A florid cloister of considerable size attaches itself on the south, but access is had only from the sacristy.
The choir and apse are of the thirteenth century, and immediately followed the fire of 1213.
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.
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,--probably will not be,--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.
The clerestory windows contain gla.s.s 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 gla.s.s, in the clerestory and choir, is modern.
In the sacristy is a remarkable series of perfectly preserved thirteenth-century sculptures in stone which truthfully--with the before-mentioned triforum--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.
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.
Modern mural paintings with backgrounds in gold decorate the _abside_ chapels.
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.
Not many of the cla.s.s, 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 _ennuied_ by the "resorts."
V
ST. JEAN DE BAZAS
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.
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.
It was three centuries before its west front was completed, and when so done--in the sixteenth century--it stood out, as it does to-day, a splendid example of a facade, completely covered with statues of such proportions and excellence that it is justly accounted the richest in the south of France.
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.
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.
The Huguenot rising somewhat depleted and greatly damaged the sculptured decorations of its facade, 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.
The diocese dates from the foundation of s.e.xtilius, in the sixth century.
VI
NOTRE DAME DE LESCAR
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.
Lescar itself is an attractive enough small town of France,--it contains but a scant two thousand inhabitants,--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.
It has, however, like so many of the small towns of the ancient Bearn, a notably fine situation: on a high _coteau_ which rises loftily above the _route nationale_ which runs from Toulouse to Bayonne.
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 verdant land there is no suggestion of what used--in ignorance or prejudice--to be called "an aspect austere and sterile."
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.
The edifice is of imposing proportions, though it is not to be cla.s.sed 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 cla.s.sification that it really belongs.
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.
There is no exceeding grace or symmetry 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 una.s.suming church edifice; more so, perhaps, with regard to churches than to most other things--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.
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 pa.s.sed the outer lintel or jamb.
The entire suggestion of this church, both inside and out, is of a structure far more ma.s.sive and weighty than were really needed for a church of its size, but for all that its very stable dimensions were well advised in an edifice which was expected to endure for ages.
The entire apse is covered, inside, with a series of frescoes of a very acceptable sort, which, though much defaced to-day, are the princ.i.p.al 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.
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.
In form, this old cathedral follows the basilica plan, and is perhaps two hundred feet in length, and some seventy-five in width.
The grandfather of Henri IV. and his wife--_la Marguerites des Marguerites_--were formerly buried in this cathedral, but their remains were scattered by either the Huguenots or the Revolutionists.
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 inst.i.tution exist to-day.
[Ill.u.s.tration]
VII
L"eGLISE DE LA SeDE: TARBES
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."
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.
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 munic.i.p.ality.
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 circ.u.mstances for the count, who was in prison and in debt to Gaston Phoebus for the amount of his ransom.