The Abbey of Brantôme on the Dronne (Dep. Dordogne) was originally, like Marmoutier, a cavern monastery, and like those of Marmoutier, the monks waxing fat, they kicked and abandoned the grottoes for a stately structural monastery. The beautiful Romanesque tower of the church stands on top of a rock that is honeycombed with their cells. The church, consisting of nave only, is of marvellous beauty, early pointed, and built on a curve, as there was but little space to spare between the river and the cliffs. Unhappily church and cloister were delivered over to be "restored" by that arch-wrecker, Abbadie, who has done such incalculable mischief in Perigord and the Angoumois, and his hoof-mark is visible here. The monks, not content with a sumptuous Gothic abbey, pulled it down and built one in the baroque style, and had but just completed it when the Revolution broke out "and the flood came and swept them all away." In the court behind this modern structure is to be seen the cliff perforated with caves; it has, however, been cut back to the detriment of these, so that we have them shorn of their faces. Nevertheless they are interesting. The old monolithic chapel of the monastery remains, turned into a pigeonry, and with the steps left that gave access to the pulpit, and two pieces of sculpture on a very large scale, cut out of the living rock. One represents the Crucifixion with SS. Mary and John; the other has been variously explained as the Last Judgment or the Triumph of Death. It perhaps represents the Triumph of Christ over Death. His figure and the kneeling figures of His Mother and the Beloved Disciple were, however, never completed, and remain in the rough.
Beneath the figure of Christ is Death, figured by a head surmounted by a crown of bones, and a crest representing a spectre armed with a club. On each side is an angel blowing a trumpet. Below are ranged a dozen heads of popes, bishops, princes, knights, and ladies, in boxes to represent graves.
[Illustration: THE TRIUMPH OF CHRIST OVER DEATH
Sculpture in the cave monastery of Brantôme. The figure of Christ was never completed. Below is a head crowned with bones, for Death, with Time as crest. Below, in boxes, are the dead, of various degrees.]
In the front of this huge piece of sculpture are trestles planted in the ground to support planks to serve as tables when the Brantômois desire to have a banquet and a dance.
The sculpture above described is not earlier than the sixteenth century. A few paces from it, in the same line and almost under the tower, is another grotto called La Babayou—that is to say "of the statue," and it probably at one time enshrined an image of a saint. On the left of the subterranean church is the fountain of the little Cut-throat already mentioned. S. Sicarius, whose relics were the great "draw" to Brantôme in the Middle Ages, was supposed to have been one of the Innocents slain by Herod; and the relics were also supposed to have been given to the abbey by Charlemagne. As there was no historic evidence that Charles the Great ever had a set of little bones passed off on him as those of the Innocent, or that he ever made a present to the abbey of a relic, it will be seen that a good deal of supposition goes to the story. As I have said before, how it was that the child of a Hebrew mother acquired a Latin name, and that one so peculiar, we are not informed.
Outside the town gate are other large excavations that are supposed to have formed a temple of Mithras, but this is mere conjecture. The largest is now employed as a Tir—a shooting gallery. That there were buildings connected with it is seen by the holes in the rock to receive rafters.
S. Maximus, Bishop of Riez, who died in 460, was born at Château Redon, near Digne, and he entered the monastic life on the isle of Lerins, under S. Honoratus, and when that saint was raised in 426 to the episcopal throne of Arles, Maximus succeeded him as Abbot of Lerins. But this monastery was becoming crowded, and Maximus pined for the solitary life, so one day he took a boat, crossed to the mainland, and plunged into the wild country about the river Verdon, that has sawn for itself a chasm through the limestone; where it debouches, he planted himself at a place since called Moustier-Ste-Marie. The lips of the crevasse are linked by a chain, with a gilt star hanging in the midst, little under 690 feet above the bed of the torrent. No one knows when this star was hung there, but it is supposed to have been an ex voto of a chevalier, de Blac. Within the ravine, reached by a narrow goat-path, were caves in the cliffs, and into one of these Maximus retired in 434 and was speedily followed by other solitaries. The caves are still there, the faces walled up, but as at Ligugé, and as at Marmoutier, and as at Brantôme, so was it here. As the monastery grew rich, the solitaries crawled out of their holes into which the sun never shone, and erected their residence at the opening of the ravine. A chapel remains, founded by Charlemagne, but rebuilt in the fourteenth or fifteenth century, reached by a stair protected by a parapet.
Moustier was famous at the close of the seventeenth and beginning of the eighteenth century for its faience, with elegant designs and good colouring. Specimens are now extremely scarce. Two vases of this ware may be seen on the altar of the chapel. The principal potters there were Pierre Fournier, Joseph Olery, Paul Rouse, and Féraud. They usually signed their work with their initials. Maximus was just a century later than Martin; the fever for imitating the lives of the Fathers of the Deserts of Egypt was then in full heat. His master, Honoratus, had been wont to escape from his island monastery and hide in a cave in the glowing red porphyry rocks of the Esterelle. I can understand his retiring thither, above a sea blue as the neck of a peacock, among glowing red rocks, and masses of pines, and heather, and arbutus, and every kind of fragrant herb, and where, when only snowdrops are appearing in England, the spires of white asphodel are basking in the sun.
[Illustration: CAVES OF LIGUGÉ