Wanderings by Southern Waters, Eastern Aquitaine

by Edward Harrison Barker

I took shelter at Cours from a sharp storm. It was a wretched little village upon a dreary height, and the inhabitants, to whom French was a foreign language, stared at me as if I had been a gorilla. An overhanging 'bush' of juniper led me to a very small inn that bore the familiar signs of antiquity, dirt and poverty. I knocked at the old oak door studded with nail-heads, and it presently creaked upon its rusty hinges. It was opened by a poor woman whose manners were wofully uncouth; but this was no fault of hers. She was honest, as such rough people generally are. Although she must have wanted money, it did not occur to her to extract a sou from the stranger beyond the just price. When I had had enough of her wine and bread and cheese, and asked her to tell me what I owed her, she carefully measured with her eye how much wine was left in the bottle, how much bread and cheese I had taken, and when her severe calculation was finished she replied, in a harsh, firm voice, which meant that the reckoning being made she intended to stand by it: 'Eleven sous.'

When I met the valley of the Vers again the storm had passed far away; the evening rose was in the calm heaven, and the topmost oaks along the rocky ridge burnt like tapers upon a high altar of the vast temple whose roof is the vaulted sky. Already the deep aisles were dim with gathering shadows. When I reached the inn at Vers it was nearly dark, and after my day's tramp I was very glad to exchange the outer gloom for the brightness of the cheery fireside and the warmth of the chimney-corner beside the redly glowing logs.

The next day brought me to the end of my long journey down the valley of the Lot, for I had decided to leave the country below Cahors until some future day. I reached the city of Divona when the yellow glow of the autumnal rainy sunset was stealing up the ancient walls.

It is always with a certain dread that I say anything about history, because when I am once upon such high stilts I do not know when I shall be able to get down again. Moreover, when one is so mounted, one has to step very judiciously, especially in a region like this, where the roads to knowledge are so roughly paved. Nothing would be easier, however, than to fill a book with the history of Cahors, for the place, since the days of the Romans, has gone through such vicissitudes, and witnessed such stirring events, that those who wish to turn over the leaves of its past have abundant facilities for doing so; but it will be better for me to speak rather of what I have seen than what I have read. Nevertheless, my impressions of this old town at the present day would be like salad without salt if no flavour of the past were put into them.

When, a mud-bespattered tramp, I came down the road by the winding Lot, and saw the pale golden light rising upon the walls of churches and towers high above me, I could not but think of some of the terrible scenes which, in the course of 2,000 years, were witnessed by the inhabitants of Cahors. In the fast-falling twilight I saw the ghosts of the Vandals and Visigoths who helped to destroy the works of the Caesars, and passed onward to the unknown; of the Franks who burnt Cahors in the sixth century; of the Arab hordes, dabbled with blood, who afterwards came up from the South slaying, violating, plundering; of the English troops under Henry II. besieging and taking the town, accompanied by the Chancellor, Thomas-à-Becket; of the Albigenses and Catholics, who cut one another's throats for the good of their souls; of the Huguenots and Catholics, who repeated these horrors in the sixteenth century for the same excellent reason; but of all these shadows, the most interesting and the most dramatic was that of Henry IV. He was then Henry of Navarre, and the hope of the Protestants in the South, while Cahors was one of the strongholds of Catholicism. What a feat of war was that capture of Cahors by Henry with only 1,400 men, after almost incessant fighting in the streets for five days and nights! How red the paving-stones must have been on the sixth day, when it was all over, and the surviving Navarrese, smarting from the recollection of the tiles and stones that were hurled at them from the roofs by women, children, and old men, had given the final draught of blood to their vengeful swords! Never was so much courage so uselessly squandered. After the lapse of three centuries Henry's figure is still full of heroic life, as, with back set against a shop-window, and sword in hand, he shouted to those who urged upon him the hopelessness of his enterprise: 'My retreat from this town will be that of my soul from my body!'

