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Ah! far off was the time when Radegonda, Queen of France, had with her own hands prepared the bread destined for the alters, or the time when, after the customs of Cluny, three priests or deacons, fasting and garbed in alb and amice, washed their faces and hands and then picked out the wheat, grain by grain, grinding it under millstone, kneading the paste in a cold and pure water and themselves baking it under a clear fire, while chanting psalms.
In the seventh and eighth centuries since, in addition to the low Latin of the Chroniclers, the Fredegaires and Paul Diacres, and the poems contained in the Bangor antiphonary which he sometimes read for the alphabetical and mono-rhymed hymn sung in honor of Saint Comgill, the literature limited itself almost exclusively to biographies of saints, to the legend of Saint Columban, written by the monk, Jonas, and to that of the blessed Cuthbert, written by the Venerable Bede from the notes of an anonymous monk of Lindisfarn, he contented himself with glancing over, in his moments of tedium, the works of these hagiographers and in again reading several extracts from the lives of Saint Rusticula and Saint Radegonda, related, the one by Defensorius, the other by the modest and ingenious Baudonivia, a nun of Poitiers.
Less than a year later, March 3, 1883, the installation was ready and was put in operation, the Theatre Santa Radegonda having been pulled down and a new central-station building erected in its place probably the first edifice constructed in Europe for the specific purpose of incandescent lighting.