Cathedrals and Cloisters of the South of France Part 3

Before the High Altar of this Church lies buried one whose spirit suggests the Christ, a Bishop, yet a simple priest, whose life deserves more words than does the whole of Saint-Jerome, once his Cathedral-church. He was a Cure of Brignoles, one of those keen, yet simple-hearted and hard-working priests who often bless Provencal towns.

He had no great ambitions, no patronage, no ties except a far-off brother who was an upstart general of that most upstart Emperor, Napoleon. One day while the priest was pottering in his little garden,--as Provencal Cures love to dig and work,--a letter was handed him, marked "thirty sous of postage due." He was outraged. His shining old soutane fell from the folds in which he had prudently tucked it, he shrugged his shoulders and protested,--"A great expense indeed for a trivial purpose. Where should he find another thirty sous for his poor?

He never wrote letters. Therefore by no argument of any school of logic could he be compelled to receive them. Obviously this was not for him."

The unexpected letter was one for which his brother had asked and which Napoleon had signed, a decree which made him Bishop.

Long afterwards this simple, saintly prelate saved a man from crime, and history relates that this same man died at Waterloo as a good and faithful soldier fighting for the fatherland. His benefactor, that loyal servant of Christ and His Church, soon followed him in death, and unlike many a Saint whom this earth forgets his memory lives on, not only in the little city of the snow-clad Alps, but in the hearts of those who read of his good deeds. For Monseigneur Miollis of Digne is truly Monseigneur Bienvenu of "Les Miserables," and only the soldier of Waterloo was glorified in Jean Valjean.

[Sidenote: Forcalquier.]

If it is difficult to picture sleepy, stately Aix as one of the most brilliant centres of mediaeval Europe, and the garrisoned castle of Tarascon filled with the gay courtiers and fair ladies of King Rene's Court, it will be almost impossible to walk in the smaller Provencal "cities," and see in imagination the cavalcades of mailed soldiers who clattered through the streets on their way to the castle of some near-by hill-top, my lord proudly distinguishable by his mount or the length of his plume, a delicate Countess languishing between the curtains of her litter, or a more sprightly one who rode her palfrey and smiled on the staring townsfolk. It is almost impossible to conceive that the four daughters of Raymond Berenger, a Queen of the Romans, of France, of Naples, and of England, were brought up in the castle of the little hillside hamlet of Saint-Maime Dauphin. Provence is quiet, rural, provincial; a land of markets, busy country inns, and farms; not of modern greatness nor of modern renown. Its children are a fine and busy race, no less strong and fine than in the land's more stirring times, but they live their years of greatness in other, "more progressive"

parts of France, and the Provencal genius, which remains very native to the soil, is broadly known to fame as "French." Like some rich old wine hidden in the cellars of the few, Provence lies safely ensconced behind Avignon and Arles, and only the epicures of history penetrate her hills.

Her mediaeval ruins seem to belong to a past almost as dead and ghostly as her Roman days, and to realise her Middle Ages, one must leave the busy people in the town below, climb one of the hills, and sitting beside the crumbling walls of some great tower or castle, watch the hot sun setting behind the low mountains and lighting in a glow the bare walls of some other ruined stronghold on a neighbouring height. The shadows creep into the valleys, the rocks grow grey and cold, and the cl.u.s.ters of trees beside them become darkly mysterious. Then far beneath a white thread seems to appear, beginning at the valley's entrance and twisting along its length until it disappears behind another hill. This is the road; and by the time the eye has followed its long course, daylight has grown fainter. Then Provence takes on a long-lost splendour. To those who care to see, cavalcades of soldiers or of hunters come home along the road, castles become whole and frowning, the dying sun casts its light through their gaping window-holes, as light of nightly revels used to shine, and a phantom Mediaevalism appears.

