The ramparts of Carcassonne have been to a large extent restored within recent years; but still remain untouched on the eastern side (see [Fig. 112]), where houses have been erected against the inner and upon the top of the outer walls, so as to convert the “lices” into a street. On this side the walls of the town are separated from the surrounding land, which here is rather high, by a wide and deep ditch. The high ground beyond the ditch was originally fortified with a large round tower (now destroyed) which is supposed to have communicated with the town by a subterranean passage.
Above the old houses on the walls are seen rising the great towers of the Porte Narbonnaise, each strengthened with a salient beak. Between these towers is the gateway. It had no drawbridge, but was defended in front by a great chain, a wide machicolation, a portcullis, and folding gates. In the centre of the vault over the archway there was a large opening, and the inner gateway was strengthened with a wide machicolation, a second portcullis, and a second gate. Besides these the towers were of course provided with their hoardings and a bretêche projected over the gateway. The great angle tower, called the “Trésau,” and a large angle bartizan further protected the approach of the gateway, as seen in the sketch.
Such were the fortifications of Carcassonne, the chief frontier fortress on the side of Aragon, and there can be little doubt that against the means of attack then employed, they were practically impregnable.
The ancient Church of St Nazaire at Carcassonne may be taken as an example of the ruder form which the Romanesque style assumed in a district not far removed from Provence. It occupies the highest point of the height on which stands the ancient fortified cité of Carcassonne.
FIG. 115. ST NAZAIRE, CARCASSONNE.
The church is placed near the walls of the city, and the west end is elevated and fortified so as to form part of the defences. The entrance to the nave is by a twelfth century doorway in the north aisle. The building consists of two portions, which form a striking contrast with one another ([Fig. 115]); the nave of the eleventh century, and the Romanesque choir of the fourteenth, the former of a massive and gloomy design, the latter of the lightest and most elegant Gothic.