The South of France—East Half

by C. B. Black

From the palace the road leads up to the highest part of the town, the [Rocher des Doms]; commanding a magnificent view, and laid out as a public garden, with in the centre a statue of Jean Althen, who introduced, in 1766, the culture of the “garance,” the Rubia tinctoria, now superseded, for the dyeing of red. From this terrace a stair leads down to the Rhône near the [Bridge Bénézet] (see page 63). In the middle of the river is the Ile de Barthelasse, and on the other side are the Tour de Philippe le Bel, the town of Villeneuve, and above it the Fort St. André. On the promenade is the Cathedral [Notre-Dame-des-Doms], 194 feet above the Rhône, approached by a stair called the Pater, because originally it had as many steps as there are words in the Lord’s Prayer. This church has undergone many changes, and belongs to various periods. The portal and lower part of the tower are of the 10th cent., and are due to Fulcherius. The nave is two centuries later. The apse was added in 1671. The most remarkable part of the structure is the cupola, terminating in an octagonal lantern, and supported on pendentive arches. It bears traces of frescoes painted in 1672. In the sanctuary is the marble throne used by the Popes, in the sacristy the Gothic mausoleum of Jean XXII., and in one of the side chapels the tomb of Benoit XII. In the third chapel (right hand) is a Madonna in white marble, by Pradier. The sacristan is generally in the small room next the main entrance. Fee, ½ fr. for showing the church and the tomb.

Now return to the Place de l’Hôtel de Ville. At the foot or south end a tram-car leaves every ¼ to the Pont d’Avignon station on the other side of the Rhône, 2 sous; and another to St. Lazare at the

eastern end of the town near the cemetery, 2 sous. An omnibus starts every hour from the corner of the theatre for Villeneuve, where it stops at the east end of the church. Fare both ways, 4 sous.

Avignon: St. Agricol. Musée Calvet.

In the “Place” the principal edifice is the [Hôtel de Ville], built in 1862, on the site of the Palais Colonna, 14th cent, of which all that remains is the handsome belfry called Jacquemard and his wife, from the two figures which strike the hours. Next the Hôtel de Ville is the theatre, built in 1847. Behind is the church of [St. Agricol], 1340, the patron saint of Avignon. To the right on entering is the tomb of the painter Pierre Mignard, d. 4th April 1725, aged 86, and third chapel on same side is a virgin and child in wood by Coysevox. To the left of the entrance is an ancient and elegant marble baptismal font. At the foot of the short street St. Agricol, in the Rue Calade, is the Oratoire, built in 1730. At No. 65 of the Rue Calade is the [Musée Calvet], containing a valuable collection of art treasures open to the public on Sundays from 12 to 4, and a library and reading-room open every day except Sunday. Against the wall of the inner court is the tomb of the donor of this museum, Claud François Calvet, d. 25th July 1810, in his 82d year. On the right is the monument erected by Sir Charles Kelsall in 1823 to Laura de Sade, dead of smallpox in 1348, and buried in the church of the Cordeliers (see [p. 62]). On the other side is the tomb of the military strategist Folard, a native of Avignon. In the outer court, and in the rooms and passages on the ground-floor, are Roman altars, monuments, milestones, torses, amphoræ, and 170 Latin inscriptions, found in the neighbourhood, but chiefly from Orange and [Vaison] (p. 53). Among the sculptures in relief, one represents a Roman chariot drawn by two horses with their hoofs shod. There are 27 Greek inscriptions, 3d or 4th cent., from Venice. The statuary and sculpture of the Middle Ages and the Renaissance have been gathered principally from the suppressed churches and convents. The most noticeable are: the mausoleums of Pope Urbain V., of Cardinals Lagrange and Brancas, and of Marshal Palice. Within railings are: Cassandra by Pradier, a faun by Brian, and a bather by Esparcieux, all in the finest white marble. Upstairs is a valuable collection of Roman glass and bronzes, and 20,000 coins and medals, including a complete set of the seals and medals of the Popes during their residence at Avignon, and the seal used by the Inquisition while here. There are nearly 500 pictures, and a collection of drawings, including the original sketches of Horace Vernet. Most of the pictures have the artists’ names affixed. Those

