Part 11

Avignon was thus occupied by the Popes from 1316 to 1376, or sixty years, during which time there reigned six Popes. They were all Southern Frenchmen, a circumstance which probably had considerable influence on the style of the architecture, which is undoubtedly quite that of Provence, and has small affinity with the style then in use in Italy, notwithstanding that the name of the architect Obreri sounds somewhat Italian. The construction, mouldings, vaults, and defences, are all in the style of Southern French work, and do not recall Italian features. The only Italian details are the paintings on the vaults and ceilings, said to have been executed by Giotto and Simone Memmi. Of these there are unfortunately only a few fragments left. The vault of the great Consistorial Hall was completely painted, but the building having been cut up into several floors in order to convert it into barracks (in which occupation it still remains), the faded and damaged condition of the paintings can well be conceived.

The Anti-Popes Clement VII. and Benedict XIII. occupied Avignon from 1379 to 1403. The latter was besieged in the palace by General Boucicaut in 1398. The Pope fled, but the palace did not capitulate till 1411. The buildings suffered severely from fires which occurred in 1378 and 1413.

The principal entrance to the palace is on the west side, and opens from an esplanade which commands the surroundings, and was formerly divided into several baileys or courts, with walls, towers and gates. The entrance gateway was defended with two portcullises, with folding gates and double machicolations. It had originally an advanced work in front, which was replaced in the seventeenth century by a crenellated wall. The appearance of the building, whether it be regarded externally or from the courtyard, is grand and imposing from its vastness and height. The towers and walls are, even in their present crippled condition, most commanding from their magnitude, the former being about 150 feet in height, while the walls rise to about 100 feet. On entering the great courtyard (D), evidence presents itself of the difference in level between it and the older northern court (C), in the rugged foundation on which the south front of the latter stands, the rock having been cut down, as above mentioned, to the level of the lower court. The frowning machicolations of that side, which look somewhat out of place in a _Cour d’honneur_, are explained when we remember that under Pope Benedict XII. this formed the exterior of the south face of the palace, before the south courtyard was added by Clement VI. and Innocent VI.

The most striking feature of the architectural details of the palace is the machicolations of the parapet. These consist in long grooves opening between the inside of the parapet and the external face of the walls, the parapet being carried on pointed arches thrown between buttresses which project at intervals (_see_ Fig. 47). This form of machicolation (which we have already observed at Cruas) is much used in the southern provinces, perhaps from the prevalence of such works in the churches, most of which were fortified, and where the buttresses which existed for other reasons, were found convenient, and were thus utilized. These long machicolations have the advantage of allowing beams, and other lengthy missiles to be thrown down on assailants; but the frequently recurring broad buttresses or wall spaces, which have no defence immediately over them, are a drawback.

In the North these long grooves are very rarely used; a continuous series of machicolations between bold corbels being the form almost invariably preferred. At Avignon the towers were crowned with the latter kind of defences, as the relics of the broken corbels still shew.

The _Cour d’honneur_ communicates freely with every part of the structure. To the right, on entering, is observed the arcade which contains the great staircase leading in two flights to the principal apartments on the first floor. Two posterns open from this courtyard, and these are carefully masked in the re-entering angles by buttresses, and defended with a portcullis. A staircase also leads to the upper courtyard.

The most ancient part of the palace is the Tour de Trouillas, at the north-east angle, an immense mass which towers above all the other works and formed the Keep.

The Pope’s apartments in the time of Urban V. were on the first floor of the buildings surrounding the _Cour d’honneur_. From the landing of the great staircase, which gave access to the principal apartments, passages were carried round the building in the thickness of the wall next the courtyard. These were carefully constructed and finished with pointed and groined vaults. They communicated with the various rooms, and also with several staircases which connected the different floors, and led to the defences on the roof. The apartments of the south court were also joined to those of the north court by these passages. The great kitchen was situated on the first floor of the building next the keep. It has a high pyramidal vault, which gives it a mysterious look, and perhaps led to its being long regarded as the chamber of torture and hall of execution of the Inquisitors. The banqueting hall was in the north court, near the kitchen and the keep. The smaller tower (M) in the centre of the east flank (now called the Salle de la Justice) contains in two floors some admirable paintings of the fourteenth and fifteenth centuries, which are in a fair state of preservation.

The entire building is of the most massive masonry--the whole of the basement being vaulted and constructed so as to defy destruction.

Commencing with the great keep at the north-east angle, and proceeding round the palace by the west, south, and east, the towers occur in the following order:--north-east--Tour de Trouillas; north-west--Tour de la Gache, followed by the Tour de St Jean, Tour de St Laurent, Tour de la Cloche, Tour des Anges, Tour d’Estrapade.

