# A Little Tour In France/Chapter XXI

My real consolation was an hour I spent in SaintSernin, one of the noblest churches in southern France, and easily the first among those of Toulouse. This great structure, a masterpiece of twelfth-century romanesque, and dedicated to Saint Saturninus, - the Toulousains have abbreviated, - is, I think, alone worth a journey to Toulouse. What makes it so is the extraordinary seriousness of its interior; no other term occurs to me as expressing so well the character of its clear gray nave. As a general thing, I do not favor the fashion of attributing moral qualities to buildings; I shrink from talking about tender porticos and sincere campanili; but I find I cannot get on at all without imputing some sort of morality to SaintSernin. As it stands to-day, the church has been completely restored by Viollet-le-Duc. The exterior is of brick, and has little charm save that of a tower of four rows of arches, narrowing together as they ascend. The nave is of great length and height, the barrel-roof of stone, the effect of the round arches and pillars in the triforium especially fine. There are two low aisles on either side. The choir is very deep and narrow; it seems to close together, and looks as if it were meant for intensely earnest rites. The transepts are most noble, especially the arches of the second tier. The whole church is narrow for its length, and is singularly complete and homogeneous. As I say all this, I feel that I quite fail to give an impression of its manly gravity, its strong proportions or of the lonesome look of its renovated stones as I sat there while the October twilight gathered. It is a real work of art, a high conception. The crypt, into which I was eventually led captive by an importunate sacristan, is quite another affair, though indeed I suppose it may also be spoken of as a work of art. It is a rich museum of relics, and contains the head of Saint Thomas Aquinas, wrapped up in a napkin and exhibited in a glass case. The sacristan took a lamp and guided me about, presenting me to one saintly remnant after another. The impression was grotesque, but sorne of the objects were contained in curious old cases of beaten silver and brass; these things, at least, which looked as if they had been transmitted from the early church, were venerable. There was, however, a kind of wholesale sanctity about the place which overshot the mark; it pretends to be one of the holiest spots in the world. The effect is spoiled by the way the sacristans hang about and offer to take you into it for ten sous, - I was accosted by two and escaped from another, - and by the familiar manner in which you pop in and out. This episode rather broke the charm of Saint-Sernin, so that I took my departure and went in search of the cathedral. It was scarcely worth finding, and struck me as an odd, dislocated fragment. The front consists only of a portal, beside which a tall brick tower, of a later period, has been erected. The nave was wrapped in dimness, with a few scattered lamps. I could only distinguish an immense vault, like a high cavern, without aisles. Here and there in the gloom was a kneeling figure; the whole place was mysterious and lop-sided. The choir was curtained off; it appeared not to correspond with the nave, - that is, not to have the same axis. The only other ecclesiastical impression I gathered at Toulouse came to me in the church of La Daurade, of which the front, on the quay by the Garonne, was closed with scaffoldings; so that one entered it from behind, where it is completely masked by houses, through a door which has at first no traceable connection with it. It is a vast, high, modernised, heavily decorated church, dimly lighted at all times, I should suppose, and enriched by the shades of evening at the time I looked into it. I perceived that it consisted mainly of a large square, beneath a dome, in the centre of which a single person - a lady - was praying with the utmost absorption. The manner of access to the church interposed such an obstacle to the outer profanities that I had a sense of intruding, and presently withdrew, carrying with me a picture of the, vast, still interior, the gilded roof gleaming in the twilight, and the solitary worshipper. What was she praying for, and was she not almost afraid to remain there alone?
For the rest, the picturesque at Toulouse consists principally of the walk beside the Garonne, which is spanned, to the faubourg of Saint-Cyprien, by a stout brick bridge. This hapless suburb, the baseness of whose site is noticeable, lay for days under the water at the time of the last inundations. The Garonne had almost mounted to the roofs of the houses, and the place continues to present a blighted, frightened look. Two or three persons, with whom I had some conversation, spoke of that time as a memory of horror. I have not done with my Italian comparisons; I shall never have done with them. I am therefore free to say that in the way in which Toulouse looks out on the Garonne there was something that reminded me vaguely of the way in which Pisa looks out on the Arno. The red-faced houses - all of brick - along the quay have a mixture of brightness and shabbiness, as well as the fashion of the open loggia in the topstory. The river, with another bridge or two, might be the Arno, and the buildings on the other side of it - a hospital, a suppressed convent - dip their feet into it with real southern cynicism. I have spoken of the old Hotel d'Assezat as the best house at Toulouse; with the exception of the cloister of the museum, it is the only "bit" I remember. It has fallen from the state of a noble residence of the sixteenth century to that of a warehouse and a set of offices; but a certain dignity lingers in its melancholy court, which is divided from the street by a gateway that is still imposing, and in which a clambering vine and a red Virginiacreeper were suspended to the rusty walls of brick stone.
The most interesting house at Toulouse is far from being the most striking. At the door of No. 50 Rue des Filatiers, a featureless, solid structure, was found hanging, one autumn evening, the body of the young Marc-Antoine Calas, whose ill-inspired suicide was to be the first act of a tragedy so horrible. The fanaticism aroused in the townsfolk by this incident; the execution by torture of Jean Calas, accused as a Protestant of having hanged his son, who had gone over to the Church of Rome; the ruin of the family; the claustration of the daughters; the flight of the widow to Switzerland; her introduction to Voltaire; the excited zeal of that incomparable partisan, and the passionate persistence with which, from year to year, he pursued a reversal of judgment, till at last he obtained it, and devoted the tribunal of Toulouse to execration and the name of the victims to lasting wonder and pity, - these things form part of one of the most interesting and touching episodes of the social history of the eighteenth century. The story has the fatal progression, the dark rigidity, of one of the tragic dramas of the Greeks. Jean Calas, advanced in life, blameless, bewildered, protesting. his innocence, had been broken on the wheel; and the sight of his decent dwelling, which brought home to me all that had been suflered there, spoiled for me, for half an hour, the impression of Toulouse.