POITIERS TO THE PYRENEES
One gets an even intenser sense of these distances from the little cloister wedged against the church-flank and overhanging the radiant valley of the Garonne—a queer cramped enceinte, with squat arches supported by monster-girdled capitals, and in one case by a strange group of battered figures, supposedly the four Evangelists, one of whom—the Saint John—is notable in Romanesque archæology for bearing in his arms the limp lamb which is his attribute.
The effect of antiquity is enhanced, as at Saint Savin, by the beneficent neglect which has allowed the exterior of the building to take on all the scars and hues of age; so that one comes with a start of surprise on the rich and carefully tended interior, where a brilliant bloom of Renaissance decoration has overlaid the stout Gothic framework.
This airy curtain, masking choir, rood-screen and organ-loft in a lace-work of delicate yet hardy wood-carving, has kept, in the dry Pyrenean air, all its sharpness of detail, acquiring only a lustre of surface that gives it almost the texture of old bronze. It is wonderfully free and fanciful, yet tempered by the southern sense of form;
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