ARCHITECTURE IN PROVENCE, LANGUEDOC, AND GASCONY.
No better place can be found than the Mediterranean provinces to consider the origins of the earliest southern style. Here Romanesque Cathedrals arose in the midst of the vast ruins of Imperial antiquity, here they developed strange similarities to foreign styles, domes suggesting the East, Greek motives recalling Byzantium, and details reminiscent of Syria. And here is the battle-field for that great army who decry or who defend Roman influences. Some would have us believe that the Romanesque dome is expatriated from the East; others, that it is naturalised; others, that it is native. The plan of the Romanesque dome differs very much from that of the Byzantine, yet the general conception seems Eastern. If conceivable in the Oriental mind, why not in that of the West? And yet, in spite of some native peculiarities of structure, why should not the general idea have been imported? Who shall decide? In a book such as this, mooted questions which involve such multitudinous detail and such unprovable argument cannot be discussed.
It is unreasonable to doubt, however, that Roman influences dominated the South, herself a product of Roman civilisation; and as in the curious ineradicable tendency of the South toward heresy we more than suspect a subtle infiltration of Greek and Oriental perversions, so in architecture it is logical to infer that Mediterranean traders, Crusaders, and perhaps adventurous architects who may have travelled in their wake, brought rumours of the buildings of the East, which were adopted with original or necessary modifications. Viollet-le-Duc, in summing up this much discussed question, has written that “in the Romanesque art of the West, side by side with persistent Latin traditions, a Byzantine influence is almost always found, evidenced by the introduction of the cupola.” In the lamentable absence of records of the majority of Cathedrals, reasonings of origin must be inductive, and more or less imaginative, and have no legitimate place in the scope of a book which aims to describe the existing conditions and proven history of southern Cathedrals.
“A ROMANESQUE AISLE.”—ARLES. [To List]
Quicherat, who has had much to say upon architectural subjects, defines the Romanesque as an art “which has ceased to be Roman, although it has much that is Roman, and that is not yet Gothic, although it already presages the Gothic.” This is not a very helpful interpretation. Romanesque, as it exists in France to-day, is generally of earlier building than the Gothic; it is an older and far simpler style. It was not a quick, brilliant outburst, like the Gothic, but a long and slow evolution; and it has therefore deliberation and dignity, not the spontaneity of northern creations; strength, and at times great vigour, but not munificence, not the lavishness of art and wealth and adornment, of which the younger style was prodigal. Few generalisations are flawless, but it may be truly said that Romanesque Cathedrals are lacking in splendour; and it will be found in a large majority of cases that they are also without the impressiveness of great size; that they are almost devoid of shapely windows or stained glass, of notable carvings or richness of decorative detail. Their art is a simple art, a sober art, and in its nearest approach to opulence—the sculptured portals of Saint-Trophime of Arles or Saint-Gilles-de-Languedoc—there is still a reserved rather than an exuberant and uncontrolled display of wealth.
“THE SCULPTURED PORTALS OF SAINT-TROPHIME.”—ARLES. [To List]
By what simple, superficial sign can this architecture be recognised by those who are to see it for the first time? It exists “everywhere and always” in southern France; but, side by side with the encroachments and additions of other styles, how can it be easily distinguished? Quicherat writes that the principal characteristic of the Romanesque is “la voûte,” and the great, rounded tunnel of the roofing is a distinction which will be found in no other form. But the easiest of superficial distinctions is the arch-shape, which in portal, window, vaulting or tympanum is round; wherever the arcaded form is used,—always round. With this suggestion of outline, and the universal principles of the style, simplicity and dignity and absence of great ornamentation, the untechnical traveller may distinguish the Romanesque of the South, and if he be akin to the traveller who tells these Cathedral tales, the interest and fascination which the old architecture awakes, will lead him to discover for himself the many differences which are evident between the ascetic strength of the one, and the splendour and brilliance of the other.