One circumstance specially noticeable about the design of the palace of the Popes is the entire absence of effort after symmetry in the elevations, such as is generally aimed at in the case of the large palaces or halls of the late Gothic and Renaissance periods. Here the various blocks of building are simply placed where they are required, and the different levels and irregularities of the ground are made available in the most natural and convenient manner, with the result that the effect is delightfully varied and impressive from every point of view, and at every turning.[A]

The rock on the north side is almost perpendicular, but here also the access had a defence called the Tour St Martin, which is now removed. From this point slopes led down to the gate of the châtelet which protected the bridge over the Rhone.

The walls, with their gateways, which still encircle Avignon, were erected between 1348 and 1364 during the residence of the Popes in the city. These walls (Fig. 50.) do not represent a very important defensive work, even for the time when erected; they are neither sufficiently high nor are the towers of suitable construction for a really strong enceinte. They are rather an outwork in front of the palace, which was itself a citadel of impregnable strength.

At Avignon, as in the South generally, and also in Italy the towers are square, and they are constructed with the side next the town left open, so that in case of being taken by an enemy they could not be held against the inhabitants. They are not built, as the towers on the walls of enceinte of the great castles were, of size and strength enough to stand an independent siege.

The large square towers occur at pretty wide intervals, and intermediate smaller turrets are occasionally introduced to strengthen the curtains between them. These are composed of two plain buttresses with a pointed arch thrown across between them near the parapet, behind which there is a long machicolation on the same principle as those of the Palace.

At the base of the wall, and between these buttresses, a bold slope or talus is introduced, with the double object of thickening the wall at a point where it might be attacked by sap, and also to intercept any stone balls or other projectiles thrown from the machicolation, and cause them to ricochet obliquely against “cats” or other engines brought up to assail the wall. The talus would of course be designed in every case of such a slope as might be best suited for defence, according to the nature of the lower part of the fortifications, whether a ditch or a rocky escarpment. The walls of Avignon were entirely surrounded with a wet ditch above 20 yards wide, and 15 feet deep below the crest of the counter-scarp. The ditch was supplied with water from the Rhone, the Sorgue, and branches of the Durance. Of the two last rivers the former joins the Rhone above and the latter below Avignon. The bottom of the ditch was paved to enable the sludge to be cleaned out. The ditches have now been completely filled up, and the spaces outside the walls converted into a public promenade.

The towers, as above remarked, are for the most part of the square form generally adopted in the South, as distinguished from the round form which was usually employed in the North. The latter was considered safer, from its not presenting, like the square towers, any flat surface unprotected by the adjoining curtains against which miners could operate in comparative safety.

The parapet is carried on very bold corbels of four and five courses in height, with pointed arches between them. The corbels at the angles being set diagonally, have a rather greater projection than those at right angles to the wall, and have therefore an additional course in the height. The arches adjoining the angles would naturally be wider than those on the faces, but to obviate this the corbels next the angle ones are slightly inclined towards them, so as to equalise the width of the openings. This is the general rule in all square towers of this description.

The gates of the town are simple arched passages passing through square towers, being a type of gateway of frequent occurrence in the South. They are not protected with flanking towers or angle turrets, such as are invariably employed for greater security in the North. The gate-towers were defended with châtelets on the outer side of the fosse. Of these, the “Porte St Lazare” on the north-east side of the town is the best preserved. This had a forework attached to the gateway which protected the drawbridge. The latter descended on a landing which formed a detached square barbican, fortified with a parapet and angle turrets, and surrounded with a ditch. From this outwork another drawbridge in one of the sides, and therefore at right angles to the main gateway, gave access to the exterior roadway. This gateway was destroyed by an inundation of the Durance in 1358, and was reconstructed in 1364 by Pierre Obreri, the architect of the Papal Palace.

The gateways of Provence, such as those of Orange and Marseilles, were usually similar in design to those of Avignon. At Carpentras and Aigues Mortes examples still exist of gateways pierced in square towers without flanking towers or turrets.

PONT ST BÉNEZET.--The two opposite banks of the Rhone were generally in ancient times in the hands of different superiors. Thus, in the fourteenth century, while the Comtat Venaissin on the east belonged to the Popes, the opposite side of the river formed part of the kingdom of France. In order to protect the different domains castles were erected at both ends of the bridge which connected them.