One of the powerful families of the country, the Counts of Forcalquier, sprang from the House of Berenger in the XI century, and a hundred and fifty years later, grown too great, were crushed by the haughty parent house. More than one hill of Eastern Provence has borne their tall watchtowers, more than one village owed them allegiance, and a large town in the hills was their capital and bore their name. And yet not a ruined tower that overlooks the Provencal mountains, not a village, gate, or castle--Manosque or old Saint-Maime,--but speaks more vividly of the old Counts than does Forcalquier, formerly their city, now a mere country town which has lost prestige with its increasing isolation, many of its inhabitants by plagues and wars, and almost all of its picturesque Mediaevalism through the destructiveness of sieges.

Long before this day of contented stagnancy, in 1061, when Forcalquier, fortified, growing, and important, claimed many honours, Bishop Gerard Caprerius of Sisteron had given the city a Provost and a Chapter, and created the Church of Saint-Mary, co-cathedral with that of Notre-Dame of Sisteron. Not contented with this honour, Forcalquier demanded and received a Bishopric of her own. Her hill was then crowned by a Citadel, her Cathedral stood near-by, her walls were intact. Now the Citadel is replaced by a peaceful pilgrims' chapel, the walls are gone, Saint-Mary, ruined in the siege of 1486, is recalled only by a few weed-covered stumps and bits of wall, and its t.i.tle was given to Notre-Dame in the lower part of the town.

No Cathedral is a sadder example of architectural failure than Notre-Dame of Forcalquier because it has so many of the beginnings of real beauty and dignity, so many parts of real worthiness that have been unfortunately combined in a confused and discordant whole. If, of all little cities of Provence, Forcalquier is one of the least unique and least holding, its Cathedral is also one of the least satisfying. It is not beautiful in situation nor in its own essential harmony, and the fine but tantalising perspectives of its interior may be found again in happier churches.

The exterior shows to a superlative degree that general tendency of Provencal exteriors to be without definite or logical proportions. A large, square tower, heavier than that of Gra.s.se, served as a lookout, a tall, thin little turret served as a belfry. In the facade there is a Gothic portal which notwithstanding its entire mediocrity is the chief adornment of the outer walls. They are irregular and uncouth to a degree and their only interesting features are at the eastern end. Here the smaller, older apses on either side betray the church's early origin.

The central apse, evidently of the same dimensions as the Romanesque one originally designed, was re-built in severe, rudimentary Gothic. Looking at this shallow apse alone, and following its plain lines until they meet those of the big tower, there is a straight simplicity that is almost fine,--but this is one mere detail in a large and barren whole, and the Cathedral-seeker turns to the nearest entrance.

[Ill.u.s.tration: "A LARGE, SQUARE TOWER SERVED AS A LOOKOUT."--FORCALQUIER.]

[Ill.u.s.tration: "A SUGGESTIVE VIEW FROM THE SIDE AISLE."--FORCALQUIER.]

The first glimpse of the interior is so relieving that one is not quick to notice its lack of architectural unity. The few windows give a soft light, and the brown of the stone has a mellowness that is both rich and reposeful. If the Cathedral could have been finished in the style of the first bays of the nave, it would have been a n.o.bly dignified example of the Romanesque. Could it have been re-built in the slender Gothic of the last bay, it would have been an exquisite example of Provencal Gothic.

Rather largely planned, its old form of tunnel vaulting and the fine curve of its nave arches and heavy piers are in violent contrast to the Gothic bay, with its pointed arch, its cl.u.s.tered columns and carved capitals, which, even with the shallow choir and its long, slim windows, is too slight a portion of the Cathedral to have independence or real beauty. From its ritualistic position, it is the culminating point of the church, and its discord with the Romanesque is unpleasantly insistent. The side aisles, which were built in the XVII century, are low, agreeable walks ending in the chapels of the smaller apses. They are neither very regular nor very significant; but they give the church pleasant size and perspectives, and by avoiding the unduly large and shining modern chandeliers which hang between the nave arches, one gets from these side aisles the suggestive views which show only too well what true and good architectural ideas were brought to confusion in the re-building, the additions, and the restorations of the centuries. In painting, anachronisms may be quaint or even amusing; but in architecture, they are either grotesque or tragic, and in a church of such fine suggestiveness as Notre-Dame at Forcalquier, one is haunted by lingering regrets for what might and should have been.

