indicates in its
+curious <i>bas-reliefs</i>, of the twelfth or thirteenth
+centuries, a luxuriance which in the north&mdash;in
+the Romanesque churches at least&mdash;came
+only with later centuries.</p>
+
+<p>There are few accessories of note to be seen
+in the choir or chapels: a painting of St.
+Maurice by Desgoff�s, a small quantity of
+fourteenth-century glass, the mausoleum of
+Cardinal de Montmorin, a sixteenth-century
+tomb, and, in one of the chapels, some modern
+glass of more than usual brilliance.</p>
+
+<p>The pulpit is notable, and, with that in St.
+Jean de Lyon, ranks as one of the most elaborate
+in France.</p>
+
+<p>For the rest, one's admiration for St. Maurice
+de Vienne must rest on the glorious antiquity
+of the city, as a centre of civilizing
+and Christianizing influence.<a name="page_189" id="page_189"></a></p>
+
+<p>When Pope Paschal II. (1099-1118) confirmed
+the metropolitan privileges of Vienne,
+and sent the <i>pallium</i> to its archbishop, he assigned
+to him as suffragans the bishops of
+Grenoble, Valence, Di�, Viviers, Geneva, and
+St. Jean de Maurienne, and conferred upon
+him the honorary office of primate over Monstiers
+in Tarentaise. Still later, Calixtus II.
+(1119-24) favoured the archbishopric still
+further by not only confirming the privileges
+which had gone before, but investing the archbishop
+with the still higher dignity of the
+office of primate over the seven ecclesiastical
+Provinces of Vienne, Bourges, Bordeaux,
+Auch, Narbonne, Aix, and Embrun.<a name="page_190" id="page_190"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 422px;">
+<a href="images/ill_190.png">
+<img src="images/ill_190_sml.png" width="422" height="280" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="VI-3" id="VI-3"></a>VI<br /><br />
+ST. APOLLINAIRE DE VALENCE</h3>
+
+<p>Valence, the Valentia of the Romans, is
+variously supposed to be situated in southeastern
+France, Provence, and the Cevennes.
+For this reason it will be difficult for the
+traveller to locate his guide-book reference
+thereto.</p>
+
+<p>It is, however, located in the Rh�ne valley
+on the very banks of that turgid river, and it
+seems inexplicable that the makers of the red-covered
+couriers do not place it more definitely;
+particularly in that it is historically
+so important a centre.<a name="page_191" id="page_191"></a></p>
+
+<p>The most that can usually be garnered by
+the curious is that it is "well built in parts,
+and that those parts only are of interest to the
+traveller." As a matter of fact, they are nothing
+of the sort; and the boulevards, of which
+so much is made, are really very insignificant;
+so, too, are the caf�s and restaurants, to which
+far more space is usually given than to the
+claim of Valence as an early centre of Christianity.</p>
+
+<p>Valence is not a great centre of population,
+and is appealing by reason of its charming
+situation, in a sort of amphitheatre, before
+which runs the swift-flowing Rh�ne. There
+is no great squalor, but there is a picturesqueness
+and charm which is wholly dispelled in
+the newer quarters, of which the guide-books
+speak.</p>
+
+<p>There is, moreover, in the cathedral of St.
+Apollinaire, a small but highly interesting
+"Romanesque-Auvergnian" cathedral; rebuilt
+and reconsecrated by Urban II., in the
+eleventh century, and again reconstructed, on
+an entirely new plan, in 1604. Besides this
+curious church there is a "Protestant temple,"
+which occupies the former chapel of
+the ancient Abbey of St. Rufus, that should<a name="page_192" id="page_192"></a>
+have a singularly appealing interest for English-speaking
+folk.</p>
+
+<p>The pr�fecture occupies another portion of
+the abbey, which in its various disintegrated
+parts is worthy of more than passing consideration.</p>
+
+<p>The bishopric was founded here at Valence
+in the fourth century&mdash;when Emelien became
+the first bishop. The see endures to-day
+as a suffragan of Avignon; whereas formerly
+it owed obedience to Vienne (now Lyon et
+Vienne).</p>
+
+<p>The ancient cathedral of St. Apollinaire
+is almost wholly conceived and executed in
+what has come to be known as the Lombard
+style.</p>
+
+<p>The main body of the church is preceded
+on the west by an extravagant rectangular
+tower, beneath which is the portal or entrance;
+if, as in the present instance, the comprehensive
+meaning of the word suggests
+something more splendid than a mere doorway.</p>
+
+<p>There has been remarked before now that
+there is a suggestion of the Corinthian order
+in the columns of both the inside and outside
+of the church. This is a true enough detail of
+Lombard forms as it was of the Roman style,<a name="page_193" id="page_193"></a>
+which in turn was borrowed from the Greeks.
+In later times the neo-classical details of the
+late Renaissance period produced quite a different
+effect, and were in no way comparable
+to the use of this detail in the Lombard and
+Romanesque churches.</p>
+
+<p>In St. Apollinaire, too, are to be remarked
+the unusual arch formed of a rounded trefoil.
+This is found in both the towers, and is also
+seen in St. Maurice at Vienne, but not again
+until the country far to the northward and
+eastward is reached, where they are more frequent,
+therefore their use here may be considered
+simply as an interpolation brought
+from some other soil, rather than an original
+conception of the local builder.</p>
+
+<p>Here also is seen the unusual combination
+of an angular pointed arch in conjunction
+with the round-headed Lombard variety.
+This, in alternation for a considerable space,
+on the south side of the cathedral. It is a
+feature perhaps not worth mentioning, except
+from the fact that both the trefoil and wedge-pointed
+arch are singularly unbeautiful and
+little in keeping with an otherwise purely
+southern structure.</p>
+
+<p>The aisles of St. Apollinaire, like those of
+Notre Dame de la Grande at Poitiers, and<a name="page_194" id="page_194"></a>
+many other Lombardic churches, are singularly
+narrow, which of course appears to
+lengthen them out interminably.</p>
+
+<p>If any distinctive style can be given this
+small but interesting cathedral, it may well
+be called the style of Lyonnaise.</p>
+
+<p>It dates from the twelfth century as to its
+foundations, but was rebuilt on practically a
+new ground-plan in 1604.</p>
+
+<p>To-day it is cruciform after the late elongated
+style, with lengthy transepts and lofty
+aisles.</p>
+
+<p>The chief feature to be observed of its exterior
+is its heavy square tower (187 feet)
+of four stories. It is not beautiful, and was
+rebuilt in the middle nineteenth century, but
+it is imposing and groups satisfactorily
+enough with the <i>ensemble</i> round about. Beneath
+this tower is a fine porch worked in
+Crussol marble.</p>
+
+<p>There is no triforium or clerestory. In the
+choir is a cenotaph in white marble to Pius
+VI., who was exiled in Valence, and who died
+here in 1799. It is surmounted by a bust by
+Canova, whose work it has become the fashion
+to admire sedulously.<a name="page_195" id="page_195"></a></p>
+
+<h3><a name="VII-3" id="VII-3"></a>VII<br /><br />
+CATH�DRALE DE VIVIERS</h3>
+
+<p>The bishopric of Viviers is a suffragan of
+Avignon, and is possessed of a tiny cathedral
+church, which, in spite of its diminutive
+proportions, overtops quite all the other
+buildings of this ancient capital of the Vivarais.</p>
+
+<p>The city is a most picturesque setting for
+any shrine, with the narrow, tortuous streets&mdash;though
+slummy ones&mdash;winding to the
+cliff-top on which the city sits high above
+the waters of the Rh�ne.</p>
+
+<p>The choir of this cathedral is the only portion
+which warrants remark. It is of the fourteenth
+century, and has no aisles. It is in the
+accepted Gothic style, but this again is coerced
+by the Romanesque flanking tower, which, to
+all intents and purposes, when viewed from
+afar, might well be taken for a later Renaissance
+work.</p>
+
+<p>A nearer view dissects this tower into really<a name="page_196" id="page_196"></a>
+beautiful parts. The base is square, but above&mdash;in
+an addition of the fifteenth century&mdash;it
+blooms forth into an octagon of quite original
+proportions.</p>
+
+<p>In the choir are some Gobelin tapestries
+and paintings by Mignard; otherwise there
+are no artistic attributes to be remarked.<a name="page_197" id="page_197"></a></p>
+
+<h3><a name="VIII-3" id="VIII-3"></a>VIII<br /><br />
+NOTRE DAME D'ORANGE</h3>
+
+<p>The independent principality of Orange
+(which had existed since the eleventh century),
+with the papal State of Avignon, the
+tiny Comt� Venaissin, and a small part of
+Provence were welded into the Department of
+Vaucluse in the redistribution of political divisions
+under Napoleon I. The house of
+Nassau retains to-day the honorary title of
+Princes of Orange, borne by the heir apparent
+to the throne of Holland. More anciently
+the city was known as the Roman <i>Arausio</i>,
+and is yet famous for its remarkable Roman
+remains, the chief of which are its triumphal
+arch and theatre&mdash;one of the largest and
+most magnificent, if not actually the largest,
+of its era.</p>
+
+<p>The history of the church at Orange is far
+more interesting and notable than that of its
+rather lame apology for a cathedral of rank.
+The see succumbed in 1790 in favour of<a name="page_198" id="page_198"></a>
+Avignon, an archbishopric, and Valence, one
+of its suffragans.</p>
+
+<p>The persecution and oppression of the
+Protestants of Orange and Dauphin� are well-recorded
+facts of history.</p>
+
+<p>A supposedly liberal and tolerant maker of
+guide-books (in English) has given inhabitants
+of Orange a hard reputation by classing
+them as a "ferocious people." This
+rather unfair method of estimating their latter-day
+characteristics is based upon the fact
+that over three hundred perished here by the
+guillotine during the first three months of the
+Revolution. It were better had he told us
+something of the architectural treasures of this
+<i>ville de l'art c�l�bre</i>. He does mention the
+chief, also that "the town has many mosquitoes,"
+but, as for churches, he says not a word.</p>
+
+<p>The first bishop was St. Luce, who was
+settled here in the fourth century, at the same
+time that St. Ruff came to Avignon.</p>
+
+<p>As a bishopric, Orange was under the control
+of St. Trophime's successors at Arles.</p>
+
+<p>Notre Dame d'Orange is a work of little
+architectural pretence, though its antiquity
+is great as to certain portions of its walls.
+The oldest portion dates from 1085, though
+there is little to distinguish it from the more<a name="page_199" id="page_199"></a>
+modern additions and reparations, and is in
+no way suggestive of the splendour with
+which the ancient Roman theatre and arch
+were endowed.</p>
+
+<p>The chief attribute to be remarked is the
+extreme width of nave, which dates from
+1085 to 1126. The cathedral itself, however,
+is not an architectural example of any appealing
+interest whatever, and pales utterly before
+the magnificent and splendid preservations of
+secular Roman times.</p>
+
+<p>Since, however, Orange is a city reminiscent
+of so early a period of Christianity as
+the fourth century, it is to be presumed that
+other Christian edifices of note may have at
+one time existed: if so, no very vivid history
+of them appears to have been left behind, and
+certainly no such tangible expressions of the
+art of church-building as are seen in the
+neighbouring cities of the Rh�ne valley.<a name="page_200" id="page_200"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 468px;">
+<a href="images/ill_200.png">
+<img src="images/ill_200_sml.png" width="468" height="550" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="IX-3" id="IX-3"></a>IX<br /><br />
+ST. V�RAN DE CAVAILLON</h3>
+
+<p>"It is the plain of Cavaillon which is the
+market-garden of Avignon; from whence
+come the panniers of vegetables and fruits, the
+<i>buissons d'artichauts</i>, and the melons of 'high
+reputation.'"</p>
+
+<p>Such is the rather free paraphrase of a most
+charmingly expressed observation on this
+Proven�al land of plenty, written by an eighteenth-century
+Frenchman.</p>
+
+<p>If it was true in those days, it is no less true
+to-day, and, though this book is more concerned
+with churches than with <i>potagerie</i>,<a name="page_201" id="page_201"></a>
+the observation is made that this fact may have
+had not a little to do with the early foundation
+of the church, here in a plenteous region,
+where it was more likely to prosper than in
+an impoverished land.</p>
+
+<p>The bishopric was founded in the fifth century
+by St. Genialis, and it endured constantly
+until the suppression in 1790.</p>
+
+<p>All interest in Cavaillon, in spite of its
+other not inconsiderable claims, will be centred
+around its ancient cathedral of St. V�ran,
+immediately one comes into contact therewith.</p>
+
+<p>The present structure is built upon a very
+ancient foundation; some have said that the
+primitive church was of the seventh century.
+This present cathedral was consecrated by
+Pope Innocent IV. in person, in 1259, and for
+that reason possesses a considerable interest
+which it would otherwise lack.</p>
+
+<p>Externally the most remarkable feature is
+the arrangement and decoration of the apside&mdash;there
+is hardly enough of it to come within
+the classification of the chevet. Here the
+quintuple flanks, or sustaining walls, are
+framed each with a pair of columns, of graceful
+enough proportions in themselves, but
+possessed of inordinately heavy capitals.</p>
+
+<p>An octagonal cupola, an unusual, and in<a name="page_202" id="page_202"></a>
+this case a not very beautiful feature, crowns
+the centre of the nave. In reality it serves
+the purpose of a lantern, and allows a dubious
+light to trickle through into the interior,
+which is singularly gloomy.</p>
+
+<p>To the right of the nave is a curiously
+attenuated <i>clocher</i>, which bears a clock-face
+of minute proportions, and holds a clanging
+<i>bourdon</i>, which, judging from its voice, must
+be as proportionately large as the clock-face
+is small.</p>
+
+<p>Beneath this tower is a doorway leading
+from the nave to the cloister, a beautiful work
+dating from a much earlier period than the
+church itself.</p>
+
+<p>This cloister is not unlike that of St. Trophime
+at Arles, and, while plain and simple
+in its general plan of rounded arches and
+vaulting, is beautifully worked in stone, and
+admirably preserved. In spite of its severity,
+there is no suggestion of crudity, and there
+is an elegance and richness in its sculptured
+columns and capitals which is unusual in
+ecclesiastical work of the time.</p>
+
+<p>The interior of this church is quite as interesting
+as the exterior. There is an ample,
+though aisleless, nave, which, though singularly
+dark and gloomy, suggests a vastness<a name="page_203" id="page_203"></a>
+which is perhaps really not justified by the
+actual state of affairs.</p>
+
+<p>A very curious arrangement is that the
+supporting wall-pillars&mdash;in this case a sort
+of buttress, like those of the apside&mdash;serve
+to frame or enclose a series of deep-vaulted
+side chapels. The effect of this is
+that all of the flow of light, which might
+enter by the lower range of windows, is practically
+cut off from the nave. What refulgence
+there is&mdash;and it is not by any means
+of the dazzling variety&mdash;comes in through
+the before-mentioned octagon and the upper
+windows of the nave.</p>
+
+<p>In a chapel&mdash;the gift of Philippe de Cabassole,
+a friend of Petrarch's&mdash;is a funeral
+monument which will even more forcibly recall
+the name and association of the poet. It
+is a seventeenth-century tomb of Bishop Jean
+de Sade, a descendant of the famous Laura,
+whose ashes formerly lay in the �glise des
+Cordeliers at Avignon, but which were, it is
+to be feared, scattered to the winds by the
+Revolutionary fury.</p>
+
+<p>At the summit of Mont St. Jacques, which
+rises high above the town, is the ancient <i>Ermitage
+de St. V�ran</i>; a place of local pilgrimage,
+but not otherwise greatly celebrated.<a name="page_204" id="page_204"></a></p>
+
+<h3><a name="X-3" id="X-3"></a>X<br /><br />
+NOTRE DAME DES DOMS D'AVIGNON</h3>
+
+<p>It would be difficult to say with precision
+whether Avignon were more closely connected
+in the average mind with the former
+papal splendour, with Petrarch and his
+Laura, or with the famous F�librage.</p>
+
+<p>Avignon literally reeks with sentimental
+associations of a most healthy kind. No probable
+line of thought suggested by Avignon's
+historied and romantic past will intimate even
+the mawkish, the sordid, or the banal. It is,
+in almost limitless suggestion, the city of
+France above all others in which to linger
+and drink in the life of its past and present
+to one's fullest capacities.</p>
+
+<p>For the "literary pilgrim," first and foremost
+will be Avignon's association with Petrarch,
+or rather he with it. For this reason
+it shall be disposed of immediately, though
+not in one word, or ten; that would be impossible.</p>
+
+<p><a name="page_205" id="page_205"></a></p>
+
+<p><a name="page_206" id="page_206"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_205.png">
+<img src="images/ill_205_sml.png" width="550" height="360" alt="Notre Dame des Doms d&#39;Avignon" title="" /></a>
+<p><span class="captionunder">Notre Dame des Doms d&#39;Avignon</span></p>
+</div>
+
+<p><a name="page_207" id="page_207"></a></p>
+
+<p>"'The grave of Laura!' said I. 'Indeed,
+my dear sir, I am obliged to you for having
+mentioned it,'" were the words with which
+the local bookseller was addressed by an eighteenth-century
+traveller. "'Otherwise one
+might have gone away, to their everlasting
+sorrow and shame, without having seen this
+curiosity of your city.'"</p>
+
+<p>The same record of travel describes the
+guardian of this shrine as "a converted Jew,
+who, from one year's end to another, has but
+two duties to perform, which he most punctually
+attends to. The one to take care of the
+grave of Laura, and to show it to strangers,
+the other to give them information respecting
+all the curiosities. Before his conversion, he
+stood at the corner by the H�tel de Ville offering
+lottery tickets to passers-by, and asking,
+till he was hoarse, if they had anything to
+sell. Not a soul took the least notice of him.
+His beard proved a detriment in all his speculations.
+Now that he has become a Christian,
+it is wonderful how everything thrives
+with him."</p>
+
+<p>At the very end of the Rue des Lices will
+be found the last remains of the �glise des
+Cordeliers&mdash;reduced at the Revolution to a
+mere tower and its walls. Here may be seen<a name="page_208" id="page_208"></a>
+the spot where was the tomb of Laura de
+Sade. Arthur Young, writing just before the
+Revolution, described it as below; though
+since that time still other changes have taken
+place, with the result that "Laura's Grave"
+is little more than a memory to-day, and a
+vague one at that.</p>
+
+<p>"The grave is nothing but a stone in the
+pavement, with a figure engraved on it already
+partly effaced, surrounded by an inscription
+in Gothic letters, and another on the
+wall adjoining, with the armorial bearings of
+the De Sade family."</p>
+
+<p>To-day nothing but the site&mdash;the location&mdash;of
+the tomb is still there, the before-mentioned
+details having entirely disappeared.
+The vault was apparently broken open at the
+Revolution, and its ashes scattered. It was
+here at Avignon, in the �glise de St. Claire,
+as Petrarch himself has recorded, that he first
+met Laura de Sade.</p>
+
+<p>The present mood is an appropriate one
+in which to continue the Petrarchian pilgrimage
+countryward&mdash;to the famous Vaucluse.
+Here Petrarch came as a boy, in 1313,
+and, if one chooses, he may have his <i>d�jeuner</i>
+at the <i>H�tel P�trarque et Laure</i>; not the
+same, of course, of which Petrarch wrote in<a name="page_209" id="page_209"></a>
+praise of its fish of Sorgues; but you will
+have them as a course at lunch nevertheless.
+Here, too, the famed <i>Fontaine</i> first comes to
+light and air; and above it hangs "Petrarch's
+Castle," which is not Petrarch's castle, nor
+ever was. It belonged originally to the bishops
+of Cavaillon, but it is possible that Petrarch
+was a guest there at various times, as
+we know he was at the more magnificent
+<i>Palais des Papes</i> at Avignon.</p>
+
+<p>This ch�teau of the bishops hangs perilously
+on a brow which rises high above the
+torrential <i>Fontaine</i>, and, if sentiment will not
+allow of its being otherwise ignored, it is permissible
+to visit it, if one is so inclined. No
+special hardship is involved, and no great
+adventure is likely to result from this journey
+countryward. Tourists have been known to
+do the thing before "just to get a few snapshots
+of the fountain."</p>
+
+<p>As to why the palace of the popes came
+into being at Avignon is a question which suggests
+the possibilities of the making of a big
+book.</p>
+
+<p>The popes came to Avignon at the time of
+the Italian partition, on the strength of having
+acquired a grant of the city from Joanna of
+Naples, for which they were supposed to give<a name="page_210" id="page_210"></a>
+eighty thousand golden crowns. They never
+paid the bill, however; from which fact it
+would appear that financial juggling was born
+at a much earlier period than has hitherto
+been supposed.</p>
+
+<p>Seven popes reigned here, from 1305 to
+1370; when, on the termination of the Schism,
+it became the residence of a papal legate.
+Subsequently Louis XIV. seized the city, in
+revenge for an alleged affront to his ambassador,
+and Louis XV. also held it for ten
+years.</p>
+
+<p>The curious fact is here recalled that, by the
+treaty of Tolentino (12th February, 1797),
+the papal power at Rome conceded formally
+for the first time&mdash;to Napoleon I.&mdash;their
+ancient territory of Avignon. On the terms
+of this treaty alone was Pope Pius allowed
+to remain nominal master of even shreds of
+the patrimony of St. Peter.</p>
+
+<p>The significant events of Avignon's history
+are too great in purport and number to be
+even catalogued here, but the magnificent
+papal residence, from its very magnitude and
+luxuriance, compels attention as one of the
+great architectural glories, not only of France,
+but of all Europe as well.</p>
+
+<p>Here sat, for the major portion of the fourteenth<a name="page_211" id="page_211"></a>
+century, the papal court of Avignon;
+which the uncharitable have called a synonym
+for profligacy, veniality, and luxurious degeneracy.
+Here, of course, were held the
+conclaves by which the popes of that century
+were elected; significantly they were all
+Frenchmen, which would seem to point to
+the fact of corruption of some sort, if nothing
+more.</p>
+
+<p>Rienzi, the last of the tribunes, was a prisoner
+within the walls of this great papal
+stronghold, and Simone Memmi of Sienna
+was brought therefrom to decorate the walls
+of the popes' private chapel; Petrarch was
+<i>persona grata</i> here, and many other notables
+were frequenters of its hospitality.</p>
+
+<p>The palace walls rise to a height of nearly
+ninety feet, and its battlemented towers add
+another fifty; from which one may infer that
+its stability was great; an effect which is still
+further sustained when the great thickness of
+its sustaining walls is remarked, and the infrequent
+piercings of windows and doorways.</p>
+
+<p>This vast edifice was commenced by Pope
+Clement V. in the early years of the thirteenth
+century, but nothing more than the foundations
+of his work were left, when Benedict
+XII., thirty years later, gave the work into<a name="page_212" id="page_212"></a>
+the hands of Peter Obreri&mdash;who must have
+been the Viollet-le-Duc of his time.</p>
+
+<p>Revolution's destroying power played its
+part here, as generally throughout France,
+in defacing shrines, monuments, and edifices,
+civil and ecclesiastical, with little regard for
+sentiment and absolutely none for reason.</p>
+
+<p>The mob attacked the papal palace with
+results more disastrous than the accumulated
+debasement of preceding centuries. The later
+r�gime, which turned the magnificent halls of
+this fortress-like palace into a mere barracks&mdash;as
+it is to-day&mdash;was quite as iconoclastic
+in its temperament.</p>
+
+<p>One may realize here, to the full, just how
+far a great and noble achievement of the art
+and devotion of a past age may sink. The
+ancient papal palace at Avignon&mdash;the
+former seat of the power of the Roman Catholic
+religion&mdash;has become a mere barracks!
+To contemplate it is more sad even than to
+see a great church turned into a stable or an
+abattoir&mdash;as can yet be seen in France.</p>
+
+<p>In its plan this magnificent building preserves
+its outlines, but its splendour of embellishment
+has very nearly been eradicated, as
+may be observed if one will crave entrance of
+the military incumbent.</p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_212.jpg">
+<img src="images/ill_212_sml.jpg" width="550" height="341" alt="VILLENEUVE-.
+les-AVIGNON" title="" /></a>
+<div class="figleft" style="width: 224px;">
+<img src="images/ill_212_name.jpg" width="224" height="47" alt="VILLENEUVE-. les-AVIGNON" title="" />
+</div>
+</div>
+
+<p><a name="page_213" id="page_213"></a></p>
+
+<p>In 1376 Pope Gregory XI. left Avignon
+for Rome,&mdash;after him came the two anti-popes,&mdash;and
+thus ended what Petrarch has
+called "<i>L'Empia Babilonia</i>."</p>
+
+<p>The cathedral of Notre Dame des Doms
+pales perceptibly before the splendid dimensions
+of the papal palace, which formerly
+encompassed a church of its own of much
+more artistic worth.</p>
+
+<p>In one respect only does the cathedral lend
+a desirable note to the <i>ensemble</i>. This, by
+reason of its commanding situation&mdash;at the
+apex of the Rocher des Doms&mdash;and by the
+gilded statue of the Virgin which surmounts
+the tower, and supplies just the right quality
+of colour and life to a structure which would
+be otherwise far from brilliant.</p>
+
+<p>From the opposite bank of the Rh�ne&mdash;from
+Villeneuve-les-Avignon&mdash;the view of
+the parent city, the papal residence, the cathedral,
+and that unusual southern attribute,
+the <i>beffroi</i>, all combine in a most glorious picture
+of a superb beauty; quite rivalling&mdash;though
+in a far different manner&mdash;that
+"plague spot of immorality,"&mdash;Monte Carlo,
+which is mostly thought to hold the palm for
+the sheer beauty of natural situation.</p>
+
+<p>The cathedral is chiefly of the twelfth century,<a name="page_214" id="page_214"></a>
+though even a near-by exterior view does
+not suggest any of the Gothic tendencies of
+that era. It is more like the heavy bungling
+style which came in with the Renaissance;
+but it is not that either, hence it must be
+classed as a unique variety, though of the
+period when the transition from the Romanesque
+to Gothic was making inroads elsewhere.</p>
+
+<p>It has been said that the structure dates in
+part from the time of Charlemagne, but, if
+so, the usual splendid appointments of the
+true Charlemagnian manner are sadly lacking.
+There may be constructive foundations
+of the eleventh century, but they are in no
+way distinctive, and certainly lend no liveliness
+to a building which must ever be ranked
+as unworthy of the splendid environment.</p>
+
+<p>As a church of cathedral rank, it is a tiny
+edifice when compared with the glorious
+northern ground-plans: it is not much more
+than two hundred feet in length, and has a
+width which must be considerably less than
+fifty feet.</p>
+
+<p>The entrance, at the top of a long, winding
+stair which rises from the street-level of the
+Place du Palais to the platform of the rock,
+is essentially pagan in its aspect; indeed it is<a name="page_215" id="page_215"></a>
+said to have previously formed the portal of
+a pagan temple which at one time stood upon
+the site. If this be so, this great doorway&mdash;for
+it is far larger in its proportions than
+any other detail&mdash;is the most ancient of all
+the interior or exterior features.</p>
+
+<p>The high pediment and roof may be
+pointed Gothic, or it may not; at any rate,
+it is in but the very rudimentary stage. Authorities
+do not agree; which carries the suggestion
+still further that the cathedral at
+Avignon is of itself a queer, hybrid thing in
+its style, and with not a tithe of the interest
+possessed by its more magnificent neighbour.</p>
+
+<p>The western tower, while not of great proportions,
+is rather more massive than the proportions
+of the church body can well carry.
+What decoration it possesses carries the pagan
+suggestion still further, with its superimposed
+fluted pillars and Corinthian columns.</p>
+
+<p>The gloomy interior is depressing in the
+extreme, and whatever attributes of interest
+that it has are largely discounted by their unattractive
+setting.</p>
+
+<p>There are a number of old paintings,
+which, though they are not the work of artists
+of fame, might possibly prove to be of creditable
+workmanship, could one but see them<a name="page_216" id="page_216"></a>
+through the gloom. In the before-mentioned
+porch are some frescoes by Simone Memmi,
+executed by him in the fourteenth century,
+when he came from Sienna to do the decorations
+in the palace.</p>
+
+<p>The side chapels are all of the fourteenth
+century; that of St. Joseph, now forming the
+antechamber of the sacristy, contains a noteworthy
+Gothic tomb and monument of Pope
+John XXII. It is much mutilated to-day,
+and is only interesting because of the personality
+connected therewith. The custodian or
+caretaker is in this case a most persistently
+voluble person, who will give the visitor little
+peace unless he stands by and hears her story
+through, or flees the place,&mdash;which is preferable.</p>
+
+<p>The niches of this highly florid Gothic
+tomb were despoiled of their statues at the
+Revolution, and the recumbent effigy of the
+Pope has been greatly disfigured. A much
+simpler monument, and one quite as interesting,
+to another Pope, Benedict XII.,&mdash;he
+who was responsible for the magnificence
+of the papal palace,&mdash;is in a chapel in the
+north aisle of the nave, but the <i>cicerone</i> has
+apparently no pride in this particular shrine.</p>
+
+<p>An ancient (pagan?) altar is preserved in<a name="page_217" id="page_217"></a>
+the nave. It is not beautiful, but it is undoubtedly
+very ancient and likewise very
+curious.</p>
+
+<p>The chief accessory of interest for all will
+doubtless prove to be the twelfth-century
+papal throne. It is of a pure white marble,
+rather cold to contemplate, but livened here
+and there with superimposed gold ornament.
+What decoration there is, chiefly figures representing
+the bull of St. Luke and the lion of
+St. Mark, is simple and severe, as befitted
+papal dignity. To-day it serves the archbishop
+of the diocese as his throne of dignity,
+and must inspire that worthy with ambitious
+hopes.</p>
+
+<p>The chapter of the cathedral at Avignon&mdash;as
+we learn from history&mdash;wears purple,
+in company with cardinals and kings, at all
+celebrations of the High Mass of Clara de
+Falkenstein. From a well-worn vellum
+quarto in the library at Avignon one may read
+the legend which recounts the connection of
+Ste. Clara de Mont Falcone with the mystery
+of the Holy Trinity; from which circumstance
+the honour and dignity of the purple
+has been granted to the prelates of the cathedral.</p>
+
+<p>No mention of Avignon, or of Arles, or of<a name="page_218" id="page_218"></a>
+N�mes could well be made without a reference
+to the revival of Proven�al literature
+brought about by the famous "F�librage,"
+that brotherhood founded by seven poets, of
+whom Frederic Mistral is the most popularly
+known.</p>
+
+<p>The subject is too vast, and too vastly interesting
+to be slighted here, so perforce mere
+mention must suffice.</p>
+
+<p>The word F�libre was suggested by Mistral,
+who found it in an old hymn. Its etymology
+is uncertain, but possibly it is from
+the Greek, meaning "a lover of the beautiful."</p>
+
+<p>The original number of the F�libres was
+seven, and they first met on the f�te-day of
+Ste. Estelle; in whose honour they adopted
+the seven-pointed star as their emblem. Significantly,
+the number seven has much to do
+with the F�libres and Avignon alike. The
+enthusiastic F�libre tells of Avignon's seven
+churches, its seven gates, seven colleges, seven
+hospitals, and seven popes&mdash;who reigned at
+Avignon for seven decades; and further that
+the word F�libre has seven letters, as, also, has
+the name of Mistral, one of its seven founders&mdash;who
+took seven years in writing his epics.</p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_218.jpg">
+<img src="images/ill_218_sml.jpg" width="550" height="395" alt="NOTRE
+DAME
+des DOMS
+d&#39;AVIGNON" title="" /></a>
+<div class="figleft" style="width: 149px;">
+<img src="images/ill_218_name.jpg" width="149" height="97" alt="NOTRE DAME des DOMS d&#39;AVIGNON" title="" />
+</div>
+</div>
+
+<p>The machicolated walls, towers, and gateways<a name="page_219" id="page_219"></a>
+of Avignon, which protected the city
+in medi�val times, and&mdash;history tells us&mdash;sheltered
+twice as many souls as now, are in
+a remarkable state of preservation and completeness,
+and rank foremost among the masterworks
+of fortification of their time. This
+outer wall, or <i>enceinte</i>, was built at the instigation
+of Clement VI., in 1349, and was
+the work of but fourteen years.</p>
+
+<p>A hideously decorated building opposite
+the papal palace&mdash;now the <i>Conservatoire de
+Musique</i>&mdash;was formerly the papal mint.</p>
+
+<p>The ruined bridge of St. B�nezet, built in
+the twelfth century, is a remarkable example
+of the engineering skill of the time. Surmounting
+the four remaining arches&mdash;still
+perfect as to their configuration&mdash;is a tiny
+chapel dedicated to St. Nicholas, which formerly
+contained <i>reliques</i> of St. B�nezet.</p>
+
+<p>The extraordinary circumstance which led
+up to the building of this bridge seems legendary,
+to say the least.</p>
+
+<p>It is recorded that St. B�nezet, its founder,
+who was a mere shepherd, became inspired
+by God to undertake this great work. The
+inspiration must likewise have brought with
+it not a little of the uncommon skill of the
+bridge-builder, and, considering the extent<a name="page_220" id="page_220"></a>
+and scope of the projected work, something
+of the spirit of benefaction as well.</p>
+
+<p>The foundation was laid in 1171, and it
+was completed, after seventeen years of labour,
+in 1188.</p>
+
+<p>On this bridge, near the entrance to the
+city, was erected a hospital of religious persons,
+who were denominated <i>Les Fr�res du
+Pont</i>, their offices being to preserve the fabric,
+and to afford succour to all manner of travellers.</p>
+
+<p>The boldness and utility of this undertaking,&mdash;it
+being the only means of communication
+between Avignon and the French territory
+beyond the Rh�ne,&mdash;as well as the permanency
+assured to it by the annexing of a
+religious foundation, cannot fail to grant to
+the memory of its holy founder something
+more than a due share of veneration on behalf
+of his genius and perspicacity.<a name="page_221" id="page_221"></a></p>
+
+<h3><a name="XI-3" id="XI-3"></a>XI<br /><br />
+ST. SIFFREIN DE CARPENTRAS</h3>
+
+<p>The tiny city of Carpentras, most picturesquely
+situated on the equally diminutive
+river Auzon which enters the Rh�ne between
+Orange and Avignon, was a Roman colony
+under Augustus, and a bishopric under St.
+Valentin in the third century.</p>
+
+<p>A suffragan of Avignon, the papal city,
+the see was suppressed in 1790.</p>
+
+<p>The Bishops of Carpentras, it would appear,
+were a romantic and luxury-loving line
+of prelates, though this perhaps is aught
+against their more devout virtues.</p>
+
+<p>They had a magnificent palace overhanging
+the famous "Fountain of Vaucluse," and
+repaired thither in medi�val times for the
+relaxation which they evidently much appreciated.
+They must have been veritable patrons
+of literature and the arts, as Petrarch
+and his fellows-in-art were frequently of their
+household.<a name="page_222" id="page_222"></a></p>
+
+<p>The ancient cathedral of St. Siffrein is dedicated
+to a former bishop of Carpentras, who
+died in the sixth century.</p>
+
+<p>As this church now stands, its stones are
+mainly of the early sixteenth century. The
+west fa�ade is entirely without character, and
+is pierced at the pavement with a gross central
+doorway flanked by two others; poor
+copies of the <i>Greco-Romain</i> style, which, in
+many of its original forms, was certainly
+more pleasing than here. Each of these
+smaller doorways have for their jambs two
+beautifully toned columns of red jasper, from
+a baptist�re of which there are still extensive
+remains at Venasque near by.</p>
+
+<p>This baptist�re, by the way, and its neighbouring
+Romanesque and Gothic church, is
+quite worth the energy of making the journey
+countryward, eleven kilometres from Carpentras,
+to see.</p>
+
+<p>It is nominally of the tenth century, but
+is built up from fragments of a former Temple
+to Venus, and its situation amid the rocks
+and tree-clad hilltops of the Nesque valley is
+most agreeable.</p>
+
+<p>The portal on the south side&mdash;though, for
+a fact, it hardly merits the dignity of such a
+classification&mdash;is most ornately sculptured.<a name="page_223" id="page_223"></a>
+A figure of the Virgin, in the doorway, it
+locally known as Notre Dame des Neiges.</p>
+
+<p>Much iconographic symbolism is to be
+found in this doorway, capable of various
+plausible explanations which shall not be attempted
+here.</p>
+
+<p>It must suffice to say that nowhere in this
+neighbourhood, indeed possibly not south of
+the Loire, is so varied and elaborate a collection
+of symbolical stone-carving to be seen.</p>
+
+<p>There is no regularly completed tower to
+St. Siffrein, but a still unachieved tenth-century
+<i>clocher</i> in embryo attaches itself on the
+south.</p>
+
+<p>The interior presents the general effect of
+Gothic, and, though of late construction, is
+rather of the primitive order.</p>
+
+<p>There are no aisles, but one single nave,
+very wide and very high, while the apse is
+very narrow, with lateral chapels.</p>
+
+<p>Against the western wall are placed four
+paintings; not worthy of remark, perhaps,
+except for their great size. They are of the
+seventeenth or eighteenth century. A private
+corridor, or gallery, leads from this end of
+the church to the episcopal palace, presumably
+for the sole use of the bishops and their
+guests. The third chapel on the right is profusely<a name="page_224" id="page_224"></a>
+decorated and contains a valuable
+painting by Dominique de Carton. Another
+contains a statue of the Virgin, of the time
+of Louis XIV., and is very beautiful.</p>
+
+<p>A tomb of Bishop Laurent Buti (d. 1710)
+is set against the wall, where the apse adjoins
+the nave.</p>
+
+<p>Rearward on the high-altar is a fine painting
+by an unknown artist of the Italian school.</p>
+
+<p>The old-time cathedral of St. Siffrein was
+plainly not of the poverty-stricken class, as
+evinced by the various accessories and details
+of ornamentation mentioned above. It had,
+moreover, in conjunction with it, a most magnificent
+and truly palatial episcopal residence,
+built by a former cardinal-bishop, Alexandri
+Bichi, in 1640. To-day it serves the functions
+of the <i>Palais de Justice</i> and a prison;
+in the latter instance certainly a fall from its
+hitherto high estate. Built about by this ancient
+residence of the prelates of the Church
+is also yet to be seen, in much if not quite all
+of its pristine glory, a <i>Gallo-Romain arc de
+Triomphe</i> of considerable proportions and
+much beauty of outline and ornament.</p>
+
+<p>As to period, Prosper M�rim�e, to whom
+the preservation of the ancient monuments of
+France is largely due, has said that it is contemporary<a name="page_225" id="page_225"></a>
+with its compeer at Orange (first
+or second century).</p>
+
+<p>The Porte d'Orange, in the Grande Rue,
+is the only <i>relique</i> left at Carpentras of the
+ancient city ramparts built in the fourteenth
+century by Pope Innocent VI.<a name="page_226" id="page_226"></a></p>
+
+<h3><a name="XII-3" id="XII-3"></a>XII<br /><br />
+CATH�DRALE DE VAISON</h3>
+
+<p>The Proven�al town of Vaison, like Carpentras
+and Cavaillon, is really of the basin
+of the Rh�ne, rather than of the region of
+the snow-crowned Alps which form its background.
+It is of little interest to-day as a
+cathedral city, though the see dates from a
+foundation of the fourth century, by St.
+Aubin, until the suppression of 1790.</p>
+
+<p>Its former cathedral is hardly the equal
+of many others which have supported episcopal
+dignity, but it has a few accessories and
+attributes which make it notable.</p>
+
+<p>Its nave is finely vaulted, and there is an
+eleventh-century cloister, which flanks the
+main body of the church on the left, which
+would be remarked under any circumstances.</p>
+
+<p>The cloister, though practically a ruin,&mdash;but
+a well preserved one,&mdash;shows in its construction
+many beautiful Gallo-Romain and
+early Gothic columns which are exceedingly
+beautiful in their proportions. In this cloister,<a name="page_227" id="page_227"></a>
+also, are some fragments of early
+Christian tombs, which will offer unlimited
+suggestion to the arch�ologist, but which to
+the lover of art and architecture are quite
+unappealing.</p>
+
+<p>The <i>�glise St. Quinin</i> is a conglomerate
+edifice which has been built up, in part, from
+a former church which stood on the same site
+in the seventh century. It is by no means
+a great architectural achievement as it stands
+to-day, but is highly interesting because of
+its antiquity. In the cathedral the chief
+article of real artistic value is a <i>b�nitier</i>, made
+from the capital of a luxurious Corinthian
+column. One has seen sun-dials and drinking-fountains
+made from pedestals and sarcophagi
+before&mdash;and the effect has not been
+pleasing, and smacks not only of vandalism,
+but of a debased ideal of art, but this column-top,
+which has been transformed into a
+<i>b�nitier</i>, cannot be despised.</p>
+
+<p>The <i>b�te-noir</i> of all this region, and of
+Vaison in particular,&mdash;if one is to believe
+local sentiment,&mdash;is the high sweeping wind,
+which at certain seasons blows in a tempestuous
+manner. The habitant used to say that
+"<i>le mistral, le Parlement, et Durance sont les
+trois fl�aux de Provence</i>."<a name="page_228" id="page_228"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 423px;">
+<a href="images/ill_228.png">
+<img src="images/ill_228_sml.png" width="423" height="276" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XIII-3" id="XIII-3"></a>XIII<br /><br />
+ST. TROPHIME D'ARLES</h3>
+
+<div class="blockquot"><p>"In all the world that which interests me most is
+<i>La Fleur des 'Glais'</i> ... It is a fine plant.... It is
+the same as the <i>Fleurs des Lis d'Or</i> of the arms of France
+and of Provence."</p>
+
+<p class="r">&mdash;<span class="smcap">Frederic Mistral.</span></p></div>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_228a.jpg">
+<img src="images/ill_228a_sml.jpg" width="550" height="340" alt="ST. TROPHIME
+d&#39;ARLES ..." title="" /></a>
+<div class="figleft" style="width: 210px;">
+<img src="images/ill_228a_name.jpg" width="210" height="48" alt="ST. TROPHIME d&#39;ARLES ..." title="" />
+</div>
+</div>
+
+<p>Two French writers of repute have recently
+expressed their admiration of the marvellous
+country, and the contiguous cities,
+lying about the mouth of the Rh�ne; among
+which are N�mes, Aigues-Mortes, and&mdash;of
+far greater interest and charm&mdash;Arles. Their
+opinions, perhaps, do not differ very greatly
+from those of most travellers, but both<a name="page_229" id="page_229"></a>
+Madame Duclaux, in "The Fields of
+France," and Ren� Bazin, in his <i>R�cits de
+la Plaine et de la Montagne</i>, give no palm,
+one to the other, with respect to their feeling
+for "the mysterious charm of Arles."</p>
+
+<p>It is significant that in this region, from
+Vienne on the north to Arles and N�mes in
+the south, are found such a remarkable series
+of Roman remains as to warrant the statement
+by a French antiquarian that "in Rome
+itself are no such temples as at Vienne and
+N�mes, no theatres so splendidly preserved
+as that at Orange,&mdash;nor so large as that of
+Arles,&mdash;and that the magnificent ruined
+colosseum on the Tiber in no wise has the
+perfections of its compeer at N�mes, nor has
+any triumphal arch the splendid decorations
+of that at Reims in the champagne country."</p>
+
+<p>With these facts in view it is well to recall
+that many non-Christian influences asserted
+themselves from time to time, and overshadowed
+for a temporary period those which
+were more closely identified with the growth
+of the Church. The Commission des Monuments
+Historiques catalogue sixteen notable
+monuments in Arles which are cared for by
+them: the Amphitheatre, the remains of the
+Forum,&mdash;now built into the fa�ade of the<a name="page_230" id="page_230"></a>
+H�tel du Nord,&mdash;the remains of the Palais
+de Constantin, the Abbey of Montmajour, and
+the one-time cathedral of St. Trophime, and
+its cloister&mdash;to particularize but a few.</p>
+
+<p>To-day, as anciently, the ecclesiastical
+province is known as that of Aix, Arles, and
+Embrun. Arles, however, for a time took its
+place as an archbishopric, though to-day it
+joins hands again with Aix and Embrun;
+thus, while enjoying the distinction of being
+ranked as an archbishopric, its episcopal residence
+is at Aix.</p>
+
+<p>It was at Arles that the first, and only,
+English pope&mdash;Adrian Breakspeare&mdash;first
+entered a monastic community, after having
+been refused admission to the great establishment
+at St. Albans in Hertfordshire, his
+native place. Here, by the utmost diligence,
+he acquired the foundation of that great
+learning which resulted in his being so suddenly
+proclaimed the wearer of the tiara,
+in 1154.</p>
+
+<p>St. Trophime came to Arles in the first
+century, and became the first bishop of the
+diocese. The first church edifice on this site
+was consecrated in 606 by St. Virgil, under
+the vocable of St. Etienne. In 1152 the
+present church was built over the remains of<a name="page_231" id="page_231"></a>
+St. Trophime, which were brought thither
+from St. Honorat des Alyscamps. So far as
+the main body of the church is concerned,
+it was completed by the end of the twelfth
+century, and only in its interior is shown the
+development of the early ogival style.</p>
+
+<p>The structure was added to in 1430, when
+the Gothic choir was extended eastward.</p>
+
+<p>The aisles are diminutively narrow, and
+the window piercings throughout are exceedingly
+small; all of which makes for a lack
+of brilliancy and gloom, which may be
+likened to the average crypt. The only radiance
+which ever penetrates this gloomy
+interior comes at high noon, when the refulgence
+of a Mediterranean sun glances through
+a series of long lancets, and casts those purple
+shadows which artists love. Then, and then
+only, does the cathedral of St. Trophime offer
+any inducement to linger within its non-impressive
+walls.</p>
+
+<p>The exterior view is, too, dull and gloomy&mdash;what
+there is of it to be seen from the Place
+Royale. By far the most lively view is that
+obtained from across the ruins of the magnificent
+Roman theatre just at the rear. Here
+the time-resisting qualities of secular Roman
+buildings combine with the cathedral to present<a name="page_232" id="page_232"></a>
+a bright, sunny, and appealing picture
+indeed.</p>
+
+<p>St. Trophime is in no sense an unworthy
+architectural expression. As a Proven�al
+type of the Romanesque,&mdash;which it is mostly,&mdash;it
+must be judged as quite apart from the
+Gothic which has crept in to but a slight
+extent.</p>
+
+<p>The western portal is very beautiful, and,
+with cloister, as interesting and elaborate as
+one could wish.</p>
+
+<p>It is the generality of an unimposing plan,
+a none too graceful tower and its uninteresting
+interior, that qualifies the richness of its more
+luxurious details.</p>
+
+<p>The portal of the west fa�ade greatly resembles
+another at St. Gilles, near by. It is a
+profusely ornamented doorway with richly
+foliaged stone carving and elaborate <i>bas-reliefs</i>.</p>
+
+<p>The tympanum of the doorway contains
+the figure of a bishop in sacerdotal costume,
+doubtless St. Trophime, flanked by winged
+angels and lions. The sculptures here date
+perhaps from the period contemporary with
+the best work at Paris and Chartres,&mdash;well
+on into the Middle Ages,&mdash;when sculpture
+had not developed or perfected its style, but<a name="page_233" id="page_233"></a>
+was rather a bad copy of the antique. This
+will be notably apparent when the stiffness
+and crudeness of the proportions of the figures
+are taken into consideration.</p>
+
+<div class="figcenter" style="width: 418px;">
+<a href="images/ill_233.png">
+<img src="images/ill_233_sml.png" width="418" height="328" alt="Cloisters, St. Trophime d&#39;Arles" title="" /></a>
+<p><span class="captionunder">Cloisters, St. Trophime d&#39;Arles</span></p>
+</div>
+
+<p>The wonderful cloister of St. Trophime
+is, on the east side, of Romanesque workmanship,
+with barrel vaulting, and dates from
+1120. On the west it is of the transition style
+of a century later, while on the north the
+vaulting springs boldly into the Gothic of
+that period&mdash;well on toward 1400.</p>
+
+<p>The capitals of the pillars of this cloistered<a name="page_234" id="page_234"></a>
+courtyard are most diverse, and picture in
+delicately carved stone such scenes of Bible
+history and legend as the unbelief of St.
+Thomas, Ste. Marthe and the Tarasque, etc.
+It is a curious <i>m�lange</i> of the vagaries of the
+stone carver of the Middle Ages,&mdash;these
+curiously and elaborately carved capitals,&mdash;but
+on the whole the <i>ensemble</i> is one of rare
+beauty, in spite of non-Christian and pagan
+accessories. These show at least how far
+superior the classical work of that time was
+to the later Renaissance.</p>
+
+<p>The cemetery of Arles, locally known as
+Les Alyscamps, literally teems with medi�val
+and ancient funeral monuments; though
+many, of course, have been removed, and
+many have suffered the ravages of time, to
+say nothing of the Revolutionary period.
+One portion was the old pagan burial-ground,
+and another&mdash;marked off with crosses&mdash;was
+reserved for Christian burial.</p>
+
+<p>It must have been accounted most holy
+ground, as the dead were brought thither for
+burial from many distant cities.</p>
+
+<p>Dant� mentions it in the "Inferno,"
+Canto IX.:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">"Just as at Arles where the Rh�ne is stagnant</td></tr>
+<tr><td align="left">The sepulchres make all the ground unequal."</td></tr>
+</table>
+
+<p><a name="page_235" id="page_235"></a></p>
+
+<p>Ariosto, in "Orlando Furioso," remarks it
+thus:</p>
+
+<p class="c">"Many sepulchres are in this land."</p>
+
+<p>St. R�my, a few leagues to the northeast
+of Arles, is described by all writers as wonderfully
+impressive and appealing to all who
+come within its spell;&mdash;though the guide-books
+all say that it is a place without importance.</p>
+
+<p>Ren� Bazin has this to say: "<i>St. R�my,
+ce n'est pas beau, ce St. R�my</i>." Madame
+Duclaux apostrophizes thus: "We fall at
+once in love with St. R�my." With this preponderance
+of modern opinion we throw in
+our lot as to the charms of St. R�my; and
+so it will be with most, whether with regard
+to its charming environment or its historical
+monuments, its arch, or its funeral memorials.
+One will only come away from this charming
+<i>petite ville</i> with the idea that, in spite
+of its five thousand present-day inhabitants,
+it is something more than a modern shrine
+which has been erected over a collection of
+ancient relics. The little city breathes the
+very atmosphere of medi�valism.<a name="page_236" id="page_236"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 422px;">
+<a href="images/ill_236.png">
+<img src="images/ill_236_sml.png" width="422" height="279" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XIV-3" id="XIV-3"></a>XIV<br /><br />
+ST. CASTOR DE N�MES</h3>
+
+<p>Like its neighbouring Roman cities, N�mes
+lives mostly in the glorious past.</p>
+
+<p>In attempting to realize&mdash;if only in imagination&mdash;the
+civilization of a past age, one
+is bound to bear always in mind the <i>motif</i>
+which caused any great art expression to take
+place.</p>
+
+<p>Here at N�mes the church builder had
+much that was magnificent to emulate, leaving
+style apart from the question.
+<a name="page_237" id="page_237"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_237.png">
+<img src="images/ill_237_sml.png" width="550" height="345" alt="St. Castor de N�mes" title="" /></a>
+<p><span class="captionunder">St. Castor de N�mes</span></p>
+</div>
+
+<p><a name="page_238" id="page_238"></a></p>
+
+<p><a name="page_239" id="page_239"></a>
+He might, when he planned the cathedral
+of St. Castor, have avowed his intention of
+reaching, if possible, the grace and symmetry
+of the <i>Maison Car�e</i>; the splendour of the
+temple of Diana; the majesty of the <i>Tour
+Magna</i>; the grandeur of the arena; or possibly
+in some measure a blend of all these
+ambitious results.</p>
+
+<p>Instead, he built meanly and sordidly,
+though mainly by cause of poverty.</p>
+
+<p>The Church of the Middle Ages, though
+come to great power and influence, was not
+possessed of the fabulous wealth of the vainglorious
+Roman, who gratified his senses and
+beautified his surroundings by a lavish expenditure
+of means, acquired often in a none
+too honest fashion.</p>
+
+<p>The imperative need of the soul was for a
+house of worship of some sort, and in some
+measure relative to the rank of the prelate
+who was to guard their religious life. This
+took shape in the early part of the eleventh
+century, when the cathedral of St. Castor was
+built.</p>
+
+<p>Of the varied and superlative attractions
+of the city one is attempted to enlarge unduly;
+until the thought comes that there is the making
+of a book itself to be fashioned out of
+a reconsideration of the splendid monuments
+which still exist in this city of celebrated art.<a name="page_240" id="page_240"></a>
+To enumerate them all even would be an
+impossibility here.</p>
+
+<p>The tiny building known as the <i>Maison
+Car�e</i> is of that greatness which is not excelled
+by the "Divine Comedy" in literature,
+the "Venus of Milo" in sculpture, or the
+"Transfiguration" in painting.</p>
+
+<p>The delicacy and beauty of its Corinthian
+columns are the more apparent when viewed
+in conjunction with the pseudo-classical portico
+of mathematical clumsiness of the
+modern theatre opposite.</p>
+
+<p>This theatre is a dreadful caricature of the
+deathless work of the Greeks, while the
+perfect example of <i>Greco-Romain</i> architecture&mdash;the
+<i>Maison Car�e</i>&mdash;will endure as
+long as its walls stand as the fullest expression
+of that sense of divine proportion and <i>magique
+harmonie</i> which the Romans inherited
+from the Greeks. Cardinal Alberoni called
+it "a gem which should be set in gold," and
+both Louis Quatorze and Napoleon had
+schemes for lifting it bodily from the ground
+and re�stablishing it at Paris.</p>
+
+<p><i>Les Ar�nes</i> of N�mes is an unparalleled
+work of its class, and in far better preservation
+than any other extant. It stands, welcoming
+the stranger, at the very gateway of<a name="page_241" id="page_241"></a>
+the city, its <i>grand axe</i> extending off, in
+arcaded perspective, over four hundred and
+twenty feet, with room inside for thirty thousand
+souls.</p>
+
+<p>These Romans wrought on a magnificent
+scale, and here, as elsewhere, they have left
+evidences of their skill which are manifestly
+of the non-decaying order.</p>
+
+<p>
+<br /></p>
+
+<p>The Commission des Monuments Historiques
+lists in all at N�mes nine of these historical
+monuments over which the paternal
+care of the Minist�re de l'Instruction Publique
+et des Beaux Arts ever hangs.</p>
+
+<p>As if the only really fine element in the
+Cathedral of St. Castor were the fa�ade, with
+its remarkable frieze of events of Bible history,
+the Commission has singled it out for
+especial care, which in truth it deserves, far
+and away above any other specific feature of
+this church.</p>
+
+<p>Christianity came early to N�mes; or, at
+least, the bishopric was founded here, with
+St. Felix as its first bishop, in the fourth century.
+At this time the diocese was a suffragan
+of Narbonne, whilst to-day its allegiance is
+to the archiepiscopal throne at Avignon.</p>
+
+<p>The cathedral of St. Castor was erected in<a name="page_242" id="page_242"></a>
+1030, restored in the thirteenth century, and
+suffered greatly in the wars of the sixteenth
+and seventeenth centuries.</p>
+
+<p>These depredations have been&mdash;in part&mdash;made
+good, but in the main it is a rather
+gaunt and painful fabric, and one which is
+unlooked for amid so magnificent neighbours.</p>
+
+<p>It has been said by Roger Peyer&mdash;who has
+written a most enticing monograph on N�mes&mdash;"that
+without prejudice we can say that
+the churches constructed in the city <i>dans nos
+jours</i> are far in advance of the cathedral."
+This is unquestionably true; for, if we except
+the very ancient fa�ade, with its interesting
+sculptured frieze, there is little to impress the
+cathedral upon the mind except its contrast
+with its surrounding architectural peers.</p>
+
+<p>The main plan, with its flanking north-westerly
+square tower, is reminiscent of hundreds
+of parish churches yet to be seen in
+Italy; while its portal is but a mere classical
+doorway, too mean even to be classed as a detail
+of any rank whatever.</p>
+
+<p>The fa�ade has undergone some breaking-out
+and stopping-up of windows during the
+past decade; for what purpose it is hard to
+realize, as the effect is neither enhanced nor
+the reverse.<a name="page_243" id="page_243"></a></p>
+
+<p>A gaunt supporting buttress, or what not,
+flanks the tower on the south and adds, yet
+further, to the incongruity of the <i>ensemble</i>.</p>
+
+<p>In fine, its decorations are a curious mixture
+of a more or less pure round-headed
+Roman style of window and doorway, with
+later Renaissance and pseudo-classical interpolations.</p>
+
+<p>With the interior the edifice takes on more
+of an interesting character, though even here
+it is not remarkable as to beauty or grace.</p>
+
+<p>The nave is broad, aisleless, and bare, but
+presents an air of grandeur which is perhaps
+not otherwise justified; an effect which is
+doubtless wholly produced by a certain cheerfulness
+of aspect, which comes from the fact
+that it has been restored&mdash;or at least thoroughly
+furbished up&mdash;in recent times.</p>
+
+<p>The large Roman nave, erected, it has been
+said, from the remains of a former temple of
+Augustus, has small chapels, without windows,
+beyond its pillars in place of the usual
+side aisles.</p>
+
+<p>Above is a fine gallery or <i>tribune</i>, which
+also surrounds the choir.</p>
+
+<p>The modern mural paintings&mdash;the product
+of the Restoration period&mdash;give an air
+of splendour and elegance, after the manner<a name="page_244" id="page_244"></a>
+of the Italian churches, to an appreciably
+greater extent than is commonly seen in
+France.</p>
+
+<p>In the third chapel on the left is an altar-table
+made of an early Christian sarcophagus;
+a questionable practice perhaps, but forming
+an otherwise beautiful, though crude, accessory.<a name="page_245" id="page_245"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 308px;">
+<a href="images/ill_245.png">
+<img src="images/ill_245_sml.png" width="308" height="356" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XV-3" id="XV-3"></a>XV<br /><br />
+ST. TH�ODORIT D'UZ�S</h3>
+
+<p>The ancient diocese of Uz�s formerly included
+that region lying between the Ard�che,
+the Rh�ne, and the Gardon, its length and
+breadth being perhaps equal&mdash;fourteen ancient
+leagues. As a bishopric, it endured
+from the middle of the fifth century nearly
+to the beginning of the nineteenth.</p>
+
+<p>In ancient Gallic records its cathedral was
+reckoned as some miles from the present site<a name="page_246" id="page_246"></a>
+of the town, but as no other remains than
+those of St. Th�odorit are known to-day, it is
+improbable that any references in medi�val
+history refer to another structure.</p>
+
+<p>This church is now no longer a cathedral,
+the see having been suppressed in 1790.</p>
+
+<p>The bishop here, as at Lod�ve and Mende,
+was the count of the town, and the bishop and
+duke each possessed their castles and had their
+respective spheres of jurisdiction, which, says
+an old-time chronicler, "often occasioned
+many disputes." Obviously!</p>
+
+<p>In the sixteenth century most of the inhabitants
+embraced the Reformation after the
+example of their bishop, who, with all his
+chapter, publicly turned Protestant and "sent
+for a minister to Geneva."</p>
+
+<p>What remains of the cathedral to-day is
+reminiscent of a highly interesting medi�val
+foundation, though its general aspect is distinctly
+modern. Such rebuilding and restoration
+as it underwent, in the seventeenth
+and eighteenth centuries, made of it practically
+a new edifice.</p>
+
+<p>The one feature of mark, which stands
+alone as the representative of medi�val times,
+is the charming tower which flanks the main
+body of the church on the right.<a name="page_247" id="page_247"></a></p>
+
+<p>It is known as the "Tour Fenestrelle" and
+is of the thirteenth century. It would be a
+notable accessory to any great church, and is
+of seven stories in height, each dwindling in
+size from the one below, forming a veritable
+campanile. Its height is 130 feet.</p>
+
+<p>The interior attractions of this minor
+church are greater than might be supposed.
+There is a low gallery with a superb series
+of wrought-iron <i>grilles</i>, a fine tomb in marble&mdash;to
+Bishop Boyan&mdash;and in the transept two
+paintings by Simon de Chalons&mdash;a "Resurrection"
+and a "Raising of Lazarus."</p>
+
+<p>The inevitable obtrusive organ-case is of
+the seventeenth century, and like all of its
+kind is a parasitical abomination, clinging
+precariously to the western wall.</p>
+
+<p>The sacristy is an extensive suite of rooms
+which contain throughout a deep-toned and
+mellow oaken wainscot.</p>
+
+<p>For the rest, the lines of this church follow
+the conventionality of its time. Its proportions,
+while not great, are good, and there is no
+marked luxuriance of ornament or any exceeding
+grace in the entire structure, if we
+except the detached tower before mentioned.</p>
+
+<p>The situation of the town is most picturesque;<a name="page_248" id="page_248"></a>
+not daintily pretty, but of a certain
+dignified order, which is the more satisfying.</p>
+
+<p>The ancient ch�teau, called Le Duch�, is
+the real architectural treat of the place.<a name="page_249" id="page_249"></a></p>
+
+<h3><a name="XVI-3" id="XVI-3"></a>XVI<br /><br />
+ST. JEAN D'ALAIS</h3>
+
+<p>Alais is an ancient city, but greatly modernized;
+moreover it does not take a supreme
+rank as a cathedral city, from the fact that
+it held a bishop's throne for but a hundred
+years. Alais was a bishopric only from 1694
+to 1790.</p>
+
+<p>The cathedral of St. Jean is an imposing
+structure of that obtrusive variety of architectural
+art known as "Louis Quinze," and is
+unworthy of the distinction once bestowed
+upon it.</p>
+
+<p>Perhaps it is due to the fact that the Cevenole
+country was so largely and aggressively
+Protestant that the see of Alais did not endure.
