LITMIR.BIZ

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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 was the capital around which centred the life and activities of the pays du Limousin when that land marked the limits of the domain of the Kings of France. (Guienne then being under other domination.)

      The most ancient inhabitants of the province were known as Lemovices, 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 Emaux de Limoges.

      The earliest specimens of what has come to be popularly known as Limoges enamel date from the twelfth century; and the last of the great masters in the splendid art died in 1765.

      The real history of this truly great art, which may be said to have taken its highest forms in ecclesiology, – of which examples are frequently met with in the sacristies of the cathedral churches of France and elsewhere – 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.

      It reached its greatest heights in the reign of that artistic monarch, François 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 Sèvres.

      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.

      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.

      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, – choir, transept, and nave, – its development and growth have been most pleasing.

      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'Evêché is indeed grand and imposing.

      Chronologically the parts of this imposing church run nearly the gamut of the Gothic note – 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 clocher is a thirteenth-century work, and rises something over two hundred and four feet above the pavement.

      In the north transept is a grand rose window after the true French mediæval excellence and magnitude, showing once again the northern spirit under which the cathedral-builders of Limoges worked.

      In reality the façade 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.

      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.

      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 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.

      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.

      The chief treasures of the cathedral are a

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