[Sidenote: Vence.]

A founder of the French Academy and one of its first immortal forty was Antoine G.o.deau, "the idol of the Hotel Rambouillet." His mind was formed, as it were, by one of the most clever women of that brilliantly foolish coterie, he sang frivolous sonnets to a beautiful red-haired mistress whom he sincerely admired, and when he entered Holy Church, none of his charming friends believed that he would do more than modify the proper and agreeable conventionalities of his former life. They thought that he would add to the grace of his worldly manner the suavity of the ecclesiastic, that he would choose a pulpit of Paris, and that, sitting at his feet, they could enjoy the elegant phrases with which he would embellish a refined and delicately attenuated religion. But an aged prelate of the far South judged the new priest differently, he had sounded the heart of the man who, at the age of thirty, had quietly renounced a flattering, admiring world; and his dying prayer to Richelieu was that G.o.deau should succeed him in the See of Vence. The keen worldly wisdom of the Cardinal confirmed the old Bishop's more spiritual insight, and G.o.deau was named Bishop of the neighbouring Gra.s.se.

Far away in his mountain-city of flower gardens and sweet odours, the new Bishop wrote to his Parisian friends that, for his part, he "found more thorns than orange-blossoms." The Calvinists, from the rock of Antibes, openly defied him; in spite of the vehement opposition of their Chapters and against his will, the Bishoprics of Gra.s.se and Vence were united, and he was made the Bishop of the two warring, discontented Sees. He was stoned at Vence; and even his colleague in temporal power, the Marquis of Villeneuve, showed himself as insolent as he dared. At length the King came to his aid, and being given his choice of the Sees, G.o.deau immediately left "the perfumed wench," as he called Gra.s.se, and chose to live and work among his one-time enemies of Vence. This gentle and courageous prelate is typical of the long line of wise men who ruled the Church in the tight little city of the Provencal hills. From Saint Veran the wonder-worker, and Saint Lambert the tender nurse of lepers, to the end, they were men noted for bravery, goodness, and learning, and it was not till the Revolution that one was found--and fittingly the last--who, hating the "Oath" and fearing the guillotine, fled his See.

This city of good Bishops was founded in the dim, pagan past of Gaul.

From a rocky hill-top, its inhabitants had watched the burning of their first valley-town and they founded the second Vence on that height of safety to which they had escaped with their lives. Here, far above the Aurelian road, the Gallic tribes had a strong and isolated camp. Then the prying Romans found them out, and priests of Mars and Cybele replaced those of the cruder native G.o.ds, and they, in turn, gave way to the apostle of the Christians. Where a temple stood, a church was built; and unlike many early saints who looked upon old pagan images as homes of devils and broke them into a thousand pieces with holy wrath and words of exorcism, the prelate of Vence buried an image of a vanquished G.o.d under each and every pillar of his church, in sign of Christian triumph.

These early days of the Faith were days of growth for the little city, and she prospered in her Mediaevalism. High on her hill, she was too difficult of access to suffer greatly from marauding foes, and hidden from the sea, she did not excite the cupidity of the Mediterranean rovers. When Antibes and Nice were sacked, her little ledge of rock was safe; and people crowded thick and fast behind her walls, until no bee-hive swarmed so thick with bees as her few streets with citizens.

Here were arts and occupations, burghers and charters, riches and liberties. Here came the Renaissance, and Vence had eager, if not famous sculptors, painters, and organ-builders, and a family of artists whom even the dilettante Francis I deigned to patronise.

Such memories of a busy, energetic past seem fairy-tales to those who walk to-day about the dark and narrow streets of Vence. She scarcely has outgrown her ancient walls, her civic life is dead, and in her virtual isolation from the modern world she lives a dreary, quiet old age.

The old Cathedral, Notre-Dame, lies in the heart of the town; and takes one back along the years, far past the Renaissance, to those grim mediaeval days when even churches were places of defence. It is a low, unimpressive building, said to have been built on the site of the Roman Temple in the IV century. Enlarged or re-built in the X century, it was then long and narrow, a Latin cross. But in the XII century, deep, dark bays were added; in the XV, tribunes were built, the form of the apse was changed to an oval and it was decorated in an inharmonious style; and a hundred years ago the nave vault was re-built in an ellipse.