+Robert Louis Stevenson tells of a stranger he
+met in these mountain parts&mdash;that he was a
+Catholic, "and made no shame of it. No
+shame of it! The phrase is a piece of natural
+statistics; for it is the language of one of a
+minority.... Ireland is still Catholic; the<a name="page_250" id="page_250"></a>
+Cevennes still Protestant. Outdoor rustics
+have not many ideas, but such as they have
+are hardy plants and thrive flourishingly in
+persecution."</p>
+
+<p>Built about in the fa�ade of this unfeeling
+structure are some remains of a twelfth-century
+church, but they are not of sufficient bulk
+or excellence to warrant remark.</p>
+
+<p>An advancing porch stands before this west
+fa�ade and is surmounted by a massive tower
+in a poor Gothic style.</p>
+
+<p>The vast interior, like the exterior, is entirely
+without distinction, though gaudily decorated.
+There are some good pictures, which,
+as works of art, are a decided advance over
+any other attributes of this church&mdash;an "Assumption,"
+attributed to Mignard, in the
+chapel of the Virgin; in the left transept,
+a "Virgin" by Deveria; and in the right
+transept an "Annunciation" by Jalabert.</p>
+
+<p>Alais is by no means a dull place. It is
+busy with industry, is prosperous, and possesses
+on a minute scale all the distractions
+of a great city. It is modern to the very core,
+so far as appearances go. It has its Boulevard
+Victor Hugo, its Boulevard Gambetta, and its
+Lyc�e Dumas. The H�pital St. Louis&mdash;which
+has a curious doubly twisted staircase<a name="page_251" id="page_251"></a>&mdash;is
+of the eighteenth century; a bust of the
+Marquis de la F�re-Alais, the Cevenole poet,
+is of the nineteenth; a monument of bronze,
+to the glory of Pasteur, dates from 1896; and
+various other bronze and stone memorials
+about the city all date and perpetuate the
+name and fame of eighteenth and nineteenth-century
+notables.</p>
+
+<p>The Mus�e&mdash;another recent creation&mdash;occupies
+the former episcopal residence, of
+eighteenth-century construction.</p>
+
+<p>The H�tel de Ville is quite the most charming
+building of the city. It has fine halls and
+corridors, and an ample biblioth�que. Its
+present-day Salle du Conseil was the ancient
+chamber of the <i>�tats du Languedoc</i>.<a name="page_252" id="page_252"></a></p>
+
+<h3><a name="XVII-3" id="XVII-3"></a>XVII<br /><br />
+ST. PIERRE D'ANNECY</h3>
+
+<p>The Savoian city of Annecy was formerly
+the ancient capital of the Genevois.</p>
+
+<p>Its past history is more closely allied with
+other political events than those which emanated
+from within the kingdom of France;
+and its ecclesiastical allegiance was intimately
+related with Geneva, from whence the episcopal
+seat was removed in 1535.</p>
+
+<p>In reality the Christian activities of Annecy
+had but little to do with the Church in
+France, Savoie only having been ceded to
+France in 1860. Formerly it belonged to the
+ducs de Savoie and the kings of Sardinia.</p>
+
+<p>Annecy is a most interesting city, and possesses
+many, if not quite all, of the attractions
+of Geneva itself, including the Lake of
+Annecy, which is quite as romantically picturesque
+as Lac Leman, though its proportions
+are not nearly so great.</p>
+
+<p>The city's interest for the lover of religious<a name="page_253" id="page_253"></a>
+associations is perhaps greater than for the
+lover of church architecture alone, but, as the
+two must perforce go hand in hand the greater
+part of the way, Annecy will be found to rank
+high in the annals of the history and art of
+the religious life of the past.</p>
+
+<p>In the chapel of the Visitation, belonging
+to the convent of the same name, are buried
+St. Fran�ois de Sales (d. 1622) and Ste.
+Jeanne de Chantal (d. 1641). The chapel
+is architecturally of no importance, but the
+marble ornament and sculptures and the rich
+paintings are interesting.</p>
+
+<p>The ancient chapel of the Visitation&mdash;the
+convent of the first monastery founded by St.
+Francis and Ste. Jeanne&mdash;immediately adjoins
+the cathedral.</p>
+
+<p>Christianity first came to Annecy in the
+fourth century, with St. Emilien. For long
+after its foundation the see was a suffragan
+of the ancient ecclesiastical province of Vienne.
+To-day it is a suffragan of Chamb�ry.</p>
+
+<p>The rather ordinary cathedral of St. Pierre
+has no great interest as an architectural type,
+and is possessed of no embellishments of a
+rank sufficiently high to warrant remark. It
+dates only from the sixteenth century, and is<a name="page_254" id="page_254"></a>
+quite unconvincing as to any art expression
+which its builders may have possessed.</p>
+
+<p>The episcopal palace (1784) adjoins the
+cathedral on the south.<a name="page_255" id="page_255"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 424px;">
+<a href="images/ill_255.png">
+<img src="images/ill_255_sml.png" width="424" height="275" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XVIII-3" id="XVIII-3"></a>XVIII<br /><br />
+CATH�DRALE DE CHAMB�RY</h3>
+
+<p>The city of Chamb�ry in the eighteenth
+century must have been a veritable hotbed of
+aristocracy. A French writer of that day has
+indeed stated that it is "the winter residence
+of all the aristocracy of Savoie; ... with
+twenty thousand francs one could live <i>en
+grand seigneur</i>; ... a country gentleman,
+with an income of a hundred and twenty
+louis d'or a year, would as a matter of course
+take up his abode in the town for the winter."</p>
+
+<p>To-day such a basis upon which to make
+an estimate of the value of Chamb�ry as a<a name="page_256" id="page_256"></a>
+place of residence would be, it is to be feared,
+misleading.</p>
+
+<p>Arthur Young closes his observations upon
+the agricultural prospects of Savoie with the
+bold statement that: "On this day, left Chamb�ry
+much dissatisfied,&mdash;for the want of
+knowing more of it."</p>
+
+<p>Rousseau knew it better, much better.
+"<i>S'il est une petite ville au monde o� l'on
+go�te la douceur de la vie dans un commerce
+agr�able et s�r, c'est Chamb�ry.</i>"</p>
+
+<p>Savoie and the Comt� de Nice were annexed
+to France only as late as 1860, and from
+them were formed the departments of Savoie,
+Haute-Savoie, and the Alpes-Maritimes.</p>
+
+<p>Chamb�ry is to-day an archbishopric, with
+suffragans at Annecy, Tarentaise, and St.
+Jean de Maurienne. Formerly conditions
+were reversed, and Chamb�ry was merely a
+bishopric in the province de Tarentaise. Its
+first bishop, Michel Conseil, came in office,
+however, only in 1780.</p>
+
+<p>The cathedral is of the fourteenth century,
+in the pointed style, and as a work of art is
+distinctly of a minor class.</p>
+
+<p>The principal detail of note is a western
+portal which somewhat approaches good
+Gothic, but in the main, both inside and out,<a name="page_257" id="page_257"></a>
+the church has no remarkable features, if we
+except some modern glass, which is better
+in colour than most late work of its kind.</p>
+
+<p>As if to counteract any additional charm
+which this glass might otherwise lend to the
+interior, we find a series of flamboyant traceries
+over the major portion of the side walls
+and vaulting. These are garish and in every
+way unpleasing, and the interior effect, like
+that of the exterior, places the cathedral at
+Chamb�ry far down the scale among great
+churches.</p>
+
+<p>Decidedly the architectural embellishments
+of Chamb�ry lie not in its cathedral.</p>
+
+<p>The chapel of the ancient ch�teau, dating
+in part from the thirteenth century, but
+mainly of the Gothic-Renaissance period, is
+far and away the most splendid architectural
+monument of its class to be seen here.</p>
+
+<p><i>La Grande Chartreuse</i> is equally accessible
+from either Chamb�ry or Grenoble, and
+should not be neglected when one is attempting
+to familiarize himself with these parts.<a name="page_258" id="page_258"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 422px;">
+<a href="images/ill_258.png">
+<img src="images/ill_258_sml.png" width="422" height="285" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XIX-3" id="XIX-3"></a>XIX<br /><br />
+NOTRE DAME DE GRENOBLE</h3>
+
+<p>It is an open question as to whether Grenoble
+is not possessed of the most admirable
+and impressive situation of any cathedral city
+of France.</p>
+
+<p>At all events it has the attribute of a unique
+background in the <i>massif de la Chartreuse</i>,
+and the range of snow-clad Alps, which rise
+so abruptly as to directly screen and shelter
+the city from all other parts lying north and
+east. Furthermore this natural windbreak,
+coupled with the altitude of the city itself,
+makes for a bright and sunny, and withal<a name="page_259" id="page_259"></a>
+bracing, atmosphere which many professed
+tourist and health resorts lack.</p>
+
+<p>Grenoble is in all respects "a most pleasant
+city," and one which contains much of
+interest for all sorts and conditions of pilgrims.</p>
+
+<p>Anciently Grenoble was a bishopric in the
+diocese of the Province of Vienne, to whose
+archbishop the see was at that time subordinate.
+Its foundation was during the third
+century, and its first prelate was one Domninus.</p>
+
+<p>In the redistribution of dioceses Grenoble
+became a suffragan of Lyon et Vienne, which
+is its status to-day.</p>
+
+<p>As might naturally be inferred, in the case
+of so old a foundation, its present-day cathedral
+of Notre Dame partakes also of early
+origin.</p>
+
+<p>This it does, to a small degree only, with
+respect to certain of the foundations of the
+choir. These date from the eleventh century,
+while succeeding eras, of a mixed and none
+too pure an architectural style, culminate in
+presenting a singularly unconvincing and
+cold church edifice.</p>
+
+<p>The "pointed" tabernacle, which is the
+chief interior feature, is of the middle fifteenth<a name="page_260" id="page_260"></a>
+century, and indeed the general effect
+is that of the late Middle Ages, if not actually
+suggestive of still later modernity.</p>
+
+<p>The tomb of Archbishop Chiss�, dating
+from 1407, is the cathedral's chief monumental
+shrine.</p>
+
+<p>To the left of the cathedral is the ancient
+bishop's palace; still used as such. It occupies
+the site of an eleventh-century episcopal
+residence, but the structure itself is probably
+not earlier than the fifteenth century.</p>
+
+<p>In the <i>�glise de St. Andr�</i>, a thirteenth-century
+structure, is a tomb of more than
+usual sentimental and historical interest: that
+of Bayard. It will be found in the transept.</p>
+
+<p>No mention of Grenoble could well ignore
+the famous monastery of <i>La Grande Chartreuse</i>.</p>
+
+<p>Mostly, it is to be feared, the monastery is
+associated in mundane minds with that subtle
+and luxurious <i>liqueur</i> which has been brewed
+by the white-robed monks of St. Bruno for
+ages past; and was until quite recently, when
+the establishment was broken up by government
+decree and the real formula of this
+sparkling <i>liqueur</i> departed with the migrating
+monks.</p>
+
+<p>The opinion is ventured, however, that up<a name="page_261" id="page_261"></a>
+to the time of their expulsion (in 1902), the
+monks of St. Bruno combined solitude, austerity,
+devotion, and charity of a most practical
+kind with a lucrative commerce in their
+distilled product after a successful manner
+not equalled by any religious community before
+or since.</p>
+
+<div class="figcenter" style="width: 296px;">
+<a href="images/ill_261.png">
+<img src="images/ill_261_sml.png" width="296" height="389" alt="S. Bruno" title="" /></a>
+<span class="caption">S. Bruno</span>
+</div>
+
+<p>The Order of St. Bruno has weathered
+many storms, and, during the Terror, was<a name="page_262" id="page_262"></a>
+driven from its home and dispersed by brutal
+and riotous soldiery. In 1816 a remnant returned,
+escorted, it is said, by a throng of
+fifty thousand people.</p>
+
+<p>The cardinal rule of the Carthusians is abstemiousness
+from all meat-eating; which,
+however, in consideration of their calm, regular
+life, and a diet in which fish plays an important
+part, is apparently conducive to that
+longevity which most of us desire.</p>
+
+<p>It is related that a certain Dominican pope
+wished to diminish the severity of St. Bruno's
+regulations, but was met by a delegation of
+Carthusians, whose <i>doyen</i> owned to one hundred
+and twenty years, and whose youngest
+member was of the ripe age of ninety. The
+amiable pontiff, not having, apparently, an
+argument left, accordingly withdrew his
+edict.</p>
+
+<p>Of all these great Charterhouses spread
+throughout France, <i>La Grande Chartreuse</i>
+was the most inspiring and interesting; not
+only from the structure itself, but by reason
+of its commanding and romantic situation
+amid the forest-clad heights of the Savoyan
+Alps.</p>
+
+<p>The first establishment here was the foundation
+of St. Bruno (in 1084), which consisted<a name="page_263" id="page_263"></a>
+merely of a modest chapel and a number
+of isolated cubicles.</p>
+
+<p>This foundation only gave way&mdash;as late as
+the sixteenth and seventeenth centuries&mdash;to
+an enlarged structure more in accord with
+the demands and usage of this period.</p>
+
+<p>The most distinctive feature of its architecture
+is the grand cloister, with its hundred
+and fifteen Gothic arches, out of which open
+the sixty cells of the sandalled and hooded
+white-robed monks, who, continuing St. Bruno's
+regulation, live still in isolation. In these
+cells they spent all of their time outside the
+hours of work and worship, but were allowed
+the privilege of receiving one colleague at
+a time. Here, too, they ate their meals, with
+the exception of the principal meal on Sundays,
+when they all met together in the refectory.</p>
+
+<p>The <i>�glise de la Grande Chartreuse</i> itself
+is very simple, about the only distinctive or
+notable feature being the sixteenth-century
+choir-stalls. At the midnight service, or at
+<i>matins</i>, when the simple church is lit only
+by flaming torches, and the stalls filled with
+white-robed <i>Chartreux</i>, is presented a picture
+which for solemnity and impressiveness<a name="page_264" id="page_264"></a>
+is as vivid as any which has come down from
+medi�val times.</p>
+
+<p>The chanting of the chorals, too, is unlike
+anything heard before; it has indeed been
+called, before now, angelic. Petrarch, whose
+brother was a member of the order, has put
+himself on record as having been enchanted
+by it.</p>
+
+<p>As many as ten thousand visitors have
+passed through the portals of <i>La Grande
+Chartreuse</i> during the year, but now in the
+absence of the monks&mdash;temporary or permanent
+as is yet to be determined&mdash;conditions
+obtain which will not allow of entrance
+to the conventual buildings.</p>
+
+<p>No one, however, who visits either Grenoble
+or Chamb�ry should fail to journey to
+St. Laurent du Pont&mdash;the gateway of the
+fastness which enfolds <i>La Grande Chartreuse</i>,
+and thence to beneath the shadow of the walls
+which for so long sheltered the parent house
+of this ancient and powerful order.<a name="page_265" id="page_265"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 424px;">
+<a href="images/ill_265.png">
+<img src="images/ill_265_sml.png" width="424" height="704" alt="Belley" title="" /></a>
+<p><span class="captionunder">Belley</span></p>
+</div>
+
+<p><a name="page_266" id="page_266"></a></p>
+
+<p><a name="page_267" id="page_267"></a></p>
+
+<h3><a name="XX-3" id="XX-3"></a>XX<br /><br />
+BELLEY AND AOSTE</h3>
+
+<p>En route to Chamb�ry, from Lyon, one
+passes the little town of Belley. It is an ancient
+place, most charmingly situated, and is
+a suffragan bishopric, strangely enough, of
+Besan�on, which is not only Teutonic in its
+tendencies, but is actually of the north.</p>
+
+<p>At all events, Belley, in spite of its clear and
+crisp mountain air, is not of the same climatic
+zone as the other dioceses in the archbishopric
+of Besan�on.</p>
+
+<p>Its cathedral is distinctly minor as to style,
+and is mainly Gothic of the fifteenth century;
+though not unmixed, nor even consistent, in
+its various parts. No inconsiderable portion
+is modern, as will be plainly seen.</p>
+
+<p>One distinctly notable feature is a series of
+Romanesque columns in the nave, possibly
+taken from some pagan Roman structure.
+They are sufficiently of importance and value<a name="page_268" id="page_268"></a>
+to be classed as "<i>Monuments Historiques</i>,"
+and as such are interesting.</p>
+
+<p>Aoste (Aoste-St.-Genix) is on the site of
+the Roman colony of Augustum, of which to-day
+there are but a few fragmentary remains.
+It is perhaps a little more than a mile from the
+village of St. Genix, with which to-day its
+name is invariably coupled. As an ancient
+bishopric in the province of Tarentaise, it
+took form in the fourth century, with St. Eustache
+as its first bishop. To-day the ecclesiastical
+jurisdiction of all this region&mdash;the
+Val-de-Tarentaise&mdash;is held by Tarentaise.<a name="page_269" id="page_269"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 431px;">
+<a href="images/ill_269.png">
+<img src="images/ill_269_sml.png" width="431" height="278" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XXI-3" id="XXI-3"></a>XXI<br /><br />
+ST. JEAN DE MAURIENNE</h3>
+
+<p>St. Jean de Maurienne is a tiny mountain
+city well within the advance-guard of
+the Alpine range. Of itself it savours no
+more of the picturesque than do the immediate
+surroundings. One can well understand
+that vegetation round about has grown
+scant merely because of the dearth of fructifying
+soil. The valleys and the ravines flourish,
+but the enfolding walls of rock are bare and
+sterile.</p>
+
+<p>This is the somewhat abbreviated description
+of the <i>pagi</i> garnered from an ancient<a name="page_270" id="page_270"></a>
+source, and is, in the main, true enough
+to-day.</p>
+
+<p>Not many casual travellers ever get to this
+mountain city of the Alps; they are mostly
+rushed through to Italy, and do not stop short
+of the frontier station of Modane, some thirty
+odd kilometres onward; from which point onward
+only do they know the "lie of the land"
+between Paris and Piedmont.</p>
+
+<p>St. Jean de Maurienne is to-day, though a
+suffragan of Chamb�ry, a bishopric in the old
+ecclesiastical province of Tarentaise. The
+first archbishop&mdash;as the dignity was then&mdash;was
+St. Jacques, in the fifth century.</p>
+
+<p>The cathedral of St. Jean is of a peculiar
+architectural style, locally known as "Chartreusian."
+It is by no means beautiful, but
+it is not unpleasing. It dates, as to the epoch
+of its distinctive style, from the twelfth to the
+fifteenth centuries, though it has been so fully
+restored in our day that it may as well be
+considered as a rebuilt structure, in spite of
+the consistent devotion to the original plan.</p>
+
+<p>The chief features of note are to be seen
+in its interior, and, while they are perhaps not
+of extraordinary value or beauty, in any single
+instance, they form, as a whole, a highly
+interesting disposition of devout symbols.<a name="page_271" id="page_271"></a></p>
+
+<p>Immediately within the portico, by which
+one enters from the west, is a plaster model
+of the tomb of Count Humbert, the head of
+the house of Savoie.</p>
+
+<p>In the nave is an altar and mausoleum in
+marble, gold, and mosaic, erected by the Carthusians
+to St. Ayrald, a former bishop of the
+diocese and a member of their order.</p>
+
+<p>In the left aisle of the nave is a tomb to
+Oger de Conflans, and another to two former
+bishops.</p>
+
+<p>Through the sacristy, which is behind the
+chapel of the Sacred Heart, is the entrance
+to the cloister. This cloister, while not of
+ranking greatness or beauty, is carried out,
+in the most part, in the true pointed style of
+its era (1452), and is, on the whole, the most
+charming attribute of the cathedral.</p>
+
+<p>The choir has a series of carved stalls in
+wood, which are unusually acceptable. In
+the choir, also, is a <i>ciborium</i>, in alabaster,
+with a <i>reliquaire</i> which is said to contain three
+fingers of John the Baptist, brought to Savoie
+in the sixth century by Ste. Th�cle.</p>
+
+<p>The crypt, beneath the choir, is, as is most
+frequently the case, the remains of a still
+earlier church, which occupied the same site,
+but of which there is little record extant.<a name="page_272" id="page_272"></a></p>
+
+<h3><a name="XXII-3" id="XXII-3"></a>XXII<br /><br />
+ST. PIERRE DE ST. CLAUDE</h3>
+
+<p>St. Claude is charmingly situated in a
+romantic valley of the Jura.</p>
+
+<p>The sound of mill-wheels and the sight of
+factory chimneys mingle inextricably with
+the roaring of mountain torrents and the solitude
+of the pine forest.</p>
+
+<p>The majority of the inhabitants of these
+valleys lead a simple and pastoral life, with
+cheese-making apparently the predominant
+industry. Manufacturing of all kinds is carried
+on, in a small way, in nearly every hamlet&mdash;in
+tiny cottage <i>ateliers</i>&mdash;wood-carving,
+gem-polishing, spectacle and clock-making,
+besides turnery and wood-working of all
+sorts.</p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_272.jpg">
+<img src="images/ill_272_sml.jpg" width="550" height="438" alt="ST. PIERRE
+de ST.
+CLAUDE" title="" /></a>
+<div class="figleft" style="width: 154px;">
+<img src="images/ill_272_name.jpg" width="154" height="74" alt="ST. PIERRE de ST. CLAUDE" title="" />
+</div>
+</div>
+
+<p>St. Claude, with its ancient cathedral of
+St. Pierre, is the centre of all these activities;
+which must suggest to all publicists of time-worn
+and <i>ennuied</i> lands a deal of possibilities<a name="page_273" id="page_273"></a>
+in the further application of such industrial
+energies as lie close at hand.</p>
+
+<p>In 1789, when Arthur Young, in his third
+journey through France, passed through St.
+Claude, the count-bishop of the diocese, the
+sole inheritor of its wealthy abbey foundation
+and all its seigneurial dependencies, had only
+just enfranchised his forty thousand serfs.</p>
+
+<p>Voltaire, the atheist, pleaded in vain the
+cause of this Christian prelate, and for him
+to be allowed to sustain his right to bond-men;
+but opposition was too great, and they
+became free to enjoy property rights, could
+they but once acquire them. Previously, if
+childless, they had no power to bequeath their
+property; it reverted simply to the seigneur
+by custom of tradition.</p>
+
+<p>In the fifth century, St. Claude was the site
+of a powerful abbey. It did not become an
+episcopal see, however, until 1742, when its
+first bishop was Joseph de Madet.</p>
+
+<p>At the Revolution the see was suppressed,
+but it rose again, phoenix-like, in 1821, and
+endures to-day as a suffragan of Lyon et
+Vienne.</p>
+
+<p>The cathedral of St. Pierre is a fourteenth-century
+edifice, with later work (seventeenth
+century) equally to be remarked. As a work<a name="page_274" id="page_274"></a>
+of restoration it appears poorly done, but the
+entire structure is of more than ordinary interest;
+nevertheless it still remains an uncompleted
+work.</p>
+
+<p>The church is of exceedingly moderate
+dimensions, and is in no sense a great achievement.
+Its length cannot be much over two
+hundred feet, and its width and height are
+approximately equal (85 feet), producing a
+symmetry which is too conventional to be
+really lovable.</p>
+
+<p>Still, considering its environment and the
+association as the old abbey church, to which
+St. Claude, the bishop of Besan�on, retired
+in the twelfth century, it has far more to offer
+in the way of a pleasing prospect than many
+cathedrals of greater architectural worth.</p>
+
+<p>There are, in its interior, a series of fine
+choir-stalls in wood, of the fifteenth century&mdash;comparable
+only with those at Rodez and
+Albi for their excellence and the luxuriance
+of their carving&mdash;a sculptured <i>Renaissance
+retable</i> depicting the life of St. Pierre, and a
+modern high-altar. This last accessory is not
+as worthy an art work as the two others.
+<a name="page_275" id="page_275"></a></p>
+
+<p><a name="page_276" id="page_276"></a></p>
+
+<div class="figcenter" style="width: 439px;">
+<a href="images/ill_275.png">
+<img src="images/ill_275_sml.png" width="439" height="634" alt="Notre Dame de Bourg" title="" /></a>
+<p><span class="captionunder">Notre Dame de Bourg</span></p>
+</div>
+
+<p><a name="page_277" id="page_277"></a></p>
+
+<h3><a name="XXIII-3" id="XXIII-3"></a>XXIII<br /><br />
+NOTRE DAME DE BOURG</h3>
+
+<p>The chief ecclesiastical attraction of
+Bourg-en-Bresse is not its one-time cathedral
+of Notre Dame, which is but a poor Renaissance
+affair of the fifteenth to seventeenth
+centuries.</p>
+
+<p>The famous �glise de Brou, which Matthew
+Arnold described so justly and fully in
+his verses, is a florid Gothic monument which
+ranks among the most celebrated in France.
+It is situated something less than a mile from
+the town, and is a show-piece which will not
+be neglected. Its charms are too many and
+varied to be even suggested here.</p>
+
+<p>There are a series of sculptured figures of
+the prophets and apostles, from a fifteenth or
+sixteenth-century <i>atelier</i>, that may or may not
+have given the latter-day Sargent his suggestion
+for his celebrated "frieze of the
+prophets." They are wonderfully like, at all<a name="page_278" id="page_278"></a>
+events, and the observation is advisedly included
+here, though it is not intended as a
+sneer at Sargent's masterwork.</p>
+
+<p>This wonderful sixteenth-century �glise de
+Brou, in a highly decorated Gothic style, its
+monuments, altars, and admirable glass, is
+not elsewhere equalled, as to elaborateness,
+in any church of its size or rank.</p>
+
+<p>Notre Dame de Bourg&mdash;the cathedral&mdash;though
+manifestly a Renaissance structure,
+has not a little of the Gothic spirit in its interior
+arrangements and details. It is as if
+a Renaissance shell&mdash;and not a handsome
+one&mdash;were enclosing a Gothic treasure.</p>
+
+<p>There is the unusual polygonal apside,
+which dates from the fifteenth or sixteenth
+century, and is the most curious part of the
+entire edifice.</p>
+
+<p>The octagonal tower of the west has, in its
+higher story, been replaced by an ugly dome-shaped
+excrescence surmounted by an enormous
+gilded cross which is by no means beautiful.</p>
+
+<p>The west fa�ade in general, in whose portal
+are shown some evidences of the Gothic spirit,
+which at the time of its erection had not
+wholly died, is uninteresting and all out of
+proportion to a church of its rank.<a name="page_279" id="page_279"></a></p>
+
+<p>The interior effect somewhat redeems the
+unpromising exterior.</p>
+
+<p>There is a magnificent marble high-altar,
+jewel-wrought and of much splendour. The
+two chapels have modern glass. A fine head
+of Christ, carved in ivory, is to be seen in the
+sacristy. Previous to 1789 it was kept in the
+great council-chamber of the <i>�tats de la
+Bresse</i>.</p>
+
+<p>In the sacristy also there are two pictures,
+of the German school of the sixteenth century.</p>
+
+<p>There are sixty-eight stalls, of the sixteenth
+century, carved in wood. Curiously enough,
+these stalls&mdash;of most excellent workmanship&mdash;are
+not placed within the regulation confines
+of the choir, but are ranged in two rows
+along the wall of the apside.<a name="page_280" id="page_280"></a></p>
+
+<h3><a name="XXIV-3" id="XXIV-3"></a>XXIV<br /><br />
+GLAND�VE, SENEZ, RIEZ, SISTERON</h3>
+
+<p>The diocese of Digne now includes four
+<i>ci-devant</i> bishoprics, each of which was suppressed
+at the Revolution.</p>
+
+<p>The ruins of the ancient bishopric of Gland�ve
+are to-day replaced by the small town
+of D'Entrevaux, whose former cathedral of
+St. Just has now disappeared. The see of
+Gland�ve had in all fifty-three bishops, the
+first&mdash;St. Fraterne&mdash;in the year 459.</p>
+
+<p>Senez was composed of but thirty-two parishes.
+It was, however, a very ancient foundation,
+dating from 445 <span class="smcap">A. D.</span> Its cathedral
+was known as Notre Dame, and its chapter
+was composed of five canons and three dignitaries.
+At various times forty-three bishops
+occupied the episcopal throne at Senez.</p>
+
+<div class="framing" style="width: 384px;">
+<a href="images/ill_280.jpg">
+<img src="images/ill_280_sml.jpg" width="384" height="550" alt="NOTRE DAME
+de SISTERON" title="" /></a>
+<div class="figleft" style="width: 224px;">
+<img src="images/ill_280_name.jpg" width="224" height="54" alt="NOTRE DAME de SISTERON" title="" />
+</div>
+</div>
+
+<p>The suppression likewise made way with the
+bishopric at Riez, a charming little city of
+Provence. The see was formerly composed
+of fifty-four parishes, and its cathedral of<a name="page_281" id="page_281"></a>
+Notre Dame had a chapter of eight canons
+and four dignitaries. The first bishop was
+St. Prosper, in the early part of the fifth century.
+Ultimately he was followed by seventy-four
+others. Two "councils of the church"
+were held at Riez, the first in 439, and the
+second in 1285.</p>
+
+<p>The diocese of Sisteron was situated in the
+charming mountain town of the Basses-Alps.
+This brisk little fortress-city still offers to the
+traveller many of the attractions of yore,
+though its former cathedral of Notre Dame
+no longer shelters a bishop's throne.</p>
+
+<p>Four dignitaries and eight canons performed
+the functions of the cathedral, and
+served the fifty parishes allied with it.</p>
+
+<p>The first bishop was Chrysaphius, in 452,
+and the last, Fran�ois Bovet, in 1789. This
+prelate in 1801 refused the oath of allegiance
+demanded by the new r�gime, and forthwith
+resigned, when the see was combined with
+that of Digne.</p>
+
+<p>The ancient cathedral of Notre Dame de
+Sisteron of the eleventh and twelfth centuries
+is now ranked as a "<i>Monument Historique</i>."
+It dates, in the main, from the twelfth century,
+and is of itself no more remarkable than<a name="page_282" id="page_282"></a>
+many of the other minor cathedrals of this
+part of France.</p>
+
+<p>Its chief distinction lies in its grand <i>retable</i>,
+which is decorated with a series of superb
+paintings by Mignard.</p>
+
+<p>The city lies picturesquely posed at the foot
+of a commanding height, which in turn is
+surmounted by the ancient citadel. Across
+the defile, which is deeply cut by the river
+Durance, rises the precipitous Mont de la
+Baume, which, with the not very grand or
+splendid buildings of the city itself, composes
+the ensemble at once into a distinctively "old-world"
+spot, which the march of progress
+has done little to temper.</p>
+
+<p>It looks not a little like a piece of stage-scenery,
+to be sure, but it is a wonderful
+grouping of the works of nature and of the
+hand of man, and one which it will be difficult
+to duplicate elsewhere in France; in fact, it
+will not be possible to do so.<a name="page_283" id="page_283"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 429px;">
+<a href="images/ill_283.png">
+<img src="images/ill_283_sml.png" width="429" height="282" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XXV-3" id="XXV-3"></a>XXV<br /><br />
+ST. JEROME DE DIGNE</h3>
+
+<p>The diocese of Digne, among all of its
+neighbours, has survived until to-day. It is
+a suffragan of Aix, Arles, and Embrun, and
+has jurisdiction over the whole of the Department
+of the Basses-Alps. St. Domnin became
+its first bishop, in the fourth century.</p>
+
+<p>The ancient Romanesque cathedral of
+Notre Dame&mdash;from which the bishop's seat
+has been removed to the more modern St.
+Jerome&mdash;is an unusually interesting old
+church, though bare and unpretentious to-day.
+It dates from the twelfth century, and has<a name="page_284" id="page_284"></a>
+all the distinguishing marks of its era. Its
+nave is, moreover, a really fine work, and
+worthy to rank with many more important.
+There are, in this nave, some traces of a series
+of curious wall-paintings dating from the
+fourteenth or fifteenth centuries.</p>
+
+<p>St. Jerome de Digne&mdash;called <i>la cath�drale
+fort magnifiante</i>&mdash;is a restored Gothic
+church of the early ages of the style, though
+it has been placed&mdash;in some doubt&mdash;as of
+the fifteenth century.</p>
+
+<p>The apse is semicircular, without chapels,
+and the general effect of the interior as a
+whole is curiously marred by reason of the
+lack of transepts, clerestory, and triforium.</p>
+
+<p>This notable poverty of feature is perhaps
+made up for by the amplified side aisles,
+which are doubled throughout.</p>
+
+<p>The western portal, which is of an acceptable
+modern Gothic, is of more than usual
+interest as to its decorations. In the tympanum
+of the arch is a figure of the Saviour
+giving his blessing, with the emblems of the
+Evangelists below, and an angel and the pelican&mdash;the
+emblem of the sacrament&mdash;above.
+Beneath the figure of the Saviour is another
+of St. Jerome, the patron, to whom the cathedral
+is dedicated.<a name="page_285" id="page_285"></a></p>
+
+<p>A square, ungainly tower holds a noisy peal
+of bells, which, though a great source of local
+pride, can but prove annoying to the stranger,
+with their importunate and unseemly clanging.</p>
+
+<p>The chief accessories, in the interior, are
+an elaborate organ-case,&mdash;of the usual doubtful
+taste,&mdash;a marble statue of St. Vincent de
+Paul (by Daumas, 1869), and a sixteenth or
+seventeenth-century statue of a former bishop
+of the diocese.</p>
+
+<p>Digne has perhaps a more than ordinary
+share of picturesque environment, seated, as
+it is, luxuriously in the lap of the surrounding
+mountains.</p>
+
+<p>St. Domnin, the first bishop, came, it is
+said, from Africa at a period variously stated
+as from 330 to 340 <span class="smcap">A. D.</span>, but, at any rate, well
+on into the fourth century. His enthronement
+appears to have been undertaken amid much
+heretical strife, and was only accomplished
+with the aid of St. Marcellin, the archbishop
+of Embrun, of which the diocese of Digne
+was formerly a suffragan.</p>
+
+<p>The good St. Domnin does not appear to
+have made great headway in putting out the
+flame of heresy, though his zeal was great
+and his miracles many. He departed this<a name="page_286" id="page_286"></a>
+world before the dawn of the fifth century,
+and his memory is still brought to the minds
+of the communicants of the cathedral each
+year on the 13th of February&mdash;his f�te-day&mdash;by
+the display of a reliquary, which is
+said to contain&mdash;somewhat unemphatically&mdash;the
+remains of his head and arm.</p>
+
+<p>Wonderful cures are supposed to result to
+the infirm who view this <i>relique</i> in a proper
+spirit of veneration, and devils are warranted
+to be cast out from the true believer under
+like conditions.</p>
+
+<p>A council of the Church was held at Digne
+in 1414.<a name="page_287" id="page_287"></a></p>
+
+<h3><a name="XXVI-3" id="XXVI-3"></a>XXVI<br /><br />
+NOTRE DAME DE DIE</h3>
+
+<p>The <i>Augusta Dia</i> of the Romans is to-day
+a diminutive French town lying at the foot
+of the <i>colline</i> whose apex was formerly surmounted
+by the more ancient city.</p>
+
+<p>It takes but little ecclesiastical rank, and
+is not even a tourist resort of renown. It is,
+however, a shrine which encloses and surrounds
+many monuments of the days which
+are gone, and is possessed of an ancient Arc
+de Triomphe which would attract many of
+the genus "<i>touriste</i>", did they but realize its
+charm.</p>
+
+<p>The cathedral, dedicated to the Virgin,
+sheltered a bishop's throne from the foundation
+of the bishopric until 1285, when a hiatus
+ensued&mdash;apparently from some inexplicable
+reason&mdash;until 1672, when its episcopal dignity
+again came into being. Finally, in 1801,
+the diocese came to an end. St. Mars was the<a name="page_288" id="page_288"></a>
+first bishop, the see having been founded in
+the third century.</p>
+
+<p>The porch of this cathedral is truly remarkable,
+having been taken from a former
+temple to Cybele, and dates at least from some
+years previous to the eleventh century. Another
+portal of more than usual remark&mdash;known
+as the <i>porte rouge</i>&mdash;is fashioned from
+contemporary fragments of the same period.</p>
+
+<p>While to all intents and purposes the cathedral
+is an early architectural work, its rank
+to-day is that of a restored or rebuilt church
+of the seventeenth century.</p>
+
+<p>The nave is one of the largest in this part
+of France, being 270 feet in length and seventy-six
+feet in width. It has no side aisles
+and is entirely without pillars to break its
+area, which of course appears more vast than
+it really is.</p>
+
+<p>What indications there are which would
+place the cathedral among any of the distinct
+architectural styles are of the pointed variety.</p>
+
+<p>Aside from its magnificent dimensions,
+there are no interior features of remark except
+a gorgeous Renaissance pulpit and a
+curious <i>c�ne</i>.<a name="page_289" id="page_289"></a></p>
+
+<h3><a name="XXVII-3" id="XXVII-3"></a>XXVII<br /><br />
+NOTRE DAME ET ST. CASTOR D'APT</h3>
+
+<p>Apt is doubtfully claimed to have been a
+bishopric under St. Auspice in the first century,
+but the ancient <i>Apta Julia</i> of Roman
+times is to-day little more than an interesting
+by-point, with but little importance in either
+ecclesiological or art matters.</p>
+
+<p>Its cathedral&mdash;as a cathedral&mdash;ceased to
+exist in 1790. It is of the species which would
+be generally accepted as Gothic, so far as exterior
+appearances go, but it is bare and poor
+in ornament and design, and as a type ranks
+far down the scale.</p>
+
+<p>In its interior arrangements the style becomes
+more florid, and takes on something of
+the elaborateness which in a more thoroughly
+worthy structure would be unremarked.</p>
+
+<p>The chief decoration lies in the rather elaborate
+<i>jub�</i>, or choir-screen, which stands out
+far more prominently than any other interior
+feature, and is without doubt an admirable<a name="page_290" id="page_290"></a>
+example of this not too frequent attribute of
+a French church.</p>
+
+<p>Throughout there are indications of the
+work of many epochs and eras, from the crypt
+of the primitive church to the Chapelle de
+Ste. Anne, constructed by Mansard in the seventeenth
+century. This chapel contains some
+creditable paintings by Parrocel, and yet
+others, in a still better style, by Mignard.</p>
+
+<p>The crypt, which formed a part of the
+earlier church on this site, is the truly picturesque
+feature of the cathedral at Apt, and,
+like many of its kind, is now given over to
+a series of subterranean chapels.</p>
+
+<p>Among the other attributes of the interior
+are a tomb of the Ducs de Sabron, a marble
+altar of the twelfth century, a precious enamel
+of the same era, and a Gallo-Romain sarcophagus
+of the fifth century.</p>
+
+<p>As to the exterior effect and ensemble, the
+cathedral is hardly to be remarked, either in
+size or splendour, from the usual parish
+church of the average small town of France.
+It does not rise to a very ambitious height,
+neither does its ground-plan suggest magnificent
+proportions. Altogether it proves to be
+a cathedral which is neither very interesting
+nor even picturesque.<a name="page_291" id="page_291"></a></p>
+
+<p>The little city itself is charmingly situated
+on the banks of the Coulon, a small stream
+which runs gaily on its way to the Durance,
+at times torrential, which in turn goes to swell
+the flood of the Rh�ne below Avignon.</p>
+
+<p>The former bishop's palace is now the pr�fecture
+and Mairie.<a name="page_292" id="page_292"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 302px;">
+<a href="images/ill_292.png">
+<img src="images/ill_292_sml.png" width="302" height="404" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XXVIII-3" id="XXVIII-3"></a>XXVIII<br /><br />
+NOTRE DAME D'EMBRUN</h3>
+
+<p>Embrun, not unlike its neighbouring towns
+in the valley of the Durance, is possessed of
+the same picturesque environment as Sisteron
+and Digne. It is perched high on that species
+of eminence known in France as a <i>colline</i>,
+though in this case it does not rise to a very
+magnificent height; what there is of it, however,<a name="page_293" id="page_293"></a>
+serves to accentuate the picturesque element
+as nothing else would.</p>
+
+<p>The episcopal dignity of the town is only
+partial; it shares the distinction with Aix
+and Arles.</p>
+
+<p>The �glise Notre Dame, though it is still
+locally known as "<i>la cath�drale</i>," is of the
+twelfth century, and has a wonderful old
+Romanesque north porch and peristyle set
+about with gracefully proportioned columns,
+the two foremost of which are supported upon
+the backs of a pair of weird-looking animals,
+which are supposed to represent the twelfth-century
+stone-cutter's conception of the king
+of beasts. In the tympanum of this portal
+are sculptured figures of Christ and the Evangelists,
+in no wise of remarkable quality, but
+indicating, with the other decorative features,
+a certain luxuriance which is not otherwise
+suggested in the edifice.</p>
+
+<p>The Romanesque tower which belongs to
+the church proper is, as to its foundations, of
+very early date, though, as a finished detail,
+it is merely a rebuilt fourteenth-century structure
+carried out on the old lines. There is
+another tower, commonly called "<i>la tour
+brune</i>," which adjoins the ancient bishop's<a name="page_294" id="page_294"></a>
+palace, and dates from at least a century before
+the main body of the church.</p>
+
+<p>The entire edifice presents an architectural
+<i>m�lange</i> that makes it impossible to classify
+it as of any one specific style, but the opinion
+is hazarded that it is all the more interesting
+a shrine because of this incongruity.</p>
+
+<p>The choir, too, indicates that it has been
+built up from fragments of a former fabric,
+while the west front is equally unconvincing,
+and has the added curious effect of presenting
+a variegated fa�ade, which is, to say the least
+and the most, very unusual. A similar suggestion
+is found occasionally in the Auvergne,
+but the interweaving of party-coloured stone,
+in an attempt to produce variety, has too often
+not been taken advantage of. In this case it
+is not so very pleasing, but one has a sort of
+sympathetic regard for it nevertheless.</p>
+
+<p>In the interior there are no constructive
+features of remark; indeed there is little embellishment
+of any sort. There is an eighteenth-century
+altar, in precious marbles,
+worked after the old manner, and in the sacristy
+some altar-fittings of elaborately worked
+Cordovan leather, a triptych which is dated
+1518, some brilliant glass of the fifteenth century,
+and in the nave a Renaissance organ-case<a name="page_295" id="page_295"></a>
+which encloses an organ of the early sixteenth
+century.</p>
+
+<p>Near by is Mont St. Guillaume (2,686
+metres), on whose heights is a <i>sanctuaire</i> frequented
+by pilgrims from round about the
+whole valley of the Durance.</p>
+
+<p>From "Quentin Durward," one recalls the
+great devotion of the Dauphin of France&mdash;Louis
+XI.&mdash;for the statue of Notre Dame
+d'Embrun.<a name="page_296" id="page_296"></a></p>
+
+<h3><a name="XXIX-3" id="XXIX-3"></a>XXIX<br /><br />
+NOTRE DAME DE L'ASSOMPTION DE GAP</h3>
+
+<p>Gap is an ancient and most attractive little
+city of the Maritime Alps, of something less
+than ten thousand inhabitants.</p>
+
+<p>Its cathedral is also the parish church, which
+suggests that the city is not especially devout.</p>
+
+<p>The chapter of the cathedral consists of
+eight canons, who, considering that the spiritual
+life of the entire Department of the
+Hautes-Alpes&mdash;some hundred and fifty thousand
+souls&mdash;is in their care, must have a very
+busy time of it.</p>
+
+<p>St. Demetrius, the friend of St. John the
+Evangelist, has always been regarded as the
+first apostle and bishop of the diocese. He
+came from Rome to Gaul in the reign of
+Claudian, and began his work of evangelization
+in the environs of Vienne under St. Crescent,
+the disciple of St. Paul. From Vienne
+Demetrius came immediately to Gap and established
+the diocese here.<a name="page_297" id="page_297"></a></p>
+
+<p>Numerous conversions were made and the
+Church quickly gained adherents, but persecution
+was yet rife, as likewise was superstition,
+and the priests were denounced to the
+governors of the province, who forthwith put
+them to death in true barbaric fashion.</p>
+
+<p>Amid these inflictions, however, and the
+later Protestant persecutions in Dauphin�, the
+diocese grew to great importance, and endures
+to-day as a suffragan of Aix, Arles, and
+Embrun.</p>
+
+<p>The �glise de Gap has even yet the good
+fortune to possess personal <i>reliques</i> of her first
+bishop, and accordingly displays them with
+due pride and ceremony on his <i>jour de f�te</i>,
+the 26th October of each year. Says a willing
+but unknowing French writer: "Had Demetrius&mdash;who
+came to Gap in the first century&mdash;any
+immediate successors? That we
+cannot say. It is a period of three hundred
+years which separates his tenure from that of
+St. Constantine, the next prelate of whom the
+records tell."</p>
+
+<p>Three other dioceses of the former ecclesiastical
+province have been suppressed, and
+Gap alone has lived to exert its tiny sphere of
+influence upon the religious life of the present
+day.<a name="page_298" id="page_298"></a></p>
+
+<p>The history of Gap has been largely identified
+with the Protestant cause in Dauphin�.
+There is, in the Prefecture, a monument to
+the Due de Lesdigui�res&mdash;Fran�oise de
+Bonne&mdash;who, from the leadership of the
+Protestants went over to the Roman faith,
+in consideration of his being given the rank
+of <i>Conn�table de France</i>. Why the mere fact
+of his apostasy should have been a sufficient
+and good reason for this aggrandizement, it
+is difficult to realize in this late day; though
+we know of a former telegraph messenger
+who became a count.</p>
+
+<p>Another reformer, Guillaume Farel, was
+born and lived at Gap. "He preached his
+first sermon," says History, "at the mill of
+Bur�e, and his followers soon drove the Catholics
+from the place; when he himself took
+possession of the pulpits of the town."</p>
+
+<p>From all this dissension from the Roman
+faith&mdash;though it came comparatively late
+in point of time&mdash;rose the apparent apathy
+for church-building which resulted in the
+rather inferior cathedral at Gap.</p>
+
+<p>No account of this unimportant church edifice
+could possibly be justly coloured with enthusiasm.
+It is not wholly a mean structure,
+but it is unworthy of the great activities of<a name="page_299" id="page_299"></a>
+the religious devotion of the past, and has no
+pretence to architectural worth, nor has it
+any of the splendid appointments which are
+usually associated with the seat of a bishop's
+throne.</p>
+
+<p>Notre Dame de l'Assomption is a modern
+edifice in the style <i>Romano-Gothique</i>, and its
+construction, though elaborate both inside and
+out, is quite unappealing.</p>
+
+<p>This is the more to be marvelled at, in that
+the history of the diocese is so full of incident;
+so far, in fact, in advance of what the tangible
+evidences would indicate.<a name="page_300" id="page_300"></a></p>
+
+<h3><a name="XXX-3" id="XXX-3"></a>XXX<br /><br />
+NOTRE DAME DE VENCE</h3>
+
+<p>Vence,&mdash;the ancient Roman city of Ventium,&mdash;with
+five other dioceses of the ecclesiastical
+province of Embrun, was suppressed&mdash;as
+the seat of a bishop&mdash;in 1790. It had
+been a suffragan bishopric of Embrun since
+its foundation by Eus�be in the fourth century.</p>
+
+<p>The ancient cathedral of Notre Dame is
+supposed to show traces of workmanship of
+the sixth, tenth, twelfth, and fifteenth centuries,
+but, excepting that of the latter era,
+it will be difficult for the casual observer to
+place the distinctions of style.</p>
+
+<p>The whole ensemble is of grim appearance;
+so much so that one need not hesitate to place
+it well down in the ranks of the church-builder's
+art, and, either from poverty of purse or
+purpose, it is quite undistinguished.</p>
+
+<p>In its interior there are a few features of
+unusual remark: an ancient sarcophagus,<a name="page_301" id="page_301"></a>
+called that of St. V�ran; a <i>retable</i> of the sixteenth
+century; some rather good paintings,
+by artists apparently unknown; and a series
+of fifty-one fifteenth-century choir-stalls of
+quite notable excellence, and worth more as
+an expression of artistic feeling than all the
+other features combined.</p>
+
+<p>The only distinction as to constructive features
+is the fact that there are no transepts,
+and that the aisles which surround the nave
+are doubled.<a name="page_302" id="page_302"></a></p>
+
+<h3><a name="XXXI-3" id="XXXI-3"></a>XXXI<br /><br />
+CATH�DRALE DE SION</h3>
+
+<p>The small city of Sion, the capital of the
+Valais, looks not unlike the pictures one sees
+in sixteenth-century historical works.</p>
+
+<p>It is brief, confined, and unobtrusive. It
+was so in feudal times, when most of its architecture
+partook of the nature of a stronghold.
+It is so to-day, because little of modernity has
+come into its life.</p>
+
+<p>The city, town, or finally village&mdash;for it
+is hardly more, from its great lack of activity&mdash;lies
+at the foot of three lofty, isolated eminences.
+A great conflagration came to Sion
+early in the nineteenth century which resulted
+in a new lay-out of the town and one really
+fine modern thoroughfare, though be it still
+remarked its life is yet medi�val.</p>
+
+<p>Upon one of these overshadowing heights
+is the present episcopal residence, and on another
+the remains of a fortress&mdash;formerly the
+stronghold of the bishops of Sion. On this<a name="page_303" id="page_303"></a>
+height of La Val�re stands the very ancient
+church of Ste. Catherine (with a tenth or
+eleventh-century choir), occupying, it is said,
+the site of a Roman temple.</p>
+
+<p>In the mid-nineteenth century the Jesuits
+gained a considerable influence here and congregated
+in large numbers.</p>
+
+<p>The city was the ancient Sedanum, and in
+olden time the bishop bore also the title of
+"Prince of the Holy Empire." The power
+of this prelate was practically unlimited, and
+ordinances of state were, as late as the beginning
+of the nineteenth century, made in his
+name, and his arms formed the embellishments
+of the public buildings and boundary posts.</p>
+
+<p>Rudolf III., king of Burgundy, from the
+year 1000, made them counts of Valais.</p>
+
+<p>St. Th�odule was the first bishop of Sion,&mdash;in
+the fourth century,&mdash;and is the patron
+of the diocese.</p>
+
+<p>In 1070 the bishop of Sion came to England
+as papal legate to consecrate Walkelin
+to the see of Winchester.</p>
+
+<p>In 1516 Bishop Schinner came to England
+to procure financial aid from Henry VIII.
+to carry on war against France.</p>
+
+<p>The cathedral in the lower town is a fifteenth-century
+work which ought&mdash;had the<a name="page_304" id="page_304"></a>
+manner of church-building here in this isolated
+region kept pace with the outside world&mdash;to
+be Renaissance in style. In reality, it
+suggests nothing but the earliest of Gothic,
+and, in parts, even Romanesque; therefore
+it is to be remarked, if not admired.</p>
+
+<p>Near by is the modern episcopal residence.</p>
+
+<p>The records tell of the extraordinary beauty
+and value of the <i>tr�sor</i>, which formerly belonged
+to the cathedral: an ivory pyx, a
+reliquary, and a magnificent manuscript of
+the Gospels&mdash;given by Charles the Great to
+St. Maurice, and acquired by the town in
+the fourteenth century. This must at some
+former time have been dispersed, as no trace
+of it is known to-day.</p>
+
+<p>Sion was formerly a suffragan bishopric
+of Tarantaise, which in turn has become to-day
+a suffragan of Chamb�ry.<a name="page_305" id="page_305"></a></p>
+
+<h3><a name="XXXII-3" id="XXXII-3"></a>XXXII<br /><br />
+ST. PAUL TROIS CH�TEAUX</h3>
+
+<p>St. Paul Trois Ch�teaux is a very old
+settlement. As a bishopric it was known anciently
+as Tricastin, and dates from the second
+century. St. Restuit was its first bishop. It
+was formerly the seat of the ancient Roman
+colony of <i>Augusta Tricastinorum</i>. Tradition
+is responsible for the assertion that St. Paul
+was the first prelate of the diocese, and being
+born blind was cured by Jesus Christ. This
+holy man, after having recovered his sight,
+took the name of Restuit, under which name
+he is still locally honoured. One of his successors
+erected to his honour, in the fourth
+century, a chapel and an altar. These, of
+course have disappeared&mdash;hence we have
+only tradition, which, to say the least, and
+the most, is, in this case, quite legendary.</p>
+
+<p>The city was devastated in the fifth century
+by the Vandals; in 1736 by the Saracens;<a name="page_306" id="page_306"></a>
+and taken and retaken by the Protestants and
+Catholics in the fourteenth century.</p>
+
+<p>As a bishopric the "Tricastin city" comprised
+but thirty-six parishes, and in the rearrangement
+attendant upon the Revolution
+was suppressed altogether. Ninety-five bishops
+in all had their seats here up to the time
+of suppression. Certainly the religious history
+of this tiny city has been most vigorous
+and active.</p>
+
+<p>The city conserves to-day somewhat of its
+ancient birthright, and is a picturesque and
+romantic spot, in which all may tarry awhile
+amid its tortuous streets and the splendid remains
+of its old-time builders. Few do drop
+off, even, in their annual rush southward, in
+season or out, and the result is that St. Paul
+Trois Ch�teaux is to-day a delightfully "old
+world" spot in the most significant meaning
+of the phrase.</p>
+
+<p>Of course the habitant still refers to the
+seat of the former bishop's throne as a cathedral,
+and it is with pardonable pride that he
+does so.</p>
+
+<p>This precious old eleventh and twelfth-century
+church is possessed of as endearing and
+interesting an aspect as the city itself. It has
+been restored in recent times, but is much<a name="page_307" id="page_307"></a>
+hidden by the houses which hover around its
+walls. It has a unique portal which opens
+between two jutting columns whose shafts
+uphold nothing&mdash;not even capitals.</p>
+
+<p>In fact, the general plan of the cathedral
+follows that of the Latin cross, though in this
+instance it is of rather robust proportions.
+The transepts, which are neither deep nor
+wide, are terminated with an apse, as is also
+the choir, which depends, for its embellishments,
+upon the decorative effect produced
+by eight Corinthian columns.</p>
+
+<p>The interior, the nave in particular, is of
+unusual height for a not very grand structure;
+perhaps eighty feet. Its length is hardly
+greater.</p>
+
+<p>The orders of columns rise vaultwards,
+surmounted by a simple entablature. These
+are perhaps not of the species that has come
+to be regarded as good form in Christian architecture,
+but which, for many reasons, have
+found their way into church-building, both
+before and since the rise of Gothic.</p>
+
+<p>Under a triforium, in blind, is a sculptured
+drapery; again a feature more pagan than
+Christian, but which is here more pleasing
+than when usually found in such a false relation.<a name="page_308" id="page_308"></a></p>
+
+<p>Both these details are in imitation of the
+antique, and, since they date from long before
+the simulating of pseudo-classical details
+became a mere fad, are the more interesting
+and valuable as an art-expression of the
+time.</p>
+
+<p>For the rest, this one-time cathedral is uncommon
+and most singular in all its parts,
+though nowhere of very great inherent beauty.</p>
+
+<p>An ancient gateway bears a statue of the
+Virgin. It was the gift of a former Archbishop
+of Paris to the town of his birth.</p>
+
+<p>An ancient Dominican convent is now the
+<i>�cole Normale des Petits Fr�res de Marie</i>.
+Within its wall have recently been discovered
+a valuable mosaic work, and a table or altar
+of carved stone.</p>
+
+<p>In the suburbs of the town have also recently
+been found much beautiful Roman
+work of a decorative nature; a geometric
+parchment in mosaic; a superb lamp, in
+worked bronze; a head of Mercury (now in
+the Louvre), and much treasure which would
+make any antiquarian literally leap for joy,
+were he but present when they were unearthed.</p>
+
+<p>Altogether the brief r�sum� should make
+for a desire to know more of this ancient city<a name="page_309" id="page_309"></a>
+whose name, even, is scarcely known to those
+much-travelled persons who cross and recross
+France in pursuit of the pleasures of convention
+alone.</p>
+
+<p><a name="page_310" id="page_310"></a></p>
+
+<p><a name="page_311" id="page_311"></a></p>
+
+<h2><a name="PART_IV" id="PART_IV"></a><i>PART IV</i><br /><br />
+<i>The Mediterranean Coast</i></h2>
+
+<p><a name="page_312" id="page_312"></a></p>
+
+<p><a name="page_313" id="page_313"></a></p>
+
+<h3><a name="I-4" id="I-4"></a>I<br /><br />
+INTRODUCTORY</h3>
+
+<p>The Mediterranean shore of the south of
+France, that delectable land which fringes
+the great tideless sea, bespeaks the very spirit
+of history and romance, of Christian fervour,
+and of profane riot and bloodshed.</p>
+
+<p>Its ancient provinces,&mdash;Lower Languedoc,
+the Narbonensis of Gaul; Provence, the most
+glorious and golden of all that went to make
+up modern France,&mdash;the medi�val capital
+of King Ren�, Aix-en-Provence, and the commercial
+capital of the Phoceans (559 <span class="smcap">B. C.</span>),
+Massilia, all combine in a wealth of storied
+lore which is inexhaustible.</p>
+
+<p>The tide of latter-day travel descends the
+Rh�ne to Marseilles, turns eastward to the
+conventional pleasures of the Riviera, and
+utterly neglects the charms of La Crau, St.
+R�my, Martiques, and Aigues-Mortes; or
+the more progressive, though still ancient<a name="page_314" id="page_314"></a>
+cathedral cities of Montpellier, B�ziers, Narbonne,
+or Perpignan.</p>
+
+<p>There is no question but that the French
+Riviera is, in winter, a land of sunshiny days,
+cool nights, and the more or the less rapid
+life of fashion. Which of these attractions
+induces the droves of personally-, semi-, and
+non-conducted tourists to journey thither,
+with the first advent of northern rigour, is
+doubtful; it is probably, however, a combination
+of all three.</p>
+
+<p>It is a beautiful strip of coast-line from
+Marseilles to Mentone, and its towns and
+cities are most attractively placed. But a
+sojourn there "in the season," amid the luxury
+of a "palace-hotel," or the bareness of a mediocre
+<i>pension</i>, is a thing to be dreaded. Seekers
+after health and pleasure are supposed to
+be wonderfully recouped by the process; but
+this is more than doubtful. Vice is rarely
+attractive, but it is always made attractive,
+and weak tea and <i>pain de m�nage</i> in a Riviera
+boarding-house are no more stimulating than
+elsewhere; hence the many virtues of this sunlit
+land are greatly nullified.</p>
+
+<p>"A peculiarity of the Riviera is that each
+of the prominent watering-places possesses
+a tutelary deity of our own. (Modest this!)<a name="page_315" id="page_315"></a>
+Thus, for instance, no visitor to Cannes is
+allowed to forget the name of Lord
+Brougham, while the interest at Beaulieu
+and Cap Martin centres around another
+great English statesman, Lord Salisbury.
+Cap d'Antibes has (or had) for its <i>genius
+loci</i> Grant Allen, and Valescure is chiefly
+concerned with Mrs. Humphry Ward and
+Mrs. Oliphant."</p>
+
+<p>This quotation is, perhaps, enough to make
+the writer's point here: Why go to the
+Riviera to think of Lord Brougham, long
+since dead and gone, any more than to Monte
+Carlo to be reminded of the unfortunate end
+which happened to the great system for
+"breaking the bank" of Lord&mdash;&mdash;, a nineteenth-century
+nobleman of notoriety&mdash;if not
+of fame?</p>
+
+<p>The charm of situation of the Riviera is
+great, and the interest awakened by its many
+reminders of the historied past is equally so;
+but, with regard to its architectural remains,
+the most ready and willing temperament will
+be doomed to disappointment.</p>
+
+<p>The cathedral cities of the Riviera are not
+of irresistible attraction as shrines of the
+Christian faith; but they have much else,<a name="page_316" id="page_316"></a>
+either within their confines or in the immediate
+neighbourhood, which will go far to make
+up for the deficiency of their religious monuments.</p>
+
+<p>It is not that the architectural remains of
+churches of another day, and secular establishments,
+are wholly wanting. Far from it;
+Fr�jus, Toulon, Grasse, and Cannes are
+possessed of delightful old churches, though
+they are not of ranking greatness, or splendour.</p>
+
+<p>Still the fact remains that, of themselves, the
+natural beauties of the region and the heritage
+of a historic past are not enough to attract the
+throngs which, for any one of a dozen suspected
+reasons, annually, from November to
+March, flock hither to this range of towns,
+which extends from Hy�res and St. Raphael,
+on the west, to Bordighera and Ospadeletti,
+just over the Italian border, on the east.</p>
+
+<p>It is truly historic ground, this; perhaps
+more visibly impressed upon the mind and
+imagination than any other in the world, if
+we except the Holy Land itself.</p>
+
+<p>Along this boundary were the two main
+routes, by land and by water, through which
+the warlike and civil institutions of Rome first
+made their way into Gaul, conquered it, and<a name="page_317" id="page_317"></a>
+impressed thereon indelibly for five hundred
+years the mighty power which their ambition
+urged forward.</p>
+
+<p>At Cimiez, a suburb of Nice, they have left
+a well-preserved amphitheatre; at Antibes
+the remains of Roman towers; Villefranche&mdash;the
+port of Nice&mdash;was formerly a Roman
+port; Fr�jus, the former <i>Forum Julii</i>, has remains
+of its ancient harbour, its city walls, an
+amphitheatre, a gateway, and an arch, and,
+at some distance from the city, the chief of all
+neighbouring remains, an aqueduct, the crumbling
+stones of which can be traced for many
+miles.</p>
+
+<p>Above the promontory of Monaco, where
+the Alps abruptly meet the sea, stands the tiny
+village of <i>La Turbie</i>, some nineteen hundred
+feet above the waters of the sparklingly brilliant
+Mediterranean. Here stands that venerable
+ruined tower, the great <i>Troph&oelig;a Augusti</i>
+of the Romans, now stayed and strutted
+by modern masonry. It commemorates the
+Alpine victories of the first of the emperors,
+and overlooks both Italy and France.