in the great hall are by Albano, Bassano, Berghem, Bloemen, Bourdon, Canaletto, A. Carracci, Caravaggio, Châlons, Coypel, Credi, David, *Eckout (crucifixion), Sasso Ferrati, F. Floris, Gericault, Girodet, Gros, Holbein, Lomi, Meel, P. and N. Mignard, J. and P. Parrocel, Poussin, Euysdael, Salvator Rosa, Teuiers jun., Veronese, Vigée-Lebrun, and Zurbaran. In the small room are the paintings by Claude-Joseph, Horace and Carle Vernet, with a few by Paul Huet. The marble busts of Horace and Carle are by Thorwaldsen. In the centre of an inner room, containing the medals and engravings, is the famous ivory crucifixion, 27 inches long, of one piece, excepting the arms, a chef-d’œuvre of the sculptor Guillermin in 1659. It is said that Canova stood in ecstasy over this delicate achievement in art. [ Avignon: Musée Requien.] Continuing down the R. Calade to the other side of the R. Petrarque or de la République, we have on the right the Museum of Natural History in the church St. Martial, 15th cent. The greater part of the specimens were bequeathed by M. Requien, d. 1851, and of them the most interesting are those connected with the neighbourhood, such as the flamingo and beaver of the Rhône, and the fossils from Aix. In the eastern continuation of the R. Calade, at No. 62 R. des Lices, is the Collége [Saint Joseph], containing within its grounds all that remains (the belfry and piece of the north aisle) of the church of the Cordeliers; in which Laura was buried. The aisle has been repaired, and is now used as a chapel. Visitors are freely admitted. It is to the left of the entrance. Of the tomb there are no vestiges, having been destroyed along with the church by an infuriated mob in 1791. On the E. side of the R. Petrarque, by the narrow R. Prévot, is the church of [St. Dedier], 1355, containing, in first chapel right from entrance, a relief in marble representing Christ bearing his cross, executed by Francesco in 1481 at the request of King René. Opposite, over second arch, 36 ft. above the floor, is a stone pulpit with a sculptured pendant. The grave of St. Bénézet is under a plain slab in the middle of the nave, in front of the high altar. Near St. Dedier is the Hôtel Crillon, 17th cent.; and to the east of the Place de l’Hôtel de Ville is the church of St. Pierre (9 in plan), 1520, with an elaborately-sculptured door and pulpit. The pictures about the high altar are by N. Mignard, J. and P. Parrocel, and Simon de Châlons. From the S.E. corner of the Place de l’Hôtel de Ville, the R. des Marchands and its continuation the Rues Saunerie and Carréterie, lead to the Porte St. Lazare, with, to the right, the town hospital (7 in plan), having a frontage of 192 yards, built in the last century on the site of

the hospital of St. Martha, founded in 1354. Here, outside the town-walls to the right, then by a broad road to the left, is the Cemetery. The Protestant division is on the right side of the entrance. [ Avignon: J. S. Mill.] In a corner at the end of a short avenue of pine trees is the white marble monument to John Stuart Mill, b. 20th May 1806, d. 7th May 1873. In the same grave is interred Harriet Mill, his beloved wife, who died at Avignon in the Hôtel de l’Europe, Nov. 3, 1858. A touching epitaph, recounting her virtues, occupies the whole surface of the top slab. From the Porte St. Lazare, a walk may be taken between the ramparts and the Rhône down to the bridge built in 1184, partly in the style of the Pont-du-Gard, by the shepherd, saint, and architect, [Bénézet], who before had constructed one over the Durance at Maupas. This bridge, which stood 100 years, was 2952 ft. long and 13 wide, on 19 arches, of which four still remain. On the second arch is the chapel of [St. Nicolas], in which the relics of St. Bénézet were kept till removed to the church of St. Dedier.

Villeneuve-les-Avignon.

[ Avignon to Villeneuve.]

Every ¼, a tram crosses the bridge for the Pont d’Avignon station, while every hour an omnibus crosses for [Villeneuve-les-Avignon], pop. 3100, 2½ m. from the “Place,” or 1¼ m. from the Pont station. Near the parish church, 14th cent., is the Hospital, containing, in the chapel to the left, the mausoleum of Innocent VI., under a lofty elaborately-sculptured canopy, rising in pinnacles to the roof. Upstairs is the picture gallery, in two rooms. The most remarkable picture belongs to the 15th or 16th cent., painted on wood, and represents two subjects, Purgatory and the Judgment Day, apparently by two different artists. Although stiff, the design is admirable, and all the heads, even the smallest, are carefully executed. But the gem is the most charming and bewitching portrait by Mignard of Mme. de Ganges attired as a nun. She was born at Avignon in 1636, and when only 13 married the Marquis de Castellane, with whom she frequented the court of Louis XIV., where she was called La Belle Provençale. After her husband’s death she married the Marquis de Ganges, with whom she returned to Avignon, where her sorrows commenced, caused by the conduct of her two brothers-in-law, the Abbot and the Chevalier de Ganges, whose unlawful passion she steadfastly resisted. At last the exasperated abbot having made her drink poison, she threw herself out of the window, and while lying on the ground in the agony of death, the chevalier pierced her seven times with his sword. These two monsters were condemned by the parliament to be