If is really wonderful how certain buildings at Cahors have been preserved to the present day through all the storms of the tempestuous Middle Ages, the furious hurricane of religious hatred that brought those centuries to a close, and that other one, the Revolution, which ushered in the new epoch of liberty and well-dressed poverty. Of these buildings, the cathedral has the right to be named first. As a whole it cannot be called a beautiful structure, for its form is graceless; but what a charm there is in its details! Even its incongruity has a singular fascination. This most evident incongruity arises from the combination that it expresses of the Gothic and Byzantine styles. The façade is very early Gothic (about the year 1200), still full of Romanesque feeling, but the church having been much pulled about in the thirteenth century, it came to have a semi-Byzantine choir and two depressed domes, quite Byzantine, over the nave. The façade, with its squat towers, exhibits no lofty aim, but when one looks at the tabernacle-work in the tympan of the divided portal, the capitals in the jambs and the mouldings of the archivolts, the elegant arcade above and the tracery of the great rose window, one feels that although the Pointed style could not yet embody its dream of beauty by means of the tower and spire, it was moving towards it through a maze of glorious ideas destined to become inseparable from the spirit of the perfect whole. Still more interesting than this façade is that of the north portal (twelfth century). It is Gothic, but the general treatment has much of that Byzantine-Romanesque which produced some very remarkable buildings in Southern France. The portal is very wide and deeply recessed, and the tympan is crowded with bas-reliefs, the sculpture of which, rude yet expressive, is of a striking originality. There is a broad arabesque moulding in the doorway suggesting Eastern influence, and the closed arcade of the façade, with corbel-table above and its row of uncouth monstrous heads, presents a highly curious effect of struggling motives in early Gothic art.

The nave is much below the level of the soil, and is reached by a flight of steps from the main entrance. These steps at the Sunday services are crowded by the poorer class of churchgoers, sitting, kneeling, and standing, and, like the catechumens in the narthex of the early Christian basilica, they look as if they were separated from the rest of the faithful on account of their not being as yet full-fledged members of the Church. It may well be that they are the most faithful of the faithful, for stone is a hard thing to kneel upon, and when it is used for this purpose without ostentation, it is a pretty safe test of sincerity in religion. The grouping of the people here would interest at once an artistic eye, the more so because many of the women of Cahors wear upon their heads kerchiefs of brilliant-coloured silk folded in a peculiarly graceful and picturesque manner, resembling the Bordelaise coiffure, but yet distinct.

The nave of the cathedral is cold and tasteless, the whole effect being centred upon the choir, the richness of which is quite dazzling. The vault is a semi-dome, and the apse-like polygonal termination is pierced with several lofty Gothic windows, so that the eye rests upon the harmonious lines of the tracery and a subdued blaze of many-coloured glass. Then the columns, walls and vaulting of the choir are elaborately decorated in the Byzantine style, and, all the tones being kept in aesthetic harmony, the result is a general effect more beautiful than gorgeous. I observed it under most favoured circumstances. I entered the church for the first time during the pontifical High Mass. The vestments of the mitred bishop under his canopy, of the officiating priest and deacons, of the canons in their stalls, together with the white surplices and scarlet cassocks of the many choir-boys distributed over the vast sanctuary, and the sunbeams stained with the hues of purple, crimson, azure and green by the windows that reached towards the sky, falling upon all these figures, realized with a splendour more Oriental than Western a grand conception of colour in relation to a religious ideal.

After leaving the cathedral I changed my ideas by looking for the Gambetta grocery. It happened to be close by. The name is still over the door, but the shop no longer looks democratic. Its plateglass, its fresh paint and gilding, and the specimens of ceramic art which fill the window, give it somewhat the air of one of those London shops kept by ladies of title. Sugar, coffee, and candles now hide themselves in the far background, as though they were ashamed of their own celebrity.

Much more interesting than this shop is the old house where Gambetta spent his childhood. His parents did not live on the premises where they carried on their business. Therefore the odour of honey and vinegar had not, after all, so much to do with the formation of the clever boy's character. I found the house down a dark passage. The rooms occupied by the Gambetta family are now those of a small restaurateur for the working class. After ascending some steps, I entered a greasy, grimy, dimly-lighted room, the floor of which had never felt water save what had been sprinkled upon it to lay the dust. It had the old-fashioned hearth and fire-dogs and gaping sooty chimney, a bare table or so for the customers, a shelf with bottles, and the ordinary furniture and utensils of the provincial kitchen. Here I had some white wine with the present occupier as a reason for being in a place that must have often resounded with the infantile screams of Léon Gambetta. I ascertained that he was not born in this house, but that he was brought to it when about three months old, and that he passed his childhood here. I was shown an adjoining room, darker, dingier, less persecuted by soap, if possible, than the other. It was here that Gambetta slept in those early years. Did he ever dream here of a great room in a palace, draped with black and silver, of a catafalque fit for a prince, of a coffin heaped with flowers?