The church at Cruas in Provence has three apses with Lombard archlets round them all. Its dome is surrounded by a colonnade, and a superimposed round turret with Lombard windows. The tower has the usual double-arched windows.
Provence shows some beautiful specimens of Italian cloisters, at Aix, at Arles, and at Fontifroide. The latter has a row of arches supported by double columns of elegant slightness, and with foliaged capitals of varied form and great freedom of design. Fergusson says that the freedom and boldness are unrivalled. The cloister at Elne is still more varied and unique; the capitals mix up Egyptian, classic, and mediæval art in a manner truly unique.
As for towers, those left in Provence show a distinctly Lombard style. The tower at Puissalicon near Beziers is perfect in every particular, with its pillared Lombard windows increasing in width and lightness as they ascend.
From Provence, the land of the Popes, the Comacines penetrated further into France. The church of S. Croix at Bordeaux, attributed to William the Good, Duke of Aquitaine, who died in 877, has its round-arched porch, decorated with a profusion of Comacine intrecci of intertwined vines; and spiral pilasters grouped at the angles. Hope quotes the façade of the cathedral of San Pietro at Angoulême, as the finest Lombard one existing. There are numerous files of round arches, on elegant little columns, statues in niches, rich bas-reliefs, friezes, and arabesques. The nave is divided into three portions, each with a cupola. In this we see another step forward towards the vaulted roof. At Tournus the arches are simply thrown across the three divisions of the nave; here they are arched into the shape of a dome. The tower is entirely Lombard in form. There are Lombard churches at Poictiers, Puy, Auxerre, Caen, Poissy, Compiègne, etc., in all of which the style is perfectly distinct from the Norman, as it was then developed; and also from the later Gothic.
CHAPTER II
THE GERMAN LINK
The heading of this chapter implies nothing that can impugn the claims of the Teutons to the perfecting of the Gothic style, which claims are undoubtedly fair. It only implies that the pointed Gothic architecture was not an invention of the Germans, so much as a national development of some earlier form; and, like all developments, must have had some link connecting it with that earlier source. Was the Comacine Guild that link? Legends and traditions pointing to it are many, but, as usual, absolute proofs are few. Some proofs might be found if, with a clue in one's hand, search could be made among the archives of the German cities in which round-arched Lombard-style churches were built before the pointed Gothic and composite style came in. Some German savant should sift out certain traditions, which, from want of authorities and unfamiliarity with the language, I am not able to do. These are—
Firstly: That St. Boniface came to Italy before proceeding on his mission to Germany in A.D. 715, and that Pope Gregory II. gave him his credentials, instructions, etc., and sent with him a large following of monks, versed in the art of building, and of lay brethren who were also architects, to assist them.[96] This is the precise method in which St. Augustine and St. Benedict Biscop were equipped and sent to their missions in England, and S. Guillaume to his bishopric in Normandy. What resulted in England from the missions of St. Augustine, St. Wilfrid, and St. Benedict? The cathedral of Canterbury, the abbeys of Hexham, Lindisfarne and others—all distinctly Lombard buildings. What did S. Guillaume do in Normandy? He built the churches of Caen, Dijon, etc., also in pure Lombard style, not in the heavier Norman by which the natives followed it. So in Germany we hear that among the bishoprics founded by St. Boniface were Cologne, Worms, and Spires,[97] precisely the cities which have remains of the earliest churches in Lombard style. There are many other German churches, now fine Gothic buildings, whose crypts and portals show remains of older round-arched buildings.
Secondly: It is necessary to discover the precise connection of the Emperors Charlemagne, Otho, and the German monarchs who successively ruled in Lombardy, with the Masonic guild there. Whether, as they employed them in the Italian part of their kingdom, they did not also employ them across the Alps.
Thirdly: To find out whether, when Albertus Magnus went back to Cologne from Padua, he had not become a Magister in the Masonic guild, as many monks were, and whether he propagated the tenets of the brotherhood in Germany.
Certain proof exists that he designed the choir of the cathedral there, if nothing more. He also wrote a book entitled Liber Constructionum Alberti, which afterwards became the handbook for Gothic work. It is probable that this was in great part borrowed from an earlier Italian work on the construction of churches, named L' Arcano Magistero. This, however, was a secret book of the guild, and was kept most strictly in the hands of the Magistri themselves. Kügler relates that in 1090 a citizen of Utrecht killed a bishop, who had taken L' Arcano Magistero away from his son who was an architect. I am strongly of opinion that Albertus Magnus was much connected with the importation of Freemasons into Germany.