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Updated: June 15, 2025
In the nave are the piers and Romanesque capitals of an early, but not the earliest, church on the spot. They are certainly not later than the twelfth century. Baptismal fonts, now used as holy-water stoups, are probably of anterior workmanship.
We feel towards a picture by Cézanne or Masaccio or Giotto as we feel towards a Romanesque church; the design seems to spring upwards, mass piles itself on mass, forms balance each other masonrywise: there is a sense of strain, and of strength to meet it. Turn to a Chinese picture; the forms seem to be pinned to the silk or to be hung from above.
Two other towers, each 190 feet in height, adjoin the transepts, to each of which is attached a double-storied, apsidal, ancient chapel. Two similarly projected towers are lacking. The lantern is square, with a shallow, conical, modern roof. In the transition type Romanesque influences were evidently dying hard.
Yet this will rather hold of the colossal sculptures, and pyramids of fantastic tracery which encumber the pulpits of Flemish and German churches, than of the delicate mosaics and ivory-like carving of the Romanesque basilicas, for when the form is kept simple, much loveliness of color and costliness of work may be introduced, and yet the speaker not be thrown into the shade by them.
The mouldings which serve as a border to the composition are much more Romanesque or Byzantine than Gothic, and the columns that support it have capitals which are purely Romanesque.
As four stout men-at-arms took up the litter, the old woman, coming forth to her threshold, uttered something which his knowledge of the Romanesque tongues of Southern France enabled him to interpret into a vindication of her character, and a request for a reward for her care of the sick Englishman. "Throw her a gold piece, Sir Eustace, or she may cast at you an evil eye.
The campanile is Romanesque in style, and dates from the early part of the thirteenth century; it has five stories divided by strings, and was nearly 170 ft. high before the restoration, which has been going on ever since 1882. Lions crouch at each side of the stairs on the level of the top step; and on the side towards the church are interesting reliefs by Mag. Otto, probably a Benedictine.
On our way through the village we passed the tiny church, a wonder of the twelfth century, built in the rarest and most ancient Romanesque style; and then as the shadows of evening deepened we saw, in the semi-darkness before us, something that had the form of tall dark legions: it was the forest of Limoise, composed almost wholly of evergreen oaks, whose foliage is very dark and sombre.
It is an edifice of the transition period. The Saxon architect completed the erection of the first pillars of the nave, when the pointed arch, which dates from the Crusade, arrived and placed itself as a conqueror upon the large Romanesque capitals which should support only round arches. The pointed arch, mistress since that time, constructed the rest of the church.
Outside, this end of the church rises far above the nave, which looks merely like a long porch leading to it, with a small and curious romanesque porch in its own south flank. The transepts, shallow but very lofty, display to the spectators in the place the reach of their two clere-story windows, which occupy, above, the whole expanse of the wall.
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