The bridge of St Bénezet (Fig. 51), which united Provence with the west side of the Rhone opposite Avignon, is said to have been built by Petit Benôit, a shepherd of the Vivarais, who believed himself inspired with a mission to carry out this great project. Benôit became the chief of a society of “hospitaliers,” instituted in the twelfth century for the purpose of building bridges, establishing ferries, and assisting travellers. He had already constructed a bridge at Maupas, when in 1178 he instigated the great undertaking of bridging the Rhone opposite Avignon. This he began in 1178 and finished in 1188. The bridge was almost 1000 yards long, and the roadway is about 16 feet wide including the parapets. Like the Pont St Esprit it forms an obtuse angle against the stream, and the centre rests on a flat island in the middle of the river. There were 18 arches in all, including those on the island. The piers are of a long low form, and their sharp beaks project a considerable way up and down the river beyond the bridge, giving the whole, as seen from the heights of the Rocher des Doms, very much the appearance of a bridge of boats. The alternate piers seem to have had recesses for allowing vehicles to pass, and all had archways above the level of the beaks to allow the passage of the flood waters of the Rhone which are sometimes excessive. The arches are slightly elliptical, or egg-shaped, which renders them stronger at the apex than the semicircle would be. They are constructed with four rings of arch stones in the width of the bridge, formed with carefully cut voussoirs--each ring being separate from, but placed close alongside of, the others. This idea was probably derived from the system adopted in the Roman Pont du Gard (as above explained), which is not far distant.

The bridge was cut for defensive purposes in 1395, during the siege of Avignon. It was probably thereafter imperfectly repaired, and in 1602 three of the arches fell; in 1633 two other arches gave way, and in 1670 two more. It is now reduced to the three arches adjoining the châtelet on the side next the town.

On the pier nearest the land still stands a picturesque chapel dedicated to St Nicholas (Fig. 51). The floor of this chapel being on the level of the top of the pier was considerably below that of the roadway of the bridge; but the building was so contrived that passengers on the bridge could see down through an arcade into the interior. Access to the chapel was provided by steps corbelled out on one side of the bridge. At a later period the structure has been raised and modernised.

The passage of the bridge was defended on the right bank by the TOWER OF VILLENEUVE, (Fig. 52), erected in 1307 by Philippe le Bel, under his architect Rodolphe de Meruel.

Like most of the work of this period, the walls are faced with stones square-dressed, but with the surface left rough. The tower is finished with the usual bold corbelling, machicolations, and angle bartizans, and is surmounted by a lofty watch-turret. It will be observed that the style of this French tower is that of the North, and differs materially from the towers of Avignon above described.

In order more completely to protect this part of his domains, Philip constructed, in the end of the thirteenth century, the important fortress of ST ANDRÉ, immediately opposite Avignon, and close to the small town of Villeneuve-lez-Avignon. This citadel enclosed a large space occupying the summit of a rocky hill, and comprised numerous buildings, including a monastery. The extent of the fortress may be conceived, when it is noticed that enclosed within the walls, in different parts of the large space of vacant ground, may still be seen a convent, with its gardens, and a small town. A portion of the more ancient buildings still survives in the form of a small oratory (Fig. 53) of the twelfth century, with polygonal apse, having a circular arcade, and a cornice containing modillions after the classic manner. This great castle had but one gate, which opened to the southwards, on the only accessible side of the site. That gateway (Fig. 54) is a splendid specimen of military architecture, having a vaulted archway 13 feet in width, with finely moulded jambs and arches (Fig. 56). On either side is a large round tower, crowned with a machicolated parapet (Fig. 55). The vaulted passage through the gatehouse was defended at each end with a portcullis and folding gates. The apartments in the towers with round fronts, are large and finely vaulted with pointed groins, and the floors are all paved. The platform on the top is also of pavement resting on the vault below. The whole building is thus put out of danger from fire.

Over the central gateway, and above the towers, rises a large square turret, which was also vaulted and flagged on the top, and provided with a machicolated parapet. This platform, as well as those over the towers, were thus well adapted to receive the large catapults, mangonels, and other military engines in use in the fourteenth century. The diagonal walls which fill up the angles next the walls of enceinte contained staircases, &c., and are set at an angle so as to present a front against assailants approaching from the flanks. The round wells of the staircases were continued above the roof with round enclosures, which were visible above the parapet in the form of crenellated turrets.

The rooms in the gatehouse are well finished in ashlar work, and have ornamental chimneys, of which Fig. 57 is a specimen. That over the entrance gateway contained the apparatus for working the portcullis. These chambers have been used as political prisons at various times; and the unfortunate occupants have relieved their weary hours by carving all kinds of memoranda on the walls and floor, amongst which religious symbols and pictures mingle with armorial bearings, initials, and scraps of verse. These carvings are often well executed, and they form a very interesting, although melancholy exhibition.

