Avignon, France — The Other Papal City

Avignon, France — The Other Papal City

15 November 2022 | Europe, France, Places | 1 comment

The skyline of Avignon is a mighty fortress that spreads its majestic walls across the sunbaked landscape of Provence. Everlasting witness to the power of the papacy over the Middle Ages, the Palace of the Popes remains the greatest gothic palace in the world. Although the historic town draws well over half a million visitors a year, many of them, other that papal history buffs and French school children, may not be aware how for most of the 14th century this small, heavily fortified southern French city on the bank of the Rhône river came to be the capital of Christendom.

It Began with Charlemagne

The Palais des Papes is the largest Gothic palace ever built.

Like most of the major events that shaped modern Europe, it began with Charlemagne, King of the Franks (771-814), a powerful Germanic tribe whose territories covered present-day western Germany, the Netherlands, Belgium, and France. A determined expansionist and skilled military strategist, he had by the end of his reign extended his reach across western and central Europe.

A staunch defender of Christianity, he supported the church with funds and land, and extended his protection to the Pope. To acknowledge the power of his benefactor and reinforce the relationship with the papacy, Pope Leo III crowned Charlemagne Emperor of the Romans on December 25, 800, at St. Peter Basilica in Rome. In the process, in addition to its spiritual leadership role, he asserted the papacy as a major authority in geopolitical matters. The consequences of this quid pro quo would reverberate throughout Europe for centuries.

The Passion of Christ sculpture- housed in the Consistory – is a remarkable exemple of Medieval art.

Charlemagne’s descendants proved incapable of keeping his vast empire together. By 888, France, Germany and Italy had become separate states. Who then was to be emperor? The nominee of the pope, himself a puppet of Italian aristocratic factions? Charlemagne’s rightful heir, whoever he might be? Or the strongest king in Europe? Centuries of political intrigue and ever-shifting alliances ensued, throughout which the imperial crown was habitually set on a succession of Germanic heads. And disputes between the Popes and the Emperors continued, over which of them was the secular leader of Christendom, with the Pope’s side most often bolstered by the French kings.

The Road to Avignon

The main entrance of the papal palace.

By the early 14th century, however,  Pope Boniface VIII and the French monarch, the autocratic Philippe IV, were feuding over Philippe’s decision to tax the considerable wealth of the Church in France to finance his war with the English. The feud turned violent, with Italian allies of the King of France breaking into the papal residence and assaulting Boniface VIII, who died shortly thereafter. A successor who would not be hostile toward Philippe was promptly elected. However, after a pontificate that lasted a mere eight months, Benedict XI died suddenly — poisoning was suspected although never proven. 

Cloister of the Old Palace

His successor Clement V, a Frenchman and personal friend of King Philippe, was in France when elected and thought it prudent to never travel to Rome. In 1309, he decided to establish his Papal Court in Avignon, where it was to remain for the next seven decades.

 

 

The