+Stripped to-day of the decorations and sculptures
+which once graced its walls, it stands as
+a reminder of the first splendid introduction<a name="page_318" id="page_318"></a>
+of the luxuriant architecture of Rome into the
+precincts of the Western Empire.</p>
+
+<p>Here it may be recalled that sketching, even
+from the hilltops, is a somewhat risky proceeding
+for the artist. The surrounding eminences&mdash;as
+would be likely so near the Italian
+border&mdash;are frequently capped with a
+fortress, and occupied by a small garrison, the
+sole duty of whose commandant appears to be
+"heading off," or worse, those who would
+make a picturesque note of the environment
+of this <i>ci-devant</i> Roman stronghold. The
+process of transcribing "literary notes" is
+looked upon with equal suspicion, or even
+greater disapproval, in that&mdash;in English&mdash;they
+are not so readily translated as is even a
+bad drawing. So the admonition is here advisedly
+given for "whom it may concern."</p>
+
+<p>From the Rh�ne eastward, Marseilles alone
+has any church of a class worthy to rank with
+those truly great. Its present cathedral of Ste.
+Marie-Majeure assuredly takes, both as to its
+plan and the magnitude on which it has been
+carried out, the rank of a masterwork of architecture.
+It is a modern cathedral, but it is
+a grand and imposing basilica, after the Byzantine
+manner.</p>
+
+<p>Westward, if we except B�ziers, where<a name="page_319" id="page_319"></a>
+there is a commanding cathedral; Narbonne,
+where the true sky-pointing Gothic is to be
+found; and Perpignan, where there is a very
+ancient though peculiarly disposed cathedral,
+there are no really grand cathedral churches
+of this or any other day. On the whole, however,
+all these cities are possessed of a subtle
+charm of manner and environment which
+tell a story peculiarly their own.</p>
+
+<p>Foremost among these cities of Southern
+Gaul, which have perhaps the greatest and
+most appealing interest for the traveller, are
+Carcassonne and Aigues-Mortes.</p>
+
+<p>Each of these remarkable reminders of days
+that are gone is unlike anything elsewhere.
+Their very decay and practical desertion make
+for an interest which would otherwise be unattainable.</p>
+
+<p>Aigues-Mortes has no cathedral, nor ever
+had; but Carcassonne has a very beautiful,
+though small, example in St. Nazaire, treated
+elsewhere in this book.</p>
+
+<p>Both Aigues-Mortes and Carcassonne are
+the last, and the greatest, examples of the famous
+walled and fortified cities of the Middle
+Ages.</p>
+
+<p>Aigues-Mortes itself is a mere dead thing
+of the marshes, which once held ten thousand<a name="page_320" id="page_320"></a>
+souls, and witnessed all the pomp and glitter
+which attended upon the embarking of Louis
+IX. on his chivalrous, but ill-starred, ventures
+to the African coasts.</p>
+
+<p>"Here was a city built by the whim of a
+king&mdash;the last of the Royal Crusaders." To-day
+it is a coffin-like city with perhaps a
+couple of thousand pallid, shaking mortals,
+striving against the marsh-fever, among the
+ruined houses, and within the mouldering
+walls of an ancient Gothic burgh.</p>
+
+<p><a name="page_321" id="page_321"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_320.png">
+<img src="images/ill_320_sml.png" width="550" height="273" alt="The Ramparts of Aigues-Mortes" title="" /></a>
+<p><span class="captionunder">The Ramparts of Aigues-Mortes</span></p>
+</div>
+
+<p><a name="page_322" id="page_322"></a></p>
+
+<div class="figcenter" style="width: 333px;">
+<a href="images/ill_321.png">
+<img src="images/ill_321_sml.png" width="333" height="550" alt="St. Sauveur d&#39;Aix" title="" /></a>
+<p><span class="captionunder">St. Sauveur d&#39;Aix</span></p>
+</div>
+
+<p><a name="page_323" id="page_323"></a></p>
+
+<h3><a name="II-4" id="II-4"></a>II<br /><br />
+ST. SAUVEUR D'AIX</h3>
+
+<p>Aix, the former capital of Provence, one of
+the most famous ancient provinces, the early
+seat of wealth and civilization, and the native
+land of the poetry and romance of medi�valism,
+was the still more ancient <i>Aqu� Sexti�</i>
+of the Romans&mdash;so named for the hot springs
+of the neighbourhood. It was their oldest colony
+in Gaul, and was founded by Sextius Calvinus
+in <span class="smcap">B. C.</span> 123.</p>
+
+<p>In King Ren�'s time,&mdash;"<i>le bon roi</i>" died
+at Aix in 1480,&mdash;<i>Aix-en-Provence</i> was more
+famous than ever as a "gay capital," where
+"mirth and song and much good wine"
+reigned, if not to a degenerate extent, at least
+to the full expression of liberty.</p>
+
+<p>In 1481, just subsequent to Ren�'s death, the
+province was annexed to the Crown, and fifty
+years later fell into the hands of Charles V.,
+who was proclaimed King of Arles and Provence.
+This monarch's reign here was of short<a name="page_324" id="page_324"></a>
+duration, and he evacuated the city after two
+months' tenure.</p>
+
+<p>During all this time the church of Aix,
+from the foundation of the archbishopric by
+St. Maxine in the first century (as stated
+rather doubtfully in the "<i>Gallia Christiania</i>"),
+ever advanced hand in hand with the
+medi�val gaiety and splendour that is now
+past.</p>
+
+<p>Who ever goes to Aix now? Not many
+Riviera tourists even, and not many, unless
+they are on a mission bent, will cross the Rh�ne
+and the Durance when such appealingly attractive
+cities as Arles, Avignon, and N�mes
+lie on the direct pathway from north to
+south.</p>
+
+<p>Formerly the see was known as the Province
+of Aix. To-day it is known as Aix, Arles,
+and Embrun, and covers the Department of
+Bouches-du-Rh�ne, with the exception of
+Marseilles, which is a suffragan bishopric of
+itself.</p>
+
+<p>The chief ecclesiastical monuments of Aix
+are the cathedral of St. Sauveur, with its most
+unusual <i>baptist�re</i>; the church of St. Jean-de-Malte
+of the fourteenth century; and the comparatively
+modern early eighteenth-century
+church of La Madeleine, with a fine "Annunciation"<a name="page_325" id="page_325"></a>
+confidently attributed by local experts
+to Albrecht D�rer.</p>
+
+<p>The cathedral of St. Sauveur is, in part, an
+eleventh-century church. The portions remaining
+of this era are not very extensive, but
+they do exist, and the choir, which was added
+in the thirteenth century, made the first approach
+to a completed structure. In the next
+century the choir was still more elaborated,
+and the tower and the southern aisle of the
+nave added. This nave is, therefore, the original
+nave, as the northern aisle was not added
+until well into the seventeenth century.</p>
+
+<p>The west fa�ade contains a wonderful,
+though non-contemporary, door and doorway
+in wood and stone of the early sixteenth century.
+This doorway is in two bays, divided
+by a pier, on which is superimposed a statue
+of the Virgin and Child, framed by a light
+garland of foliage and fruits. Above are
+twelve tiny statuettes of <i>Sibylles</i> or the theological
+virtues placed in two rows. The lower
+range of the archivolt is divided by pilasters
+bearing the symbols of the Evangelists, deeply
+cut arabesques of the Genii, and the four
+greater prophets&mdash;Isaiah, Jeremiah, Ezekiel,
+and Daniel.</p>
+
+<p>Taken together, these late sculptures of the<a name="page_326" id="page_326"></a>
+early sixteenth century form an unusually
+mixed lot; but their workmanship and disposition
+are pleasing and of an excellence
+which in many carvings of an earlier date is
+often lacking.</p>
+
+<p>The interior shows early "pointed" and
+simple round arches, with pilasters and pediment
+which bear little relation to Gothic, and
+are yet not Romanesque of the conventional
+variety. These features are mainly not suggestive
+of the Renaissance either, though work
+of this style crops out, as might be expected,
+in the added north aisle of the nave.</p>
+
+<p>The transepts, too, which are hardly to be
+remarked from the outside,&mdash;being much
+hemmed about by the surrounding buildings,&mdash;also
+indicate their Renaissance origin.</p>
+
+<p>The real embellishments of the interior are:
+a triptych&mdash;"The Burning Bush," with portraits
+of King Ren�, Queen Jeanne de Laval,
+and others; another of "The Annunciation;"
+a painting of St. Thomas, by a sixteenth-century
+Flemish artist; and some sixteenth-century
+tapestries. None of these features, while
+acceptable enough as works of art, compare
+in worth or novelty with the tiny <i>baptist�re</i>,
+which is claimed as of the sixth century.</p>
+
+<p>This is an unusual work in Gaul, the only<a name="page_327" id="page_327"></a>
+other examples being at Poitiers and Le Puy.
+It resembles in plan and outline its more famous
+contemporary at Ravenna, and shows
+eight antique columns, from a former temple
+to Apollo, with dark shafts and lighter capitals.
+The dome has a modern stucco finish,
+little in keeping with the general tone and
+purport of this accessory. The cloister of St
+Sauveur, in the Lombard style, is very curious,
+with its assorted twisted and plain columns,
+some even knotted. The origin of its
+style is again bespoke in certain of the round-headed
+arches. Altogether, as an accessory
+to the cathedral, if to no other extent, this
+Lombard detail is forceful and interesting.<a name="page_328" id="page_328"></a></p>
+
+<h3><a name="III-4" id="III-4"></a>III<br /><br />
+ST. REPARATA DE NICE</h3>
+
+<div class="blockquot"><p>"What would you, then? I say it is most engaging,
+in winter when the strangers are here, and all work day
+and night; but it is a much better place in summer, when
+one can take their ease."</p>
+
+<p class="r">&mdash;<span class="smcap">Paul Ar�ne.</span></p></div>
+
+<p>Whatever may be the attractions of Nice
+for the travelled person, they certainly do not
+lie in or about its cathedral. The guide-books
+call it simply "the principal ecclesiastical edifice
+... of no great interest," which is an
+apt enough qualification.</p>
+
+<p>In a book which professes to treat of the
+special subject of cathedral churches, something
+more is expected, if only to define the
+reason of the lack of appealing interest.</p>
+
+<p>One might say with the Abb� Bourass�,&mdash;who
+wrote of St. Louis de Versailles,&mdash;"It
+is cold, unfeeling, and without life;" or he
+might dismiss it with a few words of lukewarm<a name="page_329" id="page_329"></a>
+praise, which would be even less satisfying.</p>
+
+<p>More specifically the observation might be
+passed that the lover of churches will hardly
+find enough to warrant even passing consideration
+<i>on the entire Riviera</i>.</p>
+
+<p>This last is in a great measure true, though
+much of the incident of history and romance
+is woven about what&mdash;so far as the church-lover
+is concerned&mdash;may be termed mere
+"tourist points."</p>
+
+<p>At all events, he who makes the round, from
+Marseilles to San Remo in Italy, must to no
+small extent subordinate his love of ecclesiastical
+art and&mdash;as do the majority of visitors&mdash;plunge
+into a whirl of gaiety (<i>sic</i>) as conventional
+and unsatisfying as are most fulsome,
+fleeting pleasures.</p>
+
+<p>The sensation is agreeable enough to most
+of us, for a time at least, but the forced and
+artificial gaiety soon palls, and he who puts
+it all behind him, and strikes inland to Aix
+and Embrun and the romantically disposed
+little cathedral towns of the valley of the Durance,
+will come once again into an architectural
+zone more in comport with the subject
+suggested by the title of this book.</p>
+
+<p>It is curious to note that, with the exception<a name="page_330" id="page_330"></a>
+of Marseilles and Aix, scarce one of the suffragan
+dioceses of the ancient ecclesiastical
+province of Aix, Arles, and Embrun is possessed
+of a cathedral of the magnitude which
+we are wont to associate with the churchly
+dignity of a bishop.</p>
+
+<p>St. Reparata de Nice is dismissed as above;
+that of Antibes was early transferred or combined
+with that of Grasse; Grasse itself endured
+for a time&mdash;from 1245 onward&mdash;but
+was suppressed in 1790; Gland�ve, Senez,
+and Riez were combined with Digne; while
+Fr�jus has become subordinate to Toulon,
+though it shares episcopal dignity with that
+city.</p>
+
+<p>In spite of these changes and the apparently
+inexplicable tangle of the limits of jurisdiction
+which has spread over this entire region, religion
+has, as might be inferred from a study
+of the movement of early Christianity in Gaul,
+ever been prominent in the life of the people,
+and furthermore is of very long standing.</p>
+
+<p>The first bishop of Nice was Amantius,
+who came in the fourth century. With what
+effect he laboured and with what real effect
+his labours resulted, history does not state with
+minuti�. The name first given to the diocese
+was <i>Cemenelium</i>.<a name="page_331" id="page_331"></a></p>
+
+<p>In 1802 the diocese of Nice was allied with
+that of Aix, but in the final readjustment its
+individuality became its own possession once
+more, and it is now a bishopric, a suffragan
+of Marseilles.</p>
+
+<p>As to architectural splendour, or even
+worth, St. Reparata de Nice has none. It is
+a poor, mean fabric in the Italian style; quite
+unsuitable in its dimensions to even the proper
+exploitation of any beauties that the style of
+the Renaissance may otherwise possess.</p>
+
+<p>The general impression that it makes upon
+one is that it is but a makeshift or substitute
+for something more pretentious which is to
+come.</p>
+
+<p>The church dates from 1650 only, and is
+entirely unworthy as an expression of religious
+art or architecture. The structure itself
+is bare throughout, and what decorative embellishments
+there are&mdash;though numerous&mdash;are
+gaudy, after the manner of stage tinsel.<a name="page_332" id="page_332"></a></p>
+
+<h3><a name="IV-4" id="IV-4"></a>IV<br /><br />
+STE. MARIE MAJEURE DE TOULON</h3>
+
+<p>The episcopal dignity of Toulon is to-day
+shared with Fr�jus, whereas, at the founding
+of the diocese, Toulon stood alone as a bishopric
+in the ecclesiastical province of Arles.
+This was in the fifth century. When the readjustment
+came, after the Revolution, the
+honour was divided with the neighbouring
+coast town of Fr�jus.</p>
+
+<p>In spite of the fact that the cathedral here
+is of exceeding interest, Toulon is most often
+thought of as the chief naval station of France
+in the Mediterranean. From this fact signs
+of the workaday world are for ever thrusting
+themselves before one.</p>
+
+<p>As a seaport, Toulon is admirably situated
+and planned, but the contrast between the
+new and old quarters of the town and the
+frowning fortifications, docks, and storehouses
+is a jumble of utilitarian accessories which<a name="page_333" id="page_333"></a>
+does not make for the slightest artistic or �sthetic
+interest.</p>
+
+<p>Ste. Marie Majeure is a Romanesque edifice
+of the eleventh and twelfth centuries. Its
+fa�ade is an added member of the seventeenth
+century, and the belfry of the century following.
+The church to-day is of some considerable
+magnitude, as the work of the seventeenth
+and eighteenth centuries comprehended
+extensive enlargements.</p>
+
+<p>As to its specific style, it has been called
+Proven�al as well as Romanesque. It is
+hardly one or the other, as the pure types
+known elsewhere are considered, but rather
+a blend or transition between the two.</p>
+
+<p>The edifice underwent a twelfth-century
+restoration, which doubtless was the opportunity
+for incorporating with the Romanesque
+fabric certain details which we have come
+since to know as Proven�al.</p>
+
+<p>During the Revolution the cathedral suffered
+much despoliation, as was usual, and
+only came through the trial in a somewhat
+imperfect and poverty-stricken condition.
+Still, it presents to-day some considerable
+splendour, if not actual magnificence.</p>
+
+<p>Its nave is for more reasons than one quite
+remarkable. It has a length of perhaps a<a name="page_334" id="page_334"></a>
+hundred and sixty feet, and a width scarcely
+thirty-five, which gives an astonishing effect
+of narrowness, but one which bespeaks a certain
+grace and lightness nevertheless&mdash;or
+would, were its constructive elements of a
+little lighter order.</p>
+
+<p>In a chapel to the right of the choir is a
+fine modern <i>reredos</i>, and throughout there
+are many paintings of acceptable, if not great,
+worth. The pulpit, by a native of Toulon,
+is usually admired, but is a modern work
+which in no way compares with others of its
+kind seen along the Rhine, and indeed
+throughout Germany. One of the principal
+features which decorate the interior is a tabernacle
+by Puget; while an admirable sculptured
+"Jehovah and the Angels" by Veyrier,
+and a "Virgin" by Canova&mdash;which truly is
+not a great work&mdash;complete the list of artistic
+accessories.</p>
+
+<p>The first bishop of Toulon, in the fifth century,
+was one Honor�.<a name="page_335" id="page_335"></a></p>
+
+<h3><a name="V-4" id="V-4"></a>V<br /><br />
+ST. ETIENNE DE FR�JUS</h3>
+
+<p>The ancient episcopal city of Fr�jus has
+perhaps more than a due share of the attractions
+for the student and lover of the historic
+past. It is one of the most ancient cities of
+Provence. Its charm of environment, people,
+and much else that it offers, on the surface
+or below, are as irresistible a galaxy as one
+can find in a small town of scarce three thousand
+inhabitants. And Fr�jus is right on the
+beaten track, too, though it is not apparent
+that the usual run of pleasure-loving, tennis-playing,
+and dancing-party species of tourist&mdash;at
+a small sum per head, all included&mdash;ever
+stop here <i>en route</i> to the town's more
+fashionable Riviera neighbours&mdash;at least
+they do not <i>en masse</i>&mdash;as they wing their
+way to the more delectable pleasures of
+naughty Nice or precise and proper Mentone.</p>
+
+<p>The establishment of a bishopric here is
+somewhat doubtfully given by "<i>La Gallia<a name="page_336" id="page_336"></a>
+Christiania</i>" as having been in the fourth
+century. Coupled with this statement is the
+assertion that the cathedral at Fr�jus is very
+ancient, and its foundation very obscure; but
+that it was probably built up from the remains
+of a "primitive temple consecrated to an
+idol." Such, at least, is the information
+gleaned from a French source, which does
+not in any way suggest room for doubt.</p>
+
+<p>Formerly the religious administration was
+divided amongst a provost, an archdeacon,
+a sacristan, and twelve canons. The diocese
+was suppressed in 1801 and united with that
+of Aix, but was re�stablished in 1823 by virtue
+of the Concordat of 1817. To-day the
+diocese divides the honour of archiepiscopal
+dignity with that of Toulon.</p>
+
+<p>The foundations of St. Etienne are admittedly
+those of a pagan temple, but the bulk
+of the main body of the church is of the
+eleventh century. The tower and its spire&mdash;not
+wholly beautiful, nor yet in any way unbeautiful&mdash;are
+of the period of the <i>ogivale
+primaire</i>.</p>
+
+<p>As to style, in so far as St. Etienne differs
+greatly from the early Gothic of convention,
+it is generally designated as Proven�al-Romanesque.
+It is, however, strangely akin to<a name="page_337" id="page_337"></a>
+what we know elsewhere as primitive Gothic,
+and as such it is worthy of remark, situated,
+as it is, here in the land where the pure round-arched
+style is indigenous.</p>
+
+<p>The portal has a doorway ornamented with
+some indifferent Renaissance sculptures. To
+the left of this doorway is a <i>baptist�re</i> containing
+a number of granite columns, which,
+judging from their crudeness, must be of genuine
+antiquity.</p>
+
+<p>There is an ancient Gothic cloister, hardly
+embryotic, but still very rudimentary, because
+of the lack of piercings of the arches; possibly,
+though, this is the result of an afterthought,
+as the arched openings appear likely
+enough to have been filled up at some time
+subsequent to the first erection of this feature.</p>
+
+<p>The bishop's palace is of extraordinary
+magnitude and impressiveness, though of no
+very great splendour. In its fabric are incorporated
+a series of Gallo-Roman pilasters,
+and it has the further added embellishment
+of a pair of graceful twin <i>tourelles</i>.</p>
+
+<p>The Roman remains throughout the city
+are numerous and splendid, and, as a former
+seaport, founded by C�sar and enlarged by
+Augustus, the city was at a former time even
+more splendid than its fragments might indicate.<a name="page_338" id="page_338"></a>
+To-day, owing to the building up of
+the foreshore, and the alluvial deposits
+washed down by the river Argens, the town
+is perhaps a mile from the open sea.</p>
+
+<div class="figcenter" style="width: 296px;">
+<a href="images/ill_338.png">
+<img src="images/ill_338_sml.png" width="296" height="392" alt="Detail of Doorway of the
+Archibishop&#39;s Palace, Fr�jus" title="" /></a>
+<span class="captionunder">Detail of Doorway of the<br />
+Archibishop&#39;s Palace, Fr�jus</span>
+</div>
+
+<p><a name="page_339" id="page_339"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 422px;">
+<a href="images/ill_339.png">
+<img src="images/ill_339_sml.png" width="422" height="278" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="VI-4" id="VI-4"></a>VI<br /><br />
+�GLISE DE GRASSE</h3>
+
+<p>Grasse is more famed for its picturesque
+situation and the manufacture of perfumery
+than it is for its one-time cathedral, which
+is but a simple and uninteresting twelfth-century
+church, whose only feature of note
+is a graceful doorway in the pointed style.</p>
+
+<p>The diocese of Grasse formerly had jurisdiction
+over Antibes, whose bishop&mdash;St. Armentaire&mdash;ruled
+in the fourth century.</p>
+
+<p>The diocese of Grasse&mdash;in the province
+of Embrun&mdash;did not come into being, however,
+until 1245, when Raimond de Villeneuve<a name="page_340" id="page_340"></a>
+was made its first bishop. The see was suppressed
+in 1790.</p>
+
+<p>There are, as before said, no accessories of
+great artistic worth in the �glise de Grasse,
+and the lover of art and architecture will
+perforce look elsewhere. In the H�pital are
+three paintings attributed to Rubens, an "Exaltation,"
+a "Crucifixion," and a "Crowning
+of Thorns." They may or may not be genuine
+works by the master; still, nothing points to
+their lack of authenticity, except the omission
+of all mention thereof in most accounts which
+treat of this artist's work.<a name="page_341" id="page_341"></a></p>
+
+<h3><a name="VII-4" id="VII-4"></a>VII<br /><br />
+ANTIBES</h3>
+
+<p>Cap d'Antibes, on the Golfe Jouan, is one
+of those beauty-spots along the Mediterranean
+over which sentimental rhapsody has ever
+lent, if not a glamour which is artificial, at
+least one which is purely �sthetic.</p>
+
+<p>One must not deny it any reputation of this
+nature which it may possess, and indeed, with
+St. Raphael and Hy�res, it shares with many
+another place along the French Riviera a
+popularity as great, perhaps, as if it were the
+possessor of even an extraordinarily beautiful
+cathedral.</p>
+
+<p>The churchly dignity of Antibes has departed
+long since, though its career as a
+former bishopric&mdash;in the province of Aix&mdash;was
+not brief, as time goes. It began in
+the fourth century with St. Armentaire, and
+endured intermittently until the twelfth century,
+when the see was combined with that
+of Grasse, and the ruling dignity transferred
+to that place.<a name="page_342" id="page_342"></a></p>
+
+<h3><a name="VIII-4" id="VIII-4"></a>VIII<br /><br />
+STE. MARIE MAJEURE DE MARSEILLES</h3>
+
+<div class="blockquot"><p>"These brown men of Marseilles, who sing as they
+bend at their oars, are Greeks."</p>
+
+<p class="r">&mdash;<span class="smcap">Clovis Hughes.</span></p></div>
+
+<p>Marseilles is modern and commercial;
+but Marseilles is also ancient, and a centre
+from which have radiated, since the days of
+the Greeks, much power and influence.</p>
+
+<p>It is, too, for a modern city,&mdash;which it is
+to the average tourist,&mdash;wonderfully picturesque,
+and shows some grand architectural
+effects, both ancient and modern.</p>
+
+<div class="figcenter" style="width: 678px;">
+<a href="images/ill_343.png">
+<img src="images/ill_343_sml.png" width="678" height="427" alt="Marseilles" title="" /></a>
+<p><span class="captionunder">Marseilles</span></p>
+</div>
+
+<p>The <i>Palais de Long Champs</i> is an architectural
+grouping which might have dazzled
+luxurious Rome itself. The Chamber of
+Commerce, with its decorations by Puvis de
+Chavannes, is a structure of the first rank;
+the <i>Cannebi�re</i> is one of those few great business
+thoroughfares which are truly imposing;
+while the docks, shipping, and hotels, are all<a name="page_343" id="page_343"></a><a name="page_344" id="page_344"></a><a name="page_345" id="page_345"></a>
+of that pre�minent magnitude which we are
+wont to associate only with a great capital.</p>
+
+<p>As to its churches, its old twelfth-century
+cathedral remains to-day a mere relic of its
+former dignity.</p>
+
+<div class="figcenter" style="width: 322px;">
+<a href="images/ill_345.png">
+<img src="images/ill_345_sml.png" width="322" height="281" alt="The Old Cathedral, Marseilles" title="" /></a>
+<p><span class="captionunder">The Old Cathedral, Marseilles</span></p>
+</div>
+
+<p>It is a reminder of a faith and a power that
+still live in spite of the attempts of the world
+of progress to live it down, and has found its
+echo in the present-day cathedral of Ste.
+Marie Majeure, one of the few remarkably
+successful attempts at the designing of a great
+church in modern times. The others are the
+new Westminster Roman Catholic Cathedral
+London, the projected cathedral of St.<a name="page_346" id="page_346"></a>
+John the Divine in New York, and Trinity
+Church in Boston.</p>
+
+<p>As an exemplification of church-building
+after an old-time manner adapted to modern
+needs, called variously French-Romanesque,
+Byzantine, and, by nearly every expert who
+has passed comment upon it, by some special
+<i>nomenclature of his own</i>, the cathedral at
+Marseilles is one of those great churches
+which will live in the future as has St. Marc's
+at Venice in the past.</p>
+
+<p>Its material is a soft stone of two contrasting
+varieties,&mdash;the green being from the
+neighbourhood of Florence, and the white
+known as <i>pierre de Calissant</i>,&mdash;laid in alternate
+courses. Its deep sunken portal, with its
+twin flanking Byzantine towers, dominates the
+old part of the city, lying around about the
+water-front, as do few other churches, and no
+cathedrals, in all the world.</p>
+
+<p>It stands a far more impressive and inspiring
+sentinel at the water-gate of the city than
+does the ludicrously fashioned modern "sailors'
+church" of Notre Dame de la Gard,
+which is perched in unstable fashion on a
+pinnacle of rock on the opposite side of the
+harbour.</p>
+
+<p>This "curiosity"&mdash;for it is hardly more<a name="page_347" id="page_347"></a>&mdash;is
+reached by a cable-lift or funicular railway,
+which seems principally to be conducted
+for the delectation of those winter birds of
+passage yclept "Riviera tourists."</p>
+
+<p>The true pilgrim, the sailor who leaves a
+votive offering, or his wife or sweetheart, who
+goes there to pray for his safety, journeys on
+foot by an abrupt, stony road,&mdash;as one truly
+devout should.</p>
+
+<p>This sumptuous cathedral will not please
+every one, but it cannot be denied that it is
+an admirably planned and wonderfully executed
+<i>neo-Byzantine</i> work. In size it is
+really vast, though its chief remarkable dimension
+is its breadth. Its length is four
+hundred and sixty feet.</p>
+
+<p>At the crossing is a dome which rises to
+one hundred and ninety-seven feet, while two
+smaller ones are at each end of the transept,
+and yet others, smaller still, above the various
+chapels.</p>
+
+<p>The general effect of the interior is&mdash;as
+might be expected&mdash;<i>grandoise</i>. There is an
+immensely wide central nave, flanked by two
+others of only appreciably reduced proportions.</p>
+
+<p>Above the side aisles are galleries extending
+to the transepts.<a name="page_348" id="page_348"></a></p>
+
+<p>The decorations of mosaic, glass, and mural
+painting have been the work of the foremost
+artists of modern times, and have been long in
+execution.</p>
+
+<p>The entire period of construction extended
+practically over the last half of the nineteenth
+century.</p>
+
+<p>The plans were by L�on Vaudoyer, who
+was succeeded by one Esp�randieu, and again
+by Henri R�voil. The entire detail work
+may not even yet be presumed to have been
+completed, but still the cathedral stands to-day
+as the one distinct and complete achievement
+of its class within the memory of living
+man.</p>
+
+<p>The pillars of the nave, so great is their
+number and so just and true their disposition,
+form a really decorative effect in themselves.</p>
+
+<p>The choir is very long and is terminated
+with a domed apse, with domed chapels radiating
+therefrom in a symmetrical and beautiful
+manner.</p>
+
+<p>The episcopal residence is immediately to
+the right of the cathedral, on the Place de la
+Major.</p>
+
+<p>Marseilles has been the seat of a bishop
+since the days of St. Lazare in the first century.<a name="page_349" id="page_349"></a>
+It was formerly a suffragan of Arles
+in the Province d'Arles, as it is to-day, but
+its jurisdiction is confined to the immediate
+neighbourhood of the city.<a name="page_350" id="page_350"></a></p>
+
+<h3><a name="IX-4" id="IX-4"></a>IX<br /><br />
+ST. PIERRE D'ALET</h3>
+
+<p>In St. Pierre d'Alet was a former cathedral
+of a very early date; perhaps as early
+as the ninth century, though the edifice was
+entirely rebuilt in the eleventh. To-day, even
+this structure&mdash;which is not to be wondered
+at&mdash;is in ruins.</p>
+
+<p>There was an ancient abbey here in the
+ninth century, but the bishopric was not
+founded until 1318, and was suppressed in
+1790.</p>
+
+<p>The most notable feature of this ancient
+church is the wall which surrounds or forms
+the apside. This quintupled <i>pan</i> is separated
+by four great pillars, in imitation of the Corinthian
+order; though for that matter they
+may as well be referred to as genuine antiques&mdash;which
+they probably are&mdash;and be done
+with it.</p>
+
+<p>The capitals and the cornice which surmounts
+them are richly ornamented with<a name="page_351" id="page_351"></a>
+sculptured foliage, and, so far as it goes, the
+whole effect is one of liberality and luxury of
+treatment.</p>
+
+<p>Immediately beside the ruins of this old-time
+cathedral is the �glise St. Andr� of the
+fourteenth and fifteenth centuries.<a name="page_352" id="page_352"></a></p>
+
+<h3><a name="X-4" id="X-4"></a>X<br /><br />
+ST. PIERRE DE MONTPELLIER</h3>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="center"><i>La Ville de Montpellier</i></td></tr>
+<tr><td align="left">&nbsp;</td></tr>
+<tr><td align="left">"Elle est charmante et douce ...</td></tr>
+<tr><td align="left">Avec son vast ciel, toujours vibrant et pur,</td></tr>
+<tr><td align="center">. &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;.&nbsp;</td></tr>
+<tr><td align="left">Elle est charmante avec ses brunes jeunes filles</td></tr>
+<tr><td align="left">... le noir diamant de leurs yeux!"</td></tr>
+<tr><td align="right">&mdash;<span class="smcap">Henri de Bornier.</span></td></tr>
+</table>
+
+<p>Montpellier is seated upon a hill, its foot
+washed by two small and unimportant rivers.</p>
+
+<p>A seventeenth-century writer has said:
+"This city is not very ancient, though now it
+be the biggest, fairest, and richest in Languedoc,
+after Toulouse."</p>
+
+<div class="framing" style="width: 379px;">
+<a href="images/ill_352.jpg">
+<img src="images/ill_352_sml.jpg" width="379" height="550" alt="ST. PIERRE
+de MONTPELLIER" title="" /></a>
+<div class="figleft" style="width: 269px;">
+<img src="images/ill_352_name.jpg" width="269" height="58" alt="ST. PIERRE de MONTPELLIER" title="" />
+</div>
+</div>
+
+<p>From a passage in the records left by St.
+Bernard, the Abbot of Clairvaux, it is learned
+that there was a school or seminary of physicians
+here as early as 1155, and the perfect
+establishment of a university was known to
+have existed just previous to the year 1200.
+This institution was held in great esteem, and<a name="page_353" id="page_353"></a>
+in importance second only to Paris. To-day
+the present establishment merits like approbation,
+and, sheltered in part in the ancient
+episcopal palace, and partly enclosing the
+cathedral of St. Pierre, it has become inseparable
+from consideration in connection therewith.</p>
+
+<p>The records above referred to have this to
+say concerning the university: "Tho' Physic
+has the Precendence, yet both Parts of the
+Law are taught in one of its Colleges, by Four
+Royal Professors, with the Power of making
+Licentiates and Doctors." Continuing, he
+says: "The ceremony of taking the M. D.
+degree is very imposing; if only the putting
+on and off, seven times, the old gown of the
+famous Rabelais."</p>
+
+<p>Montpellier was one of "the towns of security"
+granted by Henry IV. to the Protestants,
+but Louis XIII., through the suggestions
+of his cardinals, Richelieu and Mazarin,
+forced them by arms to surrender this place
+of protection. The city was taken after a long
+siege and vigorous defence in 1622.</p>
+
+<p>Before the foundation of Montpellier, the
+episcopal seat was at Maguelonne, the ancient
+Magalonum of the Romans. The town does
+not exist to-day, and its memory is only perpetuated<a name="page_354" id="page_354"></a>
+by the name Villeneuve les Maguelonne,
+a small hamlet on the bay of that name,
+a short distance from Montpellier.</p>
+
+<p>The Church had a foothold here in the year
+636, but the ferocity of Saracen hordes utterly
+destroyed all vestiges of the Christian faith in
+their descent upon the city.</p>
+
+<p>Says the Abb� Bourass�: "In the eleventh
+century another cathedral was dedicated by
+Bishop Arnaud, and the day was made the
+occasion of a f�te, in consideration of the
+restoration of the church, which had been for
+a long time abandoned."</p>
+
+<p>It seems futile to attempt to describe a
+church which does not exist, and though the
+records of the later cathedral at Maguelonne
+are very complete, it must perforce be passed
+by in favour of its descendant at Montpellier.</p>
+
+<p>Having obtained the consent of Fran�ois I.,
+the bishop of Maguelonne solicited from the
+pontiff at Rome the privilege of transferring
+the throne. In a bull given in 1536, it was
+decreed that this should be done forthwith.
+Accordingly, the bishop and his chapter
+transferred their dignity to a Benedictine
+monastery at Montpellier, which had been
+founded in 1364 by Pope Urban V.</p>
+
+<p>The wars of the Protestants desecrated this<a name="page_355" id="page_355"></a>
+great church, which, like many others, suffered
+greatly from their violence, so much so
+that it was shorn entirely of its riches, its reliquaries,
+and much of its decoration.</p>
+
+<p>The dimensions of this church are not great,
+and its beauties are quite of a comparative
+quality; but for all that it is a most interesting
+cathedral.</p>
+
+<p>The very grim but majestic severity of its
+canopied portal&mdash;with its flanking cylindrical
+pillars, called by the French <i>tourelles
+�lanc�s</i>&mdash;gives the key-note of it all, and a
+note which many a more perfect church lacks.</p>
+
+<p>This curious porch well bespeaks the time
+when the Church was both spiritual and militant,
+and ranks as an innovation&mdash;though an
+incomplete and possibly imperfect one&mdash;in
+the manner of finishing off a west fa�ade. Its
+queer, suspended canopy and slight turreted
+towers are unique; though, for a fact, they
+suggest, in embryo, those lavish Burgundian
+porches; but it is only a suggestion, because of
+the incompleteness and bareness. However,
+this porch is the distinct fragment of the
+cathedral which will appeal to all who come
+into contact therewith.</p>
+
+<p>The general effect of the interior is even
+more plain than that of the outer walls, and<a name="page_356" id="page_356"></a>
+is only remarkable because of its fine and
+true proportions of length, breadth, and
+height.</p>
+
+<p>The triforium is but a suggestion of an
+arcade, supported by black marble columns.
+The clerestory above is diminutive, and the
+window piercings are infrequent. At the
+present time the choir is hung with a series of
+curtains of <i>panne</i>&mdash;not tapestries in this case.
+The effect is more theatrical than ecclesiastical.</p>
+
+<p>The architectural embellishments are to-day
+practically <i>nil</i>, but instead one sees
+everywhere large, uninterrupted blank walls
+without decoration of any sort.</p>
+
+<p>The principal decorations of the southern
+portal are the only relaxation in this otherwise
+simple and austere fabric. Here is an
+elaborately carved tympanum and an ornamented
+architrave, which suggests that the
+added mellowness of a century or two yet to
+come will grant to it some approach to distinction.
+This portal is by no means an
+insignificant work, but it lacks that ripeness
+which is only obtained by the process of time.</p>
+
+<p>Three rectangular towers rise to unequal
+heights above the roof, and, like the western
+porch, are bare and primitive, though they<a name="page_357" id="page_357"></a>
+would be effective enough could one but get
+an <i>ensemble</i> view that would bring them into
+range. They are singularly unbeautiful,
+however, when compared with their northern
+brethren.<a name="page_358" id="page_358"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 422px;">
+<a href="images/ill_358.png">
+<img src="images/ill_358_sml.png" width="422" height="278" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XI-4" id="XI-4"></a>XI<br /><br />
+CATH�DRALE D'AGDE</h3>
+
+<p>This tiny Mediterranean city was founded
+originally by the Ph&oelig;nicians as a commercial
+port, and finally grew, in spite of its diminutive
+proportions, to great importance.</p>
+
+<p>Says an old writer: "Agde is not so very
+big, but it is Rich and Trading-Merchantmen
+can now come pretty near Agde and
+Boats somewhat large enter into the Mouth
+of the River; where they exchange many
+Commodities for the Wines of the Country."</p>
+
+<p>Agde formerly, as if to emphasize its early
+importance, had its own viscounts, whose
+estates fell to the share of those of N�mes;<a name="page_359" id="page_359"></a>
+but in 1187, Bernard Atton, son of a Viscount
+of N�mes, presented to the Bishop of Agde
+the viscounty of the city. Thus, it is seen, a
+certain good-fellowship must have existed
+between the Church and state of a former day.</p>
+
+<p>Formerly travellers told tales of Agde,
+whereby one might conclude its aspect was
+as dull and gloomy as "Black Angers" of
+King John's time; and from the same source
+we learn of the almost universal use of a dull,
+slate-like stone in the construction of its
+buildings. To-day this dulness is not to be
+remarked. What will strike the observer,
+first and foremost, as being the chief characteristic,
+is the castellated <i>ci-devant</i> cathedral
+church. Here is in evidence the blackish
+basalt, or lava rock, to a far greater extent
+than elsewhere in the town. It was a good
+medium for the architect-builder to work in,
+and he produced in this not great or magnificent
+church a truly impressive structure.</p>
+
+<p>The bishopric was founded in the fifth
+century under St. Venuste, and came to its
+end at the suppression in 1790. Its former
+cathedral is cared for by the <i>Minist�re des
+Beaux-Arts</i> as a <i>monument historique</i>. The
+structure was consecrated as early as the
+seventh century, when a completed edifice<a name="page_360" id="page_360"></a>
+was built up from the remains of a pagan
+temple, which formerly existed on the
+site. Mostly, however, the work is of the
+eleventh and twelfth centuries, notably the
+massive square tower which, one hundred and
+twenty feet in height, forms a beacon by sea
+and a landmark on shore which no wayfarer
+by ship, road, or rail is likely to miss.</p>
+
+<p>A cloister of exceedingly handsome design
+and arrangement is attached to the cathedral,
+where it is said the <i>m�chicoulis</i> is the most
+ancient known. This feature is also notable in
+the roof-line of the nave, which, with the extraordinary
+window piercings and their disposition,
+heightens still more the suggestion
+of the manner of castle-building of the time.
+The functions of the two edifices were never
+combined, though each&mdash;in no small way&mdash;frequently
+partook of many of the characteristics
+of the other.</p>
+
+<p>Aside from this really beautiful cloister,
+and a rather gorgeous, though manifestly
+good, painted altar-piece, there are no other
+noteworthy accessories; and the interest and
+charm of this not really great church lie in
+its aspect of strength and utility as well as its
+environment, rather than in any real �sthetic
+beauty.<a name="page_361" id="page_361"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 586px;">
+<a href="images/ill_361.png">
+<img src="images/ill_361_sml.png" width="586" height="410" alt="St. Nazaire de B�ziers" title="" /></a>
+<p><span class="captionunder">St. Nazaire de B�ziers</span></p>
+</div>
+
+<p><a name="page_362" id="page_362"></a></p>
+
+<p><a name="page_363" id="page_363"></a></p>
+
+<h3><a name="XII-4" id="XII-4"></a>XII<br /><br />
+ST. NAZAIRE DE B�ZIERS</h3>
+
+<p>St. Nazaire de B�ziers is, in its strongly
+fortified attributes of frowning ramparts and
+well-nigh invulnerable situation, a continuation
+of the suggestion that the medi�val
+church was frequently a stronghold in more
+senses than one.</p>
+
+<p>The church fabric itself has not the grimness
+of power of the more magnificent St.
+C�cile at Albi or Notre Dame at Rodez, but
+their functions have been much the same;
+and here, as at Albi, the ancient episcopal palace
+is duly barricaded after a manner that
+bespeaks, at least, forethought and strategy.</p>
+
+<p>These fortress-churches of the South seem
+to have been a product of environment as
+much as anything; though on the other hand
+it may have been an all-seeing effort to provide
+for such contingency or emergency as
+might, in those medi�val times, have sprung
+up anywhere.<a name="page_364" id="page_364"></a></p>
+
+<p>At all events, these proclaimed shelters,
+from whatever persecution or disasters might
+befall, were not only for the benefit of the
+clergy, but for all their constituency; and
+such stronghold as they offered was for the
+shelter, temporary or protracted, of all the
+population, or such of them as could be accommodated.
+Surely this was a doubly
+devout and utilitarian object.</p>
+
+<p>In this section at any rate&mdash;the extreme
+south of France, and more particularly to the
+westward of the <i>Bouches-du-Rh�ne</i>&mdash;the
+regional "wars of religion" made some such
+protection necessary; and hence the development
+of this type of church-building, not only
+with respect to the larger cathedral churches,
+but of a great number of the parish churches
+which were erected during the thirteenth and
+fourteenth centuries.</p>
+
+<p>The other side of the picture is shown by the
+acts of intolerance on the part of the Church,
+for those who merely differed from them in
+their religious tenets and principles. Fanatics
+these outsiders may have been, and perhaps
+not wholly tractable or harmless, but they
+were, doubtless, as deserving of protection
+as were the faithful themselves. This was not
+for them, however, and as for the violence and<a name="page_365" id="page_365"></a>
+hatred with which they were held here, one
+has only to recall that at B�ziers took place
+the crowning massacres of the Albigenses&mdash;"the
+most learned, intellectual, and philosophic
+revolters from the Church of Rome."</p>
+
+<p>Beneath the shadow of these grim walls and
+towers over twenty thousand men and women
+and children were slaughtered by the fanatics
+of orthodox France and Rome; led on and
+incited by the Bishop of B�ziers, who has
+been called&mdash;and justly as it would seem&mdash;"the
+blackest-souled bigot who ever deformed
+the face of God's earth."</p>
+
+<p>The cathedral at B�ziers is not a great or
+imposing structure when taken by itself. It
+is only in conjunction with its fortified walls
+and ramparts and commanding situation that
+it rises to supreme rank.</p>
+
+<p>It is commonly classed as a work of the
+twelfth to fourteenth centuries, and with the
+characteristics of its era and local environment,
+it presents no very grand or ornate
+features.</p>
+
+<p>Its first general plan was due to a layman-architect,
+Gervais, which perhaps accounts
+for a certain lack of what might otherwise
+be referred to as ecclesiastical splendour.</p>
+
+<p>The remains of this early work are presumably<a name="page_366" id="page_366"></a>
+slight; perhaps nothing more than
+the foundation walls, as a fire in 1209 did a
+considerable damage.</p>
+
+<p>The transepts were added in the thirteenth
+century, and the two dwarfed towers in the
+fourteenth, at which period was built the
+<i>clocher</i> (151 feet), the apside, and the nave
+proper.</p>
+
+<p>There is not a great brilliancy or refulgent
+glow from the fabric from which St. Nazaire
+de B�ziers is built; as is so frequent in secular
+works in this region. The stone was dark, apparently,
+to start with, and has aged considerably
+since it was put into place. This, in a
+great measure, accounts for the lack of liveliness
+in the design and arrangement of this
+cathedral, and the only note which breaks the
+monotony of the exterior are the two statues,
+symbolical of the ancient and the modern
+laws of the universe, which flank the western
+portal&mdash;or what stands for such, did it but
+possess the dignity of magnitude.</p>
+
+<p>So far as the exterior goes, it is one's first
+acquaintance with St. Nazaire, when seen
+across the river Orb, which gives the most
+lively and satisfying impression.</p>
+
+<p>The interior attributes of worth and interest
+are more numerous and pleasing.<a name="page_367" id="page_367"></a></p>
+
+<p>The nave is aisleless, but has numerous
+lateral chapels. The choir has a remarkable
+series of windows which preserve, even to-day,
+their ancient protecting <i>grilles</i>&mdash;a
+series of wonderfully worked iron scrolls.
+These serve to preserve much fourteenth-century
+glass of curious, though hardly beautiful,
+design. To a great extent this ancient glass
+is hidden from view by a massive eighteenth-century
+<i>retable</i>, which is without any worth
+whatever as an artistic accessory.</p>
+
+<p>A cloister of the fourteenth century flanks
+the nave on the south, and is the chief feature
+of really appealing quality within the confines
+of the cathedral precincts.</p>
+
+<p>The view from the terrace before the cathedral
+is one which is hardly approachable elsewhere.
+For many miles in all directions
+stretches the low, flat plain of Languedoc; the
+Mediterranean lies to the east; the Cevennes
+and the valley of the Orb to the north; with
+the lance-like Canal du Midi stretching away
+to the westward.</p>
+
+<p>As might be expected, the streets of the city
+are tortuous and narrow, but there are evidences
+of the march of improvement which
+may in time be expected to eradicate all this&mdash;to
+the detriment of the picturesque aspect.<a name="page_368" id="page_368"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_368.png">
+<img src="images/ill_368_sml.png" width="550" height="366" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XIII-4" id="XIII-4"></a>XIII<br /><br />
+ST. JEAN DE PERPIGNAN</h3>
+
+<p>Perpignan is another of those provincial
+cities of France which in manners and customs
+sedulously imitate those of their larger
+and more powerful neighbours.</p>
+
+<p>From the fact that it is the chief town of
+the D�partment des Pyr�n�es-Orientales,
+it perhaps justifies the procedure. But it is
+as the ancient capital of Rousillon&mdash;only
+united with France in 1659&mdash;that the imaginative
+person will like to think of it&mdash;in
+spite of its modern caf�s, tram-cars, and
+<i>magazins</i>.<a name="page_369" id="page_369"></a></p>
+
+<p>Like the smaller and less progressive town
+of Elne, Perpignan retains much the same
+Catalonian flavour of "physiognomy, language,
+and dress;" and its narrow, tortuous
+streets and the <i>jalousies</i> and <i>patios</i> of its
+houses carry the suggestion still further.</p>
+
+<p>The Treaty of the Pyrenees in 1659
+changed the course of the city's destinies,
+and to-day it is the fortress-city of France
+which commands the easterly route into Spain.</p>
+
+<p>The city's Christian influences began when
+the see was removed hither from Elne, where
+it had been founded as early as the sixth
+century.</p>
+
+<p>The cathedral of St. Jean is a wonderful
+structure. In the lines of its apside it suggests
+those of Albi, while the magnitude of
+its great strongly roofed nave is only comparable
+with that of Bordeaux as to its general
+dimensions. The great distinction of
+this feature comes from the fact that its Romanesque
+walls are surmounted by a truly
+ogival vault. This great church was originally
+founded by the king of Majorca, who held
+Rousillon in ransom from the king of Aragon
+in 1324.</p>
+
+<p>The west front is entirely unworthy of the
+other proportions of the structure, and decidedly<a name="page_370" id="page_370"></a>
+the most brilliant and lively view is that
+of the apside and its chapels. There is an
+odd fourteenth-century tower, above which is
+suspended a clock in a cage of iron.</p>
+
+<p>The whole design or outline of the exterior
+of this not very ancient cathedral is in the
+main Spanish; it is at least not French.</p>
+
+<p>This Spanish sentiment is further sustained
+by many of the interior accessories and details,
+of which the chief and most elaborate
+are an altar-screen of wood and stone of great
+magnificence, a marble <i>retable</i> of the seventeenth
+century, a baptismal font of the twelfth
+or thirteenth century, some indifferent paintings,
+the usual organ <i>buffet</i> with fifteenth-century
+carving, and a tomb of a former bishop
+(1695) in the transept.</p>
+
+<p>The altars, other than the above, are garish
+and unappealing.</p>
+
+<p>A further notable effect to be seen in the
+massive nave is the very excellent "pointed"
+vaulting.</p>
+
+<p>There are, close beside the present church,
+the remains of an older St. Jean&mdash;now nought
+but a ruin.</p>
+
+<p>The Bourse (locally called <i>La Loge</i>, from
+the Spanish <i>Lonja</i>) has a charming cloistered
+courtyard of a mixed Moorish-Gothic style.<a name="page_371" id="page_371"></a>
+It is well worthy of interest, as is also the
+citadel and castle of the King of Majorca.
+The latter has a unique portal to its chapel.</p>
+
+<p>It is recorded that Bishop Berengarius II.
+of Perpignan in the year 1019 visited the
+Holy Sepulchre at Jerusalem, and on his return
+built a church or chapel on similar lines
+in memory of his pilgrimage. No remains
+of it are visible to-day, nor can it be further
+traced. Mention of it is made here from the
+fact that it seems to have been a worthy undertaking,&mdash;this
+memorial of a prelate's devotion
+to his faith.<a name="page_372" id="page_372"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 526px;">
+<a href="images/ill_372.png">
+<img src="images/ill_372_sml.png" width="526" height="550" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XIV-4" id="XIV-4"></a>XIV<br /><br />
+STE. EULALIA D'ELNE</h3>
+
+<p>Elne is the first in importance of the dead
+cities which border the Gulf of Lyons.</p>
+
+<p>It is the ancient <i>Illiberis</i>, frequently mentioned
+by Pliny, Livy, and, latterly, Gibbon.</p>
+
+<p>To-day it is ignored by all save the <i>commis
+voyageur</i> and a comparatively small number
+of the genuine French <i>touristes</i>.</p>
+
+<p>Formerly the ancient province of Rousillon,
+in which Elne is situated, and which
+bordered upon the Spanish frontier, was distinctly
+Spanish as to manners and customs.
+It is, moreover, the reputed spot where Hannibal<a name="page_373" id="page_373"></a>
+first encamped after crossing the Pyrenees
+on his march to Rome.</p>
+
+<p>Like Bayonne, at the other extremity of
+the Pyrenean mountain chain, it commanded
+the gateway to Spain, and even to-day is the
+real entrance of the railway route to Barcelona,
+as is Bayonne to Madrid.</p>
+
+<p>Between these two cities, for a distance approaching
+one hundred and eighty miles,
+there is scarce a highway over the mountain
+barrier along which a wheeled vehicle may
+travel with comfort, and the tiny Republic of
+Andorra, though recently threatened with the
+advent of the railway, is still isolated and unspoiled
+from the tourist influence, as well as
+from undue intercourse with either France
+or Spain, which envelop its few square miles
+of area as does the Atlantic Ocean the Azores.</p>
+
+<p>To-day Elne is no longer the seat of a
+bishop, the see of Rousillon having been transferred
+to Perpignan in the fourteenth century,
+after having endured from the time of the
+first bishop, Domnus, since the sixth century.</p>
+
+<p>There has been left as a reminder a very
+interesting and beautiful smaller cathedral
+church of the early eleventh century.</p>
+
+<p>Alterations and restorations, mostly of the
+fifteenth century, have changed its material<a name="page_374" id="page_374"></a>
+aspect but little, and it still remains a highly
+captivating monumental glory; which opinion
+is further sustained from the fact that
+the <i>Commission des Monuments Historiques</i>
+has had the fabric under its own special care
+for many years.</p>
+
+<p>It is decidedly a minor edifice, and its parts
+are as unimpressive as its lack of magnitude;
+still, for all that, the church-lovers will find
+much crude beauty in this Romanesque basilica-planned
+church, with its dependant cloister
+of a very beautiful flowing Gothic of the
+fifteenth century.</p>
+
+<p>The chief artistic treasures of this ancient
+cathedral, aside from its elegant cloister, are
+a <i>b�nitier</i> in white marble; a portal of some
+pretensions, leading from the cathedral to
+its cloister; a fourteen-century tomb, of some
+considerable artistic worth; and a <i>bas-relief</i>,
+called the "Tomb of Constans."</p>
+
+<p>There is little else of note, either in or about
+the cathedral, and the town itself has the general
+air of a glory long past.<a name="page_375" id="page_375"></a></p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_375.jpg">
+<img src="images/ill_375_sml.jpg" width="550" height="397" alt="ST. JUST
+de
+NARBONNE" title="" /></a>
+<div class="figleft" style="width: 127px;">
+<img src="images/ill_375_name.jpg" width="127" height="98" alt="ST. JUST de NARBONNE" title="" />
+</div>
+</div>
+
+<h3><a name="XV-4" id="XV-4"></a>XV<br /><br />
+ST. JUST DE NARBONNE</h3>
+
+<p>The ancient province of Narbonenses&mdash;afterward
+comprising Languedoc&mdash;had for
+its capital what is still the city of Narbonne.
+One may judge of the former magnificence of
+Narbonne by the following lines of <i>Sidonius
+Apollinaris</i>:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">"Salve Narbo potens Salubritate,</td></tr>
+<tr><td align="left">Qui Urb� et Rure simul bonus Videris,</td></tr>
+<tr><td align="left">Muris, Civibus, ambitu, Tabernis,</td></tr>
+<tr><td align="left">Portis, Porticibus, Foro, Theatro,</td></tr>
+<tr><td align="left">Delubris, Capitoliis, Monetis,</td></tr>
+<tr><td align="left">Thermis, Arcubus, Harreis, Macellis,</td></tr>
+<tr><td align="left">Pratis, Fontibus, Insulus, Salinis,</td></tr>
+<tr><td align="left">Stagnis, Flumine, Merce, Ponte, Ponto,</td></tr>
+<tr><td align="left">Unus qui jure venere divos</td></tr>
+<tr><td align="left">Len&oelig;um, Cererum, Palem, Minervam,</td></tr>
+<tr><td align="left">Spicis, Palmite, Poscius, Tapetis."</td></tr>
+</table>
+
+<p>Narbonne is still mighty and healthful, if
+one is to judge from the activities of the present<a name="page_376" id="page_376"></a>
+day; is picturesque and pleasing, and far
+more comfortably disposed than many cities
+with a more magnificently imposing situation.</p>
+
+<p>The city remained faithful to the Romans
+until the utmost decay of the western empire,
+at which time (462) it was delivered to the
+Goths.</p>
+
+<p>It was first the head of a kingdom, and later,
+when it came to the Romans, it was made the
+capital of a province which comprised the
+fourth part of Gaul.</p>
+
+<p>This in turn was subdivided into the
+provinces of <i>Narbonenses</i>, <i>Viennensis</i>, the
+<i>Greek Alps</i>, and the <i>Maritime Alps</i>, that is,
+all of the later <i>Savoie</i>, <i>Dauphin�</i>, <i>Provence</i>,
+<i>Lower Languedoc</i>, <i>Rousillon</i>, <i>Toulousan</i>, and
+the <i>Comt� de Foix</i>.</p>
+
+<p>Under the second race of kings, the Dukes
+of <i>Septimannia</i> took the title of <i>Ducs de Narbonne</i>,
+but the lords of the city contented themselves
+with the name of viscount, which they
+bore from 1134 to 1507, when Gaston de Foix&mdash;the
+last Viscount of Narbonne&mdash;exchanged
+it for other lands, with his uncle,
+the French king, Louis XII. The most credulous
+affirm that the Proconsul Sergius Paulus&mdash;converted
+by St. Paul&mdash;was the first
+preacher of Christianity at Narbonne.<a name="page_377" id="page_377"></a></p>
+
+<p>The Church is here, therefore, of great antiquity,
+and there are plausible proofs which
+demonstrate the claim.</p>
+
+<p>The episcopal palace at Narbonne, closely
+built up with the H�tel de Ville (rebuilt by
+Viollet-le-Duc), is a realization of the progress
+of the art of domestic fortified architecture
+of the time.</p>
+
+<p>Like its contemporary at Laon in the north,
+and more particularly after the manner of
+the papal palace at Avignon and the archbishop's
+palace at Albi, this structure combined
+the functions of a domestic and official
+establishment with those of a stronghold or
+a fortified place of no mean pretence.</p>
+
+<p>Dating from 1272, the cathedral of St. Just
+de Narbonne suggests comparison with, or at
+least the influence of, Amiens.</p>
+
+<p>It is strong, hardy, and rich, with a directness
+of purpose with respect to its various attributes
+that in a less lofty structure is wanting.</p>
+
+<p>The height of the choir-vault is perhaps a
+hundred and twenty odd feet, as against one
+hundred and forty-seven at Amiens, and accordingly
+it does not suffer in comparison.</p>
+
+<p>It may be remarked that these northern
+attributes of lofty vaulting and the high development<a name="page_378" id="page_378"></a>
+of the <i>arc-boutant</i> were not general
+throughout the south, or indeed in any
+other region than the north of France. Only
+at Bazas, Bordeaux, Bayonne, Auch, Toulouse,
+and Narbonne do we find these features
+in any acceptable degree of perfection.</p>
+
+<p>The architects of the Midi had, by resistance
+and defiance, conserved antique traditions
+with much greater vigour than they had
+endorsed the new style, with the result that
+many of their structures, of a period contemporary
+with the early development of the
+Gothic elsewhere, here favoured it little if
+at all.</p>
+
+<p>Only from the thirteenth century onward
+did they make general use of ogival vaulting,
+maintaining with great conservatism the basilica
+plan of Roman tradition.</p>
+
+<p>In many other respects than constructive
+excellence does St. Just show a pleasing aspect.
