This is also the case with the windows, which play the gamut from the severe round-headed Romanesque to the latest flamboyant development, a feature which not only disregards most conventions, but, as every one will admit, most flagrantly offends, with sad results, against the general constructive elements. A plain triforium, in the nave, blossoms out, in the south transept and choir, in no hesitating manner, into exceeding richness. The choir has an apsidal termination and contains carved wooden stalls which are cla.s.sed as work of the mid-seventeenth century, though appearing much more time-worn.

The really popular attribute of the church lies in the reconstructed monument to St. Yves, the patron saint of advocates, and commonly considered the most popular in all the Brittany calendar.

Born near Treguier in 1253, St. Yves' "unheard-of probity and consideration for the sick and the poor" gained such general respect that, with his death on the nineteenth of May, 1303, there was inaugurated a great feast which to-day is yearly celebrated, and all grieving against a real or fancied wrong have recourse promptly to the supposedly just favour of this universal patron of the law.

[Ill.u.s.tration: S. BRIEUC]

XIII

ST. BRIEUC

Unlike many of the smaller towns which contain cathedral churches, St.

Brieuc is a present day bishopric; hence the Cathedral takes on, perhaps, more significance than it would, were it but an example of a Mediaeval church.

In reality it is not a very wonderful structure, and the guide-books will tell one practically nothing about it. The town itself is a dull place, a tidal port, at some little distance from the sea, which flushes in upon it twice during the round of the clock.

A monastery was founded here in the fifth century by St. Brieuc, from whom the town itself and the present cathedral take their name. He was a Celtic monk from Wales, who, upon being expelled from his native land, located his establishment here, on the site of a former Gallo-Roman town. The patronal feast of St. Brieuc is held each year on the first of May and is a curious survival of a mediaeval custom.

Some remains of an early church are built into the choir walls, but in the main this not very grand edifice is of the thirteenth and fourteenth centuries.

The tower, with its loopholes, would supposedly indicate that the church was likewise intended as somewhat of a fortification. The apse is rounded in the usual form, and on either side extend transepts to the width of two bays.

Within, the Cathedral is more attractive than without. The elements of construction and embellishment, while perhaps not ranking with those of the really great churches, are sufficiently vivid and lively to indicate that the work was consciously and enthusiastically undertaken. The lady-chapel is of the thirteenth century, and the transept rose is of the fifteenth, as is also the Chapel of St. Guillaume, named for the monk of Dijon who built so many of the monasteries throughout Brittany and who, it is to be presumed, planned or built the original structure, the remains of which are found in the present choir.

The windows throughout are either of not very good modern gla.s.s, or of plain leaded lights, which, in the majority of cases, may be considered as no less an attraction. An elaborate rose is in the western gable.

There are, in the church, various monuments and tombs to former bishops.

XIV

ST. POL DE LEON

In the midst of that land which furnishes the south of England with most of its cauliflowers, artichokes, onions, and asparagus, truly off the beaten track, in that it is actually off the line of railway, is the strange and melancholy city of St. Pol de Leon, its _clochers_ dominating, by day at least, both land and sea. It contains the famous "Kreisker," a name which sounds as though it were Dutch or North German, which it probably is along with other place names on the near-by coast, such as Grouin, St. Vaast, Roscoff, and La Hougue.

The tower and spire of this wonderful "Kreisker" rise boldly, from the transept crossing, in remarkable fashion, and as a marvel of construction may be said to far outrank the cathedral structure itself.

"Curious and clever" well describes it. As for the former cathedral over which the Kreisker throws its shadow, it is one of those majestic twin-towered structures not usually a.s.sociated with what, when compared with the larger French towns, must perforce rank as a mere village.

There is much to be said in favour of these little-known near-by places, namely, that the charm of their attractions amply repays one for any special labour involved in getting to them, with the additional advantage, regardless of the fact that a stranger appears somewhat to the native as a curiosity, that they are "good value for the money paid." Perhaps the cheapest Continental tour, of say three weeks, that could be taken, amid a constantly changing environment, if one so choose, would comprehend this land of Calvaries.

The two cathedral towers of early Gothic flank a generous porch. There is good gla.s.s throughout the church, the circular "rose" of the transept being a magnificent composition in a granite framing. The nave is of thirteenth-century Gothic, from the south aisle of which projects a large chapel dedicated to St. Michael. The double-aisled choir is garnished with sculptured stalls of the fifteenth century, and, separated from its aisles by a stone screen, is of much larger proportions than the nave, and likewise of a later epoch of building.

The apse is flamboyant, as are also the windows of the south transept.

