[Illustration: Lantern at the Cathedral, Avignon.]
The palace has been restored, and is now a barrack. In it is shown a hall, the principal dining hall, called now la Salle Brûlée, as in 1441 the Papal Legate brought together into it the burghers and nobles of Avignon, and in the height of revelry withdrew himself, and had fire applied to barrels of gunpowder under it, and blew the guests into the air. This was done in revenge for the murder of his nephew, a young libertine who had dishonoured a maiden of good family in the town.
[Illustration: Angel at W. Door, Church of S. Agricole]
Adjoining the palace, on higher ground, the Rocher des doms, is the cathedral of Nôtre Dame, small and early. With barbarous taste, the fine Romanesque west tower has been finished off with an octagonal structure supporting as apex a gigantic figure of the Virgin, leaning against a lightning conductor that is screwed into her head and back, and looks much like the apparatus of a photographer to steady her for a successful carte. To the cathedral ascent is made by flights of stone steps, and it is entered by a porch that is made up of Corinthian pillars taken from a Classic temple. Some have thought the whole porch to be of Roman architecture, but it is not so. For some time Provençal architecture was much influenced by the remains that covered the soil, and from which the builders of churches not merely drew their ideas but also appropriated materials.
The dome of the cathedral is noticeable within from the bold and effective manner in which it is sustained on four successive receding arches. There is a fine north aisle, the vaulting of which starts as though it were about to spread into the fan-tracery of English Perpendicular. It is curious as showing French architects on the eve of reaching the same marvellous development attained in England.
There is a fine church at Avignon, S. Agricole, of noble proportions, the vaulting and arcades springing from the pillars without capitals. In the south aisle is a curious fourteenth-century shrine. The west front of the church is of very poor design.
[Illustration: A Bit of the Old Wall, Avignon.]
S. Pierre is a flamboyant church, the details passing into Renaissance. In the north aisle is a superb Renaissance altar-piece, representing Christ between S. Peter and S. Paul. Underneath is the Last Supper. It was too fine and good to be appreciated, and a modern vulgar altar and altar-piece have been erected at the side for use. The choir-stalls are really wonderful. They are also of Renaissance woodwork, with painted panels in the back representing architectural scenes alternating with vases of flowers. They are separated by Corinthian columns gilt, and very sumptuous, yet the whole effect is subdued and pleasing, not gaudy. In this church also the arches spring from the pillars without capitals. Altogether this church deserves careful study.
The museum of Avignon is the richest in antiquities in the south of France. Unfortunately the substance of the collection was gathered by a M. Calvert who made no note as to where he got the various articles he collected, and this naturally deprives much that is there of its value. However, there is a great deal there to be seen; notably a bronze cavalry standard, Roman, in admirable preservation; a stamp in bronze with the letters