+It has, between the main body of the
+church and the present H�tel de Ville and the
+remains of the ancient <i>archev�ch�</i>, a fragmentary
+cloister which is grand to the point
+of being scenic. It dates from the fourteenth
+and fifteenth centuries, and is decidedly the
+most appealing feature of the entire cathedral
+precincts.<a name="page_379" id="page_379"></a></p>
+
+<div class="framing" style="width: 371px;">
+<a href="images/ill_378.jpg">
+<img src="images/ill_378_sml.jpg" width="371" height="550" alt="CLOISTER OF ST. JUST
+de NARBONNE...." title="" /></a>
+<div class="figleft" style="width: 328px;">
+<img src="images/ill_378_name.jpg" width="328" height="55" alt="CLOISTER OF ST. JUST de NARBONNE...." title="" />
+<span class="caption">CLOISTER OF ST. JUST de NARBONNE....</span>
+</div>
+</div>
+
+<p>The cathedral itself still remains unachieved
+as to completeness, but its <i>tourelles</i>,
+its vaulting, its buttresses, and its crenelated
+walls are most impressive.</p>
+
+<p>There are some elaborate tombs in the interior,
+in general of the time of Henri IV.</p>
+
+<p>The <i>tr�sor</i> is rich in missals, manuscripts,
+ivories, and various altar ornaments and decorations.</p>
+
+<p>The choir is enclosed with a series of arena-like
+<i>loges</i>, outside which runs a double aisle.</p>
+
+<p>There are fragmentary evidences of the
+one-time possession of good glass, but what
+paintings are shown appear ordinary and are
+doubtless of little worth.</p>
+
+<p>Decidedly the cathedral is an unusually
+splendid, if not a truly magnificent, work.</p>
+
+<p><a name="page_380" id="page_380"></a></p>
+
+<p><a name="page_381" id="page_381"></a></p>
+
+<h2><a name="PART_V" id="PART_V"></a><i>PART V</i><br /><br />
+<i>The Valley of the Garonne</i></h2>
+
+<p><a name="page_382" id="page_382"></a></p>
+
+<p><a name="page_383" id="page_383"></a></p>
+
+<h3><a name="I-5" id="I-5"></a>I<br /><br />
+INTRODUCTORY</h3>
+
+<p>The basin of the Garonne includes all of the
+lower Aquitanian province, Lower Languedoc,&mdash;still
+a debatable and undefinable land,&mdash;and
+much of that region known of lovers
+of France, none the less than the native himself,
+as the <i>Midi</i>.</p>
+
+<p>Literally the term <i>Midi</i> refers to the south
+of France, but more particularly that part
+which lies between the mouth of the Rh�ne
+and the western termination of the Pyrenean
+mountain boundary between France and
+Spain.</p>
+
+<p>The term is stamped indelibly in the popular
+mind by the events which emanated from
+that wonderful march of the legion, known
+as "<i>Les Rouges du Midi</i>," in Revolutionary
+times. We have heard much of the excesses
+of the Revolution, but certainly the vivid history
+of "<i>Les Rouges</i>" as recounted so well in<a name="page_384" id="page_384"></a>
+that admirable book of F�lix Gras (none the
+less truthful because it is a novel), which
+bears the same name, gives every justification
+to those valiant souls who made up that remarkable
+phalanx; of whose acts most historians
+and humanitarians are generally
+pleased to revile as cruelty and sacrilege unspeakable.</p>
+
+<p>F�lix Gras himself has told of the ignoble
+subjection in which his own great-grandfather,
+a poor peasant, was held; and Frederic
+Mistral tells of a like incident&mdash;of
+lashing and beating&mdash;which was thrust upon
+a relative of his. If more reason were wanted,
+a perusal of the written records of the Marseilles
+Battalion will point the way. Written
+history presents many stubborn facts, difficult
+to digest and hard to swallow; but the historical
+novel in the hands of a master will
+prove much that is otherwise unacceptable.
+A previous acquaintance with this fascinating
+and lurid story is absolutely necessary for a
+proper realization of the spirit which endowed
+the inhabitants of this section of the
+<i>pays du Midi</i>.</p>
+
+<p>To-day the same spirit lives to a notable
+degree. The atmosphere and the native character
+alike are both full of sunshine and<a name="page_385" id="page_385"></a>
+shadow; grown men and women are yet
+children, and gaiety, humour, and passion
+abound where, in the more austere North,
+would be seen nought but indifference and
+indolence.</p>
+
+<p>It is the fashion to call the South languid,
+but nowhere more than at Bordeaux&mdash;where
+the Garonne joins La Gironde&mdash;will you
+find so great and ceaseless an activity.</p>
+
+<p>The people are not, to be sure, of the peasant
+class, still they are not such town-dwellers
+as in many other parts, and seem to combine,
+as do most of the people of southern France,
+a languor and keenness which are intoxicating
+if not stimulating.</p>
+
+<p>Between Bordeaux and Toulouse are not
+many great towns, but, in the words of Taine,
+one well realizes that "it is a fine country."
+The Garonne valley, with a fine alluvial soil,
+grows, productively and profitably, corn, tobacco,
+and hemp; and by the utmost industry
+and intelligence the workers are able to prosper
+exceedingly.</p>
+
+<p>The traveller from the Mediterranean
+across to the Atlantic&mdash;or the reverse&mdash;by
+rail, will get glimpses now and then of this
+wonderfully productive river-bottom, as it
+flows yellow-brown through its osier-bedded<a name="page_386" id="page_386"></a>
+banks; and again, an intermittent view of the
+Canal du Midi, upon whose non-raging
+bosom is carried a vast water-borne traffic by
+barge and canal-boat, which even the development
+of the railway has not been able to
+appreciably curtail.</p>
+
+<p>Here, too, the peasant proprietor is largely
+in evidence, which is an undoubted factor in
+the general prosperity. His blockings, hedgings,
+and fencings have spoiled the expanse of
+hillside and vale in much the same manner as
+in Albion. This may be a pleasing feature
+to the uninitiated, but it is not a picturesque
+one. However, the proprietorship of small
+plots of land, worked by their non-luxury
+demanding owners, is accountable for a great
+deal of the peace and plenty with which all
+provincial France, if we except certain mountainous
+regions, seems to abound. It may not
+provide a superabundance of this world's
+wealth and luxury, but the French farmer&mdash;in
+a small way&mdash;has few likes of that nature,
+and the existing conditions make for a contentment
+which the dull, brutal, and lethargic
+farm labourer of some parts of England
+might well be forced to emulate, if even by
+ball and chain.</p>
+
+<p>Flat-roofed houses, reminiscent of Spain<a name="page_387" id="page_387"></a>
+or Italy&mdash;born of a mild climate&mdash;add a
+pleasing variety of architectural feature,
+while the curiously hung bells&mdash;with their
+flattened belfries, like the headstones in a
+cemetery&mdash;suggest something quite different
+from the motives which inspired the northern
+builders, who enclosed their chimes in a
+roofed-over, open-sided cubicle. The bells
+here hang merely in apertures open to the
+air on each side, and ring out sharp and true
+to the last dying note. It is a most picturesque
+and unusual arrangement, hardly to be seen
+elsewhere as a characteristic feature outside
+Spain itself, and in some of the old Missions,
+which the Spanish Fathers built in the early
+days of California.</p>
+
+<p>Between Bayonne and Bordeaux, and bordered
+by the sea, the Garonne, and the Adour,
+is a nondescript land which may be likened
+to the deserts of Africa or Asia, except that
+its barrenness is of the sea salty. It is by no
+means unpeopled, though uncultivated and
+possessed of little architectural splendour of
+either a past or the present day.</p>
+
+<p>Including the half of the department of the
+Gironde, a corner of Lot et Garonne, and all
+of that which bears its name, the Landes forms
+of itself a great seaboard plain or morass. It<a name="page_388" id="page_388"></a>
+is said by a geographical authority that the
+surface so very nearly approaches the rectilinear
+that for a distance of twenty-eight miles
+between the dismal villages of Lamothe and
+Labonheyre the railway is "a visible meridian."</p>
+
+<p>The early eighteenth-century writers&mdash;in
+English&mdash;used to revile all France, so far
+as its topographical charms were concerned,
+with panegyrics upon its unloveliness and lack
+of variety, and of being anything more than a
+flat, arid land, which was not sufficient even
+unto itself.</p>
+
+<p>What induced this extraordinary reasoning
+it is hard to realize at the present day.</p>
+
+<p>Its beauties are by no means as thinly sown
+as is thought by those who know them slightly&mdash;from
+a window of a railway carriage, or a
+sojourn of a month in Brittany, a week in
+Provence, or a fortnight in Touraine.</p>
+
+<p>The <i>ennui</i> of a journey through France is
+the result of individual incapacity for observation,
+not of the country. Above all, it is
+certainly not true of Guienne or Gascony, nor
+of Provence, nor of Dauphin�, nor Auvergne,
+nor Savoie.</p>
+
+<p>As great rivers go, the Garonne is not of
+very great size, nor so very magnificent in its<a name="page_389" id="page_389"></a>
+reaches, nor so very picturesque,&mdash;with that
+minuti� associated with English rivers of a
+like rank,&mdash;but it is suggestive of far more
+than most streams of its size and length, wherever
+found.</p>
+
+<p>Its source is well within the Spanish frontier,
+in the picturesque Val d'Aran, where the
+boundary between the two countries makes a
+curious d�tour, and leaves the crest of the
+Pyrenees, which it follows throughout&mdash;with
+this exception&mdash;from the Mediterranean to
+the Atlantic.</p>
+
+<p>The Garonne becomes navigable at Caz�res,
+some distance above Toulouse, and continues
+its course, enhanced by the confluence
+of the Tarn, the Lot, the Arri�ge, and the
+Dordogne, beyond the junction of which, two
+hundred and seventy odd miles from the head
+of navigation, the estuary takes on the nomenclature
+of <i>La Gironde</i>.</p>
+
+<p>Of the ancient provinces of these parts, the
+most famous is Guienne, that "fair duchy"
+once attached&mdash;by a subtle process of reasoning&mdash;to
+the English crown.</p>
+
+<p>It is distinguished, as to its economic aspect,
+by its vast vineyards, which have given
+the wines, so commonly esteemed, the name
+of claret. These and the other products of<a name="page_390" id="page_390"></a>
+the country have found their way into all
+markets of the world through the Atlantic
+coast metropolis of Bordeaux.</p>
+
+<p>The Gascogne of old was a large province
+to the southward of Guienne. A romantic
+land, say the chroniclers and <i>mere litterateurs</i>
+alike. "Peopled by a race fiery, ardent, and
+impetuous ... with a peculiar tendency to
+boasting, hence the term <i>gasconade</i>." The
+peculiar and characteristic feature of Gascogne,
+as distinct from that which holds in
+the main throughout these parts, is that
+strange and wild section called the <i>Landes</i>,
+which is spoken of elsewhere.</p>
+
+<p>The ancient province of Languedoc, which
+in its lower portion is included in this section,
+is generally reputed to be the pride of France
+with regard to climate, soil, and scenery.
+Again, this has been ruled otherwise, but a
+more or less intimate acquaintance with the
+region does not fail to endorse the first claim.
+This wide, strange land has not vastly changed
+its aspect since the inhabitants first learned
+to fly instead of fight.</p>
+
+<p>This statement is derived to a great extent
+from legend, but, in addition, is supported by
+much literary and historical opinion, which
+has recorded its past. It is not contemptuous<a name="page_391" id="page_391"></a>
+criticism any more than Froissart's own
+words; therefore let it stand.</p>
+
+<p>When the French had expelled the Goths
+beyond the Pyrenees, Charlemagne established
+his governors in Languedoc with the
+title of Counts of Toulouse. The first was
+Corson, in 778; the second St. W. du Courtnez
+or Aux-Cornets, from whence the princes
+of Orange derive their pedigree, as may be
+inferred from the hunting-horns in their arms.</p>
+
+<p>Up to the eighteenth century these states retained
+a certain independence and exercise of
+home rule, and had an Assembly made up of
+"the three orders of the kingdom," the clergy,
+the nobility, and the people. The Archbishop
+of Narbonne was president of the body,
+though he was seldom called upon but to give
+the king money. This he acquired by the
+laying on of an extraordinary imposition
+under the name of "<i>Don-Gratuit</i>."</p>
+
+<p>The wide, rolling country of Lower Languedoc
+has no very grand topographical features,
+but it is watered by frequent and ample
+streams, and peopled with row upon row of
+sturdy trees, with occasional groves of mulberries,
+olives, and other citrus fruits. Over
+all glows the luxuriant southern sun with a<a name="page_392" id="page_392"></a>
+tropical brilliance, but without its fierce burning
+rays.</p>
+
+<p>Mention of the olive suggests the regard
+which most of us have for this tree of romantic
+and sentimental association. As a religious
+emblem, it is one of the most favoured relics
+which has descended to us from Biblical
+times.</p>
+
+<p>A writer on southern France has questioned
+the beauty of the growing tree. It
+does, truly, look somewhat mop-headed, and
+it does spread somewhat like a mushroom,
+but, with all that, it is a picturesque and prolific
+adjunct to a southern landscape, and has
+been in times past a source of inspiration to
+poets and painters, and of immeasurable profit
+to the thrifty grower.</p>
+
+<p>The worst feature which can possibly be
+called up with respect to Lower Languedoc
+is the "skyey influences" of the Mistral, dry
+and piercingly cold wind which blows southward
+through all the Rh�ne valley with a
+surprising strength.</p>
+
+<p>Madame de S�vign� paints it thus in words:</p>
+
+<p>"<i>Le tourbillon, l'ouragan, tous les diables
+dechain�s qui veulent bien emporter votre
+ch�teau.</i>"</p>
+
+<p>Foremost among the cities of the region are<a name="page_393" id="page_393"></a>
+Toulouse, Carcassonne, Montpellier, Narbonne,
+and B�ziers, of which Carcassonne is
+pre�minent as to its picturesque interest, and
+perhaps, as well, as to its storied past.</p>
+
+<p>The Pyrenees have of late attracted more
+and more attention from the tourist, who has
+become sated with the conventionality of the
+"trippers' tour" to Switzerland. The many
+attractive resorts which the Pyrenean region
+has will doubtless go the way of others elsewhere&mdash;if
+they are given time, but for the
+present this entire mountain region is possessed
+of much that will appeal to the less
+conventional traveller.</p>
+
+<p>Of all the mountain ranges of Europe, the
+Pyrenees stand unique as to their regularity
+of configuration and strategic importance.
+They bind and bound Spain and France with
+a bony ligature which is indented like the
+edge of a saw.</p>
+
+<p>From the Atlantic at Bayonne to the Mediterranean
+at Port Bou, the mountain chain
+divides its valleys and ridges with the regularity
+of a wall-trained shrub or pear-tree,
+and sinks on both sides to the level plains of
+France and Spain. In the midst of this rises
+the river Garonne. Its true source is in the
+Piedrafitta group of peaks, whence its waters<a name="page_394" id="page_394"></a>
+flow on through Toulouse, various tributaries
+combining to give finally to Bordeaux its commanding
+situation and importance. Around
+its source, which is the true centre of the Pyrenees,
+is the parting line between the Mediterranean
+and the Atlantic. On one side the
+waters flow down through the fields of France
+to the Biscayan Bay, and on the other southward
+and westward through the Iberian peninsula.</p>
+
+<p>Few of the summits exceed the height of
+the ridge by more than two thousand feet;
+whereas in the Alps many rise from six to
+eight thousand feet above the <i>massif</i>, while
+scenic Mont Blanc elevates its head over fifteen
+thousand feet.</p>
+
+<p>As a barrier, the Pyrenees chain is unique.
+For over one hundred and eighty miles, from
+the Col de la Perche to Maya&mdash;practically
+a suburb of Bayonne&mdash;not a carriage road
+nor a railway crosses the range.</p>
+
+<p>The etymology of the name of this mountain
+chain is in dispute. Many suppose it to
+be from the Greek <i>pur</i> (fire), alluding to the
+volcanic origin of the peaks. This is endorsed
+by many, while others consider that it comes
+from the Celtic word <i>byren</i>, meaning a mountain.
+Both derivations are certainly apropos,<a name="page_395" id="page_395"></a>
+but the weight of favour must always lie with
+the former rather than the latter.</p>
+
+<p>The ancient province of B�arn is essentially
+medi�val to-day. Its local tongue is a pure
+Romance language; something quite distinct
+from mere <i>patois</i>. It is principally thought
+to be a compound of Latin and Teutonic with
+an admixture of Arabic.</p>
+
+<p>This seems involved, but, as it is unlike
+modern French, or Castilian, and modern
+everything else, it would seem difficult for any
+but an expert student of tongues to place it
+definitely. To most of us it appears to be but
+a jarring jumble of words, which may have
+been left behind by the followers of the various
+conquerors which at one time or another
+swept over the land.<a name="page_396" id="page_396"></a></p>
+
+<h3><a name="II-5" id="II-5"></a>II<br /><br />
+ST. ANDR� DE BORDEAUX</h3>
+
+<div class="blockquot"><p>"One finds here reminders of the Visigoths, the
+Franks, the Saracens, and the English; and the temples,
+theatres, arenas, and monuments by which each made
+his mark of possession yet remain."</p>
+
+<p class="r">&mdash;<span class="smcap">Aurelian Scholl.</span></p></div>
+
+<p>Taine in his <i>Carnets de Voyage</i> says of
+Bordeaux: "It is a sort of second Paris, gay
+and magnificent ... amusement is the main
+business."</p>
+
+<p>Bordeaux does not change. It has ever
+been advanced, and always a centre of gaiety.
+Its f�tes and functions quite rival those of
+the capital itself,&mdash;at times,&mdash;and its opera-house
+is the most famed and magnificent in
+France, outside of Paris.</p>
+
+<p>It is a city of enthusiastic demonstrations.
+It was so in 1814 for the Bourbons, and again
+a year later for the emperor on his return
+from Elba.<a name="page_397" id="page_397"></a></p>
+
+<p>In 1857 it again surpassed itself in its enthusiasm
+for Louis Napoleon, when he was
+received in the cathedral, under a lofty dais,
+and led to the altar with the cry of "<i>Vive
+l'empereur</i>;" while during the bloody
+Franco-Prussian war it was the seat of the
+provisional government of Thiers.</p>
+
+<p>Here the Gothic wave of the North has
+produced in the cathedral of St. Andr� a
+remarkably impressive and unexpected example
+of the style.</p>
+
+<p>In the general effect of size alone it will
+rank with many more important and more
+beautiful churches elsewhere. Its total length
+of over four hundred and fifty feet ranks it
+among the longest in France, and its vast nave,
+with a span of sixty feet, aisleless though it
+be, gives a still further expression of grandeur
+and magnificence.</p>
+
+<p>It is known that three former cathedrals
+were successfully destroyed by invading
+Goths, Saracens, and warlike Normans.</p>
+
+<p>Yet another structure was built in the eleventh
+century, which, with the advent of the
+English in Guienne, in the century following,
+was enlarged and magnified into somewhat
+of an approach to the present magnificent
+dimensions, though no English influence prevailed<a name="page_398" id="page_398"></a>
+toward erecting a central tower, as
+might have been anticipated. Instead we
+have two exceedingly graceful and lofty
+spired towers flanking the north transept, and
+yet another single tower, lacking its spire, on
+the south.</p>
+
+<p>The portal of the north transept&mdash;of the
+fourteenth century&mdash;is an elaborate work of
+itself. It is divided into two bays that join
+beneath a dais, on which is a statue of Bertrand
+de Goth, who was Pope in 1305, under
+the name of Clement V. He is here clothed
+in sacerdotal habits, and stands upright in the
+attitude of benediction.</p>
+
+<p>At the lower right-hand side are statues of
+six bishops, but, like that of Pope Clement,
+they do not form a part of the constructive
+elements of the portal, as did most work of a
+like nature in the twelfth and thirteenth centuries,
+but are made use of singly as a decorative
+motive.</p>
+
+<p>The spring of the arch which surrounds
+the tympanum is composed of a cordon of
+foliaged stone separating the six angels of the
+<i>premi�re archivolte</i> from the twelve apostles
+of the second, and the fourteen patriarchs and
+prophets of the third.</p>
+
+<p>In the tympanum are three <i>bas-reliefs</i> superimposed<a name="page_399" id="page_399"></a>
+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.</p>
+
+<p>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.</p>
+
+<p>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&mdash;if
+it had not actually debased itself by superfluity
+of detail&mdash;was of an excellence of
+symmetry which was often lacking entirely
+from work of the thirteenth and fourteenth
+centuries.</p>
+
+<p>The choir-chevet is a magnificent pyramidal
+mass of piers, pinnacles, and buttresses
+of much elegance.</p>
+
+<p>The towers which flank the north transept<a name="page_400" id="page_400"></a>
+are adorned with an excellent disposition of
+ornament.</p>
+
+<p>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.</p>
+
+<p>The cathedral of St. Andr� dates practically
+from 1252, and is, in inception and execution,
+a very complete Gothic church.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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 <i>bas-reliefs</i>,
+taken from the ancient <i>jube</i>, and representing
+a "Descent from the Cross" and
+"Christ Bearing the Cross." There are two<a name="page_401" id="page_401"></a>
+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.</p>
+
+<p>The high-altar is of the period contemporary
+with the main body of the cathedral,
+and was brought thither from the �glise de
+la R�ole.</p>
+
+<p>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.<a name="page_402" id="page_402"></a></p>
+
+<h3><a name="III-5" id="III-5"></a>III<br /><br />
+CATH�DRALE DE LECTOURE</h3>
+
+<p>Lectoure, though defunct as a bishopric
+to-day, had endured from the advent of Heuterius,
+in the sixth century, until 1790.</p>
+
+<p>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.</p>
+
+<p>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-medi�val
+times&mdash;when the city was known as the Roman
+village of <i>Lactora</i>&mdash;it was strongly
+fortified, like most hilltop towns of Gaul.</p>
+
+<p>The cathedral dates for the most part from
+the thirteenth century, and in the massive
+tower which enwraps its fa�ade shows strong
+indications of the workmanship of an alien<a name="page_403" id="page_403"></a>
+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
+classification. 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 passing fancy.</p>
+
+<p>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
+pronounced in that its western tower once
+possessed a spire which rose to a sky-piercing
+height.</p>
+
+<p>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.</p>
+
+<p>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<a name="page_404" id="page_404"></a>
+the apsidal chapels, which also contain some
+effective, though modern coloured glass.</p>
+
+<p>The former episcopal residence is now the
+local Mairie.</p>
+
+<p>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.<a name="page_405" id="page_405"></a></p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_404.jpg">
+<img src="images/ill_404_sml.jpg" width="550" height="376" alt="NOTRE
+DAME de BAYONNE" title="" /></a>
+<div class="figleft" style="width: 139px;">
+<img src="images/ill_404_name.jpg" width="139" height="101" alt="NOTRE DAME de BAYONNE" title="" />
+</div>
+</div>
+
+<h3><a name="IV-5" id="IV-5"></a>IV<br /><br />
+NOTRE DAME DE BAYONNE</h3>
+
+<div class="blockquot"><p>"Distant are the violet Pyrenees, wonderful and regal
+in their grandeur. The sun is bright, and laughs joyously
+at the B�arnais peasant."</p>
+
+<p class="r">&mdash;<span class="smcap">Jean Rameau.</span></p></div>
+
+<p>Bayonne is an ancient town, and was
+known by the Romans as <i>Lapurdum</i>. 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.</p>
+
+<p>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, B�arnese,
+and "alien French"&mdash;as the native calls
+them&mdash;went to make up its conglomerate<a name="page_406" id="page_406"></a>
+population in the past, and does even yet in
+considerable proportions.</p>
+
+<p>To the reader of history, the medi�val
+B�arn and Navarre, which to-day forms the
+Department of the Basses-Pyr�n�es in the
+southwest corner of France, will have the most
+lively interest, from the fact of its having been
+the principality of <i>Henri Quatre</i>, the "good
+king" whose name was so justly dear. The
+history of the B�arnese is a wonderful record
+of a people of which too little is even yet
+known.</p>
+
+<p>Bayonne itself has had many and varied
+historical associations, though it is not steeped
+in that antiquity which is the birthright of
+many another favoured spot.</p>
+
+<p>Guide-books and the "notes-and-queries
+columns" of antiquarian journals have unduly
+enlarged upon the fact that the bayonet&mdash;to-day
+a well-nigh useless appendage as
+a weapon of war&mdash;was first invented here.
+It is interesting as a fact, perhaps, but it is
+not of �sthetic moment.</p>
+
+<p>The most gorgeous event of history connected
+with Bayonne and its immediate vicinity&mdash;among
+all that catalogue, from the
+minor Spanish invasions to Wellington's stupendous
+activities&mdash;was undoubtedly that<a name="page_407" id="page_407"></a>
+which led up to the famous Pyrenean Treaty
+made on the Isle du Faisan, close beside the
+bridge, in the river Bidassoa, on the Spanish
+frontier.</p>
+
+<p>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.</p>
+
+<p>This magnificent apartment was decorated
+by Velasquez, who, it is said, died of his inglorious
+transformation into an upholsterer.</p>
+
+<p>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.</p>
+
+<p>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 medi�val work
+of great importance.</p>
+
+<p>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<a name="page_408" id="page_408"></a>
+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.</p>
+
+<p>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.</p>
+
+<p>The fine western towers are modern, but
+they form the one note which produces the
+effect of <i>ensemble</i>, which otherwise would be
+entirely wanting.</p>
+
+<p>The view from the Quai Bergemet, just
+across the Adour, for picturesqueness of the
+quality which artists&mdash;tyros and masters
+alike&mdash;love to sketch, is reminiscent only of
+St. Lo in Normandy.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>A florid cloister of considerable size attaches<a name="page_409" id="page_409"></a>
+itself on the south, but access is had
+only from the sacristy.</p>
+
+<p>The choir and apse are of the thirteenth
+century, and immediately followed the fire
+of 1213.</p>
+
+<p>Neither the transepts nor choir are of
+great length; indeed, they are attenuated as
+compared with those of the more magnificent
+churches of the Gothic type, of which this is,
+in a way, an otherwise satisfying example.</p>
+
+<p>The patriotic Englishman will take pride
+in the fact that the English arms are graven
+somewhere in the vaulting of the nave. He
+may not be able to spy them out,&mdash;probably
+will not be,&mdash;but they likely enough existed,
+as a mid-Victorian writer describes them
+minutely, though no modern guides or works
+of local repute make mention of the feature
+in any way. The triforium is elegantly
+traceried, and is the most worthy and artistic
+detail to be seen in the whole structure.</p>
+
+<p>The clerestory windows contain glass of the
+fifteenth century; much broken to-day, but
+of the same excellent quality of its century,
+and that immediately preceding. The remainder
+of the glass, in the clerestory and
+choir, is modern.</p>
+
+<p>In the sacristy is a remarkable series of perfectly<a name="page_410" id="page_410"></a>
+preserved thirteenth-century sculptures
+in stone which truthfully&mdash;with the before-mentioned
+triforum&mdash;are the real "art treasures"
+of the cathedral. The three naves; the
+nave proper and its flanking aisles; the transepts,
+attenuated though they be; and the
+equally shallow choir, all in some way present
+a really grand effect, at once harmonious and
+pleasing.</p>
+
+<p>The pavement of the sanctuary is modern,
+as also the high-altar, but both are generously
+good in design. These furnishings are mainly
+of Italian marbles, hung about with tapestries,
+which, if not of superlative excellence, are at
+least effective.</p>
+
+<p>Modern mural paintings with backgrounds
+in gold decorate the <i>abside</i> chapels.</p>
+
+<p>There are many attributes of picturesque
+quality scattered throughout the city: its
+unique trade customs, its shipping, its donkeys,
+and, above any of these, its women themselves
+picturesque and beautiful. All these
+will give the artist many lively suggestions.</p>
+
+<p>Not many of the class, however, frequent
+this Biscayan city; which is a loss to art and
+to themselves. A plea is herein made that its
+attractions be better known by those who have
+become <i>ennuied</i> by the "resorts."<a name="page_411" id="page_411"></a></p>
+
+<h3><a name="V-5" id="V-5"></a>V<br /><br />
+ST. JEAN DE BAZAS</h3>
+
+<p>At the time the grand cathedrals of the
+north of France were taking on their completed
+form, a reflex was making itself felt
+here in the South. Both at Bayonne and
+Bazas were growing into being two beautiful
+churches which partook of many of the attributes
+of Gothic art in its most approved form.</p>
+
+<p>St. Jean de Bazas is supposedly of a tenth-century
+foundation, but its real beginnings,
+so far as its later approved form is concerned,
+came only in 1233. From which time onward
+it came quickly to its completion, or at least
+to its dedication.</p>
+
+<p>It was three centuries before its west front
+was completed, and when so done&mdash;in the
+sixteenth century&mdash;it stood out, as it does to-day,
+a splendid example of a fa�ade, completely
+covered with statues of such proportions
+and excellence that it is justly accounted
+the richest in the south of France.<a name="page_412" id="page_412"></a></p>
+
+<p>It quite equals, in general effect, such well-peopled
+fronts as Amiens or Reims; though
+here the numbers are not so great, and, manifestly,
+not of as great an excellence.</p>
+
+<p>This small but well-proportioned church
+has no transepts, but the columnar supports of
+its vaulting presume an effect of length which
+only Gothic in its purest forms suggests.</p>
+
+<p>The Huguenot rising somewhat depleted
+and greatly damaged the sculptured decorations
+of its fa�ade, and likewise much of the
+interior ornament, but later repairs have done
+much to preserve the effect of the original
+scheme, and the church remains to-day an
+exceedingly gratifying and pleasing example
+of transplanted Gothic forms.</p>
+
+<p>The diocese dates from the foundation of
+Sextilius, in the sixth century.<a name="page_413" id="page_413"></a></p>
+
+<h3><a name="VI-5" id="VI-5"></a>VI<br /><br />
+NOTRE DAME DE LESCAR</h3>
+
+<p>The bishopric here was founded in the fifth
+century by St. Julian, and lasted till the suppression
+of 1790; but of all of its importance
+of past ages, which was great, little is left to-day
+of ecclesiastical dignity.</p>
+
+<p>Lescar itself is an attractive enough small
+town of France,&mdash;it contains but a scant two
+thousand inhabitants,&mdash;but has no great distinction
+to important rank in any of the walks
+of life; indeed, its very aspect is of a glory
+that has departed.</p>
+
+<p>It has, however, like so many of the small
+towns of the ancient B�arn, a notably fine
+situation: on a high <i>coteau</i> which rises loftily
+above the <i>route nationale</i> which runs from
+Toulouse to Bayonne.</p>
+
+<p>From the terrace of the former cathedral
+of Notre Dame can be seen the snow-clad
+ridge of the Pyrenees and the umbrageous
+valley and plain which lie between. In this<a name="page_414" id="page_414"></a>
+verdant land there is no suggestion of what
+used&mdash;in ignorance or prejudice&mdash;to be
+called "an aspect austere and sterile."</p>
+
+<p>The cathedral itself is bare, unto poverty,
+of tombs and monuments, but a mosaic-worked
+pavement indicates, by its inscriptions
+and symbols, that many faithful and devout
+souls lie buried within the walls.</p>
+
+<p>The edifice is of imposing proportions,
+though it is not to be classed as truly great.
+From the indications suggested by the heavy
+pillars and grotesquely carved capitals of its
+nave, it is manifest that it has been built up,
+at least in part, from remains of a very early
+date. It mostly dates from the twelfth century,
+but in that it was rebuilt during the
+period of the Renaissance, it is to the latter
+classification that it really belongs.</p>
+
+<p>The curiously carved capitals of the columns
+of the nave share, with the frescoes of
+the apse, the chief distinction among the accessory
+details. They depict, in their ornate
+and deeply cut heads, dragons and other
+weird beasts of the land and fowls of the air,
+in conjunction with unshapely human figures,
+and while all are intensely grotesque, they are
+in no degree offensive.</p>
+
+<p>There is no exceeding grace or symmetry<a name="page_415" id="page_415"></a>
+of outline in any of the parts of this church,
+but, nevertheless, it has the inexplicable power
+to please, which counts for a great deal among
+such inanimate things as architectural forms.
+It would perhaps be beyond the powers of
+any one to explain why this is so frequently
+true of a really unassuming church edifice;
+more so, perhaps, with regard to churches
+than to most other things&mdash;possibly it is because
+of the local glamour or sentiment which
+so envelops a religious monument, and hovers
+unconsciously and ineradicably over some
+shrines far more than others. At any rate, the
+former cathedral of Notre Dame at Lescar
+has this indefinable quality to a far greater
+degree than many a more ambitiously conceived
+fabric.</p>
+
+<p>The round-arched window and doorway
+most prevail, and the portal in particular is
+of that deeply recessed variety which allows
+a mellow interior to unfold slowly to the gaze,
+rather than jump at once into being, immediately
+one has passed the outer lintel or
+jamb.</p>
+
+<p>The entire suggestion of this church, both
+inside and out, is of a structure far more
+massive and weighty than were really needed
+for a church of its size, but for all that its very<a name="page_416" id="page_416"></a>
+stable dimensions were well advised in an edifice
+which was expected to endure for ages.</p>
+
+<p>The entire apse is covered, inside, with a
+series of frescoes of a very acceptable sort,
+which, though much defaced to-day, are the
+principal art attribute of the church. Their
+author is unknown, but they are probably the
+work of some Italian hand, and have even
+been credited to Giotto.</p>
+
+<p>The choir-stalls are quaintly carved, with
+a luxuriance which, in some manner, approaches
+the Spanish style. They are at least
+representative of that branch of Renaissance
+art which was more representative of the
+highest expression than any other.</p>
+
+<p>In form, this old cathedral follows the
+basilica plan, and is perhaps two hundred feet
+in length, and some seventy-five in width.</p>
+
+<p>The grandfather of Henri IV. and his wife&mdash;<i>la
+Marguerites des Marguerites</i>&mdash;were
+formerly buried in this cathedral, but their
+remains were scattered by either the Huguenots
+or the Revolutionists.</p>
+
+<p>Curiously enough, too, Lescar was the former
+habitation of a Jesuit College, founded
+by Henri IV. after his conversion to the Roman
+faith, but no remains of this institution
+exist to-day.<a name="page_417" id="page_417"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_417.png">
+<img src="images/ill_417_sml.png" width="550" height="393" alt="" title="" /></a>
+</div>
+
+<h3><a name="VII-5" id="VII-5"></a>VII<br /><br />
+L'�GLISE DE LA S�DE: TARBES</h3>
+
+<p>Froissart describes Tarbes as "a fine large
+town, situated in a plain country; there is a
+city and a town and a castle ... the beautiful
+river Lisse which runs throughout all
+Tharbes, and divides it, the which river is as
+clear as a fountain."</p>
+
+<p>Froissart himself nods occasionally, and on
+this particular occasion has misnamed the
+river which flows through the city, which is
+the Adour. The rest of his description might
+well apply to-day, and the city is most charmingly
+and romantically environed.<a name="page_418" id="page_418"></a></p>
+
+<p>Its cathedral will not receive the same adulation
+which is bestowed upon the charms of
+the city itself. It is a poor thing, not unlike,
+in appearance, a market-house or a third-rate
+town hall of some mean municipality.</p>
+
+<p>Once the Black Prince and his "fair maid
+of Kent" came to this town of the Bigorre,
+to see the Count of Armagnac, under rather
+doleful circumstances for the count, who was
+in prison and in debt to Gaston Ph&oelig;bus for
+the amount of his ransom.</p>
+
+<p>The "fair maid," however, appears to have
+played the part of a good fairy, and prevailed
+upon the magnificent Ph&oelig;bus to reduce the
+ransom to the extent of fifty thousand francs.</p>
+
+<p>In this incident alone there lies a story, of
+which all may read in history, and which is
+especially recommended to those writers of
+swash-buckler romances who may feel in need
+of a new plot.</p>
+
+<p>There is little in Tarbes but the memory
+of a fair past to compel attention from the
+lover of antiquity, of churches, or of art; and
+there are no remains of any note&mdash;even of
+the time when the Black Prince held his court
+here.</p>
+
+<p>The bishopric is very ancient, and dates
+from the sixth century, when St. Justin first<a name="page_419" id="page_419"></a>
+filled the office. In spite of this, however,
+there is very little inspiration to be derived
+from a study of this quite unconvincing cathedral,
+locally known as the �glise de la
+S�de.</p>
+
+<p>This Romanesque-Transition church,
+though dating from the twelfth and thirteenth
+centuries, has neither the strength and
+character of the older style, nor the vigour of
+the new.</p>
+
+<p>The nave is wide, but short, and has no
+aisles. At the transept is a superimposed octagonal
+cupola, which is quite unbeautiful and
+unnecessary. It is a fourteenth-century addition
+which finally oppresses this ungainly
+heavy edifice beyond the hope of redemption.</p>
+
+<p>Built upon the fa�ade is a Renaissance
+portal which of itself would be a disfigurement
+anywhere, but which here gives the final
+blow to a structure which is unappealing from
+every point.</p>
+
+<p>The present-day prefecture was the former
+episcopal residence.</p>
+
+<p>The bishopric, which to-day has jurisdiction
+over the Department of the Hautes-Pyr�n�es,
+is a suffragan of the mother-see of
+Auch.<a name="page_420" id="page_420"></a></p>
+
+<h3><a name="VIII-5" id="VIII-5"></a>VIII<br /><br />
+CATH�DRALE DE CONDOM</h3>
+
+<p>The history of Condom as an ecclesiastical
+see is very brief.</p>
+
+<p>It was established only in 1317, on an ancient
+abbey foundation, whose inception is
+unknown.</p>
+
+<p>For three centuries only was it endowed
+with diocesan dignity. Its last <i>titulaire</i> was
+Bishop Bossuet.</p>
+
+<p>The fine Gothic church, which was so short-lived
+as a cathedral, is more worthy of admiration
+than many grander and more ancient.</p>
+
+<p>It dates from the early sixteenth century,
+and shows all the distinct marks of its era;
+but it is a most interesting church nevertheless,
+and is possessed of a fine unworldly cloister,
+which as much as many another&mdash;more
+famous or more magnificent&mdash;must have
+been conducive to inspired meditation.</p>
+
+<p>The portal rises to a considerable height<a name="page_421" id="page_421"></a>
+of elegance, but the fa�ade is otherwise austere.</p>
+
+<p>In the interior, a choir-screen in cut stone
+is the chief artistic treasure. The sacristy is
+a finely decorated and beautifully proportioned
+room.</p>
+
+<p>In the choir is a series of red brick or
+terra-cotta stalls of poor design and of no
+artistic value whatever.</p>
+
+<p>The ancient residence of the bishops is now
+the H�tel de Ville, and is a good example of
+late Gothic domestic architecture. It is decidedly
+the architectural <i>pi�ce de resistance</i>
+of the town.<a name="page_422" id="page_422"></a></p>
+
+<h3><a name="IX-5" id="IX-5"></a>IX<br /><br />
+CATH�DRALE DE MONTAUBAN</h3>
+
+<p>Montauban, the location of an ancient
+abbey, was created a bishopric, in the Province
+of Toulouse, in 1317, under Bertrand du
+Puy. It was a suffragan of the see of Toulouse
+after that city had been made an archbishopric
+in the same year, a rank it virtually
+holds to-day, though the mother-see is now
+known by the double vocable of Toulouse-Narbonne.</p>
+
+<p>Montauban is in many ways a remarkable
+little city; remarkable for its tidy picturesqueness,
+for its admirable situation, for the
+added attraction of the river Tarn, which
+rushes tumblingly past its <i>quais</i> on its way
+from the Gorges to the Garonne; in short,
+Montauban is a most fascinating centre of a
+life and activity, not so modern that it jars,
+nor yet so medi�val that it is uncomfortably
+squalid.<a name="page_423" id="page_423"></a></p>
+
+<p>The lover of architecture will interest himself
+far more in the thirteenth-century bridge
+of bricks which crosses the Tarn on seven
+ogival arches, than he will in the painfully
+ordinary and unworthy cathedral, which is a
+combination of most of the undesirable features
+of Renaissance church-building.</p>
+
+<p>The fa�ade is, moreover, set about with a
+series of enormous sculptured effigies perched
+indiscriminately wherever it would appear
+that a foothold presented itself. There are
+still a few unoccupied niches and cornices,
+which some day may yet be peopled with
+other figures as gaunt.</p>
+
+<p>Two ungraceful towers flank a classical
+portico, one of which is possessed of the usual
+ludicrous clock-face.</p>
+
+<p>The interior, with its unusual flood of light
+from the windows of the clerestory, is cold
+and bare. Its imposed pilasters and heavy
+cornices are little in keeping with the true
+conception of Christian architecture, and its
+great height of nave&mdash;some eighty odd feet&mdash;lends
+a further chilliness to one's already
+lukewarm appreciation.</p>
+
+<p>The one artistic detail of Montauban's cathedral
+is the fine painting by Ingres (1781-1867)
+to be seen in the sacristy, if by any<a name="page_424" id="page_424"></a>
+chance you can find the sacristan&mdash;which is
+doubtful. It is one of this artist's most celebrated
+paintings, and is commonly referred
+to as "The Vow of Louis XIII."</p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_424.jpg">
+<img src="images/ill_424_sml.jpg" width="550" height="359" alt="ST. ETIENNE
+de CAHORS." title="" /></a>
+<div class="figleft" style="width: 191px;">
+<img src="images/ill_424_name.jpg" width="191" height="50" alt="ST. ETIENNE de CAHORS." title="" />
+</div>
+</div>
+
+<p><a name="page_425" id="page_425"></a></p>
+
+<h3><a name="X-5" id="X-5"></a>X<br /><br />
+ST. ETIENNE DE CAHORS</h3>
+
+<p>St. Genulphe was the first bishop of Cahors,
+in the fourth century. The diocese was
+then, as now, a suffragan of Albi. The cathedral
+of St. Etienne was consecrated in 1119,
+but has since&mdash;and many times&mdash;been rebuilt
+and restored.</p>
+
+<p>This church is but one of the many of its
+class, built in Aquitaine at this period, which
+employed the cupola as a distinct feature. It
+shares this attribute in common with the cathedrals
+at Poitiers, P�rigueux, and Angoul�me,
+and the great churches of Solignac,
+Fontevrault, and Souillac, and is commonly
+supposed to be an importation or adaptation
+of the domes of St. Marc's at Venice.</p>
+
+<p>A distinct feature of this development is
+that, while transepts may or may not be wanting,
+the structures are nearly always without
+side aisles.</p>
+
+<p>What manner of architecture this style may<a name="page_426" id="page_426"></a>
+presume to be is impossible to discuss here,
+but it is manifestly not Byzantine <i>pur-sang</i>,
+as most guide-books would have the tourist
+believe.</p>
+
+<p>Although much mutilated in many of its
+accessories and details, the cathedral at Cahors
+fairly illustrates its original plan.</p>
+
+<p>There are no transepts, and the nave is wide
+and short, its area being entirely roofed by
+the two circular cupolas, each perhaps fifty
+feet in diameter. In height these two details
+depart from the true hemisphere, as has always
+been usual in dome construction. There
+were discovered, as late as 1890, in this church,
+many mural paintings of great interest. Of
+the greatest importance was that in the westerly
+cupola, which presents an entire composition,
+drawn in black and colour.</p>
+
+<p>The cupola is perhaps forty feet in diameter,
+and is divided by the decorations into
+eight sectors. The principal features of this
+remarkable decoration are the figures of eight
+of the prophets, David, Daniel, Jeremiah,
+Jonah, Ezra, Isaiah, Ezekiel, and Habakkuk,
+each a dozen or more feet in height.</p>
+
+<p>Taken as a whole, in spite of their recent
+discovery, these elaborate decorations are
+supposed to have been undertaken by or under<a name="page_427" id="page_427"></a>
+the direction of the bishops who held the see
+from 1280 to 1324; most likely under Hugo
+Geraldi (1312-16), the friend of Pope
+Clement V. and of the King of France. This
+churchman was burned to death at Avignon,
+and the see was afterward administered by
+procuration by Guillaume de Labroa (1316-1324),
+who lived at Avignon.</p>
+
+<p>It is then permissible to think that these
+wall-paintings of the cathedral at Cahors are
+perhaps unique in France. Including its sustaining
+wall, one of the cupolas rises to a
+height of eighty-two feet, and the other to
+one hundred and five feet.</p>
+
+<p>The north portal is richly sculptured; and
+the choir, with its fifteenth-century ogival
+chapels, has been rebuilt from the original
+work of 1285.</p>
+
+<p>The interior, since the recently discovered
+frescoes of the cupolas, presents an exceedingly
+rich appearance, though there are actually
+few decorative constructive elements.</p>
+
+<p>The apse of the choir is naturally pointed,
+as its era would indicate, and its chapels are
+ornamented with frescoes of the time of Louis
+XII.; neither very good nor very bad, but
+in no way comparable to the decorations of
+the cupolas.<a name="page_428" id="page_428"></a></p>
+
+<p>The only monument of note in the interior
+is the tomb of Bishop Alain de Solminiac
+(seventeenth century).</p>
+
+<p>The paintings of the choir are supposed to
+date from 1315, which certainly places them
+at a very early date. A doorway in the right
+of the nave gives on the fifteenth-century
+cloister, which, though fragmentary, must at
+one time have been a very satisfactory example.
+The ancient episcopal palace is now the
+prefecture. The bishop originally bore the
+provisional title of Count of Cahors, and was
+entitled to wear a sword and gauntlets, and it
+is recorded that he was received, upon his
+accession to the diocese, by the Vicomte de
+Sessac, who, attired in a grotesque garb, conducted
+him to his palace amid a ceremony
+which to-day would be accounted as buffoonery
+pure and simple. From the accounts of
+this ceremony, it could not have been very
+dignified or inspiring.</p>
+
+<p>The history of Cahors abounds in romantic
+incident, and its capture by Henry of Navarre
+in 1580 was a brilliant exploit.</p>
+
+<p>Cahors was the birthplace of one of the
+French Popes of Avignon, John XXII. (who
+is buried in Notre Dame des Doms at Avignon).<a name="page_429" id="page_429"></a></p>
+
+<h3><a name="XI-5" id="XI-5"></a>XI<br /><br />
+ST. CAPRAIS D'AGEN</h3>
+
+<p>Agen, with Cahors, Tulle, Limoges, P�rigueux,
+Angoul�me, and Poitiers, are, in a
+way, in a class of themselves with respect to
+their cathedrals. They have not favoured
+aggrandizement, or even restoration to the
+extent of mitigating the sentiment which will
+always surround a really ancient fabric.</p>
+
+<p>The cathedral at Bordeaux came strongly
+under the Gothic spell; so did that at Clermont-Ferrand,
+and St. Nazaire, in the Cit�
+de Carcassonne. But those before-mentioned
+did not, to any appreciable extent, come under
+the influence of the new style affected by the
+architects of the Isle of France during the
+times of Philippe-Auguste (d. 1223).</p>
+
+<p>At the death of Philippe le Bel (1314), the
+royal domain was considerably extended,
+and the cathedrals at Montpellier, Carcassonne,
+and Narbonne succumbed and took on
+Gothic features.<a name="page_430" id="page_430"></a></p>
+
+<p>The diocese of Agen was founded in the
+fourth century as a suffragan of Bordeaux.
+Its first bishop was St. Ph�rade. To-day the
+diocese is still under the parent jurisdiction
+of Bordeaux, and the see comprises the department
+of Lot-et-Garonne.</p>
+
+<p>A former cathedral church&mdash;St. Etienne&mdash;was
+destroyed at the Revolution.</p>
+
+<p>The Romanesque cathedral of St. Caprais
+dates, as to its apses and transepts, from the
+eleventh century.</p>
+
+<p>Its size is not commonly accredited great,
+but for a fact its nave is over fifty-five feet in
+width; greater than Chartres, and nearly as
+great as Amiens in the north.</p>
+
+<p>This is a comparison which will show how
+futile it is not to take into consideration the
+peers, compeers, or contemporaries of architectural
+types when striving to impress its
+salient features upon one's senses.</p>
+
+<p>This immense vault is covered with a series
+of cupolas of a modified form which finally
+take the feature of the early development of
+the ogival arch. This, then, ranks as one of
+the early transitions between barrel-vaulted
+and domed roofs, and the Gothic arched
+vaulting which became so common in the
+century following.<a name="page_431" id="page_431"></a></p>
+
+<p>As to the general ground-plan, the area is
+not great. Its Romanesque nave is stunted
+in length, if not in width, and the transepts
+are equally contracted. The choir is semicircular,
+and the general effect is that of a
+tri-apsed church, seldom seen beyond the immediate
+neighbourhood of the Rhine valley.</p>
+
+<p>The interior effect is considerably marred
+by the modern mural frescoes by B�zard, after
+a supposed old manner. The combination of
+colour can only be described as polychromatic,
+and the effect is not good.</p>
+
+<p>There are a series of Roman capitals in
+the nave, which are of more decided artistic
+worth and interest than any other distinct
+feature.</p>
+
+<p>At the side of the cathedral is the <i>Chapelle
+des Innocents</i>, the ancient chapter-house of
+St. Caprais, now used as the chapel of the
+college. Its fa�ade has some remarkable
+sculptures, and its interior attractions of curiously
+carved capitals and some tombs&mdash;supposed
+to date from the first years of the Christian
+era&mdash;are of as great interest as any of
+the specific features of the cathedral proper.<a name="page_432" id="page_432"></a></p>
+
+<h3><a name="XII-5" id="XII-5"></a>XII<br /><br />
+STE. MARIE D'AUCH</h3>
+
+<p>The first bishop of Auch was Citerius, in
+the fourth century. Subsequently the Province
+d'Auch became the see of an archbishop,
+who was Primate of Aquitaine. This came
+to pass when the office was abolished or transferred
+from Eauze in the eighth century.
+The diocese is thus established in antiquity,
+and endures to-day with suffragans at Aire,
+Tarbes, and Bayonne.</p>
+
+<p>The cathedral of Ste. Marie d'Auch is not
+of itself an ancient structure, dating only from
+the late fifteenth century. Its choir, however,
+ranks among the most celebrated in the Gothic
+style in all Europe, and the entire edifice is
+usually accorded as being the most thoroughly
+characteristic (though varied as to the excellence
+of its details) church of the <i>Midi</i> of
+France, though built at a time when the ogival
+style was projecting its last rays of glory over
+the land.</p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_432.jpg">
+<img src="images/ill_432_sml.jpg" width="550" height="357" alt="STE. MARIE d&#39;AUCH" title="" /></a>
+<div class="figleft" style="width: 274px;">
+<img src="images/ill_432_name.jpg" width="274" height="44" alt="STE. MARIE d&#39;AUCH" title="" />
+</div>
+</div>
+
+<p><a name="page_433" id="page_433"></a></p>
+
+<p>In its general plan it is of generous though
+not majestic proportions, and is rich and aspiring
+in its details throughout.</p>
+
+<p>An ancient altar in this present church is
+supposed to have come from the humble basilica
+which was erected here by St. Taurin,
+bishop of Eauze, soon after the foundation of
+the see. If this is so, it is certainly of great
+antiquity, and is exceedingly valuable as the
+record of an art expression of that early day.</p>
+
+<p>Taurin II., in 845, rebuilt a former church,
+which stood on the site of the present cathedral;
+but, its dimensions not proving great
+enough for the needs of the congregation, St.
+Austinde, in 1048, built a much larger church,
+which was consecrated early in the twelfth
+century.</p>
+
+<p>Various other structures were undertaken,
+some completed only in part and others to the
+full; but it was not until 1548 that the present
+Ste. Marie was actually consecrated by
+Jean Dumas.</p>
+
+<p>"This gorgeous ceremony," says the Abb�
+Bourass�, "was accomplished amid great
+pomp on the anniversary day of the dedication
+of the eleventh-century basilica on the
+same site."</p>
+
+<p>In 1597 further additions were made to the<a name="page_434" id="page_434"></a>
+vaulting, and the fine choir glass added. Soon
+after this time, the glass of the nave chapels
+was put into place, being the gift of Dominique
+de Vic. The final building operations&mdash;as
+might be expected&mdash;show just the least
+suspicion of debasement. This quality is to
+be remarked in the choir-screen, the porch
+and towers, and in the balustrades of the
+chapels, to say nothing of the organ supports.</p>
+
+<p>The west front is, in part, as late as the seventeenth
+century.</p>
+
+<p>In this fa�ade there is an elaborately traceried
+rose window, indicating in its painted
+glass a "Glory of Angels." It is not a great
+work, as these chief decorative features of
+French medi�val architecture go, but is
+highly ornate by reason of its florid tracery,
+and dates, moreover, from that period when
+the really great accomplishment of designing
+in painted glass was approaching its maturity.</p>
+
+<p>If any feature of remark exists to excite
+undue criticism, it is that of a certain incongruity
+or mixture of style, which, while not
+widely separated in point of time, has great
+variation as to excellence.</p>
+
+<p>In spite of this there is, in the general
+<i>ensemble</i>, an imposing picturesqueness to<a name="page_435" id="page_435"></a>
+which distance lends the proverbial degree
+of enchantment.</p>
+
+<p>The warm mouse-coloured cathedral and
+its archbishop's palace, when seen in conjunction
+with the modern ornamental gardens
+and <i>escalier</i> at the rear, produces an effect
+more nearly akin to an Italian composition
+than anything of a like nature in France.</p>
+
+<p>It is an <i>ensemble</i> most interesting and
+pleasing, but as a worthy artistic effort it does
+perhaps fall short of the ideal.</p>
+
+<p>The westerly towers are curious heavy
+works after the "French Classical" manner
+in vogue during the reign of Louis XIV.
+They are not beautiful of themselves, and
+quite unexpressive of the sanctity which
+should surround a great church.</p>
+
+<p>The portal is richly decorated, and contains
+statues of St. Roche and St. Austinde.
+It has been called an "imitation of the portal
+of St. Peter's at Rome," but this is an opinion
+wholly unwarranted by a personal acquaintance
+therewith. The two bear no resemblance
+except that they are both very inferior to the
+magnificent Gothic portals of the north.</p>
+
+<p>The interior embellishments are as mixed
+as to style, and of as varied worth, as those
+of the exterior.<a name="page_436" id="page_436"></a></p>
+
+<p>The painted glass (by a Gascon artist, Arnaud
+de Moles, 1573) is usually reckoned as
+of great beauty. This it hardly is, though of
+great value and importance as showing the
+development of the art which produced it.
+The colour is rich,&mdash;which it seldom is in
+modern glass,&mdash;but the design is coarse and
+crude, a distinction that most modern glass
+has as well. <i>Ergo</i>, we have not advanced
+greatly in this art.</p>
+
+<p>The chief feature of artistic merit is the
+series of one hundred and thirteen choir-stalls,
+richly and wonderfully carved in wood. If
+not the superior to any others in France, these
+remarkable examples of Renaissance woodwork
+are the equal of any, and demonstrate,
+once again, that it was in wood-carving,
+rather than sculptures in stone, that Renaissance
+art achieved its greatest success.</p>
+
+<p>A distinct feature is the disposition made
+of the accessories of the fine choir. It is surrounded
+by an elaborate screen, surmounted
+by sculpture of a richness quite uncommon
+in any but the grander and more wealthy
+churches.</p>
+
+<p>Under the reign of St. Louis many of the
+grand cathedrals and the larger monastic
+churches were grandly favoured with this<a name="page_437" id="page_437"></a>
+accessory, notably at Amiens and Beauvais,
+at Burgos in Spain, and at Canterbury.</p>
+
+<p>Here the elaborate screen was designed to
+protect the ranges of stalls and their canopied
+<i>dossiers</i>, and give a certain seclusion to the
+chapter and officiants.</p>
+
+<p>Elsewhere&mdash;out of regard for the people
+it is to be presumed&mdash;this feature was in
+many known instances done away with, and
+the material of which it was constructed&mdash;often
+of great richness&mdash;made use of in
+chapels subsequently erected in the walls of
+the apside or in the side aisles of the nave.
+This is to be remarked at Rodez particularly,
+where the re�rected <i>cl�ture</i> is still the show-piece
+of the cathedral.</p>
+
+<p>The organ <i>buffet</i> is, as usual (in the minds
+of the local resident), a remarkably fine piece
+of cabinet-work and nothing more. One always
+qualifies this by venturing the opinion
+that no one ever really does admire these overpowering
+and ungainly accessories.</p>
+
+<p>What triforium there is is squat and ugly,
+with ungraceful openings, and the high-altar
+is a modern work in the pseudo-classic style,
+quite unworthy as a work of art.</p>
+
+<p>The five apsidal chapels are brilliant with<a name="page_438" id="page_438"></a>
+coloured glass, but otherwise are not remarkable.</p>
+
+<p>In spite of all incongruity, Ste. Marie
+d'Auch is one of those fascinating churches
+in and about which one loves to linger. It
+is hard to explain the reason for this, except
+that its environment provides the atmosphere
+which is the one necessary ingredient to
+a full realization of the appealing qualities of
+a stately church.</p>
+
+<p>The archiepiscopal palace adjoins the cathedral
+in the rear, and has a noble <i>donjon</i>
+of the fourteenth century. Its career of the
+past must have been quite uneventful, as history
+records no very bloody or riotous events
+which have taken place within or before its
+walls.</p>
+
+<p>F�nelon was a student at the College of
+Auch, and his statue adorns the Promenade
+du Foss�.<a name="page_439" id="page_439"></a></p>
+
+<div class="framing" style="width: 391px;">
+<a href="images/ill_438.jpg">
+<img src="images/ill_438_sml.jpg" width="391" height="550" alt="ST. ETIENNE
+de TOULOUSE" title="" /></a>
+<div class="figleft" style="width: 221px;">
+<img src="images/ill_438_name.jpg" width="221" height="56" alt="ST. ETIENNE de TOULOUSE" title="" />
+</div>
+</div>
+
+<h3><a name="XIII-5" id="XIII-5"></a>XIII<br /><br />
+ST. ETIENNE DE TOULOUSE</h3>
+
+<p>The provincialism of Toulouse has been
+the theme of many a French writer of ability,&mdash;offensively
+provincial, it would seem from
+a consensus of these written opinions.</p>
+
+<p>"Life and movement in abundance, but
+what a life!" ... "The native is saved from
+coarseness by his birth, but after a quarter
+of an hour the substratum shows itself." ...
+"The working girl is graceful and has the
+vivacity of a bird, but there is nothing in her
+cackle." ... "How much more beautiful
+are the stars that mirror themselves in the
+gutter of the Rue du Bac." ... "There is
+a yelp in the accents of the people of the
+town."</p>
+
+<p>Contrariwise we may learn also that "the
+water is fine," "the quays are fine," and "fine
+large buildings glow in the setting sun in
+bright and softened hues," and "in the far
+distance lies the chain of the Pyrenees, like<a name="page_440" id="page_440"></a>
+a white bed of watery clouds," and "the river,
+dressed always in smiling verdure, gracefully
+skirts the city."</p>
+
+<p>These pessimistic and optimistic views of
+others found the contributors to this book in
+somewhat of a quandary as to the manner
+of mood and spirit in which they should approach
+this provincial capital.</p>
+
+<p>They had heard marvels of its Romanesque
+church of St. Saturnin, perhaps the most
+perfect and elaborate of any of its kind in all
+France; of the curious amalgamated edifice,
+now the cathedral of St. Etienne, wherein two
+distinct church bodies are joined by an unseemly
+ligature; of the church of the Jacobins;
+and of the "seventy-seven religious
+establishments" enumerated by Taine.</p>
+
+<p>All these, or less, were enough to induce
+one to cast suspicion aside and descend upon
+the city with an open mind.</p>
+
+<p>Two things one must admit: Toulouse does
+somewhat approach the gaiety of a capital,
+and it <i>is</i> provincial.</p>
+
+<p>Its list of attractions for the visitor is
+great, and its churches numerous and splendid,
+so why carp at the "ape-like manners"
+of the corner loafers, who, when all is said,<a name="page_441" id="page_441"></a>
+are vastly less in number here than in many
+a northern centre of population.</p>
+
+<p>The Mus�e is charming, both as to the disposition
+of its parts and its contents. It was
+once a convent, and has a square courtyard or
+promenade surrounded by an arcade. The
+courtyard is set about with green shrubs, and
+a lofty brick tower, pierced with little arched
+windows and mullioned with tiny columns,
+rises skyward in true conventual fashion.</p>
+
+<p>Altogether the Mus�e, in the attractiveness
+of its fabric and the size and importance of
+its collections, must rank, for interest to the
+tourist, at the very head of those outside Paris
+itself.</p>
+
+<p>As for the churches, there are many, the
+three greatest of which are the cathedral of
+St. Etienne, St. Saturnin, and the �glise des
+Jacobins; in all is to be observed the universal
+application or adoption of <i>des mat�riaux
+du pays</i>&mdash;bricks.</p>
+
+<p>In the cathedral tower, and in that of the
+�glise des Jacobins, a Gothic scheme is
+worked out in these warm-toned bricks, and
+forms, in contrast with the usual execution of
+a Gothic design, a most extraordinary effect;
+not wholly to the detriment of the style, but
+certainly not in keeping with the original<a name="page_442" id="page_442"></a>
+conception and development of "pointed"
+architecture.</p>
+
+<p>In 1863 Viollet-le-Duc thoroughly and
+creditably restored St. Saturnin at great expense,
+and by this treatment it remains to-day
+as the most perfectly preserved work extant
+of its class.</p>
+
+<p>It is vast, curious, and in a rather mixed
+style, though thoroughly Latin in motive.</p>
+
+<p>It is on the border-line of two styles; of
+the Italian, with respect to the full semicircular
+arches and vaulting of the nave and
+aisles; the square pillars destitute of all ornament,
+except another column standing out in
+flat relief&mdash;an intimation of the quiet and
+placid force of their functions.</p>
+
+<p>With the transition comes a change in the
+flowered capitals, from the acanthus to tracery
+and grotesque animals.</p>
+
+<p>There are five domes covering the five
+aisles, each with a semicircular vault. The
+walls, with their infrequent windows, are very
+thick.</p>
+
+<p>The delightful belfry&mdash;of five octagonal
+stages&mdash;which rises from the crossing of the
+transepts, presents, from the outside, a fine
+and imposing arrangement. So, too, the
+chapelled choir, with its apse of rounded<a name="page_443" id="page_443"></a>
+vaults rising in imposing tiers. This fine
+church is in direct descent from the Roman
+manner; built and developed as a simple idea,
+and, like all antique and classical work,&mdash;approaching
+purity,&mdash;is a living thing, in
+spite of the fact that it depicts the sentiment
+of a dead and gone past.</p>
+
+<p>It might not be so successfully duplicated
+to-day, but, considering that St. Saturnin
+dates from the eleventh century, its commencement
+was sufficiently in the remote past
+to allow of its having been promulgated under
+a direct and vigorous Roman influence.</p>
+
+<p>The brick construction of St. Saturnin and
+of the cathedral is not of that justly admired
+quality seen in the ancient Convent of the
+Jacobins, which dates from the thirteenth
+century. Here is made perhaps the most
+beautiful use of this style of medi�val building.