[Ill.u.s.tration: "THE OLD ROUND ARCH OF THE BISHOP'S PALACE."--VENCE.]

In the side wall there is a low portal of a late, decadent style, which opens on the little square, but there is no real facade; and to see the church, the traveller pa.s.sed under the old round arch of the Bishop's Palace, through a small, damp street to another tinier square where the apse and tower stand. The little Cathedral-churches of Provence are always simply built, but here a rectangle, a low gabled roof, a small, round-headed window in the wall, would have been architectural bareness if a high, straight tower had not crowned it all. This crenellated tower is a true type of its time, square, yet slim and strong, and crudely graceful as some tall young poplar of the plains beneath. In the XI and XII centuries, its early days, it was the city's lookout. Families lived high up in its walls, and the traveller could imagine, in this little old, deserted square, the crowds who gathered round the tower's base, and called for news of enemies and battle as moderns gather about the more prosaic bulletin of printed news. He could see them surging, peering up; and from above he almost heard the watcher's cry, "They're coming on,"--with the great answering howl beneath, and the rush to arms. Or, "They pa.s.s us by," and then what breaking into little laughing groups, what joy, what dancing, and what praying, that lasted far into the evening hours.

[Ill.u.s.tration: "THE LOW, BROAD ARCHES AND THE GREAT, SUPPORTING PILLARS."--VENCE.]

The traveller came back in thought to modern times and went into the church, that church of five low naves and many restorations, that product of most diverse fancies. It is painted in lugubrious white, and its pillars have false bases in a palpable imitation of veined red marble. Its pure and early form, the Latin cross, is gone, its fine old stalls are hidden in a gallery, and at the altar Corinthian columns desecrate its ancient Romanesque. Yet in spite of the incongruities the atmosphere of the church is truly that of its dim past. There are the low broad arches, the great, supporting pillars that are ma.s.sive b.u.t.tresses; there is the simple practicality of a style that aimed at a protecting strength rather than at any art of beauty; there is the semi-darkness of the small, safe windows, and the little, guarded s.p.a.ce where the praying few increased a thousand-fold in times of danger. This is, in spite of all defects, the small Provencal church where in days of peace cloudy incense slowly circled round the shadowy forms of chanting priests, and where in times of war a crowd of frightened women and their children prayed in safety for the men who sallied forth to fight in their defence.

[Sidenote: Gra.s.se.]

He who is unloving of the past may well rush by its treasures in a puffing automobile, he who is bored by olden thoughts can hurry on by rail, but the man who wishes to know the old hill-towns of France, to see them as they seemed to their makers, and realise their one-time magnificence and strength, must walk from one town to the next, and climb their steep heights; must see great towers rise before him, great walls loom above him, and realise how grandly strong these places were when it was man to man and sword to sword, strength against strength. He must arrive, dust-covered, at the cities' gates or drive into their narrow streets on the small coach which still pa.s.ses through,--for they are of the times when great men rode and peasants walked and steam was all unknown. Then he will realise how very large the world once was, how far from town to town; and once within those high, protecting walls, he will understand why the citizen of mediaeval days found in his town a world sufficient to itself, and why he was so often well content to spend his life at home.

The power and the force of an isolated, self-concentrated interest is well ill.u.s.trated in the history of the free cities of the Middle Ages, and Gra.s.se may be counted one of these. Counts she had in name; but the Berengers and Queen Jeanne had granted her charters which she had the power to keep; she was once wealthy enough to declare war with Pisa, and in the XII century the leaders of her self-government were "Consuls by the grace of G.o.d alone." Therefore when Antibes continued to be greatly menaced by blasphemous pirates, the Bishopric was removed to Gra.s.se, rich, strong, and safe behind the hills, where it endured from 1244, through all the perils of the centuries, until by a pen-stroke Napoleon wiped it out in 1801.