Some remains of the outer barbican which protected the approach to the gateway may still be observed.

The walls of enceinte of St André present some interesting and picturesque details. The great round tower at the south-west angle (Fig. 57) and the plain curtains adjoining it are very characteristic of the period, and have more of a Northern than a Southern aspect.

The interior of the walls, with their parapets and parapet walks, are in good preservation, and form fine illustrations of these features. In the long stretch of the north wall, in which there are no towers to protect the parapet walks or to contain guard-rooms or posts for reliefs of sentries, small chambers were formed at intervals for that purpose on the top of the wall (Figs. 59, 60). These now present a very quaint appearance, and are suggestive of many a cold and weary watch. They were only large enough to hold half-a-dozen men, but they constituted points which guarded the circulation on the “chemins de rondes.” They were provided with a fireplace and loops to the exterior, and had little spy-holes looking along the parapet walks. The latter are widened towards the interior of the walls with corbelling, and follow the slope of the ground, with steps at intervals.

There are several interesting architectural relics in the town of VILLENEUVE. The church, a Gothic edifice of the fourteenth century, is designed on the Southern plan of a wide hall, but is executed with Gothic details, and pointed vaulting. The tower at the east end (Fig. 61) is a good specimen of the massive fortified type of church towers so common in the South.

From the ramparts of the castle the ruins of the “CHARTREUSE DU VAL DE BÉNÉDICTION” are seen in the valley beneath. This monastery was founded in 1356 by Pope Innocent VI., who was buried there, and over whose grave a splendid monument in the style of the Northern Gothic was erected. After being sadly neglected and abused for many years, it has now been removed to the chapel of the hospital.

The CHURCHES OF AVIGNON are mostly on the Southern plan of a single wide nave with internal buttresses containing chapels between them, while the ornamental features are almost all derived from Northern Gothic. They are all of the fourteenth century, and that of St Pierre has an elaborate Gothic front in the flamboyant style practised in the North in the sixteenth century.

The “beffroi” of the ancient Hôtel-de-Ville, the emblem of the city’s independence, built in 1354, still exists, but is so surrounded with buildings as not to be properly visible.

In the vicinity of Avignon, or at least more easily got at from there than any other comfortable resting-place, are many most interesting examples of early Provençal architecture. In the immediate neighbourhood are the ruins of the ABBEY OF ST RUF--situated about one mile to the southward. The church has a good apse, and is partly fortified. Two miles to the north-east of the town are found the remains of the PRIORY OF ST VÉRAN, founded 1140, and still containing some traces of early paintings. Both are figured by Révoil.

At a greater distance from Avignon many more very primitive and picturesque illustrations of early Provençal architecture are to be met with. Of these several may be visited together as they lie in the same easterly direction, such as Carpentras, Pernes, and Le Thor.

VAISON is also a place of considerable architectural interest, but it is somewhat remote from Avignon, and may be best reached from Orange. In the days of the Empire the town of Vaison, which was of great antiquity, stood on the plain of the river Ouvèze, where the soil still abounds in relics of Roman sculpture, tiles, mosaics, hypocausts, and other works. Some good statues have also been found and conveyed to the museum at Avignon. The cathedral was originally founded at an early period in the same low situation, but the town being exposed to frequent assaults, the inhabitants found it necessary in the twelfth century to remove their houses to a securer site on the hill above. The two divisions of the town are united by a Roman bridge of one span of over sixty feet, which is built, with the usual solidity, across the Ouvèze.

Connected with the old town are two very ancient churches, St Quinin, and the cathedral, which have survived the many attacks of the Barbarians, and the final demolition of the town by the Count of Toulouse in the twelfth century. These churches are illustrated by Révoil, and shew in all their details a close adherence to Roman design. St Quinin is so very Roman in many of its features that it has been frequently supposed to belong to the sixth century, but from the ascertained dates of many parallel instances it is now regarded as a remarkable example of the mode in which the builders of the eleventh century copied the ornament of the Roman works they saw around them, while they at the same time added features of their own invention. Thus the caps are mainly Corinthian in design, but have some figures mixed with the acanthus leaves, in the manner of the Romance “storied” carvings, the foliage being well executed after an existing pattern, and the figures rudely cut according to the original design of the period.

The plan of St Quinin is very remarkable, the apse being triangular externally, and semi-circular, or rather triapsal, internally. The vaults are of the usual pointed wagon form.