The Popes, having established themselves at Avignon in the fourteenth century, built a huge mansion on the rock known as the Rocher des Doms, which overlooks the Rhone. In 1336 Benedict XII., having destroyed his predecessor's palace, laid the foundations of the immense fortified pile now in existence. The plans were the work of the French architect, Pierre Obrier. The building was added to by the successors of Benedict XII., Popes Clement VI., Innocent VI., and Urban V., and was completed, or at any rate made efficient for defence, by 1398, when Pedro de Luna, who became pope under the title of Benedict XIII., sustained a memorable siege therein.
The whole building, which covers a very considerable area, was completed in less than sixty years. Its formidable mass was further strengthened by the fortified enceinte of the town, some three miles in circumference.
In general conception, in the architectural skill of its construction, and in its tasteful decoration, the Palace of the Popes at Avignon bears away the palm from all contemporary buildings in Germany and Italy, where French influences were paramount.
236. PALACE OF THE POPES AT AVIGNON. GENERAL VIEW
This noble monument is absolutely and entirely French. No finer combination of religious, monastic, military, and civil types could be desired in illustration of the art we have agreed to term Gothic Architecture, but which might be more truly entitled: Our National Architecture in the Middle Ages.
Justice indeed demands this tardy homage. Our vast churches, our superb cathedrals, our mighty castles and palace fortresses, the masterpieces that fill our museums—manifestations of artistic power which should move us, not to servile imitation but to fruitful study,—all were the creations of native architects.
That expansive force which made our national art the great civilising medium of the Middle Ages was derived from our own early architects, civil and religious. The principles and practice of monumental art were carried by French architects into all countries, though the results of their teaching are more conspicuous in Italy and Germany than elsewhere. Native builders and artists established the supremacy of French art throughout Western Europe, and even in the East. And though the foreign evolution, which marked the sixteenth century, did indeed exercise a transient influence in France, it must be remembered that the way had been prepared for this apparently novel movement by those French artists who have carried the fame of our beloved country throughout the civilised world.
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