[Ill.u.s.tration: "HIGHER THAN THEM ALL STANDS THE CATHEDRAL."--GRa.s.sE.]

To come to Gra.s.se on foot or in the stage, will well repay the traveller of old-fashioned moods and fancies. Afar, her houses seem to crowd together, as they used to crowd within the walls, her red roofs rise fantastically one above the other, and higher than them all stands the Cathedral with its firm, square tower. Such must have been old Gra.s.se, perched on the summit of her hill. But once inside the town, these illusions cease. Here are the hotels and the Casino of a thermal station, and the factories of a new world. The traveller finds that the broad upper boulevards are filled with tourists and smart English visitors; and in the narrow streets pert factory-hands come noisily from work. Still he climbs on toward the Cathedral, through tortuous streets and little alley-ways. And in the gloomiest of them all there is no odour of a stale antiquity, but the perfume of a garden-full of roses, of a thousand orange-blossoms, and of locusts, honey-sweet, and he begins to think himself enchanted. He feels the dark, old houses are unreal, as if, instead of cobble-stones beneath his feet, there must be the soft and tender gra.s.s of Araby the Blest. Such is the magic of a trade, the perfume industry of Gra.s.se that for so many hundreds of years has made her meanest streets full of refreshing fragrance.

Breathless from the climb, the traveller stepped at length into the little square, before a most ungainly Cathedral. "Chiefly built in the XII century," it may have been, but so bedizened by the Renaissance that its heavy old Provencal walls and ma.s.sive pillars seem to exist merely as supports for additions or unreasonable decorations of a poor Italian style. A certain Monseigneur of the XVII century re-built the choir in a deep, rectangular form; another prelate enlarged the church proper and ruined it by constructing a tribune over the aisles, and desiring the revenues of a new burial-place, he ordered Vauban to accomplish the daring construction of a crypt. Still another Bishop with like architectural tastes built a large new chapel which opens from the south aisle; and with these additions and XVIII century changes in the facade, the original style of the church was obscured. In spite of the pitiful remains of dignity which its three aisles, its firm old pillars, and its height still give to the interior, it is as a whole so mean a building that it has fittingly lost the t.i.tle of Cathedral.

[Ill.u.s.tration: THE "PONT D'AVIGNON."]

III.

RIVER-SIDE CATHEDRALS.

[Sidenote: Avignon.]

Everything which surrounds the Cathedral of Avignon, its situation, its city, its history, is so full of romance and glamour that it is only after very sober second thought one realises that the church itself is the least of the papal buildings which majestically overtower the Rhone, or of those royal ruins which face them as proudly on the opposite bank of the river. Yet no church in Provence is richer in tradition, and in history more romantic than tradition.

The foundation of this church goes back to the first Avignon, a small colony of river-fishermen which gave way before the Romans, who established a city, Avernio, on the great rocky hill two hundred feet above the Rhone. Some hundreds of years later the first Christian missionaries to Gaul landed near the mouth of this river,--Mary the mother of James, Saint Sara the patron of gypsies, Lazarus, his sister Martha, and Saint Maximin. Before these storm-tossed Saints lay the fair and pagan country of Provence, the scene of their future mission; and if tradition is to be further believed, each went his way, to work mightily for the sacred cause. Maximin lived in the town that bears his name, Lazarus became the first Bishop of Ma.r.s.eilles, and Saint Martha ascended the Rhone as far as Avignon and built near the site of the present Cathedral an oratory in honour of the Virgin "then living on the earth."

