IV Ste. Marie Majeure de Toulon
The episcopal dignity of Toulon is to-day shared with Fréjus, whereas, at the founding of the diocese, Toulon stood alone as a bishopric in the ecclesiastical province of Arles. This was in the fifth century. When the readjustment came, after the Revolution, the honour was divided with the neighbouring coast town of Fréjus.
In spite of the fact that the cathedral here is of exceeding interest, Toulon is most often thought of as the chief naval station of France in the Mediterranean. From this fact signs of the workaday world are for ever thrusting themselves before one.
As a seaport, Toulon is admirably situated and planned, but the contrast between the new and old quarters of the town and the frowning fortifications, docks, and storehouses is a jumble of utilitarian accessories which does not make for the slightest artistic or æsthetic interest.
Ste. Marie Majeure is a Romanesque edifice of the eleventh and twelfth centuries. Its façade is an added member of the seventeenth century, and the belfry of the century following. The church to-day is of some considerable magnitude, as the work of the seventeenth and eighteenth centuries comprehended extensive enlargements.
As to its specific style, it has been called Provençal as well as Romanesque. It is hardly one or the other, as the pure types known elsewhere are considered, but rather a blend or transition between the two.
The edifice underwent a twelfth-century restoration, which doubtless was the opportunity for incorporating with the Romanesque fabric certain details which we have come since to know as Provençal.
During the Revolution the cathedral suffered much despoliation, as was usual, and only came through the trial in a somewhat imperfect and poverty-stricken condition. Still, it presents to-day some considerable splendour, if not actual magnificence.
Its nave is for more reasons than one quite remarkable. It has a length of perhaps a hundred and sixty feet, and a width scarcely thirty-five, which gives an astonishing effect of narrowness, but one which bespeaks a certain grace and lightness nevertheless—or would, were its constructive elements of a little lighter order.
In a chapel to the right of the choir is a fine modern reredos, and throughout there are many paintings of acceptable, if not great, worth. The pulpit, by a native of Toulon, is usually admired, but is a modern work which in no way compares with others of its kind seen along the Rhine, and indeed throughout Germany. One of the principal features which decorate the interior is a tabernacle by Puget; while an admirable sculptured “Jehovah and the Angels” by Veyrier, and a “Virgin” by Canova—which truly is not a great work—complete the list of artistic accessories.
The first bishop of Toulon, in the fifth century, was one Honoré.