the reign of St. Hilaire as bishop of Poitiers, a prelate whose name still lives in the Église St. Hilaire-le-Grand.
The cathedral of St. Pierre is commonly 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—or period, when the process of evolution becomes most marked—between the almost pagan plan of many early Christian churches and the coming of Gothic.
In spite of its prominence and its beauty with regard to its accessories, St. Pierre de Poitiers does not immediately take rank as the most beautiful, nor yet the most interesting, among the churches of the city: neither has it the commanding situation of certain other cathedrals of the neighbouring provinces, such as Notre Dame at Le Puy, St. Maurice at Angers, or St. Front at Périgueux. In short, as to situation, it just misses what otherwise might have been a commanding location.
St. Radegonde overhangs the river Clain, but is yet far below the cathedral, which stands upon the eastern flank of an eminence, and from many points is lost entirely to view. From certain distant vantage-ground, the composition is, however, as complete and imposing an ensemble as might be desired, but decidedly the nearer view is not so pleasing, and somewhat mitigates the former estimate.
There is a certain uncouthness in the outlines of this church that does not bring it into competition with that class of the great churches of France known as les grandes cathédrales.
The general outline of the roof—omitting of course the scanty transepts—is very reminiscent of Bourges; and again of Albi. The ridge-pole is broken, however, by a slight differentiation of height between the choir and the nave, and the westerly towers scarcely rise above the roof itself.
The easterly termination is decidedly unusual, even unto peculiarity. It is not, after the English manner, of the squared east-end variety, nor yet does it possess an apse of conventional form, but rather is a combination of the two widely differing styles, with considerably more than a suggested apse when viewed from the interior, and merely a flat bare wall when seen from the outside. In addition three diminutive separate apses are attached thereto, and present in the completed arrangement a variation or species which is distinctly local.
The present edifice dates from 1162, its construction being largely due to the Countess Eleanor, queen to the young Earl Henry.
The high altar was dedicated in 1199, but the choir itself was not finished until a half-century later.
There is no triforium or clerestory, and, but for the aisles, the cathedral would approximate the dimensions and interior outlines of that great chambered church at Albi; as it is, it comes well within the classification called by the Germans hallenkirche.
Professor Freeman has said that a church that has aisles can hardly be called a typical Angevin church; but St. Pierre de Poitiers is distinctly Angevin in spite of the loftiness of its walls and pillars.
The west front is the most elaborate constructive element and is an addition of the fourteenth and fifteenth centuries, with flanking towers of the same period which stand well forward and to one side, as at Rouen, and at Wells, in England.
The western doorway is decorated with sculptures of the fifteenth century, in a manner which somewhat suggests the work of the northern builders; who, says Fergusson, "were aiding the bishops of the southern dioceses to emulate in some degree the ambitious works of the Isle of France."
The ground-plan of this cathedral is curious, and shows, in its interior arrangements, a narrowing or drawing in of parts toward the east. This is caused mostly by the decreasing effect of height between the nave and choir, and the fact that the attenuated transepts are hardly more than suggestions—occupying but the width of one bay.
The nave of eight bays and the aisles are of nearly equal height, which again tends to produce an effect of length.
There is painted glass of the thirteenth century in small quantity, and a much larger amount of an eighteenth-century product, which shows—as always—the decadence of the art. Of this glass, that of the rosace at the westerly end is perhaps the best, judging from the minute portions which can be seen peeping out from behind the organ-case.
The present high altar is a modern work, as also—comparatively—are the tombs of various churchmen which are scattered throughout the nave and choir. In the sacristy, access to which is gained by some mystic rite not always made clear to the visitor, are supposed to be a series of painted portraits of all the former bishops of Poitiers, from the fourteenth century onward. It must be an interesting collection if the outsider could but judge for himself; as things now are, it has to be taken on faith.
A detail of distinct value, and a feature which shows a due regard for the abilities of the master workman who built the cathedral, though his name is unknown, is to be seen in the tympana of the canopies which overhang the stalls of the choir. Here is an acknowledgment—in a tangible if not a specific form—of the architectural genius who was responsible for the construction of this church. It consists of a sculptured figure in stone, which bears in its arms a 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.
The episcopal residence adjoins the cathedral on the right, and the charming Baptistère St. Jean is also close to the walls of, but quite separate from, the main building of the cathedral.
The other architectural attractions of Poitiers are nearly as great as its array of churches.
The Musée is exceedingly rich in archæological treasures. The present-day Palais de Justice was the former palace of the Counts of Poitou. It has a grand chamber in its Salle des Pas-perdus, which dates from the twelfth to fourteenth centuries as to its decorations. The ramparts of the city are exceedingly interesting and extensive. In the modern hôtel de ville are a series of wall decorations by Puvis de Chavannes. The Hôtel d'Aquitaine (sixteenth century), in the Grand Rue, was the former residence of the Priors of St. John of Jerusalem.
The Chronique de Maillezais tells of a former bishop of Poitiers who, about the year 1114, sought to excommunicate that gay prince and poet, William, the ninth Count of Poitiers, the earliest of that race of poets known as the troubadours. Coming into the count's presence to repeat the formula of excommunication, he was threatened with the sword of that gay prince. Thinking better, however, the count admonished him thus: "No, I will not. I do not love you well enough to send you to paradise." He took upon himself, though, to exercise his royal prerogative; and henceforth, for his rash edict, the bishop of Poitiers was banished for ever, and the see descended unto other hands.
The generally recognized reputation of William being that of a "grand trompeur des dames," this action was but a duty which the honest prelate was bound to perform, disastrous though the consequences might be. Still he thought not of that, and was not willing to accept palliation for the count's venial sins in the shape of that nobleman's capacities as the first chanter of his time—poetic measures of doubtful morality.
VII
ST. ETIENNE DE LIMOGES
"Les Limosinats leave their cities poor, and they return poor, after long years of labour."
—De la Bédolliere.
Limoges
