George Edmund Street: Unpublished Notes and Reprinted Papers

by George Edmund Street

The entrance to the crypts is by stairs from the transepts or crossing. The staircases to the upper portion of the building are variously placed. At Notre-Dame-du-Port they are in the middle of the north end of the aisles; at Brioude, in the transepts, and also at the west end; and in this church, an enormous wooden stair leads from the south door up to the chapel of S. Michael over the narthex.

On the exterior the designs are as much alike as in the interior. The aisle walls are divided into bays by pilasters, above which arches are turned over the aisle windows, and then above are the windows lighting the triforia, which are generally more richly decorated than those below, and form part of an arcade with carved capitals and moulded bases. The walls are finished by a boldly-projecting cornice supported on large corbels. The transepts are buttressed at the angles, have a heavy engaged column in the centre, from which two arches spring, within which are pierced two windows; above these are other windows, either two or three lights, and the gable is either filled in with mosaic or pierced with more windows. It is on the exterior of the apse that the main effort at display is made, and the more ornate examples of the style, as Notre-Dame-du-Port, Issoire, and Brioude, are singularly rich in their effort. The two former examples are of very nearly the same date (about A.D. 1080 to A.D. 1130); the latter is considerably later (probably circa A.D. 1200). I will describe Notre-Dame-du-Port first. Here the transept-chapels are much lower than those of the chancel, and the latter (four in number) have cornices below the cornice of the aisle, and gable walls are raised on the aisle walls to receive their roofs, which would otherwise run back to the clerestory. There are windows between each of the chapels, and a great part of the beauty of the effect, both internally and externally, is to be attributed to this fact. I am not sure that the whole arrangement is not a modification of the original plan, for on close examination I found that the labels of the large windows between the chapels are returned and mitre with another label against which the chapels are built, and which might very well have formed part of an arcade pierced at intervals with windows. In the neighbourhood, about half-way between Clermont and Issoire, at S. Saturnin, there is a church precisely similar to what this would have been without its chapels, and the eccentric position of the chapels at Notre-Dame-du-Port, there being none opposite the centre,[55] would be just such as would have been rendered necessary if it had been desired to add them after the work had progressed somewhat towards completion. In any case, however, there could not have been any great interval of time between them, and probably the chapels and the clerestory are of exactly the same age. The whole of this apse is full of beautifully inlaid patterns, made with red and black scoriae and white stone. The enrichment is always confined to the walls above the springing of the windows, and does not generally extend quite to the cornice. The spaces between the corbels under the cornice are inlaid and the under side of the cornice is carved with a sunk pattern and in some cases appeared to me to have been coloured. Between the clerestory windows is precisely the same arrangement of shafts supporting a flat lintel under the cornice that I described in the first portion of the clerestory of Le Puy, and here, as there, the recessed wall is all inlaid.

At Issoire the general scheme is precisely similar. Here, however, a square chapel juts out from the centre of the apse, and the question arises whether this is an original arrangement. The suggestion I should throw out here, as at Clermont, would be that this is the only original chapel, and that the others were added, just as those at that place may have been. In both these churches the buttresses are alternately rectangular and circular, and the latter are always finished with carved capitals.

S. Julien, at Brioude, is an example of a later date, but it adheres closely to the same type, save that there are five apsidal chapels; and though the windows are much more elaborate, having jamb-shafts and moulded arches, and being arranged in a regular arcade of triplets in the clerestory, there is much less positive effect of decoration owing to the comparatively small amount of inlaying.

The churches at Brioude and Issoire are both on a much larger scale and generally finer than Notre-Dame-du-Port.

Lastly, I come to the steeples of these churches. Of these there were generally one or two at the west end and one over the crossing. I believe that not one of those over the narthex now remains, though two or three have been recently rebuilt. Those at the crossing were treated in a singular manner. The eastern wall of the transept, carried up much above the height of the walls of the apse, forms an enormous mass for the support of the steeple, and is arched and pierced with windows, or inlaid. The steeples seem generally to have been octagonal, and to have consisted of two stages arcaded and sometimes shafted at the angles, and capped with stone spires sloping at an angle of about sixty degrees. The steeple at Issoire is quite modern, and I believe no authority existed for it. That of Notre-Dame-du-Port is also new, the finish having been a bulbous slated erection, with an open lantern at the top, only a few years ago. Ancient examples, more or less perfect, still exist at S. Saturnin, Ennezat, Orcival, and S. Nectaire, and all of these are octagonal. These churches tally with most other early churches in this feature of central steeples.

I have not yet mentioned the roofs. In those which I was able to examine, they are covered with slabs of stone, supported from the stone roofs without any use of timber whatever. The ridges are also of stone, elaborately carved, and the whole construction seems to be as imperishable in its scheme as anything I know of the kind.

The churches of the Auvergnat type present so little variety, and were built within so short a space of time, that a description of each of them in succession would be wearisome. Of course there are some variations. S. Amable at Riom, for instance, has the main arches pointed, whilst the triforium arcade is round-arched, and the vault of the nave is also pointed instead of round. The vault of the nave of Issoire is another example of a pointed vault. At S. Nectaire the usual piers in the nave have given way to columns. At Brioude, the style reached its perfection, and, indeed, I know few effects more striking in every way than that of the aisles round the choir; the roof, constructed as a regular barrel-vault and without any ribs, seems to be true in principle, and to carry the eye on even more agreeably than our ordinary Gothic vaulting of circular aisles, in which the eye is often distracted by numbers of conflicting lines of ribs. The wall arcades between the chapels recall the peculiar form of trefoil to which I have before had to refer, and it is again met in the triforium of the south side of Notre-Dame-du-Port.

The doorways appear to be of two kinds; one enriched with sculpture, the other with inlaid work. Of the former the south door of Notre-Dame-du-Port is a fine example. The opening is square, covered with a pediment-like lintel, on which are sculptured in low relief the Adoration of the Magi, the Presentation in the Temple, and the Baptism of our Lord. Above the lintel is a round arch, under which is a figure of our Lord, seated, with a seraph on either side. Against the wall, below the lintel on each side of the door, are figures of Isaiah and S. John the Baptist. In the much-altered church at Mozat,[56] near Riom, is a door of a somewhat similar kind, and both are very like the doorway in the north transept of Le Puy. At S. Nectaire is an example of a door with the tympanum filled in with mosaic.

The masonry is usually of wrought stones squared, but not very neatly put together. M. Mallay, the architect of Clermont, who has restored some of them, ascertained the curious fact that the stone-masons who wrought the stone for the arches, and wherever else superior work was required, marked their stones with the usual mason’s mark, whilst those who wrought the stones for plain walling, jambs, and quoins, made no mark; and he found that precisely the same masons’ marks occurred at Issoire and Notre-Dame-du-Port; whilst the details and plan of Orcival, a few miles south-west of Clermont, are again so identical with both of these, as to leave little room for doubt that it was executed by the same workmen; and I found another evidence of the way in which details were repeated, in some fine ironwork in the south door of Brioude, which occurs again at Orcival.