Two early churches, of which this chapel was perhaps a part, were destroyed in the Saracenic sieges of the VIII century; an inscription in the porch of the present Cathedral records the very interesting mediaeval account of its re-building and re-consecration nearly a hundred years later. It was, so runs the tale, the habit of a devout woman to pray in the church every night; and after the Cathedral had been finished by the generous aid of Charlemagne, she happened there at midnight, and witnessed the descent of Christ in wondrous, shining light. There at the High Altar, surrounded by ministering angels, he dedicated the Cathedral to His Mother, Our Lady of Cathedrals; and so it has been called to the present day. If it is an impossible and ungrateful task to disprove that the re-construction, or at least the re-founding of this Cathedral was the work of Charlemagne, so munificent a patron and dutiful a son of the Church, to prove it is equally impossible. A martyrology of the XI century speaks of a dedication in 1069, but as this ceremony had been preceded by another extensive re-building, and was followed by many other changes, the oldest portions of the present church are to be most accurately ascribed to the XI, XII, and XIV centuries. The additions of the centuries following the papal return to Rome have greatly changed the appearance of the church. A large chapel, built in 1506, gives almost a northern nave. In 1671, Archbishop Ariosto thought the interior would be gracefully improved by a Renaissance gallery which should encircle the entire nave from one end of the choir to the other. To accomplish this new work, the old main piers below the gallery were cut away, the wall arches were changed, and columns and piers, almost entirely new, arose to support a shallow, gracefully bal.u.s.traded balcony and its bases of ma.s.sive carving. Nine years later a new Archbishop added to the north side a square XVII century chapel, richly ornamental in itself, but entirely out of harmony with the fundamental style of the church. Other chapels, less distinguished, which have been added from time to time, line the nave both north and south, and all are excrescent to the original plan. Of the exterior, only the facade retains its primitive character. The side-walls, "entirely featureless," as has been well said, "reflect only the various periods of the chapels which have been added to the Cathedral," and the apse was re-built in 1671, in a heavy, uninteresting form.

[Ill.u.s.tration: "THE INTERIOR HAS A SHALLOW, GRACEFULLY BAl.u.s.tRADED BALCONY."--AVIGNON.]

These additions, superimposed ornamentations, and rebuildings, together with the very substantial substructure of the primitive Cathedral, form to-day a small church of unimpressive, conglomerate style, and except for its history, unnoteworthy. It is therefore a church whose interest is almost wholly of the past; and the traveller goes back in imagination, century after century, to the era of Papal residency, when the Cathedral was not only ecclesiastically important, but architecturally in its best and purest form. This church, which Clement V found on his removal to Avignon, and which may still be easily traced, was of the simple, primitive Provencal style. No dates of that period are sufficiently accurate to rely upon; but its interest lies not so much in chronology as in its portrayal of the general type. The interior is the usual little hall church of the XI century, with its aisle-less nave of five bays, and plain piers supporting a tunnelled roof, with double vault arches. Beyond the last bay, over the choir, is the Cathedral's octagonal dome, and from the rounded windows of its lantern comes much of the light of the interior, which is sombre and without other windows of importance.

The facade is architecturally one of the most significant parts of the church. Above the portal the wall is supported on either side by plain heavy b.u.t.tresses, and directly continued by the solid bulk of the tower.

In 1431 this tower replaced the original one which fell in the earthquake of 1405. It is conjecturally similar, a heavy rectangle which quite overweighs the church; plain, with its stiff pilasters and two stories of rounded windows; without grace or proper proportion, but pleasing by the unblemished severity of its lines. Above the bal.u.s.trade with which the tower may be properly said to terminate, the religious art of the XIX century has erected as its contribution to the Cathedral a series of steps, an octagon, and a colossal, mal-proportioned statue of the Virgin. These additions are inharmonious; and the finest part of the facade is the porch, so cla.s.sic in detail that it was formerly supposed to be Roman, a work of the Emperor Constantine. Like the rest of the church, its general structure is plain and somewhat severe, with small, richly carved details, in this instance closely Corinthian. The rounded portal of entrance is an entablature, enclosed as it were by two supporting columns; and above, in the pointed pediment, is a circular opening curiously foreshadowing that magnificent development of the North--the rose-window. Pa.s.sing through the vestibule, whose tunnel-vault supports the tower, the minor portal appears, almost a replica of the outer door, and the whole forms an unusual mode of entrance, graceful in detail, ponderous in general effect. Far behind the tower of the facade rises the last significant feature of the exterior, the little lantern. It is an octagon with Doric and Corinthian motifs, continuing the essential characteristics of the interior, and exceedingly typical of Provence.

