by the present city of Limoges, perhaps best known of art lovers as the home of that school of fifteenth century artists who produced the beautiful works called Emaux de Limoges.
St. Etienne de Limoges
The earliest specimens of what has come to be popularly known as Limoges enamel date from the twelfth century; and the last of the great masters in the splendid art died in 1765.
The real history of this truly great art, which may be said to have taken its highest forms in ecclesiology—of which examples are frequently met with in the sacristies of the cathedral churches of France and elsewhere—is vague to the point of obscurity. A study of the subject, deep and profound, is the only process by which one can acquire even a nodding acquaintance with all its various aspects.
It reached its greatest heights in the reign of that artistic monarch, François I. To-day the memory and suggestion of the art of the enamelists of Limoges are perpetuated by, and, through those cursory mentors, the guide-books and popular histories, often confounded with, the production of porcelain. This industry not only flourishes here, but the famous porcelain earth of the country round about is supplied even to the one-time royal factory of Sèvres.
St. Martial was the first prelate at Limoges, in the third century. The diocese is to-day a suffragan of Bourges, and its cathedral of St. Etienne, while not a very ancient structure, is most interesting as to its storied past and varied and lively composition.
Beneath the western tower are the remains of a Romanesque portal which must have belonged to an older church; but to all intents and purposes St. Etienne is to-day a Gothic church after the true northern manner.
It was begun in 1273 under the direct influence of the impetus given to the Gothic development by the erection of Notre Dame d'Amiens, and in all its parts—choir, transept, and nave—its development and growth have been most pleasing.
From the point of view of situation this cathedral is more attractively placed than many another which is located in a city which perforce must be ranked as a purely commercial and manufacturing town. From the Pont Neuf, which crosses the Vienne, the view over the gardens of the bishop's palace and the Quai de l'Evêché is indeed grand and imposing.
Chronologically the parts of this imposing church run nearly the gamut of the Gothic note—from the choir of the thirteenth, the transepts of the fourteenth and fifteenth, to the nave of the early sixteenth centuries. This nave has only latterly been completed, and is preceded by the elegant octagonal tower before mentioned. This clocher is a thirteenth-century work, and rises something over two hundred and four feet above the pavement.
In the north transept is a grand rose window after the true French mediæval excellence and magnitude, showing once again the northern spirit under which the cathedral-builders of Limoges worked.
In reality the façade of this north transept might be called the true front of the cathedral. The design of its portal is elaborate and elegant. A series of carved figures in stone are set against the wall of the choir just beyond the transept. They depict the martyrdom of St. Etienne.
The interior will first of all be remarked for its abundant and splendidly coloured glass. This glass is indeed of the quality which in a later day has often been lacking. It dates from the fourteenth and fifteenth centuries, except a part, readily discernible, which is of the nineteenth.
The remains of a precious choir-screen are yet very beautiful. It has been removed from its original position and its stones arranged in much disorder. Still it is a manifestly satisfying example of the art of the stone-carver of the Renaissance period. It dates from 1543. Bishop Langeac (d. 1541), who caused it to be originally erected, is buried close by, beneath a contemporary monument. Bishops Bernard Brun (d. 1349) and Raynaud de la Porte (d. 1325) have also Renaissance monuments which will be remarked for their excess of ornament and elaboration.
In the crypt of the eleventh century, presumably the remains of the Romanesque church whose portal is beneath the western tower, are some remarkable wall paintings thought to be of a contemporary era. If so, they must rank among the very earliest works of their class.
The chief treasures of the cathedral are a series of enamels which are set into a reredos (the canon's altar in the sacristy). They are the work of the master, Noel Loudin, in the seventeenth century.
In the Place de l'Hôtel de Ville is a monumental fountain in bronze and porcelain, further enriched after the manner of the mediæval enamel workers.
The collection de ceramique in the Musée is unique in France, or for that matter in all the world.
The ateliers de Limoges were first established in the thirteenth century by the monks of the Abbey of Solignac.
A remarkable example of the work of the émailleurs limousins is the twelfth-century reliquary of Thomas à Becket, one-time Archbishop of Canterbury.
At the rear of the cathedral the Vienne is crossed by the thirteenth-century bridge of St. Etienne. Like the cathedrals, châteaux, and city walls, the old bridges of France, where they still remain, are masterworks of their kind. To connect them more closely with the cause of religion, it is significant that they mostly bore the name of, and were dedicated to, some local saint.
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ST. ODILON DE ST. FLOUR
Though an ancient Christianizing centre, St. Flour is not possessed of a cathedral which gives it any great rank as a "cathedral town."
The bishopric was founded in 1318, by Raimond de Vehens, and the present cathedral of St. Odilon is on the site of an ancient basilica. It was begun in 1375, dedicated in 1496, and finished—so far as a great church ever comes to its completion—in 1556.
Its exterior is strong and massive, but harmonious throughout. Its façade has three portals, flanked by two square towers, which are capped with modern couronnes.
The interior shows five small naves; that is, the nave proper, with two aisles on either side.
Beside the western doorway are somewhat scanty traces of mediæval mural paintings depicting Purgatory, while above is the conventionally disposed organ buffet.
A fine painting of the late French school is in one of the side chapels, and represents an incident from the life of St. Vincent de Paul. In another chapel is a bas-relief in stone of "The Last Judgment," reproduced from that which is yet to be seen in the north portal of Notre Dame de Reims. In the chapel of St. Anthony of Padua is a painting of the "Holy Family," and in another—that of Ste. Anne—a remarkable work depicting the "Martyred St. Symphorien at Autun."
In the lower ranges of the choir is some fine modern glass by Thévenot, while high above the second range is a venerated statue of Le Christ Noir.
From this catalogue it will be inferred that the great attractions of the cathedral at St. Flour are mainly the artistic accessories with which it has been embellished.
There are no remarkably beautiful or striking constructive elements, though the plan is hardy and not unbeautiful. It ranks among cathedrals well down in the second class, but it is a highly interesting church nevertheless.
A chapel in the nave gives entrance to the eighteenth-century episcopal palace, which is in no way notable except for its beautifully laid-out gardens and terraces. The sacristy was built in 1382 of the remains of the ancient Château de St. Flour, called De Brezons, which was itself originally built in the year 1000.
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