cially by the enormous papal palace. The bridge of Saint-Bénézet, celebrated in song, was
constructed between 1177 and 1185, rebuilt in the 13th century, but later largely
destroyed by flooding. Only four spans of the original twenty-two remain.
The Palais des Papes is actually two palaces around a large courtyard. With its high
walls with arcades, its turreted entrance, and its large rectangular towers at either end (the
eight-storied Tour de Trouillas and Tour des Anges), the palace is more a fortress than a
residence. It is indeed an excellent example of 14th-century military architecture. The
large but austere Palais Vieux was begun in 1335 by Pierre Poisson for Pope Benedict
XII. Centered on its cloister, the first floor includes the butlery, the consistory, garderobe,
treasury, library, and several chapels. Of particular interest are the superposed chapels of
Saint-Jean and Saint-Martial, which were decorated with frescoes of court life by Matteo
di Giovanetti da Viterbo for Clement VI. Other frescoes by Giovanetti are preserved in
the Chambre du Cerf and Salle de la Grande Audience in the Palais Neuf. The upper floor
of the Palais Vieux includes the major reception rooms as well as the private apartments
of the popes.
The sumptuous L-shaped Palais Neuf, begun in 1345 by Jean de Loubière for Pope
Clement VI, communicates directly with the Palais Vieux. It includes large reception
rooms as well as apartments for visiting dignitaries. The elegant Chapelle Clementine,
reached by the Grand Staircase, was reserved for special ceremonies. Its nave is 50 feet
wide, but its vaults reach only 621/2 feet, because it was constructed over the Salle de la
Grande Audience and its roof could not extend beyond that of the other build-ings in the
complex. After the departure of the papacy in the late 14th century, the palace fell into
disrepair and was eventually used as a prison—a use that saved it from destruction in the
Revolution.
Churches in Avignon include Saint-Agricol (14th-16th c.), with a Flamboyant portal
whose tympanum depicts the Incarnation; Saint-Didier (1325), with a magnificent altar
frontal by François Laurana (15th c.) depicting Christ carrying the Cross; Saint-Pierre,
rebuilt after 1358; the late 14th-century convent of the Celestines; and the chapel of
Saint-Nicolas. But the most important medieval church is the Romanesque Notre-Dame-
des-Doms. It consists of a nave of five aisleless bays with four western ones vaulted by
pointed barrel vaults strengthened by double transverse arches and the eastern bay capped
by a cupola supported by eight relieving arches. The east end consisted originally of a
semicircular apse but was altered by the addition of one bay plus a polygonal apse in the
17th century. The eastern cupola is enclosed in an octagonal lantern.
The west end of Notre-Dame-des-Doms consists of a low chamber with a squarish
higher room above, which is crowned by a cupola on squinches. This whole narthex has a
four-storied bell tower rising above the cupola. A porch with engaged half-columns
supporting a classical entablature was added to the narthex. This last element can be
found on numerous Provençal churches. However, the narthex with bell tower is not
typically Provençal.
The nave displays wide bays, partially obstructed by additions to the piers to support a
17th-century balcony. From this balcony, one can clearly see the colonnettes, capitals,
and impost blocks that animate the outer responds and visually support the floral cornice,
which runs the length of the nave. The ornament of the nave and the exterior of the
lantern are strongly related to that of Roman monuments. According to Alan Borg, Notre-
Dame-des-Doms was constructed in the late 11th century.
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