[Ill.u.s.tration: "THE PORCH SO CLa.s.sIC IN DETAIL."--AVIGNON. _From an old print._]

Into this church, with its few, unusually cla.s.sic details, its Provencal simplicity, its very modest size and plainness, the munificence of papal pomp was introduced. This was in 1308, an era of papal storm and stress. Not ten years before, Boniface VIII, with the tradition of Canossa spurring his haughty ambitions, had launched a bull against Philip III, whom he knew to be a bad king and whom he was to find an equally bad, rebellious Christian. "G.o.d," said the Prelate, from Rome, "has const.i.tuted us, though unworthy, above kings and kingdoms, to seize, destroy, disperse, build, and plant in His name and by His doctrine. Therefore, do not persuade thyself that thou hast no superior, and that thou art not subject to the head of the ecclesiastical hierarchy; he who thinks thus is insensate, he who maintains it is infidel."

Past indeed was the time of Henry of Germany, long past the proud day when a Pope received an Emperor who knelt and waited in the snow. Philip burned the Bull; and to prevent other like fulminations, sent an agent into Italy. Gathering a band, he found the aged Pontiff at Anagni, his birthplace, seated on a throne, crowned with the triple crown, the Cross in one hand and in the other Saint Peter's Keys, the terrible Keys of Heaven and h.e.l.l. They called on him to abdicate, but Boniface thought of Christ his Lord, and cried out in defiant answer, "Here is my neck, here is my head. Betrayed like Jesus Christ, if I must die like him, I will at least die Pope." For reply, Sciarra Colonna, one of his own Roman Counts, struck him in the face. Buffeted by a n.o.ble, and openly defied by a king, Boniface died "of shame and anger." A month later, this same king rejoiced, if nothing more, at the death of the Pope's successor; and in the dark forests of Saint-Jean-d'Angely, Philip bargained and sold the great Tiara to a Gascon Archbishop who, if Villani speaks truly, "threw himself at the royal feet, saying, 'It is for thee to command and for me to obey; such will ever be my disposition!'" As was not unnatural, the will of the French king was that the Pope should remain within the zone of royal influence. So Clement lived at Bordeaux and at Poitiers, and finally retired to the County of Venaissin which the Holy See possessed by right, and established the pontifical court at Avignon.

This transfer of the papal residence to Avignon has left many and deep traces on the history of French Catholicism. The Holy See was no longer far remote; the French ecclesiastic desirous of promotion had no dangerous mountains to traverse, no strange city to enter, no foreign Pontiff to besiege, ignorant or indifferent to his claims. The next successor of Saint Peter would logically be a Frenchman, and there was not only a possibility, but a probability for every man of note, that he might be either the occupant of the Sacred Chair or its favoured supporter. So Avignon became a city of priests as Rome had been before her; and as France was the richest country in Europe and the Church regally wealthy, splendour, luxury, and constant religious spectacles rejoiced the city, and Bishop, Archbishop, and Abbot, brazenly neglecting the duties of their Sees, lived here and were seldom "in residence." Every one had a secret ambition. Of such a situation, the Popes were not slow to reap the benefits. Difference of wealth, which brought difference of position, counted much and was keenly felt. Abbots of smaller monasteries found themselves inferior to Bishops, especially in freedom from papal interference; while from the inherent wealth and power of their foundations, the heads of the great monasteries ranked sometimes with Archbishops, sometimes even with Cardinals. The Pope had the right to elevate an Abbey or a Priory into a Bishopric, and those who could offer the "gratification" or the "provocative," might reasonably hope for the desired elevation which at once increased their local importance, belittled a neighbouring diocese, and freed them to some extent from the direct intermeddling of the Pope. The applications for such an increase of power became numerous, and by 1320 a number of Benedictine Abbeys had been made Bishoprics. Their creation greatly decreased the direct and intimate power of the Papacy, but temporarily increased the papal treasury; and John XXII, who left ten million pieces of silver and fifteen million in gold with his Florentine bankers, seems to have thought philosophically, "After us, the deluge."