as in the
curious ineradicable tendency of the South toward heresy we more than
suspect a subtle infiltration of Greek and Oriental perversions, so in
architecture it is logical to infer that Mediterranean traders,
Crusaders, and perhaps adventurous architects who may have travelled in
their wake, brought rumours of the buildings of the East, which were
adopted with original or necessary modifications. Viollet-le-Duc, in
summing up this much discussed question, has written that "in the
Romanesque art of the West, side by side with persistent Latin
traditions, a Byzantine influence is almost always found, evidenced by
the introduction of the cupola." In the lamentable absence of records of
the majority of Cathedrals, reasonings of origin must be inductive, and
more or less imaginative, and have no legitimate place in the scope of a
book which aims to describe the existing conditions and proven history
of southern Cathedrals.

[Illustration: A ROMANESQUE AISLE.--ARLES.]

Quicherat, who has had much to say upon architectural subjects, defines
the Romanesque as an art "which has ceased to be Roman, although it has
much that is Roman, and that is not yet Gothic, although it already
presages the Gothic." This is not a very helpful interpretation.
Romanesque, as it exists in France to-day, is generally of earlier
building than the Gothic; it is an older and far simpler style. It was
not a quick, brilliant outburst, like the Gothic, but a long and slow
evolution; and it has therefore deliberation and dignity, not the
spontaneity of northern creations; strength, and at times great vigour,
but not munificence, not the lavishness of art and wealth and adornment,
of which the younger style was prodigal. Few generalisations are
flawless, but it may be truly said that Romanesque Cathedrals are
lacking in splendour; and it will be found in a large majority of cases
that they are also without the impressiveness of great size; that they
are almost devoid of shapely windows or stained glass, of notable
carvings or richness of decorative detail. Their art is a simple art, a
sober art, and in its nearest approach to opulence--the sculptured
portals of Saint-Trophime of Arles or Saint-Gilles-de-Languedoc--there
is still a reserved rather than an exuberant and uncontrolled display of
wealth.

[Illustration: "THE SCULPTURED PORTALS OF SAINT-TROPHIME."--ARLES.]

By what simple, superficial sign can this architecture be recognised by
thos