The church of St Gilles was designed on a grand scale, befitting the condition of the place at the time, but seems never to have been completed, the works having been interrupted and destroyed during the crusades of the Northern Franks against the Albigenses of the South. These wars formed a sort of sequel to, or continuation of the invasions of the barbarians. The South of Gaul, having preserved much of its Roman civilisation and municipal institutions, had become sooner settled, and had more quickly revived from anarchy than the North. This led to an independent intellectual and religious development, which did not conform to the ideas of religious unity then prevalent. Crusades against the Infidels in Syria and Africa had now become somewhat stale and unprofitable; but a crusade against the rich provinces of the South had great attractions, and was heartily supported by the restless and unsettled people of the North. Hence arose (as already pointed out) the long and cruel war in Aquitaine and Languedoc—the Crusaders being led by Simon de Montfort, and the people of the South by the Count of Toulouse.
In these disastrous and bloody campaigns the whole country suffered terribly. The towns were besieged and sacked, and the buildings destroyed. Amongst others, St Gilles dates its decline from the devastation then inflicted on it, and from which it never recovered.
The following inscription, said to be copied from an older one now lost, occurs on the wall near where the ancient cloister stood:—“Anno Domini, 1116, hoc templum Sancti Egidii ædificare cepit mense Aprili feria 2A in Octava Paschae.”
The church of St Gilles was thus begun in 1116 by Alphonse Jourdain, son of Raymond IV. of Toulouse. There still remains a portion of a subterranean church, which formed the substructure of the intended great building above, and which dates from the first half of the twelfth century. It is well lighted, and divided into two with a row of columns supporting two low cross vaults, ornamented with dog-tooth enrichments.
In the midst of the outline of the greater works, which can still be traced, rises the existing small church, which has all the appearance of a temporary erection. It is in a late style and of small importance architecturally, but it marks the decline of the wealth and prosperity of the town from its state at the time when the great church was founded.
The really great and valuable work, however, at St Gilles is the splendid triple portal ([Fig. 87]), which is by far the largest and richest example of Provençal decoration. Every part of the surface is covered with work, either sculptured with figures or enriched with ornament, and although the remainder of the building
FIG. 87. PORTAL OF ST GILLES.