Saint Augustin

by Louis Bertrand

Quite near, at the end of a narrow street, lined with modern and squalid hovels, the triumphal arch of Septimus Severus and of Caracalla extends its luminous bow; and high above the heavy mass of architecture, resting upon slim aerial little columns, a buoyant ædiculus shines like a coral tabernacle or a coffer of yellow ivory.

All about, forms in long draperies are huddled. The Numidian burnous has the whiteness of the toga. It has also the same graceful folds. At the sight of them you suddenly feel yourself to be in a strange land—carried back very far across the centuries. No sooner is the vision of antiquity outlined than it grows firm. Down below there, a horseman, clad in white, is framed with his white horse in the moulded cincture of a door. He passes, and upon the white wall of the near tower his shadow rests a moment, like a bas-relief upon the marble of a frieze.

Beyond the Byzantine enclosure, the basilica, with its minor buildings, forms another town almost as large as the present Theveste, and also closed in by a belt of towers and ramparts. One is immediately struck by the opulent colour of the stones—rose, grown pale and thinner in the sun; and next, by the solid workmanship and the structural finish. The stones, as in the Greek temples, are placed on top of one another in regular layers: the whole holds together by the weight of the blocks and the polish of the surfaces.

The proportions are on a large scale. There was no grudging for the buildings, or the materials, or the land. In front of the basilica is a wide rectangular court bordered with terraces; a portico at the far end; and in the middle four large fountains to water the walk. A flagged avenue, closed by two gateways, divides this court from the basilica, properly so called, which is reached by a staircase between two columns. The staircase leads to the atrium decorated by a Corinthian portico. In the centre is the font for purifications, a huge monolithic bason in the shape of a four-leaved clover. Three doors give entrance from the atrium to the basilica, which is divided by rows of green marble columns into three aisles. The galleries spread out along the side aisles. The floor was in mosaic. In the apse, behind the altar, stood the bishop's throne.

Around the main building clustered a great number of others: a baptistry; many chapels (one vaulted in the shape of a three-leaved clover) dedicated, probably, to local martyrs; a graveyard; a convent with its cells, and its windows narrow as loop-holes; stables, sheds, and barns. Sheltered within its walls and towers, amid its gardens and outbuildings, the basilica of Theveste thus early resembled one of our great monasteries of the Middle Age, and also in certain ways the great mosques of Islam—the one at Cordova, or that at Damascus, with their vestibules surrounded by arcades, their basons for purification, and their walks bordered with orange-trees. The faithful and the pilgrims were at home there. They might spend the day stretched upon the flags of the porticoes, in loafing or sleeping in the blue shade of the columns and the cool of the fountains. In the full sense of the word, the church was the House of God, open to all.

Very likely the basilicas at Hippo had neither the size nor the splendour of this one. Nor were there very many. At the time Augustin was ordained priest, that is to say, when the Donatists had still a majority in the town, it seems clear that the orthodox community owned but one single church, the Basilica major, or Basilica of Peace. Its very name proves this. With the schismatics, "Peace" was the official name for Catholicism. "Basilica of Peace" meant simply "Catholic Basilica." Was not this as much as to say that the others belonged to the dissenters? Doubtless they restored later on, after the promulgations of Honorius, the Leontian Basilica, founded by Leontius, Bishop of Hippo, and a martyr. A third was built by Augustin during his episcopate—the Basilica of the Eight Martyrs of the White Mace.

It was in the Major, or Cathedral, that Augustin generally preached. To preach was not only a duty, but one of the privileges of a bishop. As has been said, the bishop alone had the right to preach in his church. This arose from the fact that the African dioceses, although comparatively widespread, had scarcely more people than one of our large parishes to-day. The position of a bishop was like that of one of our parish priests. There were almost as many as there were villages, and they were counted by hundreds.

However that may be, preaching, the real apostolic ministry, was an exhausting task. Augustin preached almost every day, and often many times a day—rough work for a man with such a fragile chest. Thus it often happened that, to save his voice, he had to ask his audience to keep still. He spoke without study, in a language very near the language of the common people. Stenographers took down his sermons as he improvised them: hence those repetitions and lengthinesses which astonish the reader who does not know the reason for them. There is no plan evident in these addresses. Sometimes the speaker has not enough time to develop his thought. Then he puts off the continuation till the next day. Sometimes he comes with a subject all prepared, and then treats of another, in obedience to a sudden inspiration which has come to him with a verse of Scripture he has just read. Other times, he comments many passages in succession, without the least care for unity or composition.

Let us listen to him in this Basilica of Peace, where during thirty-five years he never failed to announce the Word of God…. The chant of the Psalms has just died away. At the far end of the apse, Augustin rises from his throne with its back to the wall, his pale face distinct against the golden hue of the mosaic. From that place, as from the height of a pulpit, he commands the congregation, looking at them above the altar, which is a plain wooden table placed at the end of the great aisle.

The congregation is standing, the men on one side, the women on the other. On the other side of the balustrade which separates them from the crowd, are the widows and consecrated virgins, wrapped in their veils black or purple. Some matrons, rather overdressed, lean forward in the front rank of the galleries. Their cheeks are painted, their eyelashes and eyebrows blackened, their ears and necks overloaded with jewels. Augustin has noticed them; after a while he will read them a lesson. This audience is all alive with sympathy and curiosity before he begins. With all its faith and all its passion it collaborates with the orator. It is turbulent also. It expresses its opinions and emotions with perfect freedom. The democratic customs of those African Churches surprise us to-day. People made a noise as at the theatre or the circus. They applauded; they interrupted the preacher. Certain among them disputed what was said, quoting passages from the Bible.