. Rambles in the Pyrenees and the adjacent districts, Gascony, Pays de Foix [and] Roussillon . used regularly for worship in 1504, but theconsecration took place in 1509, 185 years after theplacing of the first stone. The Chapter only tookpossession of it on June 9, 1510. It is a spacious building, with a broad nave of 230 PERPIGNAN seven bays, flanked by chapels, a transept andpolygonal apses opening eastwards from it—the planof many Languedocian churches. The height is nearly90 feet, the length nearly 260 feet, the breadth of the nave about 60 feet,and that of the apse52 feet ; for thearches
. Rambles in the Pyrenees and the adjacent districts, Gascony, Pays de Foix [and] Roussillon . used regularly for worship in 1504, but theconsecration took place in 1509, 185 years after theplacing of the first stone. The Chapter only tookpossession of it on June 9, 1510. It is a spacious building, with a broad nave of 230 PERPIGNAN seven bays, flanked by chapels, a transept andpolygonal apses opening eastwards from it—the planof many Languedocian churches. The height is nearly90 feet, the length nearly 260 feet, the breadth of the nave about 60 feet,and that of the apse52 feet ; for thearches across thetransept converge,giving a perspectiveeffect of greater dis-tance than reallyexists. The vaultingribs have prismaticmouldings, and largebosses coloured andgilded, and the win-dow mouldings, etc.,are flamb oyant. Theretable of the high-altar is of whitemarble. It wascommenced in 1624 the workstopped, and thesummit was finished in wood. It is the work of aBarcelonese sculptor named Soler, and is quite Spanishin style. The retable of the south apse includes three prettily. PLAN OF CATHEDRAL, PERPIGNAN. INTERIOR OF THE CATHEDRAL 231 painted panels ; that of the north apse is of wood,carved and painted, enclosing a more ancient the north transept is one of the end of the fifteenthcentury, and that in the south has little pictures inplace of the usual reliefs. The organ was put in itsplace in 1506, but bears the date 1504. The greatpainted shutters which belonged to it are now in thesouth chapel, into which the Porte de Bethlehem font is like a cask with a rope round it squeezingthe wood inwards, carved in marble; on the rim isan inscription in leonine verses, in which letters similarto those used at the end of the twelfth century tomb of a Bishop of Elne of 1695 still retains atraditional medieval form. Four lions support a slabupon which the effigy is carved in relief. Outsidethe Porte de Bethlehem is the Chapel of the DevotCrucifix
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Keywords: ., bookcentury1900, bookdecad, booksubjectarchitecture, bookyear1912