+It is earlier than the Pont de Montauban,
+the churches at Moissac or Lombez, and
+even the cathedral at Albi, but much later
+than the true Romanesque brickwork, which
+alternated rows of brick with other materials.</p>
+
+<p>The builders of Gallo-Romain and Merovingian
+times favoured this earlier method,
+but work in this style is seldom met with of
+a later date than the ninth century.<a name="page_444" id="page_444"></a></p>
+
+<p>The �glise of St. Saturnin shows, in parts,
+brickwork of a century earlier than the �glise
+des Jacobins, but, as before said, it is not so
+beautiful.</p>
+
+<p>When the Renaissance came to deal with
+<i>brique</i>, it did not do so badly. Certainly the
+domestic and civil establishments of Touraine
+in this style&mdash;to particularize only one section&mdash;are
+very beautiful. Why the revival
+was productive of so much thorough badness
+when it dealt with stone is one of the things
+which the expert has not as yet attempted to
+explain; at least, not convincingly.</p>
+
+<p>The contrasting blend of the northern and
+southern motive in the hybrid cathedral at
+Toulouse will not remain unnoticed for long
+after the first sensation of surprise at its curious
+ground-plan passes off.</p>
+
+<p>Here are seen a flamboyant northern choir
+and aisles in strange juxtaposition with a
+thirteenth-century single vaulted nave, after
+the purely indigenous southern manner.</p>
+
+<p>This nave nearly equals in immensity those
+in the cathedrals of Albi and Bordeaux. It
+has the great span of sixty-two feet, necessitating
+the employment of huge buttresses,
+which would be remarkable anywhere, in
+order to take the thrust. The unobstructed<a name="page_445" id="page_445"></a>
+flooring of this splendid nave lends an added
+dignity of vastness. Near the vaulted roof
+are the only apertures in the walls. Windows,
+as one knows them elsewhere, are practically
+absent.</p>
+
+<div class="figcenter" style="width: 435px;">
+<a href="images/ill_445.png">
+<img src="images/ill_445_sml.png" width="435" height="550" alt="Nave of St. Etienne de Toulouse" title="" /></a>
+<p><span class="captionunder">Nave of St. Etienne de Toulouse</span></p>
+</div>
+
+<p>The congregations which assemble in this
+great aisleless nave present a curiously animated
+effect by reason of the fact that they
+scatter themselves about in knots or groups
+rather than crowding against either the altar-rail<a name="page_446" id="page_446"></a>
+or pulpit, occasionally even overflowing
+into the adjoining choir. The nave is entirely
+unobstructed by decorations, such as screens,
+pillars, or tombs. It is a mere shell, <i>sans</i> gallery,
+<i>sans</i> aisles, and <i>sans</i> triforium.</p>
+
+<p>The development of the structure from the
+individual members of nave and choir is
+readily traced, and though these parts show
+not the slightest kind of relationship one to
+the other, it is from these two fragmentary
+churches that the completed, if imperfect,
+whole has been made.</p>
+
+<p>The west front, to-day more than ever,
+shows how badly the cathedral has been put
+together; the uncovered bricks creep out here
+and there, and buildings to the left, which
+formerly covered the incongruous joint between
+the nave and choir, are now razed,
+making the patchwork even more apparent.
+The square tower which flanks the portal to
+the north is not unpleasing, and dates from
+the fifteenth and sixteenth centuries. The
+portal is not particularly beautiful, and is
+bare of decorations of note. It appears to
+have been remodelled at some past time with
+a view to conserving the western rose window.</p>
+
+<p>There are no transepts or collateral chapels,<a name="page_447" id="page_447"></a>
+which tends to make the ground-plan the
+more unusual and lacking in symmetry.</p>
+
+<p>The choir (1275-1502) is really very
+beautiful, taken by itself, far more so than
+the nave, from which it is extended on a different
+axis.</p>
+
+<p>It was restored after a seventeenth-century
+fire, and is supposed to be less beautiful to-day
+than formerly.</p>
+
+<p>There are seventeen chapels in this choir,
+with much coloured glass of the fifteenth and
+seventeenth centuries, all with weird polychromatic
+decorations in decidedly bad taste.</p>
+
+<p>Toulouse became a bishopric in the third
+century, with St. Saturnin as its first bishop.
+It was raised to the rank of archiepiscopal
+dignity in 1327, a distinction which it enjoys
+to-day in company with Narbonne. Six
+former suffragan bishoprics, Pamiers, Rieux,
+Mirepoix, Saint-Papoul, Lombez, and Lavaur
+were suppressed at the Revolution.</p>
+
+<p>In the magnificent Mus�e of the city is <i>un
+petit monument</i>, without an inscription, but
+bearing a cross <i>gamm�e</i> or <i>Swastika</i>, and a
+palm-leaf, symbols of the divine Apollo and
+Artemis. It seems curious that this tiny record
+in stone should have been found, as it
+was, in the mountains which separate the<a name="page_448" id="page_448"></a>
+sources of the Garonne and the Adour, as the
+<i>Swastika</i> is a symbol supposedly indigenous
+to the fire and sun-worshippers of the East,
+where it figures in a great number of their
+monuments.</p>
+
+<p>It is called, by the local antiquary, a Pyrenean
+altar. If this is so, it is of course of
+pagan origin, and is in no way connected with
+Christian art.<a name="page_449" id="page_449"></a></p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_448.jpg">
+<img src="images/ill_448_sml.jpg" width="550" height="379" alt="St.
+NAZAIRE
+de
+CARCASSONNE" title="" /></a>
+<div class="figleft" style="width: 127px;">
+<img src="images/ill_448_name.jpg" width="127" height="149" alt="St. NAZAIRE de CARCASSONNE" title="" />
+</div>
+</div>
+
+<h3><a name="XIV-5" id="XIV-5"></a>XIV<br /><br />
+ST. NAZAIRE DE CARCASSONNE</h3>
+
+<p>With old and new Carcassonne one finds
+a contrast, if not as great as between the
+hyphenated Hungarian cities of Buda and
+Pest, at least as marked in detail.</p>
+
+<p>In most European settlements, where an
+old municipality adjoins a modern one, walls
+have been razed, moats filled, and much general
+modernization has been undertaken.</p>
+
+<p>With Carcassonne this is not so; its winding
+ways, its <i>culs-de-sacs</i>, narrow alleys, and
+towering walls remain much as they always
+were, and the great stronghold of the Middle
+Ages, vulnerable&mdash;as history tells&mdash;from
+but one point, remains to-day, after its admirable
+restoration of roof and capstone,
+much as it was in the days when modern Carcassonne
+was but a scattering hamlet beneath
+the walls of the older fortification.</p>
+
+<p>One thing will always be recalled, and that<a name="page_450" id="page_450"></a>
+is that a part of the <i>enceinte</i> of the ancient
+<i>Cit�</i> was a construction of the sixth century&mdash;the
+days of the Visigoths&mdash;and that its
+subsequent development into an almost invulnerable
+fortress was but the endorsement
+which later centuries gave to the work and
+forethought of a people who were supposed
+to possess no arts, and very little of ingenuity.</p>
+
+<p>This should suggest a line of investigation
+to one so minded; while for us, who regard
+the ancient walls merely as a boundary which
+sheltered and protected a charming Gothic
+church, it is perhaps sufficient to recall the
+inconsistency in many previous estimates as
+to what great abilities, if any, the Goths possessed.</p>
+
+<p>If it is true that the Visigoths merely followed
+Roman tradition, so much the more
+creditable to them that they preserved these
+ancient walls to the glory of those who came
+after, and but added to the general plan.</p>
+
+<p>Old and new Carcassonne, as one might
+call them, in the sixteenth and seventeenth
+centuries had each their own magistrates and
+a separate government. The <i>Cit�</i>, elevated
+above the <i>ville</i>, held also the garrison, the
+<i>presidial</i> seat, and the first seneschalship of
+the province.<a name="page_451" id="page_451"></a></p>
+
+<p>The bishopric of the <i>Cit�</i> is not so ancient
+as the <i>ville</i> itself; for the first prelate there
+whose name is found upon record was one
+Sergius, "who subscribed to a 'Council' held
+at Narbonne in 590."</p>
+
+<div class="figcenter" style="width:100%;">
+<a href="images/ill_451.png">
+<img src="images/ill_451_sml.png" width="416" height="316" alt="The Old Cit� de Carcassonne before and after the Restoration" title="" /></a>
+<br />
+<span class="captionunder">The Old Cit� de Carcassonne before and after the Restoration</span>
+</div>
+
+<p>St. Hilaire, who founded the abbey at Poitiers,
+came perhaps before Sergius, but his
+tenure is obscure as to its exact date.</p>
+
+<p>The cathedral of St. Michel, in the lower
+town, has been, since 1803, the seat of the
+bishop's throne.</p>
+
+<p>It is a work unique, perhaps, in its design,<a name="page_452" id="page_452"></a>
+but entirely unfeeling and preposterous in its
+overelaborate decorations. It has a long parallelogram-like
+nave, "<i>enti�rement peinte</i>,"
+as the custodian refers to it. It has, to be sure,
+a grand vault, strong and broad, but there are
+no aisles, and the chapels which flank this
+gross nave are mere painted boxes.</p>
+
+<p>Episcopal dignity demanded that some
+show of importance should be given to the
+cathedral, and it was placed in the hands of
+Viollet-le-Duc in 1849 for restoration. Whatever
+his labours may have been, he doubtless
+was not much in sympathy with this clumsy
+fabric, and merely "restored" it in some
+measure approaching its twelfth-century
+form.</p>
+
+<p>It is with St. Nazaire de Carcassonne, the
+tiny <i>�glise</i> of the old <i>Cit�</i> and the <i>ci-devant</i>
+cathedral that we have to do.</p>
+
+<p>This most fascinating church, fascinating
+for itself none the less than its unique environment,
+is, in spite of the extended centuries
+of its growth, almost the equal in the purity
+of its Gothic to that of St. Urbain at Troyes.
+And this, in spite of evidences of rather bad
+joining up of certain warring constructive
+elements.</p>
+
+<p>The structure readily composes itself into<a name="page_453" id="page_453"></a>
+two distinct parts: that of the Romanesque
+(round arch and barrel vault) era and that
+of the Gothic of the thirteenth and fourteenth
+centuries.</p>
+
+<p>No consideration of St. Nazaire de Carcassonne
+is possible without first coming to
+a realization of the construction and the functions
+of the splendidly picturesque and effective
+ramparts which enclosed the ancient <i>Cit�</i>,
+its cathedral, ch�teaux, and various civil and
+domestic establishments.</p>
+
+<p>In brief, its history and chronology commences
+with the Visigoth foundation, extending
+from the fifth to the eighth centuries to
+the time (1356) when it successfully resisted
+the Black Prince in his bloody ravage, by
+sword and fire, of all of Languedoc.</p>
+
+<p>Legend has it that in Charlemagne's time,
+after that monarch had besieged the town for
+many years and was about to raise the siege
+in despair, a certain tower,&mdash;which flanked
+the ch�teau,&mdash;defended only by a <i>Gauloise</i>
+known as <i>Carcaso</i>, suddenly gave way and
+opened a breach by which the army was at
+last able to enter.</p>
+
+<p>A rude figure perpetuating the fame of this
+<i>Madame Carcaso</i>&mdash;a veritable Amazon, it<a name="page_454" id="page_454"></a>
+would seem&mdash;is still seen, rudely carved,
+over the Porte Narbonnaise.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_454.png">
+<img src="images/ill_454_sml.png" width="550" height="332" alt="Two Capitals of Pillars in St. Nazaire de Carcassonne;
+and the Rude Stone Carving of Carcas" title="" /></a>
+<p><span class="captionunder">Two Capitals of Pillars in St. Nazaire de Carcassonne;<br />
+and the Rude Stone Carving of Carcas</span></p>
+</div>
+
+<p>It is the inner line of ramparts which dates
+from the earliest period. The ch�teau, the
+postern-gate, and most of the interior construction
+are of the eleventh and twelfth centuries,
+while the outer fortification is of the
+time of St. Louis, the latter part of the thirteenth
+century.</p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_454a.jpg">
+<img src="images/ill_454a_sml.jpg" width="550" height="344" alt="ST. NAZAIRE ...
+de CARCASSONNE" title="" /></a>
+<div class="figleft" style="width: 266px;">
+<img src="images/ill_454a_name.jpg" width="266" height="55" alt="ST. NAZAIRE ... de CARCASSONNE" title="" />
+</div>
+</div>
+
+<p>The Saracens successfully attacked and occupied
+the city from 713 to 759, but were
+routed by Pepin-le-Bref. In 1090 was first
+founded the strong <i>vicomtale</i> dynasty of the<a name="page_455" id="page_455"></a>
+Trencavels. In 1210 the Crusaders, under
+Simon de Montfort and the implacable Abbot
+of Citeaux, laid siege to the <i>Cit�</i>, an act which
+resulted in the final massacre, fifty of the besieged&mdash;who
+surrendered&mdash;being hanged,
+and four hundred burned alive.</p>
+
+<p>In addition to the walls and ramparts were
+fifty circular protecting towers. The extreme
+length of the inner enclosure is perhaps three-quarters
+of a mile, and of the outer nearly a
+full mile.</p>
+
+<p>It is impossible to describe the magnitude
+and splendour of these city walls, which, up
+to the time of their restoration by Viollet-le-Duc,
+had scarcely crumbled at all. The
+upper ranges of the towers, roof-tops, ramparts,
+etc., had become broken, of course, and
+the sky-line had become serrated, but the
+walls, their foundations, and their outline
+plan had endured as few works of such magnitude
+have before or since.</p>
+
+<p>Carcassonne, its history, its romance, and its
+picturesque qualities, has ever appealed to
+the poet, painter, and historian alike.</p>
+
+<p>Something of the halo of sentiment which
+surrounds this marvellous fortified city will
+be gathered from the following praiseful admiration
+by Gustave Nadaud:<a name="page_456" id="page_456"></a></p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center">CARCASSONNE</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="left">"'I'm growing old, I've sixty years;</td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">I've laboured all my life in vain;</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">In all that time of hopes and fears</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">I've failed my dearest wish to gain;</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">I see full well that here below</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">Bliss unalloyed there is for none.</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">My prayer will ne'er fulfilment know;</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">I never have seen Carcassonne,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">I never have seen Carcassonne!</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="left">"'You see the city from the hill&mdash;</td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">It lies beyond the mountains blue,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">And yet to reach it one must still</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">Five long and weary leagues pursue,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">And, to return, as many more!</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">Ah! had the vintage plenteous grown,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">The grape withheld its yellow store!</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">I shall not look on Carcassonne,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">I shall not look on Carcassonne!</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="left">"'They tell me every day is there</td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">Not more nor less than Sunday gay;</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">In shining robes and garments fair</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">The people walk upon their way.</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">One gazes there on castle walls</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">As grand as those of Babylon,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">A bishop and two generals!</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">I do not know fair Carcassonne,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">I do not know fair Carcassonne!<a name="page_457" id="page_457"></a></span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="left">"'The cur�'s right; he says that we</td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">Are ever wayward, weak, and blind;</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">He tells us in his homily</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">Ambition ruins all mankind;</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">Yet could I there two days have spent,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">While the autumn sweetly shone,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">Ah, me! I might have died content</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">When I had looked on Carcassonne,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">When I had looked on Carcassonne!</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="left">"'Thy pardon, Father, I beseech,</td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">In this my prayer if I offend;</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">One something sees beyond his reach</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">From childhood to his journey's end.</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">My wife, our little boy, Aignan,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">Have travelled even to Narbonne,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">My grandchild has seen Perpignan,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">And I have not seen Carcassonne,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">And I have not seen Carcassonne!'</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="left">"So crooned one day, close by Limoux,</td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">A peasant double bent with age,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">'Rise up, my friend,' said I, 'with you</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">I'll go upon this pilgrimage.'</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">We left next morning his abode,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">But (Heaven forgive him) half way on</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">The old man died upon the road;</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">He never gazed on Carcassonne,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1em;">Each mortal has his Carcassonne!"</span></td></tr>
+</table>
+<p>St. Nazaire is possessed of a Romanesque
+nave which dates from 1096, but the choir<a name="page_458" id="page_458"></a>
+and transepts are of the most acceptable
+Gothic forms of the thirteenth and fourteenth
+centuries.</p>
+
+<p>This choir is readily accounted as a masterwork
+of elegance, is purely northern in style
+and treatment, and possesses also those other
+attributes of the <i>perfectionnement</i> of the style&mdash;fine
+glass, delicate fenestration, and superlative
+grace throughout, as contrasted with
+the heavier and more cold details of the Romanesque
+variety.</p>
+
+<p>The nave was dedicated by Urbain II., and
+was doubtless intended for defence, if its
+square, firmly bedded towers and piers are
+suggestive of that quality. The principal
+<i>porte</i>&mdash;it does not rise to the grandeur of
+a <i>portail</i>&mdash;is a thorough Roman example.
+The interior, with its great piers, its rough
+barrel-vault, and its general lack of grace and
+elegance, bespeaks its functions as a stronghold.
+A Romanesque tower in its original
+form stands on the side which adjoins the
+ramparts.</p>
+
+<p>With the choir comes the contrast, both
+inside and out.</p>
+
+<p>The apside, the transepts, the eleven gorgeous
+windows, and the extreme grace of its
+piers and vaulting, all combine in the fullest<a name="page_459" id="page_459"></a>
+expression of the architectural art of its
+time.</p>
+
+<p>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 glass.</p>
+
+<p>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.</p>
+
+<p>In the choir are many fine fourteenth-century
+statues; a tomb with a sleeping figure,
+thought to be that of Bishop du Puy of Carcassonne;
+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).</p>
+
+<p>An eleventh-century crypt lies beneath the
+choir. The sacristy, as it is to-day, was formerly
+a thirteenth-century chapel.</p>
+
+<p>The organ is commonly supposed to be the
+most ancient in France. It is not of ranking<a name="page_460" id="page_460"></a>
+greatness as a work of art, but it is interesting
+to know that it has some redeeming quality,
+aside from its conventional ugliness.</p>
+
+<p>The <i>tour carr�e</i>, 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.</p>
+
+<p>The celebrated <i>tour des Visigoths</i>, which
+is near by, is the most ancient of all.</p>
+
+<p>The entrance to the old <i>Cit�</i> is <i>via</i> the Pont
+Vieux, which is itself a medi�val twelfth or
+thirteenth century architectural monument of
+rare beauty. In the middle of this old bridge
+is a very ancient iron cross.<a name="page_461" id="page_461"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 472px;">
+<a href="images/ill_461.png">
+<img src="images/ill_461_sml.png" width="472" height="384" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XV-5" id="XV-5"></a>XV<br /><br />
+CATH�DRALE DE PAMIERS</h3>
+
+<p>"Une <i>petite ville sur la rive droite de
+l'Ari�ge, siege d'un �v�che</i>." These few
+words, with perhaps seven accompanying
+lines, usually dismiss this charming little
+Pyrenean city, so far as information for the
+traveller is concerned.</p>
+
+<p>It is, however, one of these neglected tourist
+points which the traveller has ever passed
+by in his wild rush "across country."</p>
+
+<p>To be sure, it is considerably off the beaten
+track; so too are its neighbouring ancient<a name="page_462" id="page_462"></a>
+bishoprics of Mirepoix and St. Bertrand de
+Comminges, and for that reason they are comparatively
+unspoiled.</p>
+
+<p>The great and charming attraction of
+Pamiers is its view of the serrated ridge of
+the Pyrenees from the <i>promenade de Castellat</i>,
+just beyond the cathedral.</p>
+
+<p>For the rest, the cathedral, the fortified
+<i>�glise de Notre Dame du Camp</i>, the ancient
+<i>�glise de Cordeliers</i>, 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."</p>
+
+<p>The cathedral itself is not a great work;
+its charm, as before said, lies in its environments.</p>
+
+<p>Its chief feature&mdash;and one of real distinction&mdash;is
+its octagonal <i>clocher</i>, in brick, dating
+from the fourteenth century. It is a singularly
+graceful tower, built after the local manner
+of the <i>Midi</i> of France, of which St. Saturnin
+and the �glise des Jacobins at Toulouse are
+the most notable.</p>
+
+<p>Its base is a broad square machicolated
+foundation with no openings, and suggests,
+as truly as does the tower at Albi, a churchly<a name="page_463" id="page_463"></a>
+stronghold unlikely to give way before any
+ordinary attack.</p>
+
+<p>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."</p>
+
+<p>The eleventh-century abbey of St. Antoine
+formed originally the seat of the throne of the
+first bishop of Pamiers, Bernard Saisset, in
+1297.<a name="page_464" id="page_464"></a></p>
+
+<h3><a name="XVI-5" id="XVI-5"></a>XVI<br /><br />
+ST. BERTRAND DE COMMINGES</h3>
+
+<p>To-day St. Bertrand de Comminges, the
+ancient <i>Lugdunum Convenarum</i> (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 <i>ci-devant</i> cathedral,&mdash;of
+the twelfth to fourteenth centuries&mdash;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."</p>
+
+<p>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.</p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_464.jpg">
+<img src="images/ill_464_sml.jpg" width="550" height="347" alt="ST. BERTRAND
+de COMMINGES" title="" /></a>
+<div class="figleft" style="width: 232px;">
+<img src="images/ill_464_name.jpg" width="232" height="50" alt="ST. BERTRAND de COMMINGES" title="" />
+</div>
+</div>
+
+<p>As to architectural style, the cathedral presents
+what might ordinarily be called an undesirable<a name="page_465" id="page_465"></a>
+mixture, though it is in no way
+uninteresting or even unpleasing.</p>
+
+<p>The west front has a curious Romanesque
+doorway, and there is a massiveness of wall
+and buttress 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.</p>
+
+<p>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
+<i>clocher</i>. 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,&mdash;without being
+in any degree redundant,&mdash;and has a
+warmth and brilliancy which in most Romanesque
+interiors is wanting.</p>
+
+<p>This interior is representative, on a small
+scale, of that class of structure whose distinctive
+feature is what the French architect<a name="page_466" id="page_466"></a>
+calls a <i>nef unique</i>, meaning, in this instance,
+one of those great single-chambered churches
+without aisles, such as are found at Perpignan,
+new Carcassonne, Lod�ve, and in a still more
+amplified form at Albi.</p>
+
+<p>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&mdash;in
+the early pointed style&mdash;roofs one of the
+most attractive and pleasing church interiors
+it is possible to conceive.</p>
+
+<p>Of the artistic accessories it is impossible
+to be too enthusiastic. There are sixty-six
+choir-stalls, most elaborately carved in wood&mdash;perhaps
+mahogany&mdash;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.</p>
+
+<p>The organ <i>buffet</i> of Renaissance workmanship&mdash;as
+will naturally be inferred&mdash;is a
+remarkably elaborate work, much more to be
+admired than many of its contemporaries.</p>
+
+<p>Among the other decorative features are an
+elaborately conceived "tree of Jesse," an unusually
+massive rood-loft or <i>jube</i>, and a high-altar
+of much magnificence.</p>
+
+<p>The choir is surrounded by eleven chapels,<a name="page_467" id="page_467"></a>
+showing in some instances the pure pointed
+style, and in the latter ones that of the Renaissance.</p>
+
+<p>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,&mdash;illustrating
+the miracles of St. Bertrand,&mdash;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.</p>
+
+<p>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&mdash;in a more or less
+perfect state of preservation&mdash;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.</p>
+
+<p>As a mere detail&mdash;or accessory, if you
+will,&mdash;an ample cloister is expressive of
+much that is wanting in a great church which
+lacks this contributory feature.</p>
+
+<p>Frequently this part was the first to succumb
+to the destroying influence of time, and<a name="page_468" id="page_468"></a>
+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.<a name="page_469" id="page_469"></a></p>
+
+<p>
+<br /><br />
+</p>
+
+<div class="figcenter" style="width: 424px;">
+<a href="images/ill_469.png">
+<img src="images/ill_469_sml.png" width="424" height="288" alt="" title="" /></a>
+</div>
+
+<h3 class="nonsp"><a name="XVII-5" id="XVII-5"></a>XVII<br /><br />
+ST. JEAN-BAPTISTE D'AIRE</h3>
+
+<p>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.</p>
+
+<p>From travellers in general, and lovers of
+architecture in particular, it has ever received<a name="page_470" id="page_470"></a>
+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 medi�val 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 unobtrusiveness.</p>
+
+<p>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.</p>
+
+<p>The cathedral of St. Jean-Baptiste belongs
+to the minor class 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.<a name="page_471" id="page_471"></a></p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_470.jpg">
+<img src="images/ill_470_sml.jpg" width="550" height="366" alt="STS. BENOIT et VINCENT de CASTRES" title="" /></a>
+<div class="figleft" style="width: 480px;">
+<img src="images/ill_470_name.jpg" width="480" height="50" alt="STS. BENOIT et VINCENT de CASTRES" title="" />
+</div>
+</div>
+
+<h3><a name="XVIII-5" id="XVIII-5"></a>XVIII<br /><br />
+STS. BENOIT ET VINCENT DE CASTRES</h3>
+
+<p>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.</p>
+
+<p>It is one of those spots into which a traveller
+drops quite unconsciously <i>en route</i> to
+somewhere else; and lingers a much longer
+time than circumstances would seem to justify.</p>
+
+<p>This is perhaps inexplicable, but it is a
+fact, which is only in a measure accounted for
+by reason of the "local colour"&mdash;whatever
+that vague term of the popular novelist may
+mean&mdash;and customs which weave an entanglement
+about one which is difficult to resist.</p>
+
+<p>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.<a name="page_472" id="page_472"></a></p>
+
+<p>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
+<i>ensemble</i> of decrepit walls and billowy roof-tops,
+that will make the artist of brush and
+pencil angry with fleeting time.</p>
+
+<p>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 fa�ade.</p>
+
+<p>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.</p>
+
+<p>The former <i>�v�ch�</i> is to-day the H�tel de
+Ville, but was built by Mansart in 1666, and
+has a fine <i>escalier</i> in sculptured stone.</p>
+
+<p>As a centre of Christianity, Castres is very<a name="page_473" id="page_473"></a>
+ancient. In 647 there was a Benedictine
+abbey here. The bishopric, however, did
+not come into being until 1317, and was suppressed
+in 1790.<a name="page_474" id="page_474"></a></p>
+
+<h3><a name="XIX-5" id="XIX-5"></a>XIX<br /><br />
+NOTRE DAME DE RODEZ</h3>
+
+<p>The cathedral at Rodez, whose diocese
+dates from the fifth century and whose first
+bishop was St. Amand, is, in a way, reminiscent&mdash;in
+its majesty of outline and dominant
+situation&mdash;of that at Albi.</p>
+
+<p>It is not, however, after the same manner,
+but resembles it more particularly with respect
+to its west fa�ade, which is unpierced
+in its lower stages by either doorway or
+window.</p>
+
+<p>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.</p>
+
+<div class="framing" style="width: 390px;">
+<a href="images/ill_474.jpg">
+<img src="images/ill_474_sml.jpg" width="390" height="550" alt="NOTRE DAME
+de RODEZ ..." title="" /></a>
+<div class="figleft" style="width: 219px;">
+<img src="images/ill_474_name.jpg" width="219" height="54" alt="NOTRE DAME de RODEZ ..." title="" />
+</div>
+</div>
+
+<p>This great church&mdash;for it is truly great,
+pure and simple&mdash;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,&mdash;a greater dimension than is possessed<a name="page_475" id="page_475"></a>
+by Chartres or Rouen, and nearly as great
+as Paris or Amiens.</p>
+
+<p>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 fa�ade, as any
+contemporary work in the same style.</p>
+
+<p>Rodez lacks, however, the great enfolding
+tower central of Albi.</p>
+
+<p>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.</p>
+
+<p>This perhaps was fortunate; otherwise they
+might have been topped with such an excrescence
+as looms up over the doorless west
+fa�ade.</p>
+
+<p>The Gascon compares the pyramidal roofs
+which cap either tower&mdash;and with some justness,
+too&mdash;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 analogy.<a name="page_476" id="page_476"></a></p>
+
+<p>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&mdash;except
+in the interior arrangements&mdash;and yet
+not wholly absent.</p>
+
+<p>The elaborate tower, called often and with
+some justification the <i>beffroi</i>, which flanks,
+or rather indicates, the northerly transept, is
+hardly pure as to its Gothic details, but it
+is a magnificent work nevertheless.</p>
+
+<p>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.</p>
+
+<p>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 <i>Place d'Armes</i>.</p>
+
+<p>This west front, moreover, possesses that
+unusual attribute of a southern church, an<a name="page_477" id="page_477"></a>
+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.</p>
+
+<p>The choir, chevet, and apside are of massive
+building, though not lacking grace, in
+spite of the absence of the <i>arcs-boutants</i> of the
+best Gothic.</p>
+
+<p>Numerous grotesque gargoyles dot the eaves
+and gables, though whether of the spout variety
+or mere symbols of superstition one can
+hardly tell with accuracy when viewed from
+the ground level.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>The interior arrangements are doubly impressive,<a name="page_478" id="page_478"></a>
+not only from the effect of great
+size, but from the novel colour effect&mdash;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 <i>sans</i> capitals; as effective, no doubt, as
+the conventional manner, but in this case
+hardly as pleasing.</p>
+
+<p>Two altars, one at either end of nave and
+choir, duplicate the arrangement seen at
+Albi.</p>
+
+<p>The organ <i>buffet</i>, too, is of the same massiveness
+and elaborateness, and is consequently
+an object of supreme pride to the local authorities.</p>
+
+<p>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<a name="page_479" id="page_479"></a>
+plentifully besprinkled <i>rococo</i> ornament, and
+unpleasantly dull and dingy "pipes" are of
+no �sthetic value whatever. The organ,
+moreover, occupies the unusual position&mdash;in
+a French church&mdash;of being over the western
+doorway.</p>
+
+<p>The nave is of extreme height, one hundred
+and ten feet, and is of unusual width, as are
+also the aisles.</p>
+
+<p>The rose window, before remarked, shows
+well from the inside, though its glass is not
+notable.</p>
+
+<p>A series of badly arched lancets in the
+choir are ungraceful and not in keeping with
+the other constructive details. The delicately
+sculptured and foliaged screen or <i>jub�</i> at the
+crossing is a late fifteenth-century work.</p>
+
+<p>In one of the chapels is now to be seen, in
+mutilated fragments, the ancient sixteenth-century
+<i>cl�ture du ch&oelig;ur</i>. It was a remarkable
+and elaborate work of <i>bizarre</i> stone-carving,
+which to-day has been reconstructed
+in some measure approaching its former completeness
+by the use of still other fragments
+taken from the episcopal palace. The chief
+feature as to completeness and perfection is the
+doorway, which bears two lengthy inscriptions
+in Latin. The facing of the <i>cl�ture</i><a name="page_480" id="page_480"></a>
+throughout is covered with a range of pilasters
+in Arabesque, but the niches between are
+to-day bare of their statues, if they ever really
+possessed them.</p>
+
+<div class="figcenter" style="width: 327px;">
+<a href="images/ill_480.png">
+<img src="images/ill_480_sml.png" width="327" height="550" alt="Choir-stalls, Rodez" title="" /></a>
+<p><span class="captionunder">Choir-stalls, Rodez</span></p>
+</div>
+
+<p>The choir-stalls and bishop's throne in
+carved wood are excellent, as also an elaborately<a name="page_481" id="page_481"></a>
+carved wooden <i>grille</i> of a mixed Arabesque
+and Gothic design.</p>
+
+<p>There are four other chapel or alcove
+screens very nearly as elaborate; all of which
+features, taken in conjunction one with the
+other, form an extensive series of embellishments
+such as is seldom met with.</p>
+
+<p>Two fourteenth-century monuments to
+former prelates are situated in adjoining
+chapels, and a still more luxurious work of
+the same period&mdash;the tomb of Gilbert de
+Cantobre&mdash;is beneath an extensive altar
+which has supposedly Byzantine ornament of
+the tenth century.</p>
+
+<p>Rodez was the seat of a bishop (St.
+Amand) as early as the fifth century.</p>
+
+<p>Then, as now, the diocese was a suffragan
+of Albi, whose first bishop, St. Clair, came
+to the mother-see in the century previous.<a name="page_482" id="page_482"></a></p>
+
+<h3><a name="XX-5" id="XX-5"></a>XX<br /><br />
+STE. C�CILE D'ALBI</h3>
+
+<p>The cathedral of Ste. C�cile d'Albi is one
+of the most interesting, as well as one of the
+most curious, in all France. It possesses a
+quality, rare among churches, which gives it
+at once the aspect of both a church and a
+fortress.</p>
+
+<p>As the representative of a type, it stands
+at the very head of the splendid fortress-churches
+of feudal times. The remarkable
+disposition of its plan is somewhat reflected
+in the neighbouring cathedral at Rodez and
+in the church at Esnades, in the Department
+of the Charente-Inf�rieure.</p>
+
+<p>In the severe and aggressive lines of the
+easterly, or choir, end, it also resembles the
+famous church of St. Francis at Assisi, and
+the ruined church of Sainte Sophie at Famagousta
+in the Island of Cyprus.</p>
+
+<div class="framing" style="width: 396px;">
+<a href="images/ill_482.jpg">
+<img src="images/ill_482_sml.jpg" width="396" height="550" alt="ST. C�CILE
+d&#39;ALBI ..." title="" /></a>
+<div class="figleft" style="width: 172px;">
+<img src="images/ill_482_name.jpg" width="172" height="52" alt="ST. C�CILE d&#39;ALBI ..." title="" />
+</div>
+</div>
+
+<p>It has been likened by the imaginative
+French&mdash;and it needs not so very great a<a name="page_483" id="page_483"></a>
+stretch of the imagination, either&mdash;to an immense
+vessel. Certainly its lines and proportions
+somewhat approach such a form; as
+much so as those of Notre Dame de Noyon,
+which Stevenson likened to an old-time craft
+with a high poop. A less �sthetic comparison
+has been made with a locomotive of gigantic
+size, and, truth to tell, it is not unlike that,
+either, with its advancing tower.</p>
+
+<p>The extreme width of the great nave of this
+church is nearly ninety feet, and its body is
+constructed, after an unusual manner, of a
+warm, rosy-coloured brick. In fact the only
+considerable portions of the structure not so
+done are the <i>cl�ture</i> of the choir, the window-mullions,
+and the flamboyant Gothic porch
+of the south side.</p>
+
+<p>By reason of its uncommon constructive
+elements,&mdash;though by no means is it the sole
+representative of its kind in the south of
+France,&mdash;Ste. C�cile stands forth as the most
+considerable edifice of its kind among those
+which were constructed after this manner of
+Roman antiquity.</p>
+
+<p>Brickwork of this nature, as is well known,
+is very enduring, and it therefore makes much
+for the lasting qualities of a structure so built;
+much more so, in fact, than the crumbling soft<a name="page_484" id="page_484"></a>
+stone which is often used, and which crumbles
+before the march of time like lead in a furnace.</p>
+
+<p>Ste. C�cile was begun in 1282, on the ruins
+of the ancient church of St. Croix. It came
+to its completion during the latter years of
+the fourteenth century, when it stood much
+as it does to-day, grim and strong, but very
+beautiful.</p>
+
+<p>The only exterior addition of a later time
+is the before-remarked florid south porch.
+This <i>baldaquin</i> is very charmingly worked
+in a light brown stone, and, while flamboyant
+to an ultra degree, is more graceful in design
+and execution than most works of a contemporary
+era which are welded to a stone fabric
+whose constructive and decorative details are
+of quite a distinctly different species. In
+other words, it composes and adds a graceful
+beauty to the brick fabric of this great church;
+but likely enough it would offend exceedingly
+were it brought into juxtaposition with the
+more slim lines of early Gothic. Its detail
+here is the very culmination of the height
+to which Gothic rose before its final debasement,
+and, in its spirited non-contemporaneous
+admixture with the firmly planted brick
+walls which form its background, may be<a name="page_485" id="page_485"></a>
+reckoned as a <i>baroque</i> in art rather than as
+a thing <i>outr�</i> or misplaced.</p>
+
+<p>In further explanation of the peculiar fortress-like
+qualities possessed by Ste. C�cile, it
+may be mentioned here that it was the outcome
+of a desire for the safety of the church
+and its adherents which caused it to take this
+form. It was the direct result of the terrible
+wars of the Albigenses, and the political and
+social conditions of the age in which it was
+built,&mdash;the days when the Church was truly
+militant.</p>
+
+<p>Here, too, to a more impressive extent than
+elsewhere, if we except the papal palace at
+Avignon, the episcopal residence as well takes
+on an aspect which is not far different from
+that possessed by some of the secular ch�teaux
+of feudal times. It closely adjoins the cathedral,
+which should perhaps dispute this. In
+reality, however, it does not, and its walls and
+foundations look far more worldly than they
+do devout. As to impressiveness, this stronghold
+of a bishop's palace is thoroughly in
+keeping with the cathedral itself, and the
+frowning battlement of its veritable <i>donjon</i>
+and walls and ramparts suggests a deal more
+than the mere name by which it is known
+would justify. Such use as it was previously<a name="page_486" id="page_486"></a>
+put to was well served, and the history of the
+troublous times of the medi�val ages, when
+the wars of the Protestants, "the cursed Albigenses,"
+and the natural political and social
+dissensions, form a chapter around which
+one could weave much of the history of this
+majestic cathedral and its walled and fortified
+environment.</p>
+
+<p>The interior of the cathedral will appeal
+first of all by its very grand proportions, and
+next by the curious ill-mannered decorations
+with which the walls are entirely covered.
+There is a certain gloom in this interior, induced
+by the fact that the windows are mere
+elongated slits in the walls. There are no
+aisles, no triforium, and no clerestory; nothing
+but a vast expanse of wall with bizarre
+decorations and these unusual window piercings.
+The arrangement of the openings in
+the tower are even more remarkable&mdash;what
+there are of them, for in truth it is here that
+the greatest likeness to a fortification is seen.
+In the lower stages of the tower there are no
+openings whatever, while above they are
+practically nothing but loopholes.</p>
+
+<p>The fine choir-screen, in stone, is considered
+one of the most beautiful and magnificent
+in France, and to see it is to believe the<a name="page_487" id="page_487"></a>
+statement. The entire <i>cl�ture</i> of the choir
+is a wonderful piece of stonework, and the
+hundred and twenty stalls, which are within
+its walls, form of themselves an excess of elaboration
+which perhaps in a more garish light
+would be oppressive.</p>
+
+<p>The wall-paintings or frescoes are decidedly
+not beautiful, being for the most part
+crudely coloured geometrical designs scattered
+about with no relation one to another.
+They date from the fifteenth and sixteenth
+centuries, and are doubtless Italian as to their
+workmanship, but they betray no great skill
+on the part of those unknowns who are responsible
+for them.</p>
+
+<p>The pulpit is an unusually ornate work for
+a French church, but is hardly beautiful as
+a work of art. No more is the organ-case,
+which, as if in keeping with the vast interior,
+spreads itself over a great extent of wall space.</p>
+
+<p>Taken all in all, the accessories of the cathedral
+at Albi, none the less than the unique
+plan and execution thereof, the south porch,
+the massive tower, the <i>jube</i> and <i>cl�ture</i> of the
+choir, the vast unobstructed interior, and the
+<i>outr�</i> wall decorations, place it as one of the
+most consistently and thoroughly completed
+edifices of its rank in France. Nothing apparently<a name="page_488" id="page_488"></a>
+is wanting, and though possessed of
+no great wealth of accessory&mdash;if one excepts
+the choir enclosure alone&mdash;it is one of those
+shrines which, by reason of its very individuality,
+will live long in the memory. It has
+been said, moreover, to stand alone as to the
+extensive and complete exemplification of
+"<i>l'art decoratif</i>" in France; that is, as being
+distinctively French throughout.</p>
+
+<p>The evolution of these component elements
+took but the comparatively small space of
+time covered by two centuries&mdash;from the
+fourteenth to the sixteenth. The culmination
+resulted in what is still to be seen in all its
+pristine glory to-day, for Ste. C�cile has not
+suffered the depredation of many another
+shrine.</p>
+
+<p>The general plan is distinctly and indigenously
+French; French to the very core&mdash;born
+of the soil of the <i>Midi</i>, and bears no resemblance
+whatever to any exotic from another
+land.</p>
+
+<p>With the decorative elements the case may
+be somewhat qualified. The <i>baldaquin</i>&mdash;like
+the choir-screen&mdash;more than equals in
+delicacy and grace the portals of such masterworks
+as Notre Dame de Rouen, St. Maclou,
+or even the cathedral at Troyes, though<a name="page_489" id="page_489"></a>
+of less magnitude than any of these examples.
+On the other hand, it was undoubtedly inspired
+by northern precept, as also were the
+ornamental sculptures in wood and stone
+which are to be seen in the interior.</p>
+
+<p>Albi was a bishopric as early as the fourth
+century, with St. Clair as its first bishop. At
+the time the present cathedral was begun it
+became an archbishopric, and as such it has
+endured until to-day, with suffragans at Rodez,
+Cahors, Mende, and Perpignan.<a name="page_490" id="page_490"></a></p>
+
+<h3><a name="XXI-5" id="XXI-5"></a>XXI<br /><br />
+ST. PIERRE DE MENDE</h3>
+
+<p>In the heart of the G�vaudan, Mende is
+the most picturesque, mountain-locked little
+city imaginable, with no very remarkable features
+surrounding it, nor any very grand artificial
+ones contained within it.</p>
+
+<p>The mountains here, unlike the more fruitful
+plains of the lower G�vaudan, are covered
+with snow all of the winter. It is said that
+the inhabitants of the mountainous upper
+G�vaudan used to "go into Spain every winter
+to get a livelihood." Why, it is difficult
+to understand. The mountain and valley
+towns around Mende look no less prosperous
+than those of Switzerland, though to be sure
+the inhabitants have never here had, and perhaps
+never will have, the influx of tourists
+"to live off of," as in the latter region.</p>
+
+<div class="framinglands" style="width: 550px;">
+<a href="images/ill_490.jpg">
+<img src="images/ill_490_sml.jpg" width="550" height="342" alt="ST. PIERRE
+de MENDE" title="" /></a>
+<div class="figleft" style="width: 165px;">
+<img src="images/ill_490_name.jpg" width="165" height="43" alt="ST. PIERRE de MENDE" title="" />
+</div>
+</div>
+
+<p>During an invasion of the <i>Alemanni</i> into
+Gaul, in the third century, the principal city
+of G�vaudan was plundered and ruined. The<a name="page_491" id="page_491"></a>
+bishop, St. Privat, fled into the Cavern of
+Memate or Mende, whither the Germans followed
+and killed him.</p>
+
+<p>The holy man was interred in the neighbouring
+village of Mende, and the veneration
+which people had for his memory caused
+them to develop it into a considerable place.
+Such is the popular legend, at any rate.</p>
+
+<p>The city had no bishop of its own, however,
+until the middle of the tenth century. Previously
+the bishops were known as Bishops
+of G�vaudan. At last, however, the prelates
+fixed their seat at Mende, and "great numbers
+of people resorted thither by reason of
+the sepulchre of St. Privat."</p>
+
+<p>By virtue of an agreement with Philippe-le-Bel,
+in 1306, the bishop became Count of
+G�vaudan. He claimed also the right of
+administering the laws and the coining of
+specie.</p>
+
+<p>Mende is worth visiting for itself alone and
+for its cathedral. It is difficult to say which
+will interest the absolute stranger the more.</p>
+
+<p>The spired St. Pierre de Mende is but a
+fourteenth-century church, with restorations
+of the seventeenth, but there is a certain grimness
+and primitiveness about its fabric which<a name="page_492" id="page_492"></a>
+would otherwise seem to place it as of a much
+earlier date.</p>
+
+<p>The seventeenth-century restorations
+amounted practically to a reconstruction, as
+the Calvinists had partly destroyed the fabric.
+The two fine towers of the century before
+were left standing, but without their spires.</p>
+
+<p>The city itself lies at a height of over
+seven hundred kilometres, and the <i>pic</i> rises
+another three hundred kilometres above. The
+surrounding "green basin of hillsides" encloses
+the city in a circular depression, which,
+with its cathedral as the hub, radiates in long,
+straight roadways to the bases of these verdure-clad
+hills.</p>
+
+<p>It is not possible to have a general view
+of the cathedral without its imposing background
+of mountain or hilltops, and for this
+reason, while the entire city may appear
+dwarfed, and its cathedral likewise diminished
+in size, they both show in reality the
+strong contrasting effect of nature and art.</p>
+
+<p>The cathedral towers, built by Bishop de la
+Rov�re, are of sturdy though not great proportions,
+and the half-suggested spires rise
+skyward in as piercing a manner as if they
+were continued another hundred feet.</p>
+
+<p>As a matter of fact one rises to a height of<a name="page_493" id="page_493"></a>
+two hundred and three feet, and the other
+to two hundred and seventy-six feet, so at
+least, they are not diminutive. The taller of
+these pleasing towers is really a remarkable
+work.</p>
+
+<p>The general plan of the cathedral is the
+conventional Gothic conception, which was
+not changed in the seventeenth-century reconstruction.</p>
+
+<p>The nave is flanked with the usual aisles,
+which in turn are abutted with ten chapels
+on either side.</p>
+
+<p>Just within the left portal is preserved the
+old <i>bourdon</i> called <i>la Non-Pareille</i>, a curiosity
+which seems in questionable taste for
+inclusion within a cathedral.</p>
+
+<p>The rose window of the portal shows in the
+interior with considerable effect, though it is
+of not great elegance or magnificence of itself.</p>
+
+<p>In the <i>Chapelle des Catechismes</i>, immediately
+beneath the tower, is an unusual "Assumption."
+As a work of art its rank is not
+high, and its artist is unknown, but in its conception
+it is unique and wonderful.</p>
+
+<p>There are some excellent wood-carvings in
+the <i>Chapelle du Baptist�re</i>, a description
+which applies as well to the stalls of the choir.</p>
+
+<p>Around the sanctuary hang seven tapestries,<a name="page_494" id="page_494"></a>
+ancient, it is said, but of no great beauty
+in themselves.</p>
+
+<p>In a chapel on the north side of the choir
+is a "miraculous statue" of <i>la Vierge Noir</i>.</p>
+
+<p>The organ <i>buffet</i> dates from 1640, and is
+of the ridiculous overpowering bulk of most
+works of its class.</p>
+
+<p>The bishopric, founded by St. S�v�rein in
+the third century at Civitas Gabalorum, was
+re�stablished at Mende in the year 1000.</p>
+
+<p>The Ermitage de St. Privat, the holy shrine
+of the former habitation of the holy man
+whose name it bears, is situated a few kilometres
+away on the side of Mont Mimat. It
+is a favourite place of pilgrimage, and from
+the platform of the chapel is to be had a fine
+view of the city and its cathedral.<a name="page_495" id="page_495"></a></p>
+
+<h3><a name="XXII-5" id="XXII-5"></a>XXII<br /><br />
+OTHER OLD-TIME CATHEDRALS IN AND ABOUT<br />
+THE BASIN OF THE GARONNE</h3>
+
+<h4><i>Dax</i></h4>
+
+<p>At Dax, an ancient thermal station of the
+Romans, is a small cathedral, mainly modern,
+with a portal of the thirteenth century.</p>
+
+<p>It was reconstructed from these thirteenth-century
+remains in the seventeenth century,
+and exhibits no marks of beauty which would
+have established its ranking greatness even
+at that time.</p>
+
+<p>Dax was a bishopric in the province of
+Auch in the third century, but the see was
+suppressed in 1802.</p>
+
+<h4><i>Eauze</i></h4>
+
+<p>Eauze was an archbishopric in the third
+century, when St. Paterne was its first dignitary.<a name="page_496" id="page_496"></a>
+Subsequently&mdash;in the following century&mdash;the
+archbishopric was transferred to
+Auch.</p>
+
+<p>As <i>Elusa</i> it was an important place in the
+time of C�sar, but was completely destroyed
+in the early part of the tenth century. Eauze,
+therefore, has no church edifice which ever
+ranked as a cathedral, but there is a fine
+Gothic church of the late fifteenth century
+which is, in every way, an architectural monument
+worthy of remark.</p>
+
+<h4><i>Lombez</i></h4>
+
+<p>The bishopric of Lombez, in the ancient
+ecclesiastical province of Toulouse, endured
+from 1328 (a tenth-century Benedictine abbey
+foundation).</p>
+
+<p>Its first bishop was one Roger de Comminges,
+a monk who came from the monastic
+community of St. Bertrand de Comminges.</p>
+
+<p>The see was suppressed in 1790.</p>
+
+<h4><i>St. Papoul</i></h4>
+
+<p>St. Papoul was a bishopric from 1317
+until 1790. Its cathedral is in many respects<a name="page_497" id="page_497"></a>
+a really fine work. It was an ancient abbatial
+church in the Romanesque style, and has an
+attractive cloister built after the same manner.</p>
+
+<h4><i>Rieux</i></h4>
+
+<p>Rieux is perhaps the tiniest <i>ville</i> of France
+which has ever possessed episcopal dignity.
+It is situated on a mere rivulet&mdash;a branch
+of the Arize, which itself is not much more,
+but which in turn goes to swell the flood of
+La Garonne. Its one-time cathedral is perhaps
+not remarkable in any way, though it
+has a fine fifteenth-century tower in <i>brique</i>.
+The bishopric was founded in 1370 under
+Guillaum� de Brutia, and was suppressed in
+1790.</p>
+
+<h4><i>Lavaur</i></h4>
+
+<p>Lavaur was a bishopric, in the ecclesiastical
+province of Toulouse, from 1317 to
+1790.</p>
+
+<p>Its cathedral of brick is of the fourteenth
+century, with a <i>clocher</i> dating from 1515, and
+a smaller tower, embracing a <i>jacquemart</i>, of
+the sixteenth century.</p>
+
+<p>In the interior is a fine sixteenth-century<a name="page_498" id="page_498"></a>
+painting, but there are no other artistic treasures
+or details of note.</p>
+
+<h4><i>Oloron</i></h4>
+
+<p>Oloron was a bishopric under St. Gratus
+in the sixth century; it ceased its functions as
+the head of a diocese at the suppression of
+1790.</p>
+
+<p>The former cathedral of Ste. Marie is a
+fine Romanic-Ogivale edifice of the eleventh
+century, though its constructive era may be
+said to extend well toward the fifteenth before
+it reached completion. There is a remarkably
+beautiful Romanesque sculptured
+portal. The nave is doubled, as to its aisles,
+and is one hundred and fifty feet or more
+in length and one hundred and six wide, an
+astonishing breadth when one comes to think
+of it, and a dimension which is not equalled
+by any minor cathedral.</p>
+
+<p>There are no other notable features beyond
+the general attractiveness of its charming
+environment.</p>
+
+<p>The ancient <i>�v�che</i> has a fine Romanesque
+tower, and the cathedral itself is reckoned,
+by a paternal government, as a "<i>monument
+historique</i>," and as such is cared for at public
+expense.<a name="page_499" id="page_499"></a></p>
+
+<h4><i>Vabres</i></h4>
+
+<p>Vabres was a bishopric which came into
+being as an aftergrowth of a Benedictine
+foundation of the ninth century, though its
+episcopal functions only began in 1318, and
+ceased with the Revolutionary suppression.
+It was a suffragan in the archiepiscopal diocese
+of Albi.</p>
+
+<p>Its former cathedral, while little to be
+remarked to-day as a really grand church
+edifice, was by no means an unworthy fane.
+It dates from the fourteenth century, and in
+part is thoroughly representative of the
+Gothic of that era. It was rebuilt in the
+eighteenth century, and a fine <i>clocher</i> added.</p>
+
+<h4><i>St. Lizier or Couserans</i></h4>
+
+<p>The present-day St. Lizier&mdash;a tiny Pyrenean
+city&mdash;was the former Gallo-Romain
+city of Couserans. It retained this name
+when it was first made a bishopric by St.
+Val�re in the fifth century. The see was
+suppressed in 1790.</p>
+
+<p>The �glise de St. Lizier, of the twelfth and
+thirteenth centuries, consists of a choir and
+a nave, but no aisles. It shows some traces<a name="page_500" id="page_500"></a>
+of fine Roman sculpture, and a mere suggestion
+of a cloister.</p>
+
+<p>The former bishop's palace dates only from
+the seventeenth century.</p>
+
+<h4><i>Sarlat</i></h4>
+
+<p>A Benedictine abbey was founded here
+in the eighth century, and from this grew up
+the bishopric which took form in 1317 under
+Raimond de Roquecarne, which in due course
+was finally abolished and the town stripped
+of its episcopal rank.</p>
+
+<p>The former cathedral dates from the eleventh
+and twelfth centuries, and in part from
+the fifteenth. Connected therewith is a sepulchral
+chapel, called the <i>tour des Maures</i>. It
+is of two <i>�tages</i>, and dates from the twelfth
+century.</p>
+
+<h4><i>St. Pons de Tomiers</i></h4>
+
+<p>St. Pons is the seat of an ancient bishopric
+now suppressed. It is a charming village&mdash;it
+can hardly be named more ambitiously&mdash;situated
+at the source of the river Jaur, which
+rises in the Montagnes Noir in Lower Languedoc.<a name="page_501" id="page_501"></a></p>
+
+<p>Its former cathedral is not of great interest
+as an architectural type, though it dates from
+the twelfth century.</p>
+
+<p>The fa�ade is of the eighteenth century, but
+one of its side chapels dates from the fourteenth.</p>
+
+<h4><i>St. Maurice de Mirepoix</i></h4>
+
+<p>Mirepoix is a charming little city of the
+slopes of the Pyrenees.</p>
+
+<p>Its ancient cathedral of St. Maurice dates
+from the fifteenth and sixteenth centuries, and
+has no very splendid features or appointments,&mdash;not
+even of the Renaissance order,&mdash;as
+might be expected from its magnitude. Its
+sole possession of note is the <i>clocher</i>, which
+rises to an approximate height of two hundred
+feet.</p>
+
+<p>The bishopric was founded in 1318 by Raimond
+Athone, but was suppressed in 1790.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_501.png">
+<img src="images/ill_501_sml.png" width="550" height="74" alt="THE END." title="" /></a>
+</div>
+
+<p><a name="page_502" id="page_502"></a></p>
+
+<p><a name="page_503" id="page_503"></a></p>
+
+<h3><a name="Appendices" id="Appendices"></a><i>Appendices</i></h3>
+
+<h3><a name="I-APP" id="I-APP"></a>I</h3>
+
+<div class="figcenter" style="width: 499px;padding:2%;border:double black 10px;">
+<a href="images/ill_502.png">
+<img src="images/ill_502_sml.png" width="499" height="550" alt="Sketch map showing the usual geographical divisions of France." title="" /></a>
+</div>
+
+<div class="figcenter" style="width: 499px;">
+<p><i>Sketch map showing the usual geographical divisions of France.
+I., north; II., northwest; III., east; IV., southwest; V., southeast:
+also the present departments into which the government is divided,
+with their names; and the medi�val provinces which were gradually
+absorbed into the kingdom of France.</i></p>
+
+<p><i>There is in general one bishopric to a department.</i></p>
+
+<p><i>The subject-matter of this book treats of all of southwestern and
+southeastern France; with, in addition, the departments of Sa�ne-et-Loire,
+Jura, Rh�ne, Loire, Ain, and Allier.</i></p>
+</div>
+
+<p><a name="page_504" id="page_504"></a></p>
+
+<h3><a name="II-APP" id="II-APP"></a>II</h3>
+
+<p class="c"><i>A Historical Table of the Dioceses of the South of France up to the
+beginning of the nineteenth century.</i></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="sml">
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province d'Aix</i></td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td><i>Name</i></td> <td><i>Diocese founded</i> </td> <td> <i>First bishop</i> </td> <td><i>Date of suppression</i></td></tr>
+
+<tr valign="top"><td>Aix </td> <td><i>Nice, Avignon, Ajaccio, and Digne were allied<br />
+                  therewith in 1802, and Marseilles and Alger in<br />
+                  1822.</i></td></tr>
+
+<tr valign="top"><td> &nbsp; &nbsp; &nbsp;(Archbishopric)</td> <td> First century (?)</td> <td> St. Maxim (?)</td></tr>
+
+<tr valign="top"><td>Antibes</td><td> Transferred to Grasse</td></tr>
+
+<tr valign="top"><td>Apt </td><td> First century (?) </td><td> St. Auspice </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Grasse </td><td> (Jurisdiction over Antibes.)</td></tr>
+
+<tr valign="top"><td>Gap </td><td> Fifth century </td><td> St. D�m�trius</td></tr>
+
+<tr valign="top"><td>Riez </td><td> Fifth century </td><td> St. Prosper </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Fr�jus </td><td> Fourth century </td><td> Acceptus</td></tr>
+
+<tr valign="top"><td>Sisteron </td><td> Fifth century </td><td> Chrysaphius</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province d'Albi</i></td></tr>
+
+<tr valign="top"><td>Albi </td><td> Fourth century </td><td> St. Clair</td></tr>
+<tr valign="top"><td>&nbsp; &nbsp; Bishopric<br />
+&nbsp; &nbsp; (Archbishopric)</td><td> 1317 (?) </td><td> Anthime</td></tr>
+
+<tr valign="top"><td>Castres </td><td> 647 as a Benedictine<br />
+                  Abbey.<br />
+                  1317 as a Bishopric</td><td>
+Robert, the first Abbot</td><td> 1790</td></tr>
+
+<tr valign="top"><td>Mende </td><td> Third century at<br />
+                  Civitas Gabalorum. <br />
+                  Re�stablished<br />
+                  here in the<br />
+                  year 1000</td><td> St. S�v�rein<br />
+    and Genialis</td></tr>
+
+<tr valign="top"><td>Cahors </td><td> Fourth century </td><td> St. Genulphe</td></tr>
+
+<tr valign="top"><td>Rodez </td><td> Fifth century </td><td> St. Amand</td></tr>
+
+<tr valign="top"><td>Arisitum </td><td>
+
+Sixth century detached<br />
+from the diocese of<br />
+Rodez</td><td> D�othaire </td><td>
+      Rejoined to Rodez<br />670</td></tr>
+
+<tr valign="top"><td>Vabres</td><td>Benedictine<br />
+                   Abbey, 862.<br />
+                   Bishopric, 1317</td><td>1790</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province d'Arles</i></td></tr>
+
+<tr valign="top"><td>Arles<br />
+  (Archbishopric)</td><td>First century </td><td> St. Trophime </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Marseilles </td><td> First century </td><td> St. Lazare</td></tr>
+
+<tr valign="top"><td>St. Paul-Trois <br />
+Ch�teaux, or<br />
+Tricastin </td><td> Second century </td><td> St. Restuit </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Toulon </td><td> Fifth century </td><td> Honor� </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Orange </td><td> Fifth century </td><td> St. Luce </td><td> 1790</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province d'Auch</i></td></tr>
+
+<tr valign="top"><td>Eauze <br />
+ &nbsp; &nbsp; (Archbishopric)
+</td><td>Third century </td><td> St. Paterne </td><td> 720</td></tr>
+
+<tr valign="top"><td>Auch<br />
+   &nbsp; &nbsp; (Bishopric then<br />
+  &nbsp; &nbsp; Archbishopric)<br />
+
+              </td><td> Fourth century </td><td> Citerius</td></tr>
+
+<tr valign="top"><td>Dax </td><td> Third century </td><td> St. Vincent </td><td> 1802</td></tr>
+
+<tr valign="top"><td>Lectoure </td><td> Sixth century </td><td> Heuterius </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Comminges </td><td> Sixth century </td><td> Suavis </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Conserans </td><td> Fifth century </td><td> St. Val�re </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Aire </td><td> Fifth century </td><td> Marcel</td></tr>
+
+<tr valign="top"><td>Bazas </td><td> Sixth century </td><td> Sextilius </td><td> (?)</td></tr>
+
+<tr valign="top"><td>Tarbes </td><td> Sixth century </td><td> St. Justin</td></tr>
+
+<tr valign="top"><td>Oloron </td><td> Sixth century </td><td> Gratus </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Lescar </td><td> Fifth century </td><td> St. Julien </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Bayonne </td><td> Ninth century </td><td> Arsias Rocha</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province d'Avignon</i></td></tr>
+
+<tr valign="top"><td>Avignon <br />
+ &nbsp;(Bishopric,<br />
+ &nbsp; becoming<br />
+ &nbsp; Archbishopric<br />
+ &nbsp; in fifteenth<br />
+ &nbsp; century)</td><td>Fourth century </td><td> St. Ruf</td></tr>
+
+<tr valign="top"><td>Carpentras </td><td> Third century </td><td> St. Valentin </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Vaison </td><td> Fourth century </td><td> St. Aubin </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Cavaillon </td><td> Fifth century </td><td> St. Genialis </td><td> 1790</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province de Bordeaux</i></td></tr>
+
+<tr valign="top"><td>Bordeaux</td></tr>
+<tr><td> &nbsp;(Bishopric) </td><td> Third century</td></tr>
+<tr><td> &nbsp;(Archibishopric) </td><td> Fourth century</td><td>Oriental</td></tr>
+
+<tr valign="top"><td>Agen </td><td> Fourth century </td><td> St. Ph�rade</td></tr>
+
+<tr valign="top"><td>Condom</td><td> Raimond de Galard</td></tr>
+<tr><td> &nbsp; (Ancient <br />
+  &nbsp; abbey--foundation<br />
+  &nbsp; date unknown)<br />
+  &nbsp; Bishopric)</td><td valign="bottom"> Fourteenth century</td></tr>
+
+<tr valign="top"><td>Angoul�me </td><td> Third century </td><td> St. Ansome</td></tr>
+
+<tr valign="top"><td>Saintes </td><td> Third century </td><td> St. Eutrope </td><td> 1793</td></tr>
+
+<tr valign="top"><td>Poitiers </td><td> Third century </td><td> St. Nectaire</td></tr>
+
+<tr valign="top"><td>Maillezais <br />
+ (afterward at <br />
+ La Rochelle)</td><td> Fourteenth century </td><td> Geoffrey I.</td></tr>
+
+<tr valign="top"><td>Lu�on<br />
+  &nbsp;(Seventh-century<br />
+  &nbsp;abbey) </td><td> 1317 </td><td> Pierre de La<br />
+  &nbsp;Veyrie</td></tr>
+
+<tr valign="top"><td>P�rigueux </td><td> Second century </td><td> St. Front</td></tr>
+
+<tr valign="top"><td>Sarlat<br />
+   &nbsp;(Eighth-century <br />
+  &nbsp; Benedictine<br />
+  &nbsp; abbey)</td><td> 1317</td><td>Raimond de<br />
+Roquecorne</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province de Bourges</i></td></tr>
+
+<tr valign="top"><td>Bourges<br />
+   &nbsp;(Archbishopric)
+     </td><td> Third century </td><td> St. Ursin</td></tr>
+<tr valign="top"><td>Clermont-Ferrand </td><td> Third century </td><td> St. Austremoine</td></tr>
+
+<tr valign="top"><td>St. Flour <br />
+ &nbsp; (Ancient priory)</td><td> 1318 </td><td>
+Raimond de<br />
+     Vehens</td></tr>
+
+<tr valign="top"><td>Limoges </td><td> Third century </td><td> St. Martial</td></tr>
+
+<tr valign="top"><td>Tulle <br />
+ &nbsp;(Seventh-century <br />
+ &nbsp; Benedictine<br />
+ &nbsp; abbey)</td><td>
+1317</td><td>Arnaud de<br />
+    Saint-Astier</td></tr>
+
+<tr valign="top"><td>Le Puy </td><td> Third century </td><td> St. Georges</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province d'Embrun</i></td></tr>
+
+<tr valign="top"><td>Embrun<br />
+ &nbsp; (Archbishopric) </td><td> Fourth century </td><td> St. Marcellin </td><td> 1793</td></tr>
+
+<tr valign="top"><td>Digne </td><td> Fourth century </td><td> St. Domnin</td></tr>
+
+<tr valign="top"><td>Antibes<br />
+ &nbsp; (afterward at<br />
+ &nbsp; Grasse)</td><td>
+          Fourth century </td><td> St. Armentaire</td></tr>
+
+<tr valign="top"><td>Grasse </td><td>&nbsp; </td><td>Raimond de<br />
+                                           Villeneuve<br />
+                                           (1245) </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Vence </td><td> Fourth century </td><td> Eus�be </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Gland�ve </td><td> Fifth century </td><td> Fraterne </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Senez </td><td> Fifth century </td><td> Ursus </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Nice<br />
+  &nbsp; (formerly at<br />
+ &nbsp; Cemenelium)</td><td> Fourth century </td><td> Amantius</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province de Lyon</i></td></tr>
+
+<tr><td valign="top">Lyon<br />
+ &nbsp; (Archbishopric)</td><td>
+<i>The Archbishop of Lyon was Primate of Gaul.</i><br />
+ Second century </td><td valign="bottom">&nbsp;<br /> St. Pothin</td></tr>
+
+<tr valign="top"><td>Autun </td><td> Third century </td><td> St. Amateur</td></tr>
+
+<tr valign="top"><td>M�con </td><td> Sixth century </td><td> Placide </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Chalon-sur-Sa�ne </td><td> Fifth century </td><td> Paul </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Langres </td><td> Third century </td><td> St. Just</td></tr>
+
+<tr valign="top"><td>Dijon<br />
+ &nbsp; (Fourth-century<br />
+ &nbsp; abbey) </td><td> Bishopric in 1731 </td><td> Jean Bonhier</td></tr>
+
+<tr valign="top"><td>Saint Claude <br />
+  &nbsp;(Fifth-century <br />
+  &nbsp;abbey)</td><td>
+     Bishopric in 1742 </td><td> Joseph de<br />
+                Madet</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province de Narbonne</i></td></tr>
+
+<tr valign="top"><td>Narbonne<br />
+  &nbsp; (Archbishopric)</td><td>Third century </td><td> St. Paul </td><td> 1802</td></tr>
+
+<tr valign="top"><td>Saint-Pons-de-Tomi�res<br />
+  &nbsp; (Tenth-century abbey) </td><td> 1318 </td><td> Pierre Roger </td><td> 1790 </td></tr>
+
+<tr valign="top"><td>Alet <br />
+  &nbsp; (Ninth-century<br />
+  &nbsp; abbey)</td><td>
+       1318 </td><td> Barth�lmy </td><td> 1790</td></tr>
+
+<tr valign="top"><td>B�ziers </td><td> Fourth century </td><td> St. Aphrodise </td><td> 1702</td></tr>
+
+<tr valign="top"><td>N�mes </td><td> Fourth century </td><td> St. Felix</td></tr>
+
+<tr valign="top"><td>Alais </td><td> 1694 </td><td> Chevalier de<br />
+Saulx </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Lod�ve </td><td> Fourth century (?) </td><td> St. Flour </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Uz�s </td><td> Fifth century </td><td> Constance </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Agde </td><td> Fifth century </td><td> St. V�nuste </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Maguelonne<br />
+  &nbsp; (afterward at<br />
+  &nbsp; Montpellier)</td><td>
+
+        Sixth century </td><td> Beotius</td></tr>
+
+<tr valign="top"><td>Carcassonne </td><td> Sixth century </td><td> St. Hilaire</td></tr>
+
+<tr valign="top"><td>Elne <br />
+  &nbsp; (afterward at<br />
+  &nbsp; Perpignan)
+      </td><td> Sixth century </td><td> Domnus</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province de Tarentaise</i></td></tr>
+
+<tr valign="top"><td>Tarentaise <br />
+  &nbsp; (Archbishopric)</td><td>
+       Fifth century </td><td> St. Jacques</td></tr>
+
+<tr valign="top"><td>Sion </td><td> Fourth century </td><td> St. Th�odule</td></tr>
+
+<tr valign="top"><td>Aoste </td><td> Fourth century </td><td> St. Eustache</td></tr>
+
+<tr valign="top"><td>Chamb�ry </td><td> 1780 </td><td> Michel Conseil</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province de Toulouse</i></td></tr>
+
+<tr valign="top"><td>Toulouse<br />
+  &nbsp; (Bishopric) <br />
+  &nbsp; (Archbishopric) </td><td>
+Third century <br />
+1327</td><td>St. Saturnin</td></tr>
+
+<tr valign="top"><td>Pamiers <br />
+  &nbsp; (Eleventh-century<br />
+  &nbsp; abbey)</td><td> 1297</td><td> Bernard Saisset</td></tr>
+
+<tr valign="top"><td>Rieux </td><td> 1317 </td><td> Guillaume<br />
+de Brutia</td></tr>
+
+<tr valign="top"><td>Montauban <br />
+  &nbsp; (Ancient abbey)
+</td><td>
+1317</td><td> Bertrand du Puy</td></tr>
+
+<tr valign="top"><td>Mirepoix </td><td> 1318 </td><td> Raimond<br />
+Athone
+           </td><td> 1790</td></tr>
+
+<tr valign="top"><td>Saint-Papoul </td><td> 1317 </td><td> Bernard de la<br />
+Tour</td><td> 1790</td></tr>
+
+<tr valign="top"><td>Lomb�s<br />
+  &nbsp; (Tenth-century
+  &nbsp; abbey)</td><td>1328</td><td>Roger de<br />
+Commminges</td><td> 1790</td></tr>
+
+<tr valign="top"><td>Lavaur </td><td>1317
+</td><td>Roger d'Armagnac</td><td>1790</td></tr>
+
+<tr valign="top"><td>&nbsp;</td></tr>
+
+<tr valign="top"><td class="lg"><i>Province de Vienne</i></td></tr>
+
+<tr valign="top"><td>Vienne<br />
+  &nbsp; (Archbishopric)</td><td>Second century</td><td> St. Crescent </td><td>1790</td></tr>
+
+<tr valign="top"><td>Grenoble </td><td> Third century </td><td> Domninus</td></tr>
+
+<tr valign="top"><td>Gen�ve (Switz.) </td><td> Fourth century </td><td> Diog�ne </td><td> 1801</td></tr>
+
+<tr valign="top"><td>Annency </td><td> 1822 </td><td> Claude de Thiollaz</td></tr>
+
+<tr valign="top"><td>Valence </td><td> Fourth century </td><td> Emelien</td></tr>
+
+<tr valign="top"><td>Di� </td><td> Third century </td><td> Saint Mars</td></tr>
+
+<tr valign="top"><td>Viviers </td><td> Fifth century </td><td> Saint Janvier </td><td> 1790</td></tr>
+
+<tr valign="top"><td>St. Jean de Maurienne </td><td> Fifth century </td><td> Lucien</td></tr>
+</table>
+
+<p><a name="page_510" id="page_510"></a></p>
+
+<h3><a name="III-APP" id="III-APP"></a>III</h3>
+
+<p class="hang"><i>The Classification of Architectural Styles in
+France according to De Caumont's "Ab�c�daire
+d'Architecture Religieuse."</i></p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>Architecture<br />
+  Romaine</td><td>Primordiale</td><td>
+From the Vth to the Xth centuries.</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Secondaire</td><td>From the end of the Xth
+                                     century to the beginning of
+                                     the XIIth</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Tertiaire or<br />
+                    transition</td><td valign="bottom">
+XIIth century</td></tr>
+<tr valign="top"><td>Architecture</td><td>Primitive</td><td> XIIIth century</td></tr>
+<tr valign="top"><td>Ogivale </td><td> Secondaire </td><td> XIVth century</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Tertiaire </td><td> XVth and the first part of the
+XVIth century</td></tr>
+</table>
+
+<div class="figcenter" style="width: 137px;">
+<a href="images/ill_510.png">
+<img src="images/ill_510_sml.png" width="137" height="139" alt="Medallion" title="Medallion" /></a>
+</div>
+
+<p><a name="page_511" id="page_511"></a></p>
+
+<h3><a name="IV-APP" id="IV-APP"></a>IV</h3>
+
+<p class="c"><i>A Chronology of Architectural Styles in
+France</i></p>
+
+<p>Following more or less upon the lines of De Caumont's
+territorial and chronological divisions of architectural
+style in France, the various species and periods
+are thus further described and defined:</p>
+
+<p>The Merovingian period, commencing about 480;
+Carlovingian, 751; Romanesque or Capetian period,
+987; Transitional, 1100 (extending in the south of
+France and on the Rhine till 1300); early French
+Gothic or Pointed (<i>Gothique � lancettes</i>), mid-twelfth
+to mid-thirteenth centuries; decorated French Gothic
+(<i>Gothique rayonnant</i>), from the mid-thirteenth to mid-fifteenth
+centuries, and even in some districts as late as
+the last decade of the fifteenth century; Flamboyant
+(<i>Gothique flamboyant</i>), early fifteenth to early sixteenth;
+Renaissance, dating at least from 1495, which gave
+rise subsequently to the <i>style Louis XII. and style Fran�ois
+I</i>.</p>
+
+<p>With the reign of Henri II., the change to the
+Italian style was complete, and its place, such as it
+was, definitely assured. French writers, it may be
+observed, at least those of a former generation and before,<a name="page_512" id="page_512"></a>
+often carry the reference to the <i>style de la Renaissance</i>
+to a much later period, even including the
+neo-classical atrocities of the seventeenth and eighteenth
+centuries.</p>
+
+<p><i>Bizarre</i> or <i>baroque</i> details, or the <i>style perruque</i>, had
+little place on French soil, and the later exaggerations
+of the <i>rococo</i>, the styles <i>Pompadour</i> and <i>Dubarri</i>, had
+little if anything to do with church-building, and are
+relevant merely insomuch as they indicate the mannerisms
+of a period when great churches, if they were
+built at all, were constructed with somewhat of a
+leaning toward their baseness, if not actually favouring
+their eccentricities.<a name="page_513" id="page_513"></a></p>
+
+<h3><a name="V-APP" id="V-APP"></a>V</h3>
+
+<div class="figcenter" style="width: 311px;
+padding:2%;border:double black 10px;">
+<a href="images/ill_513.png">
+<img src="images/ill_513_sml.png" width="311" height="498" alt="Leading forms of early cathedral constructions" title="" /></a>
+</div>
+
+<p class="c"><span class="captionunder">Leading forms of early cathedral constructions</span></p>
+
+<p><a name="page_514" id="page_514"></a></p>
+
+<h3><a name="VI-APP" id="VI-APP"></a>VI</h3>
+
+<p class="c"><i>The disposition of the parts of a tenth-century
+church, as defined by Viollet-le-Duc</i></p>
+
+<p>Of this class are many monastic churches, as will
+be evinced by the inclusion of a cloister in the diagram
+plan. Many of these were subsequently made use of,
+as the church and the cloisters, where they had not
+suffered the stress of time, were of course retained.
+St. Bertrand de Comminges is a notable example among
+the smaller structures.</p>
+
+<p>In the basilica form of ground-plan, which obtained
+to a modified extent, the transepts were often lacking,
+or at least only suggested. Subsequently they were
+added in many cases, but the tenth-century church <i>pur
+sang</i> was mainly a parallelogram-like structure, with, of
+course, an apsidal termination.</p>
+
+<div class="figcenter" style="width: 293px;
+padding:1%;border:solid black 6px;">
+<a href="images/ill_514.png">
+<img src="images/ill_514_sml.png" width="293" height="363" alt="Plan X Century Church" title="" /></a>
+<br />
+<span class="caption"><i>Plan X Century Church</i></span>
+<br />&nbsp;
+</div>
+
+<p><a name="page_515" id="page_515"></a></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="" class="sml">
+<tr valign="top"><td>A</td><td>The choir</td></tr>
+<tr valign="top"><td>B</td><td>The <i>exedra</i>, meaning literally a niche or throne&mdash;in this instance<br />
+for the occupancy of the bishop, abbot, or prior&mdash;apart<br />
+from the main edifice</td></tr>
+<tr valign="top"><td>C</td><td>The high-altar</td></tr>
+<tr valign="top"><td>D</td><td>Secondary or specially dedicated altars</td></tr>
+<tr valign="top"><td>E</td><td>The transepts, which in later centuries expanded and lengthened</td></tr>
+<tr valign="top"><td>G</td><td>The nave proper, down which was reserved a free passage<br />
+separating the men from the women</td></tr>
+<tr valign="top"><td>H</td><td>The aisles</td></tr>
+<tr valign="top"><td>I</td><td>The portico or porch which precedes the nave (<i>i. e.</i>, the<br />
+narthen of the primitive basilica), where the pilgrims who<br />
+were temporarily forbidden to enter were allowed to wait</td></tr>
+<tr valign="top"><td>K</td><td>A separate portal or doorway to cloisters</td></tr>
+<tr valign="top"><td>L</td><td>The cloister</td></tr>
+<tr valign="top"><td>M</td><td>The towers; often placed at the junction of transept and nave,<br />
+instead of the later position, flanking the west fa�ade</td></tr>
+<tr valign="top"><td>N</td><td>The baptismal font; usually in the central nave, but often in<br />
+the aisle</td></tr>
+<tr valign="top"><td>O</td><td>Entrance to the crypt or confessional, where were usually preserved<br />
+the <i>reliques</i> of the saint to whom the church was erected</td></tr>
+<tr valign="top"><td>P</td><td>The tribune, in a later day often surrounded by a screen or <i>jub�</i></td></tr>
+</table>
+
+<p><a name="page_516" id="page_516"></a></p>
+
+<h3><a name="VII-APP" id="VII-APP"></a>VII</h3>
+
+<p class="hang"><i>A brief definitive gazetteer of the natural and
+geological divisions included in the ancient
+provinces and present-day departments of
+southern France, together with the local
+names by which the pays et pagi are commonly
+known</i></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="" class="sml">
+
+<tr valign="top"><td>G�vaudan</td><td>In the Cevennes, a region of forests and mountains</td></tr>
+
+<tr valign="top"><td>Velay</td><td>A region of plateaux with visible lava tracks</td></tr>
+
+<tr valign="top"><td>Lyonnais-Beaujolais</td><td>The mountain ranges which rise to the westward of Lyons</td></tr>
+
+<tr valign="top"><td>Morvan</td><td>An isolated group of porphyrous and granite elevations</td></tr>
+
+<tr valign="top"><td>Haute-Auvergne</td><td>The mountain range of Cantal</td></tr>
+
+<tr valign="top"><td>Basse-Auvergne</td><td>The mountain chains of Mont Dore and <i>des D�mes</i></td></tr>
+
+<tr valign="top"><td>Limousin</td><td>A land of plateaux, ravines, and granite</td></tr>
+
+<tr valign="top"><td>Agenais</td><td>Rocky and mountainous, but with its valleys among the richest in all France</td></tr>
+
+<tr valign="top"><td>Haut-Quercy</td><td>A rolling plain, but with little fertility</td></tr>
+
+<tr valign="top"><td>Bas-Quercy</td><td>The plains of the Garonne, the Tarn, and the Av�yron</td></tr>
+
+<tr valign="top"><td>Armagnac</td><td>An extensive range of <i>petites montagnes</i> running in various directions</td></tr>
+
+<tr valign="top"><td>Landes</td><td>A desert of sand, forests, and inlets of the sea</td></tr>
+
+<tr valign="top"><td>B�arn</td><td>A country furrowed by the ramifications of the range of the Pyrenees</td></tr>
+
+<tr valign="top"><td>Basse-Navarre</td><td>A Basque country situated on the northern slope of the Pyrenees<a name="page_517" id="page_517"></a></td></tr>
+
+<tr valign="top"><td>Bigorre</td><td>The plain of Tortes and its neighbouring valleys</td></tr>
+
+<tr valign="top"><td>Savoie</td><td>A region comprising a great number of<br />
+valleys made by the ramifying ranges of<br />
+the Alps. The principal valleys being<br />
+those of Faucigny, the Tarentaise, and the Maurienne</td></tr>
+
+<tr valign="top"><td>Bourbonnais</td><td>A country of hills and valleys which, as to general<br />
+limits, corresponds with the Department of the Allier</td></tr>
+
+<tr valign="top"><td>Nivernais</td><td>An undulating region between the Loire and the Morvan</td></tr>
+
+<tr valign="top"><td>Berry</td><td>A fertile plain, slightly elevated, to the northward of Limousin</td></tr>
+
+<tr valign="top"><td>Sologne</td><td>An arid plain separated by the valleys of the Cher and the Indre</td></tr>
+
+<tr valign="top"><td>Gatinais</td><td>A barren country northeast of Sologne</td></tr>
+
+<tr valign="top"><td>Saintonge</td><td>Slightly mountainous and covered with vineyards&mdash;also<br />
+in parts partaking of the<br />
+characteristics of the <i>Landes</i></td></tr>
+
+<tr valign="top"><td>Angoumois</td><td>A hilly country covered with a growth of vines</td></tr>
+
+<tr valign="top"><td>P�rigord</td><td>An <i>ensemble</i> of diverse regions, often hilly,<br />
+but covered with a luxuriant forest growth</td></tr>
+
+<tr valign="top"><td>Bordelais</td><td>(Comprising Blayais, Fronsadais, Libournais,<br />
+Entre-deux-mers, M�doc, and Bazadais.)<br />
+The vine-lands of the Garonne, La Gironde,<br />
+and La Dordogne</td></tr>
+
+<tr valign="top"><td>Dauphin�</td><td>Another land of mountains and valleys. It<br />
+is crossed by numbers of ranges and distinct<br />
+peaks. The principal subdivisions<br />
+are Viennois, Royonnais Vercors, Tri�ves,<br />
+D�voluy, Oisons, Graisivaudan, Chartreuse,<br />
+Queyras Valgodemar, Champsaur.</td></tr>
+
+<tr valign="top"><td>Provence</td><td>A region of fertile plains dominated by volcanic<br />
+rocks and mountains. It contains<br />
+also the great pebbly plain in the extreme<br />
+southwest known as the Crau</td></tr>
+
+<tr valign="top"><td>Camargue</td><td>The region of the Rh�ne delta</td></tr>
+
+<tr valign="top"><td>Languedoc</td><td>Properly the belt of plains situated between<br />
+the foot of the Cevennes and the borders<br />
+of the Mediterranean</td></tr>
+
+<tr valign="top"><td>Rousillon</td><td>The region between the peaks of the Corbi�re<br />
+and the Alb�re mountain chain. The<br />
+population was originally pure Catalan<a name="page_518" id="page_518"></a></td></tr>
+
+<tr valign="top"><td>Lauragais</td><td>A stony plateau with red earth deposited<br />
+in former times by the glaciers of the Pyrenees</td></tr>
+
+<tr valign="top"><td>Albigeois</td><td>A rolling and fertile country</td></tr>
+
+<tr valign="top"><td>Toulousain</td><td>A plain well watered by the Garonne and the Ari�ge</td></tr>
+
+<tr valign="top"><td>Comminges</td><td>The lofty Pyrenean valleys of the Garonne basin</td></tr>
+</table>
+
+<p><a name="page_519" id="page_519"></a></p>
+
+<h3><a name="VIII-APP" id="VIII-APP"></a>VIII</h3>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_519.png">
+<img src="images/ill_519_sml.png" width="550" height="374" alt="Sketch map of the bishoprics and archbishoprics of the south of France at the present day" title="" /></a>
+<span class="captionunder">Sketch map of the bishoprics and archbishoprics of the south of France at the present day</span>
+</div>
+
+<p><a name="page_520" id="page_520"></a></p>
+
+<h3><a name="IX-APP" id="IX-APP"></a>IX<br /><br />
+<i>Dimensions and Chronology</i></h3>
+
+<p class="heading2">CATHEDRALE D'AGDE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Bishopric founded, Vth century</td></tr>
+<tr><td align="left">Bishopric suppressed, 1790</td></tr>
+<tr><td align="left">Primitive church consecrated, VIIth century</td></tr>
+<tr><td align="left">Main body of present cathedral, XIth to XIIth centuries</td></tr>
+</table>
+
+<p class="heading2">ST. CAPRIAS D'AGEN</p>
+
+<div class="figcenter" style="width: 272px;">
+<img src="images/ill_520.png" width="272" height="471" alt="Agen" title="Agen" />
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Former cathedral of St. Etienne, destroyed at the Revolution, 1790</td></tr>
+<tr><td align="left">Apse and transepts of St. Caprias, XIth century</td></tr>
+<tr><td align="left">Width of nave, 55 feet</td></tr>
+</table>
+
+<p><a name="page_521" id="page_521"></a></p>
+
+<p class="heading2">ST. JEAN BAPTISTE D'AIRE</p>
+
+<p class="c">Cathedral begun, XIIIth century</p>
+
+<p class="heading2">ST. SAVEUR D'AIX</p>
+
+<div class="figcenter" style="width: 228px;">
+<a href="images/ill_521.png">
+<img src="images/ill_521_sml.png" width="228" height="370" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Eglise St. Jean de Malte, XIVth century</td></tr>
+<tr><td align="left">Remains of a former St. Saveur's, XIth century</td></tr>
+<tr><td align="left">Choir, XIIIth century</td></tr>
+<tr><td align="left">Choir elaborated, XIVth century</td></tr>
+<tr><td align="left">South aisle of nave, XIVth century</td></tr>
+<tr><td align="left">Tower, XIVth century</td></tr>
+<tr><td align="left">Carved doors, 1503</td></tr>
+<tr><td align="left">Episcopal palace, 1512</td></tr>
+<tr><td align="left">North aisle of nave, XVIIth century</td></tr>
+<tr><td align="left">Baptist�re, VIth century</td></tr>
+</table>
+
+<p class="heading2">ST. JEAN D'ALAIS</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">A bishopric only from 1694 to 1790</td></tr>
+<tr><td align="left">Remains of a XIIth century church</td></tr>
+</table>
+
+<p><a name="page_522" id="page_522"></a></p>
+
+<p class="heading2">STE. CECILE D'ALBI</p>
+
+<div class="figcenter" style="width: 338px;">
+<a href="images/ill_522.png">
+<img src="images/ill_522_sml.png" width="338" height="477" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Begun, 1277</td></tr>
+<tr><td align="left">Finished, 1512</td></tr>
+<tr><td align="left">South porch, 1380-1400</td></tr>
+<tr><td align="left">Tower completed, 1475</td></tr>
+<tr><td align="left">Choir-screen, 1475-1512</td></tr>
+<tr><td align="left">Wall paintings, XVth to XVIth centuries</td></tr>
+<tr><td align="left">Organ, XVIIIth century</td></tr>
+<tr><td align="left">Choir stalls, 120 in number</td></tr>
+<tr><td align="left">Height of tower, 256 feet</td></tr>
+<tr><td align="left">Length, 300 (320?) feet</td></tr>
+<tr><td align="left">Width of nave, 88 feet</td></tr>
+<tr><td align="left">Height of nave, 98 feet</td></tr>
+</table>
+
+<p class="heading2">ST. PIERRE D'ALET</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Primitive cathedral, IXth century (?)</td></tr>
+<tr><td align="left">Rebuilt, XIth century</td></tr>
+<tr><td align="left">Eglise St. Andr�, XIVth to XVth centuries</td></tr>
+</table>
+
+<p><a name="page_523" id="page_523"></a></p>
+
+<p class="heading2">ST. PIERRE D'ANGOULEME</p>
+
+<div class="figcenter" style="width: 173px;">
+<a href="images/ill_523.png">
+<img src="images/ill_523_sml.png" width="173" height="285" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">City ravaged by Coligny, XVIth century</td></tr>
+<tr><td align="left">Cathedral rebuilt from foundations of primitive church, 1120</td></tr>
+<tr><td align="left">Western dome, XIIth century</td></tr>
+<tr><td align="left">Central and other domes, latter part of XIIth century</td></tr>
+<tr><td align="left">Episcopal palace restored, XIXth century</td></tr>
+<tr><td align="left">General restoration of cathedral, after the depredations of Coligny, 1628</td></tr>
+<tr><td align="left">Height of tower, 197 feet</td></tr>
+</table>
+
+<p class="heading2">ST. PIERRE D'ANNECY</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Christianity first founded here, IVth century</td></tr>
+<tr><td align="left">Cathedral dates from XIVth century</td></tr>
+<tr><td align="left">Tomb of St. Fran�ois de Sales, 1622</td></tr>
+<tr><td align="left">Tomb of Jeanne de Chantal, 1641</td></tr>
+<tr><td align="left">Episcopal palace, 1784</td></tr>
+</table>
+
+<p class="heading2">ST. CASTOR D'APT</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Gallo-Romain sarcophagus, Vth century</td></tr>
+<tr><td align="left">Tomb of Ducs de Sabron, XIIth century</td></tr>
+<tr><td align="left">Chapelle de Ste. Anne, XVIIth century</td></tr>
+</table>
+
+<p><a name="page_524" id="page_524"></a></p>
+
+<p class="heading2">ST. TROPHIME D'ARLES</p>
+
+<div class="figcenter" style="width: 169px;">
+<a href="images/ill_524.png">
+<img src="images/ill_524_sml.png" width="169" height="236" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Primitive church on same site, 606</td></tr>
+<tr><td align="left">Foundations of present cathedral laid, 1152</td></tr>
+<tr><td align="left">Nave completed, 1200</td></tr>
+<tr><td align="left">Choir and chapels, 1423-1430</td></tr>
+<tr><td align="left">Cloisters, east side, 1221</td></tr>
+<tr><td align="left">Cloisters, west side, 1250</td></tr>
+<tr><td align="left">Cloisters, north side, 1380</td></tr>
+<tr><td align="left">Length, 240 feet</td></tr>
+<tr><td align="left">Width, 90 feet</td></tr>
+<tr><td align="left">Height, 60 feet</td></tr>
+<tr><td align="left">Height of clocher, 137 feet</td></tr>
+</table>
+
+<p class="heading2">STE. MARIE D'AUCH</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Ancient altar, IVth century</td></tr>
+<tr><td align="left">First cathedral built by Taurin II., 845</td></tr>
+<tr><td align="left">Another (larger) by St. Austinde, 1048</td></tr>
+<tr><td align="left">Present cathedral consecrated, 1548</td></tr>
+<tr><td align="left">Additions made and coloured glass added, 1597</td></tr>
+<tr><td align="left">West front, in part, XVIIth century</td></tr>
+<tr><td align="left">Towers, 1650-1700</td></tr>
+<tr><td align="left">Episcopal palace, XIVth century</td></tr>
+<tr><td align="left">Length, 347 feet</td></tr>
+<tr><td align="left">Height to vaulting, 74 feet</td></tr>
+</table>
+<p><a name="page_525" id="page_525"></a></p>
+
+<p class="heading2">NOTRE DAME DES DOMS D'AVIGNON</p>
+
+<div class="figcenter" style="width: 434px;">
+<a href="images/ill_525.png">
+<img src="images/ill_525_sml.png" width="434" height="285" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Territory of Avignon acquired by the Popes from Joanna of Naples, 1300</td></tr>
+<tr><td align="left">Popes reigned at Avignon, 1305-1370</td></tr>
+<tr><td align="left">Avignon formally ceded to France by Treaty of Tolentino, 1797</td></tr>
+<tr><td align="left">Palais des Papes begun, XIIIth century</td></tr>
+<tr><td align="left">Pope Gregory left Avignon for Rome, 1376</td></tr>
+<tr><td align="left">Cathedral dates chiefly from XIIth century</td></tr>
+<tr><td align="left">Nave chapels, XIVth century</td></tr>
+<tr><td align="left">Frescoes in portal, XIVth century</td></tr>
+<tr><td align="left">Height of walls of papal palace, 90 feet</td></tr>
+<tr><td align="left">&nbsp; &nbsp; &nbsp;
+"&nbsp; &nbsp; &nbsp;
+"&nbsp; &nbsp; &nbsp;tower
+&nbsp; &nbsp;" &nbsp; &nbsp;
+&nbsp; &nbsp;" &nbsp; &nbsp;
+ 150 feet</td></tr>
+
+<tr><td align="left">Length of cathedral, 200 (?) feet</td></tr>
+<tr><td align="left">Width of cathedral, 50 (?) feet</td></tr>
+</table>
+
+<p class="heading2">NOTRE DAME DE BAYONNE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Foundations, 1140</td></tr>
+<tr><td align="left">Choir and apse, XIIth century</td></tr>
+<tr><td align="left">Destroyed by fire, 1213</td></tr>
+<tr><td align="left">Choir rebuilt, 1215</td></tr>
+<tr><td align="left">Completed and restored, XVIth century</td></tr>
+</table>
+
+<p><a name="page_526" id="page_526"></a></p>
+
+<p class="heading2">ST. JEAN DE BAZAS</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Foundations date from Xth century</td></tr>
+<tr><td align="left">Walls, etc., 1233</td></tr>
+<tr><td align="left">West front, XVIth century</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE DE BELLEY</p>
+
+<p class="c">Gothic portion of cathedral, XVth century</p>
+
+<p class="heading2">ST. NAZAIRE DE BEZIERS</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Primitive church damaged by fire, 1209</td></tr>
+<tr><td align="left">Transepts, XIIIth century</td></tr>
+<tr><td align="left">Towers, XIVth century</td></tr>
+<tr><td align="left">Apside and nave, XIVth century</td></tr>
+<tr><td align="left">Glass and grilles, XIVth century</td></tr>
+<tr><td align="left">Cloister, XIVth century</td></tr>
+<tr><td align="left">Height of clocher, 151 feet</td></tr>
+</table>
+
+<p class="heading2">ST. ANDRE DE BORDEAUX</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Three cathedral churches here before the XIth century</td></tr>
+<tr><td align="left">Romanesque structure, XIth century</td></tr>
+<tr><td align="left">Present cathedral dates from 1252</td></tr>
+<tr><td align="left">North transept portal, XIVth century</td></tr>
+<tr><td align="left">Noailles monument, 1662</td></tr>
+<tr><td align="left">Length, 450 feet</td></tr>
+<tr><td align="left">Width of nave, 65 feet</td></tr>
+</table>
+
+<p class="heading2">NOTRE DAME DE BOURG</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Main body dates from XVth to XVIIth centuries</td></tr>
+<tr><td align="left">Choir and apse, XVth to XVIth centuries</td></tr>
+<tr><td align="left">Choir stalls, XVIth century</td></tr>
+</table>
+<p><a name="page_527" id="page_527"></a></p>
+
+<p class="heading2">ST. ETIENNE DE CAHORS</p>
+
+<div class="figleft" style="width: 224px;
+float:left;clear:left;">
+<a href="images/ill_527.png">
+<img src="images/ill_527_sml.png" width="224" height="441" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Bishopric founded, IVth century</td></tr>
+<tr><td align="left">Cathedral consecrated, 1119</td></tr>
+<tr><td align="left">Cupola decorations, 1280-1324</td></tr>
+<tr><td align="left">Choir chapels, XVth century Choir, 1285</td></tr>
+<tr><td align="left">Tomb of Bishop Solminiac, XVIIth century</td></tr>
+<tr><td align="left">Choir paintings, 1315</td></tr>
+<tr><td align="left">Cloister, XIIth to XVth century</td></tr>
+<tr><td align="left">Cupolas of nave, 50 feet in diameter</td></tr>
+<tr><td align="left">Cupolas of choir, 49 feet in height</td></tr>
+<tr><td align="left">Height from pavement to cupolas of choir, 82 feet</td></tr>
+<tr><td align="left">Height from pavement to cupolas of nave, 195 feet</td></tr>
+<tr><td align="left">Portal and western towers, XIVth century</td></tr>
+</table>
+
+<p class="heading2">ST. NAZAIRE DE CARCASSONNE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Present-day cathedral, St. Michel, in lower town, 1083</td></tr>
+<tr><td align="left">Restored by Viollet-le-Duc, 1849</td></tr>
+<tr><td align="left">Visigoth foundation walls of old Cit�, Vth to VIIIth centuries</td></tr>
+<tr><td align="left">Cit� besieged by the Black Prince, 1536</td></tr>
+<tr><td align="left">Ch�teau of Cit� and postern gate, XIth and XIIth centuries</td></tr>
+<tr><td align="left">Outer fortifications with circular towers of the time of St. Louis, XIIIth century</td></tr>
+<tr><td align="left">Length inside the inner walls, &frac14; mile</td></tr>
+<tr><td align="left">Length inside the outer walls, 1 mile</td></tr>
+<tr><td align="left">Saracens occupied the Cit�, 783</td></tr>
+<tr><td align="left">Routed by Pepin le Bref, 759</td></tr>
+<tr><td align="left">Viscountal dynasty of Trencavels, 1090</td></tr>
+<tr><td align="left">Besieged by Simon de Montfort, 1210</td></tr>
+<tr><td align="left">Romanesque nave of St. Nazaire, 1096</td></tr>
+<tr><td align="left">Choir and transepts, XIIIth and XIVth centuries</td></tr>
+<tr><td align="left">Remains of Simon de Montfort buried here (since removed), 1218</td></tr>
+<tr><td align="left">Tomb of Bishop Radulph, 1266</td></tr>
+<tr><td align="left">Statues in choir, XIVth century</td></tr>
+<tr><td align="left">High-altar, 1522</td></tr>
+<tr><td align="left">Crypt, XIth century</td></tr>
+<tr><td align="left">Sacristy, XIIIth century</td></tr>
+<tr><td align="left">The "Pont Vieux," XIIth and XIIIth centuries</td></tr>
+</table>
+
+<p><a name="page_528" id="page_528"></a></p>
+
+<p class="heading2">ST. SIFFREIN DE CARPENTRAS</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">A Roman colony under Augustus, Ist century</td></tr>
+<tr><td align="left">St. Siffrein, patron of the cathedral, died, XVIth century</td></tr>
+<tr><td align="left">Edifice mainly of the XVIth century</td></tr>
+<tr><td align="left">Paintings in nave, XVIIIth and XIXth centuries</td></tr>
+<tr><td align="left">Tomb of Bishop Buti, 1710</td></tr>
+<tr><td align="left">Episcopal palace built, 1640</td></tr>
+<tr><td align="left">Arc de Triomphe, Ist or IId century</td></tr>
+<tr><td align="left">Porte d'Orange, XIVth century</td></tr>
+</table>
+
+<p class="heading2">ST. BENOIT DE CASTRES</p>
+
+<p class="c">Cathedral dates mainly from XVIIth century</p>
+
+<p class="heading2">ST. VERAN DE CAVAILLON</p>
+
+<div class="figcenter" style="width: 222px;">
+<a href="images/ill_528.png">
+<img src="images/ill_528_sml.png" width="222" height="383" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Cathedral consecrated by St. Veran, in person, 1259</td></tr>
+<tr><td align="left">Tomb of Bishop Jean de Sade, XVIIth century</td></tr>
+</table>
+
+<p><a name="page_529" id="page_529"></a></p>
+
+<p class="heading2">ST. ETIENNE DE CHALONS-SUR-SAONE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Cathedral completed, XVIth century</td></tr>
+<tr><td align="left">Rebuilt, after a disastrous fire, XVIIth century</td></tr>
+<tr><td align="left">Remains of early nave, dating from XIIIth century</td></tr>
+<tr><td align="left">Bishopric founded, Vth century</td></tr>
+<tr><td align="left">Height of nave, 90 feet</td></tr>
+<tr><td align="left">Length of nave, 350 feet</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE DE CHAMBERY</p>
+
+<div class="figcenter" style="width: 174px;">
+<a href="images/ill_529.png">
+<img src="images/ill_529_sml.png" width="174" height="285" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">First bishop, Michel Conseil, 1780</td></tr>
+<tr><td align="left">Main body of cathedral dates from XIVth century</td></tr>
+</table>
+
+<p><a name="page_530" id="page_530"></a></p>
+
+<div class="figright" style="width: 169px;">
+<a href="images/ill_530a.png">
+<img src="images/ill_530a_sml.png" width="169" height="323" alt="" title="" /></a>
+</div>
+
+<p class="heading2">NOTRE DAME DE CLERMONT-FERRAND</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Choir and nave, 1248-1265</td></tr>
+<tr><td align="left">Urban II. preached the Crusades here, 1095</td></tr>
+<tr><td align="left">Sanctuary completed, XIIIth century</td></tr>
+<tr><td align="left">Nave completed, except fa�ade, XIVth century</td></tr>
+<tr><td align="left">Rose windows, XVth century</td></tr>
+<tr><td align="left">Western towers and portal, XIXth century</td></tr>
+<tr><td align="left">Height of towers, 340 feet</td></tr>
+<tr><td align="left">Height of nave, 100 feet</td></tr>
+</table>
+
+<div class="figleft" style="width: 164px;float:left;
+clear:left;">
+<a href="images/ill_530b.png">
+<img src="images/ill_530b_sml.png" width="164" height="232" alt="" title="" /></a>
+</div>
+
+<p class="heading2">ST. BERTRAND DE COMMINGES</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">First monastery here, VIth century</td></tr>
+<tr><td align="left">Present cathedral mainly XIIth to XIVth centuries</td></tr>
+<tr><td align="left">First bishop, Suavis, VIth century</td></tr>
+<tr><td align="left">Monument to Bishop Hugh de Castellane, XIVth century</td></tr>
+<tr><td align="left">Length, 210 feet (?)</td></tr>
+<tr><td align="left">Width, 55 feet (?)</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE DE DAX</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Main fabric, XIIIth century</td></tr>
+<tr><td align="left">Reconstructed, XVIIIth century</td></tr>
+</table>
+
+<p><a name="page_531" id="page_531"></a></p>
+
+<p class="heading2">NOTRE DAME DE DIE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">A bishopric in 1285, and from 1672 until 1801</td></tr>
+<tr><td align="left">Porch, XIth century</td></tr>
+<tr><td align="left">Romanesque fragments in "Porte Rouge," XIth century</td></tr>
+<tr><td align="left">Restored and rebuilt, XVIIth century</td></tr>
+<tr><td align="left">Length of nave, 270 feet</td></tr>
+<tr><td align="left">Width of nave, 76 feet</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE D'EAUZE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Town destroyed, Xth century</td></tr>
+<tr><td align="left">Gothic church (not, however, the former cathedral), XVth century</td></tr>
+</table>
+
+<p class="heading2">STE. EULALIE D'ELNE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Cathedral rebuilt from a former structure, XVth century</td></tr>
+<tr><td align="left">Cloister, XVth century</td></tr>
+</table>
+
+<p class="heading2">NOTRE DAME D'EMBRUN</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">North porch and peristyle, XIIth century</td></tr>
+<tr><td align="left">Romanesque tower rebuilt, XIVth century</td></tr>
+<tr><td align="left">The "Tour Brune" XIth century</td></tr>
+<tr><td align="left">High-altar, XVIIIth century</td></tr>
+<tr><td align="left">Painted triptych, 1518</td></tr>
+<tr><td align="left">Coloured glass, XVth century</td></tr>
+<tr><td align="left">Organ and gallery, XVIth century</td></tr>
+</table>
+
+<p class="heading2">NOTRE DAME DE GRENOBLE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Foundations of choir, XIth century</td></tr>
+<tr><td align="left">Tabernacle, XVth century</td></tr>
+<tr><td align="left">Tomb of Abb� Chiss�, 1407</td></tr>
+<tr><td align="left">Former episcopal palace, XIth century</td></tr>
+<tr><td align="left">Present episcopal palace, on same site, XVth century</td></tr>
+<tr><td align="left">Eglise St Andr�, XIIIth century</td></tr>
+<tr><td align="left">"La Grande Chartreuse," founded by St. Bruno, 1084</td></tr>
+<tr><td align="left">"La Grande Chartreuse," enlarged, XVIth to XVIIth centuries</td></tr>
+<tr><td align="left">Monks expelled, 1816 and 1902</td></tr>
+</table>
+<p><a name="page_532" id="page_532"></a></p>
+
+<p class="heading2">ST. LOUIS DE LA ROCHELLE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">City besieged unsuccessfully, 1573</td></tr>
+<tr><td align="left">City besieged and fell, XVIIth century</td></tr>
+<tr><td align="left">Huguenots held the city from 1557 to 1629</td></tr>
+<tr><td align="left">Present cathedral dates from 1735</td></tr>
+</table>
+
+<div class="figright" style="width: 226px;">
+<a href="images/ill_532a.png">
+<img src="images/ill_532a_sml.png" width="226" height="367" alt="" title="" /></a>
+</div>
+
+<p class="heading2">NOTRE DAME DE LE PUY</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">First bishop, St. Georges, IIId century</td></tr>
+<tr><td align="left">Primitive cathedral, Vth century</td></tr>
+<tr><td align="left">West fa�ade of present edifice, XIIth century</td></tr>
+<tr><td align="left">Choir, Xth century</td></tr>
+<tr><td align="left">Virgin of Le Puy, 50 feet in height</td></tr>
+<tr><td align="left">Aguille de St. Michel, 250 feet in height, 50 feet in circumference at top, 500 feet at base</td></tr>
+</table>
+
+<div class="figleft" style="width: 223px;
+float:left;clear:left;">
+<a href="images/ill_532b.png">
+<img src="images/ill_532b_sml.png" width="223" height="466" alt="" title="" /></a>
+</div>
+
+<p class="heading2">ST. ETIENNE DE LIMOGES</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Nave, XVth and XVIth centuries</td></tr>
+<tr><td align="left">Romanesque portion of nave, XIth century</td></tr>
+<tr><td align="left">Lower portion of tower, XIth century</td></tr>
+<tr><td align="left">Clocher, XIIIth century</td></tr>
+<tr><td align="left">Choir, XIIIth century</td></tr>
+<tr><td align="left">Transepts, XIVth and XVth centuries</td></tr>
+<tr><td align="left">Choir-screen, 1543</td></tr>
+<tr><td align="left">Coloured glass, XVth and XIXth centuries</td></tr>
+<tr><td align="left">Tomb of Bishop Brun, 1349; de la Porte, 1325; Langeac, 1541</td></tr>
+<tr><td align="left">Crypt, XIth century</td></tr>
+<tr><td align="left">Height of clocher, 240 feet</td></tr>
+<tr><td align="left">Enamels of reredos, XVIIth century</td></tr>
+</table>
+
+<p><a name="page_533" id="page_533"></a></p>
+
+<p class="heading2">ST. FULCRAN DE LODEVE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">City converted to Christianity, 323</td></tr>
+<tr><td align="left">Earliest portion of cathedral, Xth century</td></tr>
+<tr><td align="left">Main portion of fabric, XIIth century</td></tr>
+<tr><td align="left">Cathedral completed, XVIth century</td></tr>
+<tr><td align="left">Tomb of Bishop de la Panse, 1658</td></tr>
+<tr><td align="left">Height of nave, 80 feet</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE DE LUCON</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Ancient abbey, VIIth century</td></tr>
+<tr><td align="left">First bishop appointed, 1317</td></tr>
+<tr><td align="left">Richelieu bishop here, 1616-1624</td></tr>
+<tr><td align="left">Main fabric of cathedral dates from XIIth to XVIIth centuries</td></tr>
+<tr><td align="left">Fabric restored, 1853</td></tr>
+<tr><td align="left">Cloister of episcopal palace, XVth century</td></tr>
+</table>
+
+<div class="figleft" style="width: 222px;
+float:left;clear:left;">
+<a href="images/ill_533.png">
+<img src="images/ill_533_sml.png" width="222" height="402" alt="" title="" /></a>
+</div>
+
+<p class="heading2">ST. JEAN DE LYON</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Bridge across Sa�ne, Xth century</td></tr>
+<tr><td align="left">Earliest portions of cathedral, 1180</td></tr>
+<tr><td align="left"><i>Concile g�n�rale</i> of the Church held at Lyons, 1245 and 1274</td></tr>
+<tr><td align="left">Portail, XVth century</td></tr>
+<tr><td align="left">Glass of choir, XIIIth and XIVth centuries</td></tr>
+<tr><td align="left">Great bourdon, 1662</td></tr>
+<tr><td align="left">Weight of great bourdon, 10,000 kilos</td></tr>
+<tr><td align="left">Chapelle des Bourbons, XVth century</td></tr>
+<tr><td align="left">Astronomical clock, XVIth and XVIIth centuries</td></tr>
+</table>
+
+<p><a name="page_534" id="page_534"></a></p>
+
+<p class="heading2">STE. MARIE MAJEURE DE MARSEILLES</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">First bishop, St. Lasare, Ist century</td></tr>
+<tr><td align="left">Ancient cathedral built upon the ruins of a temple to Diana, XIth century</td></tr>
+<tr><td align="left">New cathedral begun, 1852</td></tr>
+<tr><td align="left">Practically completed, 1893</td></tr>
+<tr><td align="left">Length, 460 feet</td></tr>
+<tr><td align="left">Height of central dome, 197 feet</td></tr>
+</table>
+
+<p class="heading2">ST. JEAN DE MAURIENNE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Relique of St. Jean Baptiste, first brought here in VIth century</td></tr>
+<tr><td align="left">Cloister, 1452</td></tr>
+</table>
+
+<p class="heading2">ST. PIERRE DE MENDE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">First bishop, Xth century</td></tr>
+<tr><td align="left">Main fabric of cathedral, XIVth century</td></tr>
+<tr><td align="left">Restoration, XVIIth century</td></tr>
+<tr><td align="left">Towers, XVIth century</td></tr>
+<tr><td align="left">Organ-case, 1640</td></tr>
+<tr><td align="left">Height of western towers, 203 and 276 feet</td></tr>
+</table>
+
+<p class="heading2">ST. PIERRE DE MONTPELLIER</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Bishopric removed here from Maguelonne, 1536</td></tr>
+<tr><td align="left">Pope Urban V. consecrated present cathedral in a former Benedictine abbey, 1364</td></tr>
+<tr><td align="left">Length of nave, 181 feet</td></tr>
+<tr><td align="left">Width of nave, 49 feet</td></tr>
+<tr><td align="left">Length of choir, 43 feet</td></tr>
+<tr><td align="left">Width of choir, 39 feet</td></tr>
+</table>
+
+<p class="heading2">NOTRE DAME DE MOULINS</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Towers and west front, XIXth century</td></tr>
+<tr><td align="left">Choir and nave, 1465-1507</td></tr>
+<tr><td align="left">Coloured glass, XVth and XVIth centuries</td></tr>
+<tr><td align="left">Choir restoration completed, 1885</td></tr>
+<tr><td align="left">Sepulchre, XVIth century</td></tr>
+<tr><td align="left">Height of western spires, 312 feet</td></tr>
+<tr><td align="left">Ch�teau of Ducs de Bourbon (facing the cathedral) XIVth century</td></tr>
+</table>
+
+<p><a name="page_535" id="page_535"></a></p>
+
+<p class="heading2">ST. JUST DE NARBONNE</p>
+
+<div class="figcenter" style="width: 226px;">
+<a href="images/ill_535.png">
+<img src="images/ill_535_sml.png" width="226" height="471" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Choir begun, 1272-1330</td></tr>
+<tr><td align="left">Choir rebuilt, XVIIIth century</td></tr>
+<tr><td align="left">Remains of cloister, XIVth and XVth century</td></tr>
+<tr><td align="left">Towers, XVth century</td></tr>
+<tr><td align="left">Tombs of bishops, XIVth to XVIth centuries</td></tr>
+<tr><td align="left">Organ buffet, 1741</td></tr>
+<tr><td align="left">Height of choir vault, 120 (127?) feet</td></tr>
+</table>
+
+<p class="heading2">ST. CASTOR DE NIMES</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">St. Felix the first bishop, IVth century</td></tr>
+<tr><td align="left">St. Castor as bishop, 1030</td></tr>
+<tr><td align="left">Cathedral damaged by wars of XVIth and XVIIth centuries</td></tr>
+<tr><td align="left">Length of grande axe of Arena, 420 feet</td></tr>
+<tr><td align="left">Capacity of Arena, 80,000 persons</td></tr>
+</table>
+
+<p><a name="page_536" id="page_536"></a></p>
+
+<p class="heading2">STE. MARIE D'OLORON</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Earliest portions, XIth century</td></tr>
+<tr><td align="left">Completed, XVth century</td></tr>
+<tr><td align="left">Length of nave, 150 feet</td></tr>
+<tr><td align="left">Width of nave, 106 feet</td></tr>
+</table>
+
+<p class="heading2">NOTRE DAME D'ORANGE</p>
+
+<div class="figcenter" style="width: 224px;">
+<a href="images/ill_536.png">
+<img src="images/ill_536_sml.png" width="224" height="492" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Oldest portions, 1085</td></tr>
+<tr><td align="left">Nave, 1085-1126</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE DE PAMIERS</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Clocher, XIVth century</td></tr>
+<tr><td align="left">Nave rebuilt, XVIIth century</td></tr>
+<tr><td align="left">Ancient Abbey of St. Antoine, XIth century</td></tr>
+<tr><td align="left">First bishop, Bernard Saisset, 1297</td></tr>
+</table>
+
+<p><a name="page_537" id="page_537"></a></p>
+
+<div class="figleft" style="width: 223px;float:left;clear:left;">
+<a href="images/ill_537a.png">
+<img src="images/ill_537a_sml.png" width="223" height="397" alt="" title="" /></a>
+</div>
+
+<p class="heading2">ST. FRONT DE PERIGUEUX</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Primitive monastery founded, VIth century</td></tr>
+<tr><td align="left">Cathedral dates from 984-1047</td></tr>
+<tr><td align="left">Cathedral rebuilt, XIIth century</td></tr>
+<tr><td align="left">Cathedral restored, XIXth century</td></tr>
+<tr><td align="left">Pulpit in carved wood, XVIIth</td></tr>
+<tr><td align="left">Confessionals, Xth or XIth century</td></tr>
+<tr><td align="left">Paintings in vaulting, XIth century</td></tr>
+<tr><td align="left">Length of nave, 197 feet</td></tr>
+<tr><td align="left">Height of pillars of nave, 44 feet</td></tr>
+<tr><td align="left">Height of cupola of clocher, 217 feet</td></tr>
+<tr><td align="left">Height of great arches in interior, 65 feet</td></tr>
+</table>
+
+<p style="clear:both;">
+<br />
+</p>
+
+<p class="heading2">ST. JEAN DE PERPIGNAN</p>
+
+<div class="figcenter" style="width: 230px;">
+<a href="images/ill_537b.png">
+<img src="images/ill_537b_sml.png" width="230" height="385" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Tower, XIVth century</td></tr>
+<tr><td align="left">R�table, XIV century</td></tr>
+<tr><td align="left">Altar-screen, XIVth century</td></tr>
+<tr><td align="left">Bishop's tomb, 1695</td></tr>
+</table>
+
+<p><a name="page_538" id="page_538"></a></p>
+
+<p class="heading2">ST. PIERRE DE POITIERS</p>
+
+<div class="figcenter" style="width: 430px;">
+<a href="images/ill_538a.png">
+<img src="images/ill_538a_sml.png" width="430" height="317" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Eglise St. Hilaire, Xth and XIth centuries</td></tr>
+<tr><td align="left">Baptist�re, IVth to XIIth centuries</td></tr>
+<tr><td align="left">St. Radegonde, XIth and XIIth centuries</td></tr>
+<tr><td align="left">Cathedral begun, 1162</td></tr>
+<tr><td align="left">High-altar dedicated, 1199</td></tr>
+<tr><td align="left">Choir completed, 1250</td></tr>
+<tr><td align="left">Western doorway, XVth century</td></tr>
+<tr><td align="left">Coloured glass, XIIIth and XVIIIth centuries</td></tr>
+</table>
+
+<div class="figcenter" style="width: 218px;">
+<a href="images/ill_538b.png">
+<img src="images/ill_538b_sml.png" width="218" height="379" alt="" title="" /></a>
+</div>
+
+<p><a name="page_539" id="page_539"></a></p>
+
+<p class="heading2">NOTRE DAME DE RODEZ</p>
+
+<div class="figcenter" style="width: 226px;">
+<a href="images/ill_539.png">
+<img src="images/ill_539_sml.png" width="226" height="368" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Dates chiefly from 1275</td></tr>
+<tr><td align="left">Choir, XIVth century</td></tr>
+<tr><td align="left">Nave, XVth century</td></tr>
+<tr><td align="left">Cross-vaults, tribune, sacristy door, and fa�ade, from about 1535</td></tr>
+<tr><td align="left">Cl�ture of choir designed by Cusset</td></tr>
+<tr><td align="left">Terrace to episcopal palace designed by Philandrier, 1550</td></tr>
+<tr><td align="left">Episcopal palace itself dates, in the main, from XVIIth century</td></tr>
+<tr><td align="left">Rose window of fa�ade is the most notable in France south of the Loire, excepting Poitiers</td></tr>
+</table>
+
+<p class="heading2">ST. PIERRE DE SAINTES</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Eglise St. Eutrope, 1081-1096</td></tr>
+<tr><td align="left">Primitive cathedral, 1117</td></tr>
+<tr><td align="left">Cathedral rebuilt, 1585</td></tr>
+<tr><td align="left">First two bays of transept, XIIth century</td></tr>
+<tr><td align="left">Nave completed, XVth century</td></tr>
+<tr><td align="left">Vaulting of choir and nave, XVth to XVIIth centuries</td></tr>
+<tr><td align="left">Height of flamboyant tower (XIVth century), 236 feet</td></tr>
+</table>
+
+<p><a name="page_540" id="page_540"></a></p>
+
+<p class="heading2">CATHEDRALE DE SARLAT</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Benedictine abbey dates from VIIIth century</td></tr>
+<tr><td align="left">Cathedral mainly of XIth and XIIth centuries</td></tr>
+<tr><td align="left">Sepulchral chapel, XIIth century</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE DE SION</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">First bishop, St. Th�odule, IVth century</td></tr>
+<tr><td align="left">Choir of Eglise Ste. Catherine, Xth or XIth century</td></tr>
+<tr><td align="left">Bishop of Sion sent as papal legate to Winchester, 1070</td></tr>
+<tr><td align="left">Main body of cathedral, XVth century</td></tr>
+</table>
+
+<p class="heading2">ST. PIERRE DE ST. CLAUDE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Abbey founded by St. Claude, Vth century</td></tr>
+<tr><td align="left">Bishopric founded by Jos. de Madet, 1742</td></tr>
+<tr><td align="left">Bishopric suppressed, 1790</td></tr>
+<tr><td align="left">Bishopric revived again, 1821</td></tr>
+<tr><td align="left">Main fabric of cathedral, XIVth century</td></tr>
+<tr><td align="left">Cathedral restored, XVIIIth century</td></tr>
+<tr><td align="left">Length, 200 feet (approx.)</td></tr>
+<tr><td align="left">Width, 85 feet &nbsp; &nbsp; &nbsp; &nbsp;"</td></tr>
+<tr><td align="left">Height, 85 feet &nbsp; &nbsp; &nbsp; &nbsp;"</td></tr>
+</table>
+
+<p class="heading2">ST. ODILON DE ST. FLOUR</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Bishopric founded, 1318</td></tr>
+<tr><td align="left">Present cathedral begun, 1375</td></tr>
+<tr><td align="left"> &nbsp; &nbsp;" &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;" &nbsp; &nbsp;dedicated, 1496</td></tr>
+<tr><td align="left"> &nbsp; &nbsp;" &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;" &nbsp; &nbsp;completed, 1556</td></tr>
+<tr><td align="left">Episcopal palace, 1800</td></tr>
+<tr><td align="left">Ch�teau de St. Flour, 1000</td></tr>
+</table>
+
+<p class="heading2">ST. LISIER OR COUSERANS</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Former cathedral, XIIth and XIIIth centuries</td></tr>
+<tr><td align="left">Bishop's palace, XVIIth century</td></tr>
+</table>
+
+<p><a name="page_541" id="page_541"></a></p>
+
+<p class="heading2">STE. MARIE MAJEURE DE TOULON</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Main body of fabric, XIth and XIIth centuries</td></tr>
+<tr><td align="left">Fa�ade, XVIIth century</td></tr>
+<tr><td align="left">Length of nave, 160 feet</td></tr>
+<tr><td align="left">Width of nave, 35 feet</td></tr>
+</table>
+
+<p class="heading2">ST. ETIENNE DE TOULOUSE</p>
+
+<div class="figcenter" style="width: 228px;">
+<a href="images/ill_541.png">
+<img src="images/ill_541_sml.png" width="228" height="438" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Nave, XIIIth century</td></tr>
+<tr><td align="left">Tower, XVth and XVIth century</td></tr>
+<tr><td align="left">Choir, 1275-1502</td></tr>
+<tr><td align="left">Bishopric founded, IIId century</td></tr>
+<tr><td align="left">Archbishopric founded, 1327</td></tr>
+<tr><td align="left">Width of nave, 62 feet</td></tr>
+</table>
+
+<p><a name="page_542" id="page_542"></a></p>
+
+<p class="heading2">ST PAUL TROIS CHATEAUX</p>
+
+<div class="figcenter" style="width: 210px;">
+<a href="images/ill_542.png">
+<img src="images/ill_542_sml.png" width="210" height="345" alt="" title="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left" colspan="2">Chapel to St. Restuit first erected here, IVth century</td></tr>
+<tr><td align="left" colspan="2">Town devastated by the Vandals, Vth century</td></tr>
+<tr><td align="left"> &nbsp; &nbsp;"  &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;"  &nbsp; &nbsp;  &nbsp; &nbsp; &nbsp;"&nbsp;  &nbsp; &nbsp;" &nbsp; &nbsp;</td><td>Saracens, 736</td></tr>
+<tr><td align="left"> &nbsp; &nbsp;"  &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;"  &nbsp; &nbsp;  &nbsp; &nbsp; &nbsp;"&nbsp;  &nbsp; &nbsp;" &nbsp; &nbsp;</td><td>Protestants, XIVth century</td></tr>
+<tr><td align="left"> &nbsp; &nbsp;"  &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;"  &nbsp; &nbsp;  &nbsp; &nbsp; &nbsp;"&nbsp; &nbsp; &nbsp;" &nbsp; &nbsp;</td><td align="left">Catholics, XIVth century</td></tr>
+<tr><td align="left" colspan="2">Former cathedral, XIth and XIIth centuries</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE DE TULLE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Benedictine foundation, VIIth century</td></tr>
+<tr><td align="left">Cloister, VIIth century (?)</td></tr>
+<tr><td align="left">Bishopric founded, 1317</td></tr>
+<tr><td align="left">Romanesque and transition nave, XIIth century</td></tr>
+</table>
+
+<p class="heading2">ST. THEODORIT D'UZES</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Inhabitants of the town, including the bishop, mostly became Protestant, XVIth century</td></tr>
+<tr><td align="left">Cathedral rebuilt and restored, XVIIth and XVIIIth centuries</td></tr>
+<tr><td align="left">Tour F�nestrelle, XIIIth century</td></tr>
+<tr><td align="left">Organ-case, XVIIth century</td></tr>
+<tr><td align="left">Height of the "Tour F�nestrelle," 130 feet</td></tr>
+</table>
+
+<p><a name="page_543" id="page_543"></a></p>
+
+<p class="heading2">CATHEDRALE DE VAISON</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Cloister, XIth century</td></tr>
+<tr><td align="left">Eglise de St. Quinin, VIIth century</td></tr>
+</table>
+
+<div class="figcenter" style="width: 217px;">
+<a href="images/ill_543.png">
+<img src="images/ill_543_sml.png" width="217" height="438" alt="" title="" /></a>
+</div>
+
+<p class="heading2">ST. APOLLINAIRE DE VALENCE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Cathedral rebuilt and reconsecrated by Urban II., XIth century</td></tr>
+<tr><td align="left">Reconstructed, 1604</td></tr>
+<tr><td align="left">Bishopric founded, IVth century</td></tr>
+<tr><td align="left">Foundations laid, XIIth century</td></tr>
+<tr><td align="left">Cenotaph to Pius VI., 1799</td></tr>
+<tr><td align="left">Height of tower, 187 feet</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE DE VABRES</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Principally, XIVth century</td></tr>
+<tr><td align="left">Rebuilt and reconstructed, and clocher added, XVIIIth century</td></tr>
+</table>
+
+<p><a name="page_544" id="page_544"></a></p>
+
+<p class="heading2">NOTRE DAME DE VENCE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Fabric of various eras, VIth, Xth, XIIth, and XVth centuries</td></tr>
+<tr><td align="left">R�table, XVIth century</td></tr>
+<tr><td align="left">Choir-stalls, XVth century</td></tr>
+</table>
+
+<p class="heading2">ST. MAURICE DE VIENNE</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Bishopric dates from IId century</td></tr>
+<tr><td align="left">St. Crescent, first bishop, 118</td></tr>
+<tr><td align="left">Cathedral begun, 1052</td></tr>
+<tr><td align="left">Reconstructed, 1515</td></tr>
+<tr><td align="left">Coloured glass, in part, XIVth century</td></tr>
+<tr><td align="left">Tomb of Cardinal de Montmorin, XVIth century</td></tr>
+<tr><td align="left">Metropolitan privileges of Vienne confirmed by Pope Paschal II., 1099</td></tr>
+</table>
+
+<p class="heading2">CATHEDRALE DE VIVIERS</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Choir, XIVth century</td></tr>
+<tr><td align="left">Tower, XIVth and XVth centuries</td></tr>
+</table>
+
+<p><a name="page_545" id="page_545"></a></p>
+
+<h3><a name="INDEX" id="INDEX"></a>INDEX</h3>
+
+<p class="nind">
+Abbey of Cluny, <a href="#page_059">59</a>, <a href="#page_061">61</a>.<br />
+Abbey of Montmajour, <a href="#page_230">230</a>.<br />
+Acre, <a href="#page_056">56</a>.<br />
+Adelbert, Count of P�rigueux, <a href="#page_038">38</a>.<br />
+Adour, River, <a href="#page_417">417</a>.<br />
+Agde, <a href="#page_053">53</a>, <a href="#page_358">358</a>, <a href="#page_359">359</a>.<br />
+Agde, Cath�drale de, <a href="#page_358">358-360</a>, <a href="#page_520">520</a>.<br />
+Agen, <a href="#page_042">42</a>, <a href="#page_429">429</a>.<br />
+Agen, St. Caprais de, <a href="#page_429">429</a>, <a href="#page_431">431</a>, <a href="#page_520">520</a>.<br />
+Agout, River, <a href="#page_471">471</a>.<br />
+Aigues-Mortes, <a href="#page_228">228</a>, <a href="#page_319">319</a>, <a href="#page_320">320</a>.<br />
+Aire, St. Jean Baptiste de, <a href="#page_469">469</a>, <a href="#page_470">470</a>, <a href="#page_521">521</a>.<br />
+Aix, <a href="#page_036">36</a>, <a href="#page_230">230</a>, <a href="#page_283">283</a>, <a href="#page_293">293</a>, <a href="#page_323">323</a>, <a href="#page_324">324</a>.<br />
+Aix St. Jean de Malte, <a href="#page_324">324</a>.<br />
+Aix, St. Sauveur de, <a href="#page_323">323-327</a>, <a href="#page_521">521</a>.<br />
+Ajaccio, <a href="#page_047">47</a>.<br />
+Alais, <a href="#page_249">249-251</a>.<br />
+Alais, St. Jean de, <a href="#page_249">249-251</a>, <a href="#page_521">521</a>.<br />
+Alberoni, Cardinal, <a href="#page_240">240</a>.<br />
+Albi, <a href="#page_027">27</a>, <a href="#page_041">41</a>, <a href="#page_053">53</a>, <a href="#page_054">54</a>, <a href="#page_061">61</a>, <a href="#page_095">95</a>, <a href="#page_098">98</a>, <a href="#page_274">274</a>.<br />
+Albi, Ste. C�cile de, <a href="#page_363">363</a>, <a href="#page_482">482-489</a>, <a href="#page_522">522</a>.<br />
+Albigenses, The, <a href="#page_365">365</a>, <a href="#page_485">485</a>, <a href="#page_486">486</a>.<br />
+Alet, <a href="#page_042">42</a>.<br />
+Alet, St. Pierre de, <a href="#page_350">350</a>, <a href="#page_351">351</a>, <a href="#page_522">522</a>.<br />
+Amantius, <a href="#page_330">330</a>.<br />
+Amiens, <a href="#page_060">60</a>, <a href="#page_062">62</a>.<br />
+Andorra, Republic of, <a href="#page_373">373</a>.<br />
+Angers, Ch�teau at, <a href="#page_066">66</a>.<a name="page_546" id="page_546"></a><br />
+Angers, St Maurice d', <a href="#page_097">97</a>.<br />
+Angoul�me, <a href="#page_055">55</a>, <a href="#page_061">61</a>, <a href="#page_073">73</a>, <a href="#page_120">120</a>, <a href="#page_124">124</a>.<br />
+Angoul�me, St. Pierre de, <a href="#page_073">73</a>, <a href="#page_120">120-125</a>, <a href="#page_523">523</a>.<br />
+Anjou, <a href="#page_045">45</a>, <a href="#page_071">71</a>.<br />
+Anjou, Duke of, <a href="#page_040">40</a>, <a href="#page_044">44</a>.<br />
+Anjou, Henry Plantagenet of, <a href="#page_039">39</a>.<br />
+Anjou (La Trinit�), <a href="#page_056">56</a>.<br />
+Annecy, <a href="#page_252">252-254</a>, <a href="#page_256">256</a>.<br />
+Annecy, St. Pierre de, <a href="#page_252">252-254</a>, <a href="#page_523">523</a>.<br />
+Antibes, <a href="#page_330">330</a>, <a href="#page_339">339</a>, <a href="#page_341">341</a>.<br />
+Aosti, <a href="#page_268">268</a>.<br />
+Apt, <a href="#page_289">289-291</a>.<br />
+Apt, St. Castor de, <a href="#page_523">523</a>.<br />
+Aquitaine, <a href="#page_038">38</a>, <a href="#page_062">62</a>.<br />
+Aquitanians, The, <a href="#page_038">38</a>.<br />
+Aquitanian architecture, <a href="#page_054">54</a>, <a href="#page_055">55</a>, <a href="#page_066">66</a>.<br />
+Arc de Triomphe (Saintes), <a href="#page_115">115</a>.<br />
+Architecture, Church, <a href="#page_050">50-56</a>.<br />
+Ariosto, <a href="#page_235">235</a>.<br />
+Arles, <a href="#page_028">28</a>, <a href="#page_033">33</a>, <a href="#page_061">61</a>, <a href="#page_217">217</a>, <a href="#page_228">228-235</a>, <a href="#page_283">283</a>, <a href="#page_293">293</a>.<br />
+Arles, Archbishop of, <a href="#page_046">46</a>.<br />
+Arles, St. Trophime de, <a href="#page_037">37</a>, <a href="#page_202">202</a>, <a href="#page_228">228-235</a>, <a href="#page_524">524</a>.<br />
+Arnaud, Bishop, <a href="#page_354">354</a>.<br />
+Auch, St. Marie de, <a href="#page_432">432-438</a>, <a href="#page_524">524</a>.<br />
+Auch, College of, <a href="#page_438">438</a>.<br />
+Augustus, <a href="#page_221">221</a>.<br />
+Autun, Bishop of (Talleyrand-P�rigord), <a href="#page_046">46</a>.<br />
+Auvergne, <a href="#page_029">29</a>, <a href="#page_062">62</a>, <a href="#page_072">72-74</a>.<a name="page_547" id="page_547"></a><br />
+Auzon, <a href="#page_221">221</a>.<br />
+Avignon, <a href="#page_033">33</a>, <a href="#page_041">41</a>, <a href="#page_053">53</a>, <a href="#page_054">54</a>, <a href="#page_241">241</a>.<br />
+Avignon, Papal Palace at, <a href="#page_377">377</a>, <a href="#page_485">485</a>.<br />
+Avignon, Notre Dame des Doms, <a href="#page_204">204-220</a>, <a href="#page_525">525</a>.<br />
+Avignon, Ruf d', <a href="#page_036">36</a>.<br />
+<br />
+Baptist�re of St. Siffrein de Carpentras, <a href="#page_222">222</a>.<br />
+Baptist�re, The (Poitiers), <a href="#page_095">95</a>, <a href="#page_096">96</a>, <a href="#page_101">101</a>.<br />
+Basilique de Notre Dame de Fourvi�re, <a href="#page_185">185</a>.<br />
+Bayonne, <a href="#page_028">28</a>, <a href="#page_057">57</a>, <a href="#page_373">373</a>, <a href="#page_387">387</a>, <a href="#page_405">405-407</a>, <a href="#page_410">410</a>, <a href="#page_411">411</a>.<br />
+Bayonne, Notre Dame de, <a href="#page_405">405-410</a>, <a href="#page_525">525</a>.<br />
+Bazas, St. Jean de, <a href="#page_411">411</a>, <a href="#page_412">412</a>, <a href="#page_526">526</a>.<br />
+Bazin, Ren�, <a href="#page_229">229</a>, <a href="#page_235">235</a>.<br />
+Bearn, Province of, <a href="#page_395">395</a>, <a href="#page_406">406</a>.<br />
+Beauvais, Lucien de, <a href="#page_037">37</a>.<br />
+Becket, Thomas �, <a href="#page_111">111</a>.<br />
+Belley, <a href="#page_267">267</a>.<br />
+Belley, Cath�drale de, <a href="#page_526">526</a>.<br />
+Benedict XII., Pope, <a href="#page_211">211</a>, <a href="#page_216">216</a>.<br />
+B�nigne, <a href="#page_171">171</a>.<br />
+Berengarius II., <a href="#page_371">371</a>.<br />
+Berri, <a href="#page_071">71</a>, <a href="#page_072">72</a>.<br />
+Besan�on, <a href="#page_267">267</a>, <a href="#page_274">274</a>.<br />
+Besan�on, Lin de, <a href="#page_036">36</a>.<br />
+B�thanie, Lazare de, <a href="#page_036">36</a>.<br />
+B�zard, <a href="#page_431">431</a>.<br />
+B�ziers, <a href="#page_053">53</a>, <a href="#page_363">363-365</a>.<br />
+B�ziers, Bishop of, <a href="#page_365">365</a>.<br />
+B�ziers, St. Nazaire de, <a href="#page_363">363-367</a>, <a href="#page_526">526</a>.<br />
+Bichi, Alexandri, <a href="#page_224">224</a>.<br />
+Bishops of Carpentras, <a href="#page_221">221</a>.<br />
+Bishop of Ypres, <a href="#page_048">48</a>.<br />
+"Black Prince," The, <a href="#page_418">418</a>, <a href="#page_453">453</a>.<br />
+Blois, Ch�teau at, <a href="#page_066">66</a>.<br />
+Breakspeare, <a href="#page_230">230</a>.<br />
+Bretagne, Slabs in, <a href="#page_064">64</a>.<br />
+Bridge of St. B�nezet, <a href="#page_219">219</a>.<br />
+Bordeaux, <a href="#page_057">57</a>, <a href="#page_384">384</a>, <a href="#page_387">387</a>, <a href="#page_396">396</a>, <a href="#page_397">397</a>, <a href="#page_401">401</a>.<br />
+Bordeaux, St. Andr� de, <a href="#page_094">94</a>, <a href="#page_396">396-401</a>, <a href="#page_526">526</a>.<a name="page_548" id="page_548"></a><br />
+Bossuet, Bishop, <a href="#page_420">420</a>.<br />
+Bourass�, Abb�, <a href="#page_083">83</a>, <a href="#page_089">89</a>, <a href="#page_328">328</a>, <a href="#page_354">354</a>, <a href="#page_433">433</a>.<br />
+Bourbons, The, <a href="#page_126">126</a>, <a href="#page_127">127</a>. <a href="#page_130">130</a>.<br />
+Bourg, <a href="#page_277">277-279</a>.<br />
+Bourg, Notre Dame de, <a href="#page_277">277-279</a>, <a href="#page_526">526</a>.<br />
+Bourges, <a href="#page_041">41</a>, <a href="#page_062">62</a>.<br />
+Bovet, Fran�ois, <a href="#page_281">281</a>.<br />
+Boyan, Bishop, <a href="#page_247">247</a>.<br />
+Buti, Bishop Laurent, <a href="#page_224">224</a>.<br />
+<br />
+C�sar, <a href="#page_171">171</a>.<br />
+Cahors, <a href="#page_042">42</a>, <a href="#page_044">44</a>, <a href="#page_425">425</a>, <a href="#page_428">428</a>.<br />
+Cahors, St. Etienne de, <a href="#page_425">425-428</a>, <a href="#page_527">527</a>.<br />
+Cair�ne type of mosque, <a href="#page_055">55</a>.<br />
+Calixtus II., <a href="#page_189">189</a>.<br />
+Canal du Midi, <a href="#page_367">367</a>.<br />
+Canova, <a href="#page_194">194</a>, <a href="#page_334">334</a>.<br />
+Capet, Hugh, <a href="#page_038">38</a>, <a href="#page_039">39</a>.<br />
+Carcassonne, <a href="#page_028">28</a>, <a href="#page_053">53</a>, <a href="#page_319">319</a>, <a href="#page_449">449-457</a>.<br />
+Carcassonne, St. Nazaire de, <a href="#page_057">57</a>, <a href="#page_319">319</a>, <a href="#page_449">449-460</a>, <a href="#page_527">527</a>.<br />
+Carpentras, <a href="#page_221">221-226</a>.<br />
+Carpentras, St. Siffrein de, <a href="#page_221">221-225</a>, <a href="#page_528">528</a>.<br />
+Carton, Dominique de, <a href="#page_224">224</a>.<br />
+Castres, <a href="#page_042">42</a>, <a href="#page_471">471</a>.<br />
+Castres, Sts. Benoit et Vincent de, <a href="#page_471">471-473</a>, <a href="#page_528">528</a>.<br />
+Cath�drale d'Agde, <a href="#page_358">358-360</a>, <a href="#page_520">520</a>.<br />
+Cath�drale de Belley, <a href="#page_526">526</a>.<br />
+Cath�drale de Chamb�ry, <a href="#page_255">255-257</a>, <a href="#page_529">529</a>.<br />
+Cath�drale de Condom, <a href="#page_420">420</a>, <a href="#page_421">421</a>.<br />
+Cath�drale de Dax, <a href="#page_530">530</a>.<br />
+Cath�drale d'Eauze, <a href="#page_531">531</a>.<br />
+Cath�drale de Lectoure, <a href="#page_402">402-404</a>.<br />
+Cath�drale de Lu�on, <a href="#page_085">85</a>, <a href="#page_086">86</a>, <a href="#page_533">533</a>.<br />
+Cath�drale de Montauban, <a href="#page_422">422-424</a>.<br />
+Cath�drale de Pamiers, <a href="#page_461">461-463</a>, <a href="#page_536">536</a>.<br />
+Cath�drale de Sarlat, <a href="#page_540">540</a>.<br />
+Cath�drale de Sion, <a href="#page_302">302-304</a>, <a href="#page_540">540</a>.<a name="page_549" id="page_549"></a><br />
+Cathedral of St. Michel, Carcassonne, <a href="#page_451">451</a>, <a href="#page_452">452</a>.<br />
+Cath�drale de Tulle, <a href="#page_118">118</a>, <a href="#page_119">119</a>, <a href="#page_542">542</a>.<br />
+Cath�drale de Vabres, <a href="#page_543">543</a>.<br />
+Cath�drale de Vaison, <a href="#page_226">226</a>, <a href="#page_227">227</a>, <a href="#page_543">543</a>.<br />
+Cathedrale de Viviers, <a href="#page_195">195</a>, <a href="#page_196">196</a>, <a href="#page_544">544</a>.<br />
+Cavaillon, <a href="#page_226">226</a>.<br />
+Cavaillon, St. Veran de, <a href="#page_200">200-203</a>, <a href="#page_528">528</a>.<br />
+Cevennes, <a href="#page_030">30</a>, <a href="#page_072">72</a>, <a href="#page_076">76-79</a>, <a href="#page_136">136</a>.<br />
+Chalons, Simon de, <a href="#page_247">247</a>.<br />
+Chalons-sur-Sa�ne, St. Etienne de, <a href="#page_170">170-173</a>, <a href="#page_529">529</a>.<br />
+Chamb�ry, <a href="#page_028">28</a>, <a href="#page_253">253</a>, <a href="#page_255">255-257</a>, <a href="#page_264">264</a>, <a href="#page_267">267</a>, <a href="#page_270">270</a>.<br />
+Chamb�ry, Cath�drale de, <a href="#page_529">529</a>.<br />
+Chapelle des Innocents, Agen, <a href="#page_431">431</a>.<br />
+Charente, River, <a href="#page_115">115</a>.<br />
+Charlemagne, <a href="#page_058">58</a>, <a href="#page_059">59</a>, <a href="#page_214">214</a>.<br />
+Charles V., <a href="#page_040">40</a>, <a href="#page_045">45</a>, <a href="#page_323">323</a>.<br />
+Charles VIII., <a href="#page_065">65</a>.<br />
+Charles the Great, <a href="#page_304">304</a>.<br />
+Charterhouse, near Grenoble, <a href="#page_062">62</a>.<br />
+Chartres, <a href="#page_060">60</a>, <a href="#page_062">62</a>, <a href="#page_232">232</a>.<br />
+Chartres, Aventin de, <a href="#page_037">37</a>.<br />
+Chartreuse, La Grande, <a href="#page_048">48</a>, <a href="#page_162">162</a>, <a href="#page_531">531</a>.<br />
+Chavannes, Puvis de, <a href="#page_102">102</a>, <a href="#page_342">342</a>.<br />
+Chiss�, Archbishop, <a href="#page_260">260</a>.<br />
+Chrysaphius, Bishop, <a href="#page_281">281</a>.<br />
+Church of St. Saturnin (Toulouse), <a href="#page_440">440-444</a>.<br />
+Church of the Jacobins (Toulouse), <a href="#page_440">440</a>, <a href="#page_441">441</a>, <a href="#page_443">443</a>, <a href="#page_444">444</a>.<br />
+Clairvaux, <a href="#page_062">62</a>.<br />
+Clement V., Pope, <a href="#page_033">33</a>, <a href="#page_211">211</a>, <a href="#page_398">398</a>, <a href="#page_400">400</a>.<br />
+Clement VI., <a href="#page_219">219</a>,<br />
+Clermont-Ferrand, <a href="#page_029">29</a>, <a href="#page_033">33</a>, <a href="#page_052">52</a>, <a href="#page_057">57</a>, <a href="#page_073">73</a>, <a href="#page_074">74</a>.<br />
+Clermont-Ferrand, Notre Dame de, <a href="#page_144">144-151</a>, <a href="#page_530">530</a>.<br />
+Clermont (St. Austremoine), <a href="#page_037">37</a>.<br />
+Cluny, Abbey of, <a href="#page_051">51</a>, <a href="#page_059">59</a>.<br />
+Coligny, <a href="#page_121">121</a>.<a name="page_550" id="page_550"></a><br />
+Comminges, <a href="#page_464">464</a>.<br />
+Comminges, Roger de, <a href="#page_496">496</a>.<br />
+Comminges, St. Bertrande, <a href="#page_062">62</a>, <a href="#page_464">464-468</a>, <a href="#page_530">530</a>.<br />
+Comt� de Nice, <a href="#page_256">256</a>.<br />
+Condom, <a href="#page_042">42</a>.<br />
+Condom, Cath�drale de, <a href="#page_420">420</a>, <a href="#page_421">421</a>.<br />
+Conflans, Oger de, <a href="#page_271">271</a>.<br />
+Conseil, Michel, <a href="#page_256">256</a>.<br />
+Constantin, Palais de, <a href="#page_230">230</a>.<br />
+Corsica, Diocese of, <a href="#page_047">47</a>.<br />
+Coucy, Chateau at, <a href="#page_066">66</a>.<br />
+Coulon, <a href="#page_291">291</a>.<br />
+<br />
+Dant�, <a href="#page_134">134</a>.<br />
+Daudet, <a href="#page_165">165</a>.<br />
+Dauphin�, <a href="#page_030">30</a>, <a href="#page_161">161</a>, <a href="#page_162">162</a>, <a href="#page_297">297</a>, <a href="#page_298">298</a>.<br />
+Dax, <a href="#page_495">495</a>.<br />
+Dax, Cath�drale de, <a href="#page_530">530</a>.<br />
+Delta of Rh�ne, <a href="#page_168">168</a>.<br />
+D'Entrevaux, <a href="#page_280">280</a>.<br />
+De Sade, Laura, <a href="#page_204">204</a>, <a href="#page_207">207</a>, <a href="#page_208">208</a>.<br />
+Deveria, <a href="#page_250">250</a>.<br />
+Di�, Notre Dame de, <a href="#page_287">287</a>, <a href="#page_288">288</a>, <a href="#page_531">531</a>.<br />
+Digne, <a href="#page_281">281</a>, <a href="#page_283">283-286</a>.<br />
+Dijon, <a href="#page_171">171</a>.<br />
+Dijon, St. B�nigne of, <a href="#page_063">63</a>.<br />
+Dioceses of Church in France, <a href="#page_039">39</a>, <a href="#page_040">40</a>.<br />
+Diocese of Corsica, <a href="#page_047">47</a>.<br />
+Domninus, <a href="#page_259">259</a>.<br />
+Dordogne, <a href="#page_029">29</a>.<br />
+Duclaux, Madame, <a href="#page_025">25</a>, <a href="#page_229">229</a>, <a href="#page_235">235</a>.<br />
+Ducs de Sabron, Tomb of, <a href="#page_290">290</a>.<br />
+Duke of Anjou, <a href="#page_040">40</a>, <a href="#page_044">44</a>.<br />
+Dumas, Jean, <a href="#page_433">433</a>.<br />
+Durance, River, <a href="#page_162">162</a>, <a href="#page_292">292</a>.<br />
+D�rer, Albrecht, <a href="#page_325">325</a>.<br />
+<br />
+Eauze, <a href="#page_495">495</a>, <a href="#page_496">496</a>.<br />
+Eauze, Cath�drale de, <a href="#page_531">531</a>.<br />
+Edward I., <a href="#page_400">400</a>.<br />
+Edwards, Miss M. E. B., <a href="#page_024">24</a>.<br />
+Eglise de Brou, <a href="#page_277">277</a>.<br />
+Eglise des Cordeliers, <a href="#page_207">207</a>.<br />
+Eglise de Grasse, <a href="#page_339">339</a>, <a href="#page_340">340</a>.<br />
+Eglise de la Grande Chartreuse, <a href="#page_263">263</a>.<a name="page_551" id="page_551"></a><br />
+Eglise de St Andr�, <a href="#page_260">260</a>, <a href="#page_351">351</a>.<br />
+Eglise de St. Claire, <a href="#page_208">208</a>.<br />
+Eglise de St. Pol, <a href="#page_075">75</a>.<br />
+Eglise de Souillac, <a href="#page_055">55</a>.<br />
+Eglise Notre Dame du Port, <a href="#page_145">145</a>.<br />
+Eglise St Nizier, <a href="#page_179">179</a>.<br />
+Eglise St. Quinin, <a href="#page_227">227</a>.<br />
+Eleanor of Poitou and Guienne, <a href="#page_039">39</a>.<br />
+Elne, <a href="#page_369">369</a>, <a href="#page_372">372</a>, <a href="#page_373">373</a>.<br />
+Elne, Ste. Eulalia de, <a href="#page_372">372-374</a>, <a href="#page_532">532</a>.<br />
+<i>Emaux</i> de Limoges, <a href="#page_104">104-107</a>.<br />
+Embrun, <a href="#page_230">230</a>, <a href="#page_283">283</a>, <a href="#page_285">285</a>, <a href="#page_292">292-295</a>, <a href="#page_300">300</a>.<br />
+Embrun, Notre Dame de, <a href="#page_292">292-295</a>, <a href="#page_531">531</a>.<br />
+Escurial of Dauphin�, <a href="#page_062">62</a>.<br />
+Esp�randieu, <a href="#page_348">348</a>.<br />
+Etats du Languedoc, <a href="#page_251">251</a>.<br />
+Eus�be, <a href="#page_300">300</a>.<br />
+Evreaux, Taurin d', <a href="#page_037">37</a>.<br />
+<br />
+Farel, Guillaume, <a href="#page_298">298</a>.<br />
+"F�librage," The, <a href="#page_204">204</a>, <a href="#page_218">218</a>.<br />
+F�nelon, <a href="#page_438">438</a>.<br />
+F�re-Alais, Marquis de la, <a href="#page_251">251</a>.<br />
+Fergusson, <a href="#page_099">99</a>.<br />
+Flanders, <a href="#page_030">30</a>.<br />
+"Fountain of Vauclause," <a href="#page_221">221</a>.<br />
+Fran�ois I., <a href="#page_065">65</a>, <a href="#page_120">120</a>, <a href="#page_124">124</a>, <a href="#page_354">354</a>.<br />
+Freeman, Professor, <a href="#page_095">95</a>, <a href="#page_099">99</a>.<br />
+Fr�jus, <a href="#page_330">330</a>, <a href="#page_335">335</a>, <a href="#page_336">336</a>.<br />
+Fr�jus, St. Etienne de, <a href="#page_335">335-338</a>.<br />
+Froissart, <a href="#page_417">417</a>.<br />
+<br />
+Gap, <a href="#page_296">296-299</a>.<br />
+Gap, Dem�tre de, <a href="#page_036">36</a>.<br />
+Gap, Notre Dame de l'Assomption de, <a href="#page_296">296</a>, <a href="#page_299">299</a>.<br />
+Gard, <a href="#page_029">29</a>.<br />
+Gard, Notre Dame de la, <a href="#page_346">346</a>, <a href="#page_347">347</a>.<br />
+Garonne, River, <a href="#page_044">44</a>, <a href="#page_388">388</a>, <a href="#page_389">389</a>.<br />
+Gascogne, <a href="#page_390">390</a>.<br />
+Geneva, <a href="#page_252">252</a>.<br />
+Geraldi, Hugo, <a href="#page_427">427</a>.<br />
+Gervais, <a href="#page_365">365</a>.<br />
+Ghirlandajo, <a href="#page_133">133</a>.<a name="page_552" id="page_552"></a><br />
+Gland�ve, <a href="#page_280">280</a>.<br />
+Gosse, Edmund, <a href="#page_029">29</a>.<br />
+Gothic architecture, <a href="#page_060">60-65</a>.<br />
+Grasse, <a href="#page_330">330</a>, <a href="#page_339">339</a>.<br />
+Grasse, Eglise de, <a href="#page_339">339</a>, <a href="#page_340">340</a>.<br />
+Grasse, Felix, <a href="#page_024">24</a>, <a href="#page_384">384</a>.<br />
+Gregory XI., Pope, <a href="#page_213">213</a>.<br />
+Grenoble, <a href="#page_028">28</a>, <a href="#page_258">258-264</a>.<br />
+Grenoble, Notre Dame de, <a href="#page_258">258-264</a>, <a href="#page_531">531</a>.<br />
+Guienne, <a href="#page_041">41</a>, <a href="#page_389">389</a>, <a href="#page_390">390</a>.<br />
+Guienne, Eleanor of, <a href="#page_039">39</a>.<br />
+<br />
+Hamerton, Philip Gilbert, <a href="#page_159">159</a>, <a href="#page_160">160</a>, <a href="#page_170">170</a>.<br />
+Henri IV., <a href="#page_353">353</a>, <a href="#page_406">406</a>, <a href="#page_416">416</a>.<br />
+Honor�, <a href="#page_334">334</a>.<br />
+H�tel d'Aquitaine (Poitiers), <a href="#page_102">102</a>.<br />
+Humbert, Archbishop, <a href="#page_180">180</a>.<br />
+Humbert, Count, <a href="#page_271">271</a>.<br />
+<br />
+Ingres, <a href="#page_423">423</a>, <a href="#page_424">424</a>.<br />
+Innocent IV., <a href="#page_201">201</a>.<br />
+Innocent VI., <a href="#page_225">225</a>.<br />
+Issiore, <a href="#page_075">75</a>.<br />
+<br />
+Jaffa, <a href="#page_056">56</a>.<br />
+Jalabert, <a href="#page_250">250</a>.<br />
+James, Henry, <a href="#page_025">25</a>.<br />
+Janvier, Thomas, <a href="#page_026">26</a>.<br />
+Joanna of Naples, <a href="#page_209">209</a>.<br />
+John XXII., Pope, <a href="#page_041">41</a>, <a href="#page_216">216</a>, <a href="#page_428">428</a>.<br />
+Jordaens, <a href="#page_401">401</a>.<br />
+<br />
+L'Abbaye de Maillezais, <a href="#page_081">81</a>.<br />
+Lackland, John, <a href="#page_040">40</a>.<br />
+La Cath�drale (Poitiers), <a href="#page_096">96</a>.<br />
+La Chaise Dieu, <a href="#page_062">62</a>, <a href="#page_075">75</a>.<br />
+Lac Leman, <a href="#page_252">252</a>.<br />
+L'Eglise de la S�de Tarbes, <a href="#page_417">417-419</a>.<br />
+"La Grande Chartreuse," <a href="#page_048">48</a>, <a href="#page_162">162</a>, <a href="#page_531">531</a>.<br />
+Lake of Annecy, <a href="#page_252">252</a>.<br />
+La Madeleine, Aix, <a href="#page_324">324</a>.<br />
+Lamartine, <a href="#page_176">176</a>.<br />
+Languedoc, <a href="#page_032">32</a>, <a href="#page_040">40</a>, <a href="#page_044">44</a>, <a href="#page_390">390</a>, <a href="#page_391">391</a>.<br />
+La Rochelle, <a href="#page_073">73</a>, <a href="#page_082">82</a>, <a href="#page_083">83</a>.<a name="page_553" id="page_553"></a><br />
+La Rochelle, St. Louis de, <a href="#page_082">82-84</a>, <a href="#page_532">532</a>.<br />
+La Trinit� at Anjou, <a href="#page_056">56</a>.<br />
+Laura, Tomb of, <a href="#page_033">33</a>.<br />
+Lavaur, <a href="#page_497">497</a>, <a href="#page_498">498</a>.<br />
+Lectoure, <a href="#page_402">402</a>.<br />
+Lectoure, Cath�drale de, <a href="#page_402">402-404</a>.<br />
+Les Ar�nes, <a href="#page_240">240</a>.<br />
+Lescar, <a href="#page_413">413</a>.<br />
+Lescar, Notre Dame de, <a href="#page_413">413-416</a>.<br />
+Lesdigui�res, Duc de, <a href="#page_298">298</a>.<br />
+Les Fr�res du Pont, <a href="#page_220">220</a>.<br />
+Le Puy, <a href="#page_061">61</a>, <a href="#page_134">134-136</a>, <a href="#page_327">327</a>.<br />
+Le Puy, Notre Dame de, <a href="#page_097">97</a>, <a href="#page_134">134-143</a>, <a href="#page_532">532</a>.<br />
+Limoges, <a href="#page_057">57</a>, <a href="#page_079">79</a>, <a href="#page_080">80</a>, <a href="#page_104">104</a>, <a href="#page_105">105</a>.<br />
+Limoges (St. Martial), <a href="#page_037">37</a>.<br />
+Limoges, St. Etienne de, <a href="#page_104">104-111</a>, <a href="#page_532">532</a>.<br />
+Limousin, <a href="#page_071">71</a>, <a href="#page_072">72</a>.<br />
+Lod�ve, <a href="#page_246">246</a>.<br />
+Lod�ve, St. Fulcran de, <a href="#page_152">152-155</a>, <a href="#page_533">533</a>.<br />
+Loire valley, <a href="#page_030">30</a>.<br />
+Lombardy, <a href="#page_033">33</a>.<br />
+Lombez, <a href="#page_496">496</a>.<br />
+Lot, <a href="#page_044">44</a>.<br />
+Loudin, Noel, <a href="#page_110">110</a>.<br />
+Louis IV., <a href="#page_240">240</a>.<br />
+Louis VII., <a href="#page_039">39</a>.<br />
+Louis XI., <a href="#page_295">295</a>.<br />
+Louis XIII., <a href="#page_353">353</a>.<br />
+Louis XIV., <a href="#page_210">210</a>, <a href="#page_224">224</a>.<br />
+Louis XV., <a href="#page_210">210</a>.<br />
+Louis Napoleon, <a href="#page_397">397</a>.<br />
+Loz�re, <a href="#page_028">28</a>.<br />
+Lu�on, <a href="#page_042">42</a>.<br />
+Lu�on, Cath�drale de, <a href="#page_085">85</a>, <a href="#page_086">86</a>, <a href="#page_533">533</a>.<br />
+Lyon, <a href="#page_028">28</a>, <a href="#page_177">177</a>, <a href="#page_178">178</a>, <a href="#page_259">259</a>, <a href="#page_267">267</a>, <a href="#page_273">273</a>.<br />
+Lyon, St. Jean de, <a href="#page_177">177-185</a>, <a href="#page_533">533</a>.<br />
+<br />
+Macon, St. Vincent de, <a href="#page_174">174-176</a>.<br />
+Madet, Joseph de, <a href="#page_273">273</a>.<br />
+Maguelonne, <a href="#page_353">353</a>, <a href="#page_354">354</a>.<br />
+Maillezais, <a href="#page_042">42</a>.<br />
+Maillezais, L'Abbaye de, <a href="#page_081">81</a>.<br />
+Maine, Henry Plantagenet of, <a href="#page_039">39</a>.<a name="page_554" id="page_554"></a><br />
+Maison Car�e, The, <a href="#page_240">240</a>.<br />
+Mansard, <a href="#page_290">290</a>.<br />
+Marseilles, <a href="#page_036">36</a>, <a href="#page_314">314</a>, <a href="#page_318">318</a>, <a href="#page_342">342</a>.<br />
+Marseilles, Ste. Marie-Majeure de, <a href="#page_318">318</a>, <a href="#page_342">342-349</a>, <a href="#page_534">534</a>.<br />
+Maurienne, <a href="#page_269">269-271</a>.<br />
+Maurienne, St. Jean de, <a href="#page_256">256</a>, <a href="#page_269">269-271</a>, <a href="#page_534">534</a>.<br />
+Memmi, Simone (of Sienna), <a href="#page_211">211</a>, <a href="#page_216">216</a>.<br />
+Mende, <a href="#page_042">42</a>, <a href="#page_246">246</a>, <a href="#page_490">490</a>, <a href="#page_492">492</a>.<br />
+Mende in Loz�re, <a href="#page_027">27</a>.<br />
+Mende, St. Pierre de, <a href="#page_490">490-494</a>, <a href="#page_534">534</a>.<br />
+M�rim�e, Prosper, <a href="#page_026">26</a>, <a href="#page_030">30</a>, <a href="#page_224">224</a>.<br />
+Metz, Clement de, <a href="#page_036">36</a>.<br />
+Midi, The, <a href="#page_383">383-395</a>.<br />
+Midi, Canal du, <a href="#page_386">386</a>.<br />
+Mignard, <a href="#page_250">250</a>, <a href="#page_282">282</a>, <a href="#page_290">290</a>.<br />
+Mimat, Mont, <a href="#page_494">494</a>.<br />
+Mirabeau, <a href="#page_046">46</a>.<br />
+Mirepoix, <a href="#page_501">501</a>.<br />
+Mirepoix, St. Maurice de, <a href="#page_501">501</a>.<br />
+Mistral, Frederic, <a href="#page_163">163</a>, <a href="#page_165">165</a>, <a href="#page_218">218</a>, <a href="#page_228">228</a>.<br />
+Modane, <a href="#page_270">270</a>.<br />
+Mognon, <a href="#page_084">84</a>.<br />
+Moles, Arnaud de, <a href="#page_436">436</a>.<br />
+Monastery of La Grande Chartreuse, <a href="#page_260">260</a>.<br />
+Montauban, <a href="#page_422">422</a>.<br />
+Montauban, Cath�drale de, <a href="#page_422">422-424</a>.<br />
+Mont de la Baume, <a href="#page_282">282</a>.<br />
+Mont Dor�-le-Bains, <a href="#page_074">74</a>.<br />
+Monte Carlo, <a href="#page_213">213</a>.<br />
+Montfort, Simon de, <a href="#page_455">455</a>, <a href="#page_459">459</a>.<br />
+Montmajour, Abbey of, <a href="#page_230">230</a>.<br />
+Montpellier, <a href="#page_040">40</a>, <a href="#page_352">352-354</a>.<br />
+Montpellier, St. Pierre de, <a href="#page_352">352-357</a>, <a href="#page_534">534</a>.<br />
+Mont St. Guillaume, <a href="#page_295">295</a>.<br />
+Morin, Abb�, <a href="#page_036">36</a>, <a href="#page_037">37</a>.<br />
+Moulins, Notre Dame de, <a href="#page_126">126-133</a>, <a href="#page_534">534</a>.<br />
+<br />
+Nadaud, Gustave, <a href="#page_455">455-457</a>.<br />
+Naples, Joanna of, <a href="#page_209">209</a>.<br />
+Naples, Kingdom of, <a href="#page_045">45</a>.<a name="page_555" id="page_555"></a><br />
+Napoleon, <a href="#page_027">27</a>, <a href="#page_210">210</a>, <a href="#page_240">240</a>.<br />
+Narbonne, <a href="#page_042">42</a>, <a href="#page_053">53</a>, <a href="#page_054">54</a>, <a href="#page_241">241</a>, <a href="#page_375">375</a>, <a href="#page_376">376</a>.<br />
+Narbonne, St. Just de, <a href="#page_375">375-379</a>, <a href="#page_535">535</a>.<br />
+Narbonne (St. Paul), <a href="#page_037">37</a>.<br />
+Nero, Reign of, <a href="#page_036">36</a>.<br />
+Neiges, Notre Dame des, <a href="#page_223">223</a>.<br />
+Nice, St. Reparata de, <a href="#page_328">328-331</a>.<br />
+N�mes, <a href="#page_028">28</a>, <a href="#page_033">33</a>, <a href="#page_040">40</a>, <a href="#page_061">61</a>, <a href="#page_218">218</a>, <a href="#page_228">228</a>, <a href="#page_229">229</a>, <a href="#page_236">236-242</a>.<br />
+N�mes, St. Castor de, <a href="#page_236">236-244</a>, <a href="#page_535">535</a>.<br />
+Notre Dame de l'Assomption de Gap, <a href="#page_296">296-299</a>.<br />
+Notre Dame de Bayonne, <a href="#page_405">405-410</a>, <a href="#page_525">525</a>.<br />
+Notre Dame de Bourg, <a href="#page_277">277-279</a>, <a href="#page_526">526</a>.<br />
+Notre Dame de Clermont-Ferrand, <a href="#page_144">144-151</a>, <a href="#page_530">530</a>.<br />
+Notre Dame de Di�, <a href="#page_287">287</a>, <a href="#page_288">288</a>, <a href="#page_531">531</a>.<br />
+Notre Dame de Doms d'Avignon, <a href="#page_204">204-220</a>, <a href="#page_525">525</a>.<br />
+Notre Dame d'Embrun, <a href="#page_292">292-295</a>, <a href="#page_531">531</a>.<br />
+Notre Dame de la Gard, <a href="#page_346">346</a>, <a href="#page_347">347</a>.<br />
+Notre Dame de la Grande (Poitiers), <a href="#page_095">95</a>.<br />
+Notre Dame de Grenoble, <a href="#page_258">258-264</a>, <a href="#page_531">531</a>.<br />
+Notre Dame de Le Puy, <a href="#page_097">97</a>, <a href="#page_134">134-143</a>, <a href="#page_532">532</a>.<br />
+Notre Dame de Lescar, <a href="#page_413">413-416</a>.<br />
+Notre Dame de Moulins, <a href="#page_126">126-133</a>, <a href="#page_534">534</a>.<br />
+Notre Dame des Neiges, <a href="#page_223">223</a>.<br />
+Notre Dame d'Orange, <a href="#page_197">197-199</a>, <a href="#page_536">536</a>.<br />
+Notre Dame de Rodez, <a href="#page_363">363</a>, <a href="#page_474">474-481</a>, <a href="#page_539">539</a>.<br />
+Notre Dame et St. Castor d'Apt, <a href="#page_289">289-291</a>.<br />
+Notre Dame de Vence, <a href="#page_300">300</a>, <a href="#page_301">301</a>, <a href="#page_544">544</a>.<br />
+Notre Dame du Port, <a href="#page_057">57</a>.<br />
+Noyon, <a href="#page_060">60</a>.<a name="page_556" id="page_556"></a><br />
+<br />
+Obreri, Peter, <a href="#page_212">212</a>.<br />
+Oloron, <a href="#page_498">498</a>, <a href="#page_536">536</a>.<br />
+Oloron, Ste. Marie d', <a href="#page_498">498</a>, <a href="#page_536">536</a>.<br />
+Orange, <a href="#page_028">28</a>, <a href="#page_033">33</a>, <a href="#page_061">61</a>, <a href="#page_225">225</a>, <a href="#page_229">229</a>.<br />
+Orange, Notre Dame d', <a href="#page_197">197-199</a>, <a href="#page_536">536</a>.<br />
+Orb, River, <a href="#page_366">366</a>, <a href="#page_367">367</a>.<br />
+Order of St. Bruno, <a href="#page_260">260</a>, <a href="#page_261">261</a>, <a href="#page_263">263</a>.<br />
+<br />
+Palais de Justice (Poitiers), <a href="#page_102">102</a>.<br />
+Palais des Papes, <a href="#page_054">54</a>, <a href="#page_209">209</a>.<br />
+Palais du Constantin, <a href="#page_230">230</a>.<br />
+Palissy, Bernard, <a href="#page_117">117</a>.<br />
+Pamiers, <a href="#page_461">461</a>.<br />
+Pamiers, Cath�drale de, <a href="#page_461">461-463</a>, <a href="#page_536">536</a>.<br />
+Paris, <a href="#page_029">29</a>, <a href="#page_037">37</a>, <a href="#page_046">46</a>, <a href="#page_062">62</a>, <a href="#page_232">232</a>, <a href="#page_270">270</a>.<br />
+Parrocel, <a href="#page_290">290</a>.<br />
+Pascal, Blaise, <a href="#page_150">150</a>, <a href="#page_151">151</a>, <a href="#page_160">160</a>.<br />
+Paschal II., <a href="#page_189">189</a>.<br />
+Pas de Calais, <a href="#page_030">30</a>.<br />
+Pause, Plantavit de la, <a href="#page_154">154</a>.<br />
+P�rigueux, <a href="#page_055">55-57</a>, <a href="#page_061">61</a>.<br />
+P�rigueux, St. Front de, <a href="#page_056">56</a>, <a href="#page_087">87-91</a>, <a href="#page_097">97</a>, <a href="#page_537">537</a>.<br />
+Perpignan, <a href="#page_028">28</a>, <a href="#page_368">368</a>, <a href="#page_369">369</a>, <a href="#page_373">373</a>.<br />
+Perpignan, St. Jean de, <a href="#page_368">368-371</a>, <a href="#page_537">537</a>.<br />
+Petrarch, <a href="#page_204">204</a>, <a href="#page_207">207-209</a>, <a href="#page_211">211</a>, <a href="#page_213">213</a>, <a href="#page_221">221</a>, <a href="#page_264">264</a>.<br />
+Peyer, Roger, <a href="#page_242">242</a>.<br />
+Philippe-Auguste, <a href="#page_040">40</a>.<br />
+Philippe-le-Bel, <a href="#page_041">41</a>.<br />
+Piedmont, <a href="#page_270">270</a>.<br />
+Pierrefonds, Ch�teau at, <a href="#page_066">66</a>.<br />
+Pius VI., <a href="#page_194">194</a>.<br />
+Pius, Pope, <a href="#page_210">210</a>.<br />
+Plantagenet, Henry (of Maine and Anjou), <a href="#page_039">39</a>.<br />
+Poitiers, <a href="#page_042">42</a>, <a href="#page_073">73</a>, <a href="#page_095">95-97</a>, <a href="#page_327">327</a>.<br />
+Poitiers, Notre Dame de la Grande, <a href="#page_095">95</a>.<br />
+Poitiers (St. Hilaire), <a href="#page_061">61</a>.<br />
+Poitiers, St. Pierre de, <a href="#page_092">92-101</a>, <a href="#page_538">538</a>.<br />
+Poitou, <a href="#page_071">71-73</a>.<br />
+Poitou, Eleanor of, <a href="#page_039">39</a>.<br />
+Polignac, Ch�teau de, <a href="#page_075">75</a>, <a href="#page_076">76</a>, <a href="#page_135">135</a>, <a href="#page_143">143</a>.<a name="page_557" id="page_557"></a><br />
+Port Royal, <a href="#page_045">45</a>.<br />
+Provence, <a href="#page_032">32</a>, <a href="#page_062">62</a>, <a href="#page_163">163-167</a>, <a href="#page_313">313</a>.<br />
+Proven�al architecture, <a href="#page_054">54</a>, <a href="#page_055">55</a>, <a href="#page_057">57</a>, <a href="#page_066">66</a>.<br />
+Ptolemy, <a href="#page_159">159</a>.<br />
+Puy, Bertrand du, <a href="#page_422">422</a>.<br />
+Puy de D�me, <a href="#page_029">29</a>, <a href="#page_073">73</a>, <a href="#page_074">74</a>.<br />
+Puy, Notre Dame de la, <a href="#page_097">97</a>, <a href="#page_134">134-143</a>, <a href="#page_532">532</a>.<br />
+Pyrenees, The, <a href="#page_393">393-395</a>.<br />
+<br />
+Religious movements in France, <a href="#page_023">23-48</a>.<br />
+Ren�, King, <a href="#page_323">323</a>, <a href="#page_326">326</a>.<br />
+R�voil, Henri, <a href="#page_348">348</a>.<br />
+Rheims, <a href="#page_060">60</a>, <a href="#page_062">62</a>, <a href="#page_229">229</a>.<br />
+Rheims, Sixte de, <a href="#page_037">37</a>.<br />
+Rh�ne valley, <a href="#page_028">28</a>.<br />
+Richelieu, Cardinal, <a href="#page_085">85</a>.<br />
+Rienzi, <a href="#page_211">211</a>.<br />
+Rieux, <a href="#page_497">497</a>.<br />
+Riez, <a href="#page_280">280</a>, <a href="#page_281">281</a>.<br />
+Riom, <a href="#page_073">73</a>.<br />
+Riviera, The, <a href="#page_313">313-320</a>.<br />
+Rochefort, <a href="#page_073">73</a>.<br />
+Rocher des Doms, <a href="#page_213">213</a>.<br />
+Rodez, <a href="#page_029">29</a>, <a href="#page_042">42</a>, <a href="#page_274">274</a>.<br />
+Rodez, Notre Dame de, <a href="#page_363">363</a>, <a href="#page_474">474-481</a>, <a href="#page_539">539</a>.<br />
+Rouen, <a href="#page_060">60</a>.<br />
+Rouen, Nicaise de, <a href="#page_037">37</a>.<br />
+Rouen (St. Ouen), <a href="#page_052">52</a>.<br />
+Rousillon, <a href="#page_368">368</a>, <a href="#page_369">369</a>, <a href="#page_372">372</a>.<br />
+Rousseau, <a href="#page_256">256</a>.<br />
+Rov�re, Bishop de la, <a href="#page_492">492</a>.<br />
+Rubens, <a href="#page_340">340</a>.<br />
+Ruskin, <a href="#page_063">63</a>.<br />
+<br />
+St. Albans in Hertfordshire, <a href="#page_230">230</a>.<br />
+St. Andr� de Bordeaux, <a href="#page_094">94</a>, <a href="#page_396">396-401</a>, <a href="#page_526">526</a>.<br />
+St. Ansone, <a href="#page_121">121</a>.<br />
+St. Apollinaire de Valence, <a href="#page_190">190-194</a>, <a href="#page_543">543</a>.<br />
+St. Armand, <a href="#page_474">474</a>, <a href="#page_481">481</a>.<br />
+St. Armentaire, <a href="#page_339">339</a>, <a href="#page_341">341</a>.<br />
+St. Astier, Armand de, <a href="#page_119">119</a>.<br />
+St. Aubin, <a href="#page_226">226</a>.<br />
+St. Auspice, <a href="#page_289">289</a>.<a name="page_558" id="page_558"></a><br />
+St. Austinde, <a href="#page_433">433</a>, <a href="#page_435">435</a>.<br />
+St. Austremoine, <a href="#page_037">37</a>, <a href="#page_150">150</a>.<br />
+St. Ayrald, <a href="#page_271">271</a>.<br />
+St. B�nezet, <a href="#page_219">219</a>.<br />
+St. B�nigne of Dijon, <a href="#page_063">63</a>.<br />
+St. Benoit de Castres, <a href="#page_471">471-473</a>, <a href="#page_528">528</a>.<br />
+St. Bertrand de Comminges, <a href="#page_062">62</a>, <a href="#page_464">464-468</a>, <a href="#page_530">530</a>.<br />
+St. Bruno, Monks of, <a href="#page_260">260-263</a>.<br />
+St. Caprais d'Agen, <a href="#page_429">429</a>, <a href="#page_431">431</a>, <a href="#page_520">520</a>.<br />
+St. Castor d'Apt, <a href="#page_523">523</a>.<br />
+St. Castor de N�mes, <a href="#page_236">236-244</a>, <a href="#page_535">535</a>.<br />
+Ste. Catherine, Church of, <a href="#page_303">303</a>.<br />
+St. C�cile d'Albi, <a href="#page_363">363</a>, <a href="#page_482">482-489</a>, <a href="#page_522">522</a>.<br />
+St. Clair, <a href="#page_489">489</a>.<br />
+Ste. Clara de Mont Falcone, <a href="#page_217">217</a>.<br />
+St. Claude, <a href="#page_272">272-274</a>.<br />
+St. Claude, St. Pierre de, <a href="#page_272">272-274</a>, <a href="#page_540">540</a>.<br />
+St. Crescent, <a href="#page_037">37</a>, <a href="#page_186">186</a>, <a href="#page_296">296</a>.<br />
+St. Demetrius, <a href="#page_296">296</a>.<br />
+St. Denis, The bishop of, <a href="#page_037">37</a>.<br />
+St. Denis, <a href="#page_051">51</a>.<br />
+St. Domnin, <a href="#page_285">285</a>.<br />
+St. Emilien, <a href="#page_253">253</a>.<br />
+Ste. Estelle, <a href="#page_218">218</a>.<br />
+St. Etienne, <a href="#page_230">230</a>.<br />
+St. Etienne d'Auxerre, <a href="#page_407">407</a>.<br />
+St. Etienne de Cahors, <a href="#page_425">425-428</a>, <a href="#page_527">527</a>.<br />
+St. Etienne de Chalons-sur-Sa�ne, <a href="#page_170">170-173</a>, <a href="#page_529">529</a>.<br />
+St. Etienne de Fr�jus, <a href="#page_335">335-338</a>.<br />
+St. Etienne de Limoges, <a href="#page_104">104-111</a>, <a href="#page_532">532</a>.<br />
+St. Etienne de Toulouse, <a href="#page_439">439-448</a>, <a href="#page_541">541</a>.<br />
+St. Eulalie d'Elne, <a href="#page_372">372-374</a>, <a href="#page_531">531</a>.<br />
+St. Eustache, <a href="#page_268">268</a>.<br />
+St. Eutrope (Saintes), <a href="#page_115">115-117</a>.<br />
+St. Felix, <a href="#page_241">241</a>.<br />
+St. Flour, St. Odilon de, <a href="#page_112">112-114</a>, <a href="#page_540">540</a>.<br />
+St. Fran�ois de Sales, <a href="#page_253">253</a>.<br />
+St. Fraterne, <a href="#page_280">280</a>.<a name="page_559" id="page_559"></a><br />
+<br />
+St. Front de P�rigueux, <a href="#page_056">56</a>, <a href="#page_087">87-91</a>, <a href="#page_097">97</a>, <a href="#page_537">537</a>.<br />
+St. Fulcran de Lod�ve, <a href="#page_152">152-155</a>, <a href="#page_533">533</a>.<br />
+St. Gatien (Tours), <a href="#page_037">37</a>.<br />
+St. Genialis, <a href="#page_201">201</a>.<br />
+St. Georges, <a href="#page_137">137</a>.<br />
+St. Gilles, <a href="#page_232">232</a>.<br />
+St. Hilaire, <a href="#page_061">61</a>, <a href="#page_095">95</a>, <a href="#page_096">96</a>.<br />
+St. Honorat des Alyscamps, <a href="#page_231">231</a>.<br />
+St. Jean d'Alais, <a href="#page_249">249-251</a>, <a href="#page_521">521</a>.<br />
+St. Jean-Baptiste d'Aire, <a href="#page_469">469</a>, <a href="#page_470">470</a>, <a href="#page_521">521</a>.<br />
+St. Jean de Bazas, <a href="#page_411">411</a>, <a href="#page_412">412</a>, <a href="#page_526">526</a>.<br />
+St. Jean de Lyon, <a href="#page_177">177-185</a>, <a href="#page_533">533</a>.<br />
+St. Jean-de-Malte, Aix, <a href="#page_324">324</a>.<br />
+St. Jean de Maurienne, <a href="#page_256">256</a>, <a href="#page_269">269-271</a>, <a href="#page_534">534</a>.<br />
+St. Jean de Perpignan, <a href="#page_368">368-371</a>, <a href="#page_537">537</a>.<br />
+Ste. Jeanne de Chantal, <a href="#page_253">253</a>.<br />
+St. Jerome de Digne, <a href="#page_281">281</a>, <a href="#page_283">283-286</a>.<br />
+St. Julian, <a href="#page_413">413</a>.<br />
+St. Juste de Narbonne, <a href="#page_375">375-379</a>, <a href="#page_535">535</a>.<br />
+St. Lizier, <a href="#page_499">499</a>, <a href="#page_540">540</a>.<br />
+St. Lizier, Eglise de, <a href="#page_499">499</a>, <a href="#page_500">500</a>, <a href="#page_540">540</a>.<br />
+St. Louis de La Rochelle, <a href="#page_082">82-84</a>, <a href="#page_532">532</a>.<br />
+St. Marcellin, <a href="#page_285">285</a>.<br />
+St. Marc's at Venice, <a href="#page_056">56</a>, <a href="#page_087">87-89</a>, <a href="#page_346">346</a>, <a href="#page_425">425</a>.<br />
+Ste. Marie d'Auch, <a href="#page_432">432-438</a>, <a href="#page_524">524</a>.<br />
+Ste. Marie d'Oloron, <a href="#page_498">498</a>, <a href="#page_536">536</a>.<br />
+Ste. Marie Majeure de Marseilles, <a href="#page_318">318</a>, <a href="#page_342">342-349</a>, <a href="#page_534">534</a>.<br />
+Ste. Marie Majeure de Toulon, <a href="#page_332">332-334</a>, <a href="#page_541">541</a>.<br />
+St. Mars, <a href="#page_287">287</a>.<br />
+Ste. Marthe, <a href="#page_134">134</a>.<br />
+St. Martial, <a href="#page_037">37</a>, <a href="#page_107">107</a>.<br />
+St. Martin (Tours), <a href="#page_061">61</a>.<br />
+St. Maurice, <a href="#page_304">304</a>.<br />
+St. Maurice d'Angers, <a href="#page_097">97</a>.<br />
+St. Maurice de Mirepoix, <a href="#page_501">501</a>.<br />
+St. Maurice de Vienne, <a href="#page_179">179</a>, <a href="#page_184">184</a>, <a href="#page_186">186-189</a>, <a href="#page_193">193</a>, <a href="#page_544">544</a>.<br />
+St. Maxine, <a href="#page_324">324</a>.<a name="page_560" id="page_560"></a><br />
+St. Michel, <a href="#page_142">142</a>.<br />
+St. Nazaire de Beziers, <a href="#page_363">363-367</a>, <a href="#page_526">526</a>.<br />
+St. Nazaire de Carcassonne, <a href="#page_057">57</a>, <a href="#page_319">319</a>, <a href="#page_449">449-460</a>, <a href="#page_527">527</a>.<br />
+St. Nectaire, <a href="#page_073">73</a>, <a href="#page_074">74</a>, <a href="#page_092">92</a>.<br />
+St. Odilon de St. Flour, <a href="#page_112">112-114</a>, <a href="#page_540">540</a>.<br />
+St. Ouen de Rouen, <a href="#page_052">52</a>.<br />
+St. Papoul, <a href="#page_496">496</a>, <a href="#page_497">497</a>.<br />
+St. Paul (Narbonne), <a href="#page_037">37</a>.<br />
+St. Paul Trois Ch�teaux, <a href="#page_305">305-309</a>, <a href="#page_542">542</a>.<br />
+St. Ph�rade, <a href="#page_430">430</a>.<br />
+St. Pierre d'Alet, <a href="#page_350">350</a>, <a href="#page_351">351</a>, <a href="#page_522">522</a>.<br />
+St. Pierre d'Angoul�me, <a href="#page_073">73</a>, <a href="#page_120">120-125</a>, <a href="#page_523">523</a>.<br />
+St. Pierre d'Annecy, <a href="#page_252">252-254</a>, <a href="#page_523">523</a>.<br />
+St. Pierre de Mende, <a href="#page_490">490-494</a>, <a href="#page_534">534</a>.<br />
+St. Pierre de Montpellier, <a href="#page_352">352-357</a>, <a href="#page_534">534</a>.<br />
+St. Pierre de Poitiers, <a href="#page_092">92-101</a>, <a href="#page_538">538</a>.<br />
+St. Pierre de Saintes, <a href="#page_115">115-117</a>, <a href="#page_539">539</a>.<br />
+St. Pierre de St. Claude, <a href="#page_272">272-274</a>, <a href="#page_540">540</a>.<br />
+St. Pons, <a href="#page_042">42</a>.<br />
+St. Pons de Tomiers, <a href="#page_500">500</a>, <a href="#page_501">501</a>.<br />
+St. Pothin, <a href="#page_179">179</a>.<br />
+St. Privat, <a href="#page_491">491</a>, <a href="#page_494">494</a>.<br />
+St. Prosper, <a href="#page_281">281</a>.<br />
+St. Radegonde (Poitiers), <a href="#page_095">95-98</a>.<br />
+St. R�my, <a href="#page_235">235</a>.<br />
+St. Reparata de Nice, <a href="#page_328">328-331</a>.<br />
+St. Restuit, <a href="#page_305">305</a>.<br />
+St. Saturnin (Toulouse), <a href="#page_037">37</a>.<br />
+St. Sauveur d'Aix, <a href="#page_323">323-327</a>, <a href="#page_521">521</a>.<br />
+St. Siffrein de Carpentras, <a href="#page_221">221-225</a>, <a href="#page_528">528</a>.<br />
+St. Taurin, <a href="#page_433">433</a>.<br />
+St. Th�odorit d'Uz�s, <a href="#page_245">245-248</a>, <a href="#page_542">542</a>.<br />
+St. Th�odule, <a href="#page_303">303</a>.<br />
+St. Thomas, <a href="#page_134">134</a>.<br />
+St. Trophime, <a href="#page_230">230</a>, <a href="#page_232">232</a>.<br />
+St. Trophime d'Arles, <a href="#page_037">37</a>, <a href="#page_202">202</a>, <a href="#page_228">228-235</a>, <a href="#page_524">524</a>.<br />
+St. Valentin, <a href="#page_221">221</a>.<a name="page_561" id="page_561"></a><br />
+St. Val�re (Tr�ves), <a href="#page_037">37</a>.<br />
+St. Venuste, <a href="#page_359">359</a>.<br />
+St. V�ran, <a href="#page_301">301</a>.<br />
+St. V�ran de Cavaillon, <a href="#page_200">200-203</a>, <a href="#page_528">528</a>.<br />
+St. Vincent de Macon, <a href="#page_174">174-176</a>.<br />
+St. Vincent de Paul, Statue of, <a href="#page_285">285</a>.<br />
+St. Virgil, <a href="#page_230">230</a>.<br />
+Saintes, Eutrope de, <a href="#page_037">37</a>.<br />
+Saisset, Bernard, <a href="#page_463">463</a>.<br />
+Sa�ne, River, <a href="#page_170">170</a>, <a href="#page_174">174</a>, <a href="#page_181">181</a>.<br />
+Sarlat, <a href="#page_042">42</a>, <a href="#page_500">500</a>.<br />
+Sarlat, Cath�drale de, <a href="#page_540">540</a>.<br />
+Savoie, <a href="#page_030">30</a>, <a href="#page_252">252</a>, <a href="#page_256">256</a>, <a href="#page_271">271</a>.<br />
+Scott, Sir Walter, <a href="#page_051">51</a>, <a href="#page_058">58</a>.<br />
+Senez, <a href="#page_280">280</a>.<br />
+Senlis, <a href="#page_060">60</a>.<br />
+Sens, Savinien de, <a href="#page_037">37</a>.<br />
+S�vign�, Madame de, <a href="#page_392">392</a>.<br />
+Sion, Cath�drale de, <a href="#page_302">302-304</a>, <a href="#page_540">540</a>.<br />
+Sisteron, <a href="#page_281">281</a>.<br />
+Sterne, <a href="#page_126">126</a>, <a href="#page_184">184</a>.<br />
+Stevenson, R. L., <a href="#page_023">23</a>, <a href="#page_030">30</a>, <a href="#page_135">135</a>, <a href="#page_249">249</a>.<br />
+Strasbourg, <a href="#page_051">51</a>.<br />
+Suavis, <a href="#page_464">464</a>.<br />
+Suger, Abbot, <a href="#page_051">51</a>.<br />
+<br />
+Talleyrand-P�rigord (Bishop of Autun), <a href="#page_046">46</a>.<br />
+Tarascon, Castle at, <a href="#page_066">66</a>.<br />
+Tarasque, The, <a href="#page_134">134</a>.<br />
+Tarbes, <a href="#page_417">417</a>. <a href="#page_418">418</a>.<br />
+Tarbes, L'Eglise de la S�de, <a href="#page_417">417-419</a>.<br />
+Tarentaise, <a href="#page_256">256</a>, <a href="#page_268">268</a>, <a href="#page_270">270</a>.<br />
+Tarn, River, <a href="#page_422">422</a>.<br />
+Thevenot, <a href="#page_113">113</a>.<br />
+Toulon, <a href="#page_330">330</a>, <a href="#page_332">332</a>.<br />
+Toulon, St. Marie Majeure de, <a href="#page_332">332-334</a>, <a href="#page_541">541</a>.<br />
+Toulouse, <a href="#page_042">42</a>, <a href="#page_439">439-441</a>.<br />
+Toulouse, Mus�e of, <a href="#page_441">441</a>, <a href="#page_447">447</a>.<br />
+Toulouse, St. Etienne de, <a href="#page_439">439-448</a>, <a href="#page_541">541</a>.<br />
+Toulouse, St. Saturnin, <a href="#page_037">37</a>.<br />
+"Tour Fenestrelle," <a href="#page_247">247</a>.<br />
+Touraine, <a href="#page_029">29</a>, <a href="#page_071">71</a>, <a href="#page_072">72</a>.<br />
+Tours, <a href="#page_029">29</a>.<a name="page_562" id="page_562"></a><br />
+<br />
+Tours (St. Gatien), <a href="#page_037">37</a>.<br />
+Tours (St. Martin), <a href="#page_061">61</a>.<br />
+Treaty of Tolentino, <a href="#page_210">210</a>.<br />
+Tr�ves (St. Val�re), <a href="#page_037">37</a>.<br />
+Tricastin, <a href="#page_305">305</a>, <a href="#page_306">306</a>.<br />
+Trinity Church, Boston, <a href="#page_141">141</a>, <a href="#page_346">346</a>.<br />
+Tulle, Cath�drale de, <a href="#page_118">118</a>, <a href="#page_119">119</a>, <a href="#page_542">542</a>.<br />
+Tuscany, <a href="#page_033">33</a>.<br />
+<br />
+Unigenitus, Bull, <a href="#page_045">45</a>.<br />
+Urban, Pope, <a href="#page_033">33</a>.<br />
+Urban II., <a href="#page_145">145</a>, <a href="#page_149">149</a>, <a href="#page_150">150</a>, <a href="#page_191">191</a>, <a href="#page_458">458</a>.<br />
+Urban V., <a href="#page_354">354</a>.<br />
+Uz�s, <a href="#page_245">245-248</a>.<br />
+Uz�s, St. Theodorit de, <a href="#page_245">245-248</a>, <a href="#page_542">542</a>.<br />
+<br />
+Vabres, <a href="#page_042">42</a>, <a href="#page_499">499</a>.<br />
+Vabres, Cath�drale de, <a href="#page_543">543</a>.<br />
+Vaison, <a href="#page_226">226</a>, <a href="#page_227">227</a>.<br />
+Vaison, Cath�drale de, <a href="#page_226">226</a>, <a href="#page_227">227</a>, <a href="#page_543">543</a>.<br />
+Valence, <a href="#page_029">29</a>.<br />
+Valence, St. Apollinaire de, <a href="#page_190">190-194</a>, <a href="#page_543">543</a>.<br />
+Vaucluse, <a href="#page_208">208</a>.<br />
+Vaudoyer, L�on, <a href="#page_348">348</a>.<br />
+Vehens, Raimond de, <a href="#page_112">112</a>.<br />
+Venasque, <a href="#page_222">222</a>.<br />
+Vence, <a href="#page_300">300</a>, <a href="#page_301">301</a>.<br />
+Vence, Notre Dame de, <a href="#page_300">300</a>, <a href="#page_301">301</a>, <a href="#page_544">544</a>.<br />
+Vend�e, La, <a href="#page_072">72</a>.<br />
+Veronese, Alex., <a href="#page_401">401</a>.<br />
+Veyrie, R�ne de la, <a href="#page_085">85</a>.<br />
+Veyrier, <a href="#page_334">334</a>.<br />
+Vic, Dominique de, <a href="#page_434">434</a>.<br />
+Vienne, <a href="#page_029">29</a>, <a href="#page_061">61</a>, <a href="#page_229">229</a>, <a href="#page_253">253</a>, <a href="#page_259">259</a>, <a href="#page_273">273</a>, <a href="#page_296">296</a>.<br />
+Vienne, St. Maurice, <a href="#page_179">179</a>, <a href="#page_184">184</a>, <a href="#page_186">186-189</a>, <a href="#page_193">193</a>, <a href="#page_544">544</a>.<br />
+Villeneuve-les-Avignon, <a href="#page_213">213</a>.<br />
+Villeneuve, Raimond de, <a href="#page_339">339</a>.<br />
+Viollet-le-Duc, <a href="#page_088">88</a>, <a href="#page_131">131</a>, <a href="#page_146">146</a>, <a href="#page_377">377</a>, <a href="#page_442">442</a>, <a href="#page_452">452</a>, <a href="#page_455">455</a>.<br />
+Viviers, Cath�drale de, <a href="#page_195">195</a>, <a href="#page_196">196</a>, <a href="#page_544">544</a>.<br />
+Voltaire, <a href="#page_273">273</a>.<a name="page_563" id="page_563"></a><br />
+<br />
+Werner, Archbishop, <a href="#page_051">51</a>.<br />
+Westminster Cathedral, London, <a href="#page_345">345</a>.<br />
+William of Wykeham (England), <a href="#page_051">51</a>.<br />
+William, Duke of Normandy, <a href="#page_039">39</a>.<br />
+Wykeham, William of, <a href="#page_051">51</a>.<br />
+<br />
+Young, Arthur, <a href="#page_024">24</a>, <a href="#page_208">208</a>, <a href="#page_256">256</a>, <a href="#page_273">273</a>, <a href="#page_464">464</a>.<br />
+Ypres, Bishop of, <a href="#page_048">48</a>.<br />
+</p>
+
+<p>
+<br />
+</p>
+
+<div class="figcenter" style="width: 355px;">
+<a href="images/ill_inside_back_a.jpg">
+<img src="images/ill_inside_back_a_sml.jpg" width="355" height="550" alt="image of the book&#39;s inside back cover" title="" /></a>
+</div>
+
+<p>
+<br />
+</p>
+
+<div class="figcenter" style="width: 355px;">
+<a href="images/ill_inside_back_b.jpg">
+<img src="images/ill_inside_back_b_sml.jpg" width="355" height="550" alt="image of the book&#39;s inside back cover" title="" /></a>
+</div>
+
+<hr class="full" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Cathedrals of Southern France, by 
+Francis Miltoun
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRALS OF SOUTHERN FRANCE ***
+
+***** This file should be named 35212-h.htm or 35212-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/2/1/35212/
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This book was
+produced from scanned images at the Internet Archive.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/35212-h/images/cover.jpg b/35212-h/images/cover.jpg
new file mode 100644
index 0000000..71d9f94
--- /dev/null
+++ b/35212-h/images/cover.jpg
diff --git a/35212-h/images/cover_sml.jpg b/35212-h/images/cover_sml.jpg
new file mode 100644
index 0000000..7907cc2
--- /dev/null
+++ b/35212-h/images/cover_sml.jpg
diff --git a/35212-h/images/ill_043.png b/35212-h/images/ill_043.png
new file mode 100644
index 0000000..ad0a880
--- /dev/null
+++ b/35212-h/images/ill_043.png
diff --git a/35212-h/images/ill_043_sml.png b/35212-h/images/ill_043_sml.png
new file mode 100644
index 0000000..fdcc2e2
--- /dev/null
+++ b/35212-h/images/ill_043_sml.png
diff --git a/35212-h/images/ill_082.png b/35212-h/images/ill_082.png
new file mode 100644
index 0000000..6e571a3
--- /dev/null
+++ b/35212-h/images/ill_082.png
diff --git a/35212-h/images/ill_082_sml.png b/35212-h/images/ill_082_sml.png
new file mode 100644
index 0000000..00fe6e3
--- /dev/null
+++ b/35212-h/images/ill_082_sml.png
diff --git a/35212-h/images/ill_085.png b/35212-h/images/ill_085.png
new file mode 100644
index 0000000..93f5b70
--- /dev/null
+++ b/35212-h/images/ill_085.png
diff --git a/35212-h/images/ill_085_sml.png b/35212-h/images/ill_085_sml.png
new file mode 100644
index 0000000..d7b18d7
--- /dev/null
+++ b/35212-h/images/ill_085_sml.png
diff --git a/35212-h/images/ill_087.png b/35212-h/images/ill_087.png
new file mode 100644
index 0000000..28bd15b
--- /dev/null
+++ b/35212-h/images/ill_087.png
diff --git a/35212-h/images/ill_087_sml.png b/35212-h/images/ill_087_sml.png
new file mode 100644
index 0000000..c59b27f
--- /dev/null
+++ b/35212-h/images/ill_087_sml.png
diff --git a/35212-h/images/ill_090.png b/35212-h/images/ill_090.png
new file mode 100644
index 0000000..8ebc2ec
--- /dev/null
+++ b/35212-h/images/ill_090.png
diff --git a/35212-h/images/ill_090_sml.png b/35212-h/images/ill_090_sml.png
new file mode 100644
index 0000000..1373752
--- /dev/null
+++ b/35212-h/images/ill_090_sml.png
diff --git a/35212-h/images/ill_093.png b/35212-h/images/ill_093.png
new file mode 100644
index 0000000..993c07f
--- /dev/null
+++ b/35212-h/images/ill_093.png
diff --git a/35212-h/images/ill_093_sml.png b/35212-h/images/ill_093_sml.png
new file mode 100644
index 0000000..e49756f
--- /dev/null
+++ b/35212-h/images/ill_093_sml.png
diff --git a/35212-h/images/ill_105.png b/35212-h/images/ill_105.png
new file mode 100644
index 0000000..280dacf
--- /dev/null
+++ b/35212-h/images/ill_105.png
diff --git a/35212-h/images/ill_105_sml.png b/35212-h/images/ill_105_sml.png
new file mode 100644
index 0000000..e3204b6
--- /dev/null
+++ b/35212-h/images/ill_105_sml.png
diff --git a/35212-h/images/ill_111.png b/35212-h/images/ill_111.png
new file mode 100644
index 0000000..2b51440
--- /dev/null
+++ b/35212-h/images/ill_111.png
diff --git a/35212-h/images/ill_111_sml.png b/35212-h/images/ill_111_sml.png
new file mode 100644
index 0000000..d13abf6
--- /dev/null
+++ b/35212-h/images/ill_111_sml.png
diff --git a/35212-h/images/ill_118.jpg b/35212-h/images/ill_118.jpg
new file mode 100644
index 0000000..1784a87
--- /dev/null
+++ b/35212-h/images/ill_118.jpg
diff --git a/35212-h/images/ill_118_name.jpg b/35212-h/images/ill_118_name.jpg
new file mode 100644
index 0000000..e9ce81c
--- /dev/null
+++ b/35212-h/images/ill_118_name.jpg
diff --git a/35212-h/images/ill_118_sml.jpg b/35212-h/images/ill_118_sml.jpg
new file mode 100644
index 0000000..055efc1
--- /dev/null
+++ b/35212-h/images/ill_118_sml.jpg
diff --git a/35212-h/images/ill_120.jpg b/35212-h/images/ill_120.jpg
new file mode 100644
index 0000000..4dda4fd
--- /dev/null
+++ b/35212-h/images/ill_120.jpg
diff --git a/35212-h/images/ill_120_name.jpg b/35212-h/images/ill_120_name.jpg
new file mode 100644
index 0000000..9f208a4
--- /dev/null
+++ b/35212-h/images/ill_120_name.jpg
diff --git a/35212-h/images/ill_120_sml.jpg b/35212-h/images/ill_120_sml.jpg
new file mode 100644
index 0000000..12fda35
--- /dev/null
+++ b/35212-h/images/ill_120_sml.jpg
diff --git a/35212-h/images/ill_126.jpg b/35212-h/images/ill_126.jpg
new file mode 100644
index 0000000..6dccac6
--- /dev/null
+++ b/35212-h/images/ill_126.jpg
diff --git a/35212-h/images/ill_126_name.jpg b/35212-h/images/ill_126_name.jpg
new file mode 100644
index 0000000..391bebe
--- /dev/null
+++ b/35212-h/images/ill_126_name.jpg
diff --git a/35212-h/images/ill_126_sml.jpg b/35212-h/images/ill_126_sml.jpg
new file mode 100644
index 0000000..c311971
--- /dev/null
+++ b/35212-h/images/ill_126_sml.jpg
diff --git a/35212-h/images/ill_134.jpg b/35212-h/images/ill_134.jpg
new file mode 100644
index 0000000..360cd7e
--- /dev/null
+++ b/35212-h/images/ill_134.jpg
diff --git a/35212-h/images/ill_134_name.jpg b/35212-h/images/ill_134_name.jpg
new file mode 100644
index 0000000..4e1c206
--- /dev/null
+++ b/35212-h/images/ill_134_name.jpg
diff --git a/35212-h/images/ill_134_sml.jpg b/35212-h/images/ill_134_sml.jpg
new file mode 100644
index 0000000..c41279e
--- /dev/null
+++ b/35212-h/images/ill_134_sml.jpg
diff --git a/35212-h/images/ill_138.png b/35212-h/images/ill_138.png
new file mode 100644
index 0000000..1a1b25a
--- /dev/null
+++ b/35212-h/images/ill_138.png
diff --git a/35212-h/images/ill_138_sml.png b/35212-h/images/ill_138_sml.png
new file mode 100644
index 0000000..d859799
--- /dev/null
+++ b/35212-h/images/ill_138_sml.png
diff --git a/35212-h/images/ill_143.png b/35212-h/images/ill_143.png
new file mode 100644
index 0000000..78d90ed
--- /dev/null
+++ b/35212-h/images/ill_143.png
diff --git a/35212-h/images/ill_143_sml.png b/35212-h/images/ill_143_sml.png
new file mode 100644
index 0000000..e2666f9
--- /dev/null
+++ b/35212-h/images/ill_143_sml.png
diff --git a/35212-h/images/ill_144.jpg b/35212-h/images/ill_144.jpg
new file mode 100644
index 0000000..2db8d28
--- /dev/null
+++ b/35212-h/images/ill_144.jpg
diff --git a/35212-h/images/ill_144_name.jpg b/35212-h/images/ill_144_name.jpg
new file mode 100644
index 0000000..9611da4
--- /dev/null
+++ b/35212-h/images/ill_144_name.jpg
diff --git a/35212-h/images/ill_144_sml.jpg b/35212-h/images/ill_144_sml.jpg
new file mode 100644
index 0000000..a8da59f
--- /dev/null
+++ b/35212-h/images/ill_144_sml.jpg
diff --git a/35212-h/images/ill_174.jpg b/35212-h/images/ill_174.jpg
new file mode 100644
index 0000000..5a64469
--- /dev/null
+++ b/35212-h/images/ill_174.jpg
diff --git a/35212-h/images/ill_174_name.jpg b/35212-h/images/ill_174_name.jpg
new file mode 100644
index 0000000..f872675
--- /dev/null
+++ b/35212-h/images/ill_174_name.jpg
diff --git a/35212-h/images/ill_174_sml.jpg b/35212-h/images/ill_174_sml.jpg
new file mode 100644
index 0000000..dba944e
--- /dev/null
+++ b/35212-h/images/ill_174_sml.jpg
diff --git a/35212-h/images/ill_176.jpg b/35212-h/images/ill_176.jpg
new file mode 100644
index 0000000..a042799
--- /dev/null
+++ b/35212-h/images/ill_176.jpg
diff --git a/35212-h/images/ill_176_name.jpg b/35212-h/images/ill_176_name.jpg
new file mode 100644
index 0000000..1cfa590
--- /dev/null
+++ b/35212-h/images/ill_176_name.jpg
diff --git a/35212-h/images/ill_176_sml.jpg b/35212-h/images/ill_176_sml.jpg
new file mode 100644
index 0000000..9cbad7a
--- /dev/null
+++ b/35212-h/images/ill_176_sml.jpg
diff --git a/35212-h/images/ill_190.png b/35212-h/images/ill_190.png
new file mode 100644
index 0000000..2fd1580
--- /dev/null
+++ b/35212-h/images/ill_190.png
diff --git a/35212-h/images/ill_190_sml.png b/35212-h/images/ill_190_sml.png
new file mode 100644
index 0000000..23a0d2e
--- /dev/null
+++ b/35212-h/images/ill_190_sml.png
diff --git a/35212-h/images/ill_200.png b/35212-h/images/ill_200.png
new file mode 100644
index 0000000..b184585
--- /dev/null
+++ b/35212-h/images/ill_200.png
diff --git a/35212-h/images/ill_200_sml.png b/35212-h/images/ill_200_sml.png
new file mode 100644
index 0000000..3b84b54
--- /dev/null
+++ b/35212-h/images/ill_200_sml.png
diff --git a/35212-h/images/ill_205.png b/35212-h/images/ill_205.png
new file mode 100644
index 0000000..4295edc
--- /dev/null
+++ b/35212-h/images/ill_205.png
diff --git a/35212-h/images/ill_205_sml.png b/35212-h/images/ill_205_sml.png
new file mode 100644
index 0000000..dfb51d9
--- /dev/null
+++ b/35212-h/images/ill_205_sml.png
diff --git a/35212-h/images/ill_212.jpg b/35212-h/images/ill_212.jpg
new file mode 100644
index 0000000..edded82
--- /dev/null
+++ b/35212-h/images/ill_212.jpg
diff --git a/35212-h/images/ill_212_name.jpg b/35212-h/images/ill_212_name.jpg
new file mode 100644
index 0000000..973f308
--- /dev/null
+++ b/35212-h/images/ill_212_name.jpg
diff --git a/35212-h/images/ill_212_sml.jpg b/35212-h/images/ill_212_sml.jpg
new file mode 100644
index 0000000..286b8e0
--- /dev/null
+++ b/35212-h/images/ill_212_sml.jpg
diff --git a/35212-h/images/ill_218.jpg b/35212-h/images/ill_218.jpg
new file mode 100644
index 0000000..6cd0b20
--- /dev/null
+++ b/35212-h/images/ill_218.jpg
diff --git a/35212-h/images/ill_218_name.jpg b/35212-h/images/ill_218_name.jpg
new file mode 100644
index 0000000..ee88ab5
--- /dev/null
+++ b/35212-h/images/ill_218_name.jpg
diff --git a/35212-h/images/ill_218_sml.jpg b/35212-h/images/ill_218_sml.jpg
new file mode 100644
index 0000000..f114559
--- /dev/null
+++ b/35212-h/images/ill_218_sml.jpg
diff --git a/35212-h/images/ill_228.png b/35212-h/images/ill_228.png
new file mode 100644
index 0000000..6beac80
--- /dev/null
+++ b/35212-h/images/ill_228.png
diff --git a/35212-h/images/ill_228_sml.png b/35212-h/images/ill_228_sml.png
new file mode 100644
index 0000000..ccd8e26
--- /dev/null
+++ b/35212-h/images/ill_228_sml.png
diff --git a/35212-h/images/ill_228a.jpg b/35212-h/images/ill_228a.jpg
new file mode 100644
index 0000000..6d62be3
--- /dev/null
+++ b/35212-h/images/ill_228a.jpg
diff --git a/35212-h/images/ill_228a_name.jpg b/35212-h/images/ill_228a_name.jpg
new file mode 100644
index 0000000..d0d7590
--- /dev/null
+++ b/35212-h/images/ill_228a_name.jpg
diff --git a/35212-h/images/ill_228a_sml.jpg b/35212-h/images/ill_228a_sml.jpg
new file mode 100644
index 0000000..351ee9b
--- /dev/null
+++ b/35212-h/images/ill_228a_sml.jpg
diff --git a/35212-h/images/ill_233.png b/35212-h/images/ill_233.png
new file mode 100644
index 0000000..1214744
--- /dev/null
+++ b/35212-h/images/ill_233.png
diff --git a/35212-h/images/ill_233_sml.png b/35212-h/images/ill_233_sml.png
new file mode 100644
index 0000000..9ef9987
--- /dev/null
+++ b/35212-h/images/ill_233_sml.png
diff --git a/35212-h/images/ill_236.png b/35212-h/images/ill_236.png
new file mode 100644
index 0000000..a154e01
--- /dev/null
+++ b/35212-h/images/ill_236.png
diff --git a/35212-h/images/ill_236_sml.png b/35212-h/images/ill_236_sml.png
new file mode 100644
index 0000000..63cd8d7
--- /dev/null
+++ b/35212-h/images/ill_236_sml.png
diff --git a/35212-h/images/ill_237.png b/35212-h/images/ill_237.png
new file mode 100644
index 0000000..c18753c
--- /dev/null
+++ b/35212-h/images/ill_237.png
diff --git a/35212-h/images/ill_237_sml.png b/35212-h/images/ill_237_sml.png
new file mode 100644
index 0000000..ccd06c5
--- /dev/null
+++ b/35212-h/images/ill_237_sml.png
diff --git a/35212-h/images/ill_245.png b/35212-h/images/ill_245.png
new file mode 100644
index 0000000..83fd066
--- /dev/null
+++ b/35212-h/images/ill_245.png
diff --git a/35212-h/images/ill_245_sml.png b/35212-h/images/ill_245_sml.png
new file mode 100644
index 0000000..cb722e5
--- /dev/null
+++ b/35212-h/images/ill_245_sml.png
diff --git a/35212-h/images/ill_255.png b/35212-h/images/ill_255.png
new file mode 100644
index 0000000..f52293d
--- /dev/null
+++ b/35212-h/images/ill_255.png
diff --git a/35212-h/images/ill_255_sml.png b/35212-h/images/ill_255_sml.png
new file mode 100644
index 0000000..8d278a9
--- /dev/null
+++ b/35212-h/images/ill_255_sml.png
diff --git a/35212-h/images/ill_258.png b/35212-h/images/ill_258.png
new file mode 100644
index 0000000..8356e85
--- /dev/null
+++ b/35212-h/images/ill_258.png
diff --git a/35212-h/images/ill_258_sml.png b/35212-h/images/ill_258_sml.png
new file mode 100644
index 0000000..f8f5630
--- /dev/null
+++ b/35212-h/images/ill_258_sml.png
diff --git a/35212-h/images/ill_261.png b/35212-h/images/ill_261.png
new file mode 100644
index 0000000..c10271f
--- /dev/null
+++ b/35212-h/images/ill_261.png
diff --git a/35212-h/images/ill_261_sml.png b/35212-h/images/ill_261_sml.png
new file mode 100644
index 0000000..f2f16d0
--- /dev/null
+++ b/35212-h/images/ill_261_sml.png
diff --git a/35212-h/images/ill_265.png b/35212-h/images/ill_265.png
new file mode 100644
index 0000000..c211758
--- /dev/null
+++ b/35212-h/images/ill_265.png
diff --git a/35212-h/images/ill_265_sml.png b/35212-h/images/ill_265_sml.png
new file mode 100644
index 0000000..0ba5143
--- /dev/null
+++ b/35212-h/images/ill_265_sml.png
diff --git a/35212-h/images/ill_269.png b/35212-h/images/ill_269.png
new file mode 100644
index 0000000..d1aeaf4
--- /dev/null
+++ b/35212-h/images/ill_269.png
diff --git a/35212-h/images/ill_269_sml.png b/35212-h/images/ill_269_sml.png
new file mode 100644
index 0000000..93309be
--- /dev/null
+++ b/35212-h/images/ill_269_sml.png
diff --git a/35212-h/images/ill_272.jpg b/35212-h/images/ill_272.jpg
new file mode 100644
index 0000000..cd18e11
--- /dev/null
+++ b/35212-h/images/ill_272.jpg
diff --git a/35212-h/images/ill_272_name.jpg b/35212-h/images/ill_272_name.jpg
new file mode 100644
index 0000000..dc9f6e3
--- /dev/null
+++ b/35212-h/images/ill_272_name.jpg
diff --git a/35212-h/images/ill_272_sml.jpg b/35212-h/images/ill_272_sml.jpg
new file mode 100644
index 0000000..6d45168
--- /dev/null
+++ b/35212-h/images/ill_272_sml.jpg
diff --git a/35212-h/images/ill_275.png b/35212-h/images/ill_275.png
new file mode 100644
index 0000000..263cff7
--- /dev/null
+++ b/35212-h/images/ill_275.png
diff --git a/35212-h/images/ill_275_sml.png b/35212-h/images/ill_275_sml.png
new file mode 100644
index 0000000..94a7de3
--- /dev/null
+++ b/35212-h/images/ill_275_sml.png
diff --git a/35212-h/images/ill_280.jpg b/35212-h/images/ill_280.jpg
new file mode 100644
index 0000000..aee49f2
--- /dev/null
+++ b/35212-h/images/ill_280.jpg
diff --git a/35212-h/images/ill_280_name.jpg b/35212-h/images/ill_280_name.jpg
new file mode 100644
index 0000000..ee8f53b
--- /dev/null
+++ b/35212-h/images/ill_280_name.jpg
diff --git a/35212-h/images/ill_280_sml.jpg b/35212-h/images/ill_280_sml.jpg
new file mode 100644
index 0000000..4876bec
--- /dev/null
+++ b/35212-h/images/ill_280_sml.jpg
diff --git a/35212-h/images/ill_283.png b/35212-h/images/ill_283.png
new file mode 100644
index 0000000..39d9295
--- /dev/null
+++ b/35212-h/images/ill_283.png
diff --git a/35212-h/images/ill_283_sml.png b/35212-h/images/ill_283_sml.png
new file mode 100644
index 0000000..16fca57
--- /dev/null
+++ b/35212-h/images/ill_283_sml.png
diff --git a/35212-h/images/ill_292.png b/35212-h/images/ill_292.png
new file mode 100644
index 0000000..0fa6bd2
--- /dev/null
+++ b/35212-h/images/ill_292.png
diff --git a/35212-h/images/ill_292_sml.png b/35212-h/images/ill_292_sml.png
new file mode 100644
index 0000000..2024b9d
--- /dev/null
+++ b/35212-h/images/ill_292_sml.png
diff --git a/35212-h/images/ill_320.png b/35212-h/images/ill_320.png
new file mode 100644
index 0000000..94ea893
--- /dev/null
+++ b/35212-h/images/ill_320.png
diff --git a/35212-h/images/ill_320_sml.png b/35212-h/images/ill_320_sml.png
new file mode 100644
index 0000000..5b2874b
--- /dev/null
+++ b/35212-h/images/ill_320_sml.png
diff --git a/35212-h/images/ill_321.png b/35212-h/images/ill_321.png
new file mode 100644
index 0000000..3901f1a
--- /dev/null
+++ b/35212-h/images/ill_321.png
diff --git a/35212-h/images/ill_321_sml.png b/35212-h/images/ill_321_sml.png
new file mode 100644
index 0000000..a822a46
--- /dev/null
+++ b/35212-h/images/ill_321_sml.png
diff --git a/35212-h/images/ill_338.png b/35212-h/images/ill_338.png
new file mode 100644
index 0000000..af117e1
--- /dev/null
+++ b/35212-h/images/ill_338.png
diff --git a/35212-h/images/ill_338_sml.png b/35212-h/images/ill_338_sml.png
new file mode 100644
index 0000000..94f35e8
--- /dev/null
+++ b/35212-h/images/ill_338_sml.png
diff --git a/35212-h/images/ill_339.png b/35212-h/images/ill_339.png
new file mode 100644
index 0000000..46e3e0d
--- /dev/null
+++ b/35212-h/images/ill_339.png
diff --git a/35212-h/images/ill_339_sml.png b/35212-h/images/ill_339_sml.png
new file mode 100644
index 0000000..389242c
--- /dev/null
+++ b/35212-h/images/ill_339_sml.png
diff --git a/35212-h/images/ill_343.png b/35212-h/images/ill_343.png
new file mode 100644
index 0000000..21569c0
--- /dev/null
+++ b/35212-h/images/ill_343.png
diff --git a/35212-h/images/ill_343_sml.png b/35212-h/images/ill_343_sml.png
new file mode 100644
index 0000000..6831a62
--- /dev/null
+++ b/35212-h/images/ill_343_sml.png
diff --git a/35212-h/images/ill_345.png b/35212-h/images/ill_345.png
new file mode 100644
index 0000000..5e7b52f
--- /dev/null
+++ b/35212-h/images/ill_345.png
diff --git a/35212-h/images/ill_345_sml.png b/35212-h/images/ill_345_sml.png
new file mode 100644
index 0000000..ed60a52
--- /dev/null
+++ b/35212-h/images/ill_345_sml.png
diff --git a/35212-h/images/ill_352.jpg b/35212-h/images/ill_352.jpg
new file mode 100644
index 0000000..ed1a95e
--- /dev/null
+++ b/35212-h/images/ill_352.jpg
diff --git a/35212-h/images/ill_352_name.jpg b/35212-h/images/ill_352_name.jpg
new file mode 100644
index 0000000..f855435
--- /dev/null
+++ b/35212-h/images/ill_352_name.jpg
diff --git a/35212-h/images/ill_352_sml.jpg b/35212-h/images/ill_352_sml.jpg
new file mode 100644
index 0000000..c58be04
--- /dev/null
+++ b/35212-h/images/ill_352_sml.jpg
diff --git a/35212-h/images/ill_358.png b/35212-h/images/ill_358.png
new file mode 100644
index 0000000..50397ba
--- /dev/null
+++ b/35212-h/images/ill_358.png
diff --git a/35212-h/images/ill_358_sml.png b/35212-h/images/ill_358_sml.png
new file mode 100644
index 0000000..4662bcc
--- /dev/null
+++ b/35212-h/images/ill_358_sml.png
diff --git a/35212-h/images/ill_361.png b/35212-h/images/ill_361.png
new file mode 100644
index 0000000..4a21bdd
--- /dev/null
+++ b/35212-h/images/ill_361.png
diff --git a/35212-h/images/ill_361_sml.png b/35212-h/images/ill_361_sml.png
new file mode 100644
index 0000000..61abdd7
--- /dev/null
+++ b/35212-h/images/ill_361_sml.png
diff --git a/35212-h/images/ill_368.png b/35212-h/images/ill_368.png
new file mode 100644
index 0000000..f20e584
--- /dev/null
+++ b/35212-h/images/ill_368.png
diff --git a/35212-h/images/ill_368_sml.png b/35212-h/images/ill_368_sml.png
new file mode 100644
index 0000000..dd48efc
--- /dev/null
+++ b/35212-h/images/ill_368_sml.png
diff --git a/35212-h/images/ill_372.png b/35212-h/images/ill_372.png
new file mode 100644
index 0000000..12f938e
--- /dev/null
+++ b/35212-h/images/ill_372.png
diff --git a/35212-h/images/ill_372_sml.png b/35212-h/images/ill_372_sml.png
new file mode 100644
index 0000000..7870f60
--- /dev/null
+++ b/35212-h/images/ill_372_sml.png
diff --git a/35212-h/images/ill_375.jpg b/35212-h/images/ill_375.jpg
new file mode 100644
index 0000000..c4bd2d4
--- /dev/null
+++ b/35212-h/images/ill_375.jpg
diff --git a/35212-h/images/ill_375_name.jpg b/35212-h/images/ill_375_name.jpg
new file mode 100644
index 0000000..196be65
--- /dev/null
+++ b/35212-h/images/ill_375_name.jpg
diff --git a/35212-h/images/ill_375_sml.jpg b/35212-h/images/ill_375_sml.jpg
new file mode 100644
index 0000000..591362a
--- /dev/null
+++ b/35212-h/images/ill_375_sml.jpg
diff --git a/35212-h/images/ill_378.jpg b/35212-h/images/ill_378.jpg
new file mode 100644
index 0000000..d10e386
--- /dev/null
+++ b/35212-h/images/ill_378.jpg
diff --git a/35212-h/images/ill_378_name.jpg b/35212-h/images/ill_378_name.jpg
new file mode 100644
index 0000000..40fc3ad
--- /dev/null
+++ b/35212-h/images/ill_378_name.jpg
diff --git a/35212-h/images/ill_378_sml.jpg b/35212-h/images/ill_378_sml.jpg
new file mode 100644
index 0000000..390fd8f
--- /dev/null
+++ b/35212-h/images/ill_378_sml.jpg
diff --git a/35212-h/images/ill_404.jpg b/35212-h/images/ill_404.jpg
new file mode 100644
index 0000000..4641fea
--- /dev/null
+++ b/35212-h/images/ill_404.jpg
diff --git a/35212-h/images/ill_404_name.jpg b/35212-h/images/ill_404_name.jpg
new file mode 100644
index 0000000..fa94bd1
--- /dev/null
+++ b/35212-h/images/ill_404_name.jpg
diff --git a/35212-h/images/ill_404_sml.jpg b/35212-h/images/ill_404_sml.jpg
new file mode 100644
index 0000000..92ca4b9
--- /dev/null
+++ b/35212-h/images/ill_404_sml.jpg
diff --git a/35212-h/images/ill_417.png b/35212-h/images/ill_417.png
new file mode 100644
index 0000000..4ec6f0e
--- /dev/null
+++ b/35212-h/images/ill_417.png
diff --git a/35212-h/images/ill_417_sml.png b/35212-h/images/ill_417_sml.png
new file mode 100644
index 0000000..af0ecc8
--- /dev/null
+++ b/35212-h/images/ill_417_sml.png
diff --git a/35212-h/images/ill_424.jpg b/35212-h/images/ill_424.jpg
new file mode 100644
index 0000000..9eefc2d
--- /dev/null
+++ b/35212-h/images/ill_424.jpg
diff --git a/35212-h/images/ill_424_name.jpg b/35212-h/images/ill_424_name.jpg
new file mode 100644
index 0000000..f837d21
--- /dev/null
+++ b/35212-h/images/ill_424_name.jpg
diff --git a/35212-h/images/ill_424_sml.jpg b/35212-h/images/ill_424_sml.jpg
new file mode 100644
index 0000000..6ee64a1
--- /dev/null
+++ b/35212-h/images/ill_424_sml.jpg
diff --git a/35212-h/images/ill_432.jpg b/35212-h/images/ill_432.jpg
new file mode 100644
index 0000000..db5a25b
--- /dev/null
+++ b/35212-h/images/ill_432.jpg
diff --git a/35212-h/images/ill_432_name.jpg b/35212-h/images/ill_432_name.jpg
new file mode 100644
index 0000000..4eb2a0e
--- /dev/null
+++ b/35212-h/images/ill_432_name.jpg
diff --git a/35212-h/images/ill_432_sml.jpg b/35212-h/images/ill_432_sml.jpg
new file mode 100644
index 0000000..6132e39
--- /dev/null
+++ b/35212-h/images/ill_432_sml.jpg
diff --git a/35212-h/images/ill_438.jpg b/35212-h/images/ill_438.jpg
new file mode 100644
index 0000000..6cd4c60
--- /dev/null
+++ b/35212-h/images/ill_438.jpg
diff --git a/35212-h/images/ill_438_name.jpg b/35212-h/images/ill_438_name.jpg
new file mode 100644
index 0000000..acac771
--- /dev/null
+++ b/35212-h/images/ill_438_name.jpg
diff --git a/35212-h/images/ill_438_sml.jpg b/35212-h/images/ill_438_sml.jpg
new file mode 100644
index 0000000..dd9fc43
--- /dev/null
+++ b/35212-h/images/ill_438_sml.jpg
diff --git a/35212-h/images/ill_445.png b/35212-h/images/ill_445.png
new file mode 100644
index 0000000..48a091b
--- /dev/null
+++ b/35212-h/images/ill_445.png
diff --git a/35212-h/images/ill_445_sml.png b/35212-h/images/ill_445_sml.png
new file mode 100644
index 0000000..dd3be45
--- /dev/null
+++ b/35212-h/images/ill_445_sml.png
diff --git a/35212-h/images/ill_448.jpg b/35212-h/images/ill_448.jpg
new file mode 100644
index 0000000..0737bf7
--- /dev/null
+++ b/35212-h/images/ill_448.jpg
diff --git a/35212-h/images/ill_448_name.jpg b/35212-h/images/ill_448_name.jpg
new file mode 100644
index 0000000..95f4231
--- /dev/null
+++ b/35212-h/images/ill_448_name.jpg
diff --git a/35212-h/images/ill_448_sml.jpg b/35212-h/images/ill_448_sml.jpg
new file mode 100644
index 0000000..484cf1d
--- /dev/null
+++ b/35212-h/images/ill_448_sml.jpg
diff --git a/35212-h/images/ill_451.png b/35212-h/images/ill_451.png
new file mode 100644
index 0000000..f67d11b
--- /dev/null
+++ b/35212-h/images/ill_451.png
diff --git a/35212-h/images/ill_451_sml.png b/35212-h/images/ill_451_sml.png
new file mode 100644
index 0000000..9ce7b72
--- /dev/null
+++ b/35212-h/images/ill_451_sml.png
diff --git a/35212-h/images/ill_454.png b/35212-h/images/ill_454.png
new file mode 100644
index 0000000..34089cb
--- /dev/null
+++ b/35212-h/images/ill_454.png
diff --git a/35212-h/images/ill_454_sml.png b/35212-h/images/ill_454_sml.png
new file mode 100644
index 0000000..b9e4cda
--- /dev/null
+++ b/35212-h/images/ill_454_sml.png
diff --git a/35212-h/images/ill_454a.jpg b/35212-h/images/ill_454a.jpg
new file mode 100644
index 0000000..2a095f3
--- /dev/null
+++ b/35212-h/images/ill_454a.jpg
diff --git a/35212-h/images/ill_454a_name.jpg b/35212-h/images/ill_454a_name.jpg
new file mode 100644
index 0000000..bda1654
--- /dev/null
+++ b/35212-h/images/ill_454a_name.jpg
diff --git a/35212-h/images/ill_454a_sml.jpg b/35212-h/images/ill_454a_sml.jpg
new file mode 100644
index 0000000..df673dc
--- /dev/null
+++ b/35212-h/images/ill_454a_sml.jpg
diff --git a/35212-h/images/ill_461.png b/35212-h/images/ill_461.png
new file mode 100644
index 0000000..33f4006
--- /dev/null
+++ b/35212-h/images/ill_461.png
diff --git a/35212-h/images/ill_461_sml.png b/35212-h/images/ill_461_sml.png
new file mode 100644
index 0000000..b2bba98
--- /dev/null
+++ b/35212-h/images/ill_461_sml.png
diff --git a/35212-h/images/ill_464.jpg b/35212-h/images/ill_464.jpg
new file mode 100644
index 0000000..3b4aab8
--- /dev/null
+++ b/35212-h/images/ill_464.jpg
diff --git a/35212-h/images/ill_464_name.jpg b/35212-h/images/ill_464_name.jpg
new file mode 100644
index 0000000..e244cd2
--- /dev/null
+++ b/35212-h/images/ill_464_name.jpg
diff --git a/35212-h/images/ill_464_sml.jpg b/35212-h/images/ill_464_sml.jpg
new file mode 100644
index 0000000..48d0680
--- /dev/null
+++ b/35212-h/images/ill_464_sml.jpg
diff --git a/35212-h/images/ill_469.png b/35212-h/images/ill_469.png
new file mode 100644
index 0000000..a699372
--- /dev/null
+++ b/35212-h/images/ill_469.png
diff --git a/35212-h/images/ill_469_sml.png b/35212-h/images/ill_469_sml.png
new file mode 100644
index 0000000..a56df89
--- /dev/null
+++ b/35212-h/images/ill_469_sml.png
diff --git a/35212-h/images/ill_470.jpg b/35212-h/images/ill_470.jpg
new file mode 100644
index 0000000..4a9f7b1
--- /dev/null
+++ b/35212-h/images/ill_470.jpg
diff --git a/35212-h/images/ill_470_name.jpg b/35212-h/images/ill_470_name.jpg
new file mode 100644
index 0000000..1639d47
--- /dev/null
+++ b/35212-h/images/ill_470_name.jpg
diff --git a/35212-h/images/ill_470_sml.jpg b/35212-h/images/ill_470_sml.jpg
new file mode 100644
index 0000000..3b609f4
--- /dev/null
+++ b/35212-h/images/ill_470_sml.jpg
diff --git a/35212-h/images/ill_474.jpg b/35212-h/images/ill_474.jpg
new file mode 100644
index 0000000..9131494
--- /dev/null
+++ b/35212-h/images/ill_474.jpg
diff --git a/35212-h/images/ill_474_name.jpg b/35212-h/images/ill_474_name.jpg
new file mode 100644
index 0000000..d16ed67
--- /dev/null
+++ b/35212-h/images/ill_474_name.jpg
diff --git a/35212-h/images/ill_474_sml.jpg b/35212-h/images/ill_474_sml.jpg
new file mode 100644
index 0000000..6dfbc3d
--- /dev/null
+++ b/35212-h/images/ill_474_sml.jpg
diff --git a/35212-h/images/ill_480.png b/35212-h/images/ill_480.png
new file mode 100644
index 0000000..bc0f1bd
--- /dev/null
+++ b/35212-h/images/ill_480.png
diff --git a/35212-h/images/ill_480_sml.png b/35212-h/images/ill_480_sml.png
new file mode 100644
index 0000000..e9268fb
--- /dev/null
+++ b/35212-h/images/ill_480_sml.png
diff --git a/35212-h/images/ill_482.jpg b/35212-h/images/ill_482.jpg
new file mode 100644
index 0000000..54d42de
--- /dev/null
+++ b/35212-h/images/ill_482.jpg
diff --git a/35212-h/images/ill_482_name.jpg b/35212-h/images/ill_482_name.jpg
new file mode 100644
index 0000000..1b88af7
--- /dev/null
+++ b/35212-h/images/ill_482_name.jpg
diff --git a/35212-h/images/ill_482_sml.jpg b/35212-h/images/ill_482_sml.jpg
new file mode 100644
index 0000000..ac73964
--- /dev/null
+++ b/35212-h/images/ill_482_sml.jpg
diff --git a/35212-h/images/ill_490.jpg b/35212-h/images/ill_490.jpg
new file mode 100644
index 0000000..d8a8077
--- /dev/null
+++ b/35212-h/images/ill_490.jpg
diff --git a/35212-h/images/ill_490_name.jpg b/35212-h/images/ill_490_name.jpg
new file mode 100644
index 0000000..4f1dc95
--- /dev/null
+++ b/35212-h/images/ill_490_name.jpg
diff --git a/35212-h/images/ill_490_sml.jpg b/35212-h/images/ill_490_sml.jpg
new file mode 100644
index 0000000..34f958d
--- /dev/null
+++ b/35212-h/images/ill_490_sml.jpg
diff --git a/35212-h/images/ill_501.png b/35212-h/images/ill_501.png
new file mode 100644
index 0000000..c9d8a5d
--- /dev/null
+++ b/35212-h/images/ill_501.png
diff --git a/35212-h/images/ill_501_sml.png b/35212-h/images/ill_501_sml.png
new file mode 100644
index 0000000..c4d13ea
--- /dev/null
+++ b/35212-h/images/ill_501_sml.png
diff --git a/35212-h/images/ill_502.png b/35212-h/images/ill_502.png
new file mode 100644
index 0000000..7242bc5
--- /dev/null
+++ b/35212-h/images/ill_502.png
diff --git a/35212-h/images/ill_502_sml.png b/35212-h/images/ill_502_sml.png
new file mode 100644
index 0000000..3cad9e9
--- /dev/null
+++ b/35212-h/images/ill_502_sml.png
diff --git a/35212-h/images/ill_510.png b/35212-h/images/ill_510.png
new file mode 100644
index 0000000..deb474c
--- /dev/null
+++ b/35212-h/images/ill_510.png
diff --git a/35212-h/images/ill_510_sml.png b/35212-h/images/ill_510_sml.png
new file mode 100644
index 0000000..9bc6b8a
--- /dev/null
+++ b/35212-h/images/ill_510_sml.png
diff --git a/35212-h/images/ill_513.png b/35212-h/images/ill_513.png
new file mode 100644
index 0000000..7bffe83
--- /dev/null
+++ b/35212-h/images/ill_513.png
diff --git a/35212-h/images/ill_513_sml.png b/35212-h/images/ill_513_sml.png
new file mode 100644
index 0000000..d69f384
--- /dev/null
+++ b/35212-h/images/ill_513_sml.png
diff --git a/35212-h/images/ill_514.png b/35212-h/images/ill_514.png
new file mode 100644
index 0000000..2e3b506
--- /dev/null
+++ b/35212-h/images/ill_514.png
diff --git a/35212-h/images/ill_514_sml.png b/35212-h/images/ill_514_sml.png
new file mode 100644
index 0000000..bf77bcb
--- /dev/null
+++ b/35212-h/images/ill_514_sml.png
diff --git a/35212-h/images/ill_519.png b/35212-h/images/ill_519.png
new file mode 100644
index 0000000..c299f41
--- /dev/null
+++ b/35212-h/images/ill_519.png
diff --git a/35212-h/images/ill_519_sml.png b/35212-h/images/ill_519_sml.png
new file mode 100644
index 0000000..658b741
--- /dev/null
+++ b/35212-h/images/ill_519_sml.png
diff --git a/35212-h/images/ill_520.png b/35212-h/images/ill_520.png
new file mode 100644
index 0000000..ef033cb
--- /dev/null
+++ b/35212-h/images/ill_520.png
diff --git a/35212-h/images/ill_521.png b/35212-h/images/ill_521.png
new file mode 100644
index 0000000..744f172
--- /dev/null
+++ b/35212-h/images/ill_521.png
diff --git a/35212-h/images/ill_521_sml.png b/35212-h/images/ill_521_sml.png
new file mode 100644
index 0000000..f7398a7
--- /dev/null
+++ b/35212-h/images/ill_521_sml.png
diff --git a/35212-h/images/ill_522.png b/35212-h/images/ill_522.png
new file mode 100644
index 0000000..3096fd7
--- /dev/null
+++ b/35212-h/images/ill_522.png
diff --git a/35212-h/images/ill_522_sml.png b/35212-h/images/ill_522_sml.png
new file mode 100644
index 0000000..a58597a
--- /dev/null
+++ b/35212-h/images/ill_522_sml.png
diff --git a/35212-h/images/ill_523.png b/35212-h/images/ill_523.png
new file mode 100644
index 0000000..81b4b6d
--- /dev/null
+++ b/35212-h/images/ill_523.png
diff --git a/35212-h/images/ill_523_sml.png b/35212-h/images/ill_523_sml.png
new file mode 100644
index 0000000..e9d6b67
--- /dev/null
+++ b/35212-h/images/ill_523_sml.png
diff --git a/35212-h/images/ill_524.png b/35212-h/images/ill_524.png
new file mode 100644
index 0000000..ef6bd36
--- /dev/null
+++ b/35212-h/images/ill_524.png
diff --git a/35212-h/images/ill_524_sml.png b/35212-h/images/ill_524_sml.png
new file mode 100644
index 0000000..db0ceb3
--- /dev/null
+++ b/35212-h/images/ill_524_sml.png
diff --git a/35212-h/images/ill_525.png b/35212-h/images/ill_525.png
new file mode 100644
index 0000000..697139c
--- /dev/null
+++ b/35212-h/images/ill_525.png
diff --git a/35212-h/images/ill_525_sml.png b/35212-h/images/ill_525_sml.png
new file mode 100644
index 0000000..3edfc53
--- /dev/null
+++ b/35212-h/images/ill_525_sml.png
diff --git a/35212-h/images/ill_527.png b/35212-h/images/ill_527.png
new file mode 100644
index 0000000..de2daa4
--- /dev/null
+++ b/35212-h/images/ill_527.png
diff --git a/35212-h/images/ill_527_sml.png b/35212-h/images/ill_527_sml.png
new file mode 100644
index 0000000..357a313
--- /dev/null
+++ b/35212-h/images/ill_527_sml.png
diff --git a/35212-h/images/ill_528.png b/35212-h/images/ill_528.png
new file mode 100644
index 0000000..65eb532
--- /dev/null
+++ b/35212-h/images/ill_528.png
diff --git a/35212-h/images/ill_528_sml.png b/35212-h/images/ill_528_sml.png
new file mode 100644
index 0000000..c3643f8
--- /dev/null
+++ b/35212-h/images/ill_528_sml.png
diff --git a/35212-h/images/ill_529.png b/35212-h/images/ill_529.png
new file mode 100644
index 0000000..dd35612
--- /dev/null
+++ b/35212-h/images/ill_529.png
diff --git a/35212-h/images/ill_529_sml.png b/35212-h/images/ill_529_sml.png
new file mode 100644
index 0000000..5f60b76
--- /dev/null
+++ b/35212-h/images/ill_529_sml.png
diff --git a/35212-h/images/ill_530a.png b/35212-h/images/ill_530a.png
new file mode 100644
index 0000000..6dcf0ee
--- /dev/null
+++ b/35212-h/images/ill_530a.png
diff --git a/35212-h/images/ill_530a_sml.png b/35212-h/images/ill_530a_sml.png
new file mode 100644
index 0000000..3d588b2
--- /dev/null
+++ b/35212-h/images/ill_530a_sml.png
diff --git a/35212-h/images/ill_530b.png b/35212-h/images/ill_530b.png
new file mode 100644
index 0000000..f4d0004
--- /dev/null
+++ b/35212-h/images/ill_530b.png
diff --git a/35212-h/images/ill_530b_sml.png b/35212-h/images/ill_530b_sml.png
new file mode 100644
index 0000000..b2de479
--- /dev/null
+++ b/35212-h/images/ill_530b_sml.png
diff --git a/35212-h/images/ill_532a.png b/35212-h/images/ill_532a.png
new file mode 100644
index 0000000..f968d8e
--- /dev/null
+++ b/35212-h/images/ill_532a.png
diff --git a/35212-h/images/ill_532a_sml.png b/35212-h/images/ill_532a_sml.png
new file mode 100644
index 0000000..129d0a7
--- /dev/null
+++ b/35212-h/images/ill_532a_sml.png
diff --git a/35212-h/images/ill_532b.png b/35212-h/images/ill_532b.png
new file mode 100644
index 0000000..ccd3148
--- /dev/null
+++ b/35212-h/images/ill_532b.png
diff --git a/35212-h/images/ill_532b_sml.png b/35212-h/images/ill_532b_sml.png
new file mode 100644
index 0000000..8a092d5
--- /dev/null
+++ b/35212-h/images/ill_532b_sml.png
diff --git a/35212-h/images/ill_533.png b/35212-h/images/ill_533.png
new file mode 100644
index 0000000..5423479
--- /dev/null
+++ b/35212-h/images/ill_533.png
diff --git a/35212-h/images/ill_533_sml.png b/35212-h/images/ill_533_sml.png
new file mode 100644
index 0000000..a386303
--- /dev/null
+++ b/35212-h/images/ill_533_sml.png
diff --git a/35212-h/images/ill_535.png b/35212-h/images/ill_535.png
new file mode 100644
index 0000000..fe49c47
--- /dev/null
+++ b/35212-h/images/ill_535.png
diff --git a/35212-h/images/ill_535_sml.png b/35212-h/images/ill_535_sml.png
new file mode 100644
index 0000000..a7ddf73
--- /dev/null
+++ b/35212-h/images/ill_535_sml.png
diff --git a/35212-h/images/ill_536.png b/35212-h/images/ill_536.png
new file mode 100644
index 0000000..f073569
--- /dev/null
+++ b/35212-h/images/ill_536.png
diff --git a/35212-h/images/ill_536_sml.png b/35212-h/images/ill_536_sml.png
new file mode 100644
index 0000000..f2087e3
--- /dev/null
+++ b/35212-h/images/ill_536_sml.png
diff --git a/35212-h/images/ill_537a.png b/35212-h/images/ill_537a.png
new file mode 100644
index 0000000..1256a55
--- /dev/null
+++ b/35212-h/images/ill_537a.png
diff --git a/35212-h/images/ill_537a_sml.png b/35212-h/images/ill_537a_sml.png
new file mode 100644
index 0000000..3a142f7
--- /dev/null
+++ b/35212-h/images/ill_537a_sml.png
diff --git a/35212-h/images/ill_537b.png b/35212-h/images/ill_537b.png
new file mode 100644
index 0000000..637b91b
--- /dev/null
+++ b/35212-h/images/ill_537b.png
diff --git a/35212-h/images/ill_537b_sml.png b/35212-h/images/ill_537b_sml.png
new file mode 100644
index 0000000..0e0fcf2
--- /dev/null
+++ b/35212-h/images/ill_537b_sml.png
diff --git a/35212-h/images/ill_538a.png b/35212-h/images/ill_538a.png
new file mode 100644
index 0000000..def9d55
--- /dev/null
+++ b/35212-h/images/ill_538a.png
diff --git a/35212-h/images/ill_538a_sml.png b/35212-h/images/ill_538a_sml.png
new file mode 100644
index 0000000..655c106
--- /dev/null
+++ b/35212-h/images/ill_538a_sml.png
diff --git a/35212-h/images/ill_538b.png b/35212-h/images/ill_538b.png
new file mode 100644
index 0000000..39514c9
--- /dev/null
+++ b/35212-h/images/ill_538b.png
diff --git a/35212-h/images/ill_538b_sml.png b/35212-h/images/ill_538b_sml.png
new file mode 100644
index 0000000..33333f1
--- /dev/null
+++ b/35212-h/images/ill_538b_sml.png
diff --git a/35212-h/images/ill_539.png b/35212-h/images/ill_539.png
new file mode 100644
index 0000000..d80d1e2
--- /dev/null
+++ b/35212-h/images/ill_539.png
diff --git a/35212-h/images/ill_539_sml.png b/35212-h/images/ill_539_sml.png
new file mode 100644
index 0000000..5f242fe
--- /dev/null
+++ b/35212-h/images/ill_539_sml.png
diff --git a/35212-h/images/ill_541.png b/35212-h/images/ill_541.png
new file mode 100644
index 0000000..17df5cd
--- /dev/null
+++ b/35212-h/images/ill_541.png
diff --git a/35212-h/images/ill_541_sml.png b/35212-h/images/ill_541_sml.png
new file mode 100644
index 0000000..ca97874
--- /dev/null
+++ b/35212-h/images/ill_541_sml.png
diff --git a/35212-h/images/ill_542.png b/35212-h/images/ill_542.png
new file mode 100644
index 0000000..a221702
--- /dev/null
+++ b/35212-h/images/ill_542.png
diff --git a/35212-h/images/ill_542_sml.png b/35212-h/images/ill_542_sml.png
new file mode 100644
index 0000000..518e36b
--- /dev/null
+++ b/35212-h/images/ill_542_sml.png
diff --git a/35212-h/images/ill_543.png b/35212-h/images/ill_543.png
new file mode 100644
index 0000000..abf1a1e
--- /dev/null
+++ b/35212-h/images/ill_543.png
diff --git a/35212-h/images/ill_543_sml.png b/35212-h/images/ill_543_sml.png
new file mode 100644
index 0000000..b1cb3be
--- /dev/null
+++ b/35212-h/images/ill_543_sml.png
diff --git a/35212-h/images/ill_frontispiece.jpg b/35212-h/images/ill_frontispiece.jpg
new file mode 100644
index 0000000..fb66d7a
--- /dev/null
+++ b/35212-h/images/ill_frontispiece.jpg
diff --git a/35212-h/images/ill_frontispiece_name.jpg b/35212-h/images/ill_frontispiece_name.jpg
new file mode 100644
index 0000000..cc85fb8
--- /dev/null
+++ b/35212-h/images/ill_frontispiece_name.jpg
diff --git a/35212-h/images/ill_frontispiece_sml.jpg b/35212-h/images/ill_frontispiece_sml.jpg
new file mode 100644
index 0000000..a30001e
--- /dev/null
+++ b/35212-h/images/ill_frontispiece_sml.jpg
diff --git a/35212-h/images/ill_inside_back_a.jpg b/35212-h/images/ill_inside_back_a.jpg
new file mode 100644
index 0000000..b0de9fc
--- /dev/null
+++ b/35212-h/images/ill_inside_back_a.jpg
diff --git a/35212-h/images/ill_inside_back_a_sml.jpg b/35212-h/images/ill_inside_back_a_sml.jpg
new file mode 100644
index 0000000..0c8a350
--- /dev/null
+++ b/35212-h/images/ill_inside_back_a_sml.jpg
diff --git a/35212-h/images/ill_inside_back_b.jpg b/35212-h/images/ill_inside_back_b.jpg
new file mode 100644
index 0000000..2824732
--- /dev/null
+++ b/35212-h/images/ill_inside_back_b.jpg
diff --git a/35212-h/images/ill_inside_back_b_sml.jpg b/35212-h/images/ill_inside_back_b_sml.jpg
new file mode 100644
index 0000000..e9a9cec
--- /dev/null
+++ b/35212-h/images/ill_inside_back_b_sml.jpg
diff --git a/35212-h/images/ill_inside_cover_a.jpg b/35212-h/images/ill_inside_cover_a.jpg
new file mode 100644
index 0000000..ad4567d
--- /dev/null
+++ b/35212-h/images/ill_inside_cover_a.jpg
diff --git a/35212-h/images/ill_inside_cover_a_sml.jpg b/35212-h/images/ill_inside_cover_a_sml.jpg
new file mode 100644
index 0000000..6e26e32
--- /dev/null
+++ b/35212-h/images/ill_inside_cover_a_sml.jpg
diff --git a/35212-h/images/ill_inside_cover_b.jpg b/35212-h/images/ill_inside_cover_b.jpg
new file mode 100644
index 0000000..1e852db
--- /dev/null
+++ b/35212-h/images/ill_inside_cover_b.jpg
diff --git a/35212-h/images/ill_inside_cover_b_sml.jpg b/35212-h/images/ill_inside_cover_b_sml.jpg
new file mode 100644
index 0000000..7392d1a
--- /dev/null
+++ b/35212-h/images/ill_inside_cover_b_sml.jpg
diff --git a/35212-h/images/ill_map.png b/35212-h/images/ill_map.png
new file mode 100644
index 0000000..79886ac
--- /dev/null
+++ b/35212-h/images/ill_map.png
diff --git a/35212-h/images/ill_map_sml.png b/35212-h/images/ill_map_sml.png
new file mode 100644
index 0000000..5fae47a
--- /dev/null
+++ b/35212-h/images/ill_map_sml.png
diff --git a/35212-h/images/logo.jpg b/35212-h/images/logo.jpg
new file mode 100644
index 0000000..00ff8db
--- /dev/null
+++ b/35212-h/images/logo.jpg
diff --git a/35212-h/images/logo_lg.jpg b/35212-h/images/logo_lg.jpg
new file mode 100644
index 0000000..bf8e70e
--- /dev/null
+++ b/35212-h/images/logo_lg.jpg
author	Roger Frank <rfrank@pglaf.org>	2025-10-14 20:03:17 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-14 20:03:17 -0700
commit	8fab7b37bfc6a6bd343989af5d64b817eeff24b1 (patch)
tree	fcf0d87c6ef5da8ead59c56878fc0398669d836c /35212-h