In the chapels are various vaults and tombs, remarkably well preserved, but of no special moment. In one of these chapels, however, is a curious painting in the vaulting, representing a "Trinity" possessing three faces, disposed in the form of a trefoil with three eyes only. A ribbon or "_banderalle_" bears an inscription in Gothic characters; in the Breton tongue, "_Ma Donez_" (Mon Dieu).

XV

ST. CORENTIN DE QUIMPER

"C'est Quimper, ce melange du pa.s.se et du present." A true enough description of most mediaeval cities when viewed to-day; but with no centre of habitation is it more true than of this city by the sea,--though in reality it is not by the sea, but rather of it, with a port always calm and tranquil. It takes rank with Brest as the western outpost of modern France.

For centuries unconquered, and possessing an individuality of its very own, this now important prefecture has much to remind us of its past.

History, archaeology, and "mere antiquarian lore" abound, and, in its grandiose Cathedral of St. Corentin, one finds a large subject for his appreciative consideration.

[Ill.u.s.tration: ST. CORENTIN _de QUIMPER_ ...]

It is of the robust and matured type that familiarity has come to regard as representative of a bishopric; nothing is impoverished or curtailed. Its fine towers with modern spires, erected from the proceeds of a "b.u.t.ter tax," are broad of base and delicately and truly proportioned. Its ground-plan is equally worthy, though the choir is not truly orientated. Its general detail and ensemble, one part with another, is all that fancy has told us a great church should contain, and one can but be prepared to appreciate it when it is endorsed, and commented on, by such ardent admirers as De Caumont, Viollet-le-Duc, Corroyer, and Gonse, those four accomplished Frenchmen, who probably knew more concerning Mediaeval (Gothic) architecture than all the rest of the world put together.

From the thirteenth to the fifteenth century there grew up here a work embracing the ogival and the flamboyant, neither in an undue proportion, but as well as in any other single structure known. This well shows the rise, development, and apogee of the style which we commonly call Gothic, but which the French prefer to call "ogival," and which should really, if one is to fairly apportion credit where it is due, be best known as French Mediaeval architecture.

Its west facade, with its generous lines, is strongly original. The two towers, pierced with enormously heightened lancets, are indubitably graceful and impressive, while a flanking pair of flying b.u.t.tresses, with their intermediate piers, form an unusual arrangement in the west front of a French cathedral.

Above the western gable is a curiously graven effigy of King Grollo in stone.

Considered as a whole, the exterior is representative of the best contemporary features of the time, but contains few if any which are so distinctly born of its environment as to be otherwise notable.

The interior vies with the outer portion of the fabric in the general effect of majesty and good design. The triforium is remarkably beautiful and is overtopped by a range of clerestory windows which to an appreciable extent contain good early gla.s.s. The easterly end is the usual semicircular apse.

Among the relics of the Cathedral is a crucifix which is supposed to emit drops of blood when one perjures himself before it. It is, perhaps, significant that the people of Finistere, the department which claims Quimper as its capital, have the repute of being honest folk.

The Bishops of Quimper were, by virtue of the gift of _le roi Grodlon le Grave_, the only seigneurs of the city during the middle ages.

XVI

VANNES

Vannes was the ancient capital of the Celtic tribe of the Veneti, its inhabitants being put to rout by Caesar in 57 B. C. Afterward it became the Roman town of Duriorigum, and later reverted back to a corruption of its former name. Christianity having made some progress, a council was held, and a bishop appointed to the city, and from that time onward its position in the Christian world appears to have been a.s.sured. For centuries afterward, however, it was the centre of a maelstrom of internal strife, in which Armoricans, Britons, Franks, and Romans appear to have been inextricably involved. Then came the Northmen, who burned the former Cathedral of St. Peter. This was rebuilt in the eleventh century, and in no small measure forms the foundation of the present structure, which to-day is the seat of a bishop, suffragan of Rennes.

From this early architectural foundation, to the most florid and flamboyant of late Gothic, is pretty much the whole range of Mediaeval architectural style. By no means has a grand or even fine structure resulted. The old choir, suffering from the stress of time, was pulled down and rebuilt as late as 1770. Thus, this usually excellently appointed and constructed detail is here of no worthy rank whatever. The nave and transepts were completed within the hundred years following 1452, and show the last flights of Gothic toward the heights from which it afterward fell. Transformation and restoration have frequently been undertaken, with the result that nowhere is to be seen perhaps greater inconsistencies. The latest of these examples of a perverted industry is seen in the nineteenth-century additions to the tower and the west facade. The result is not, be it said, to the credit of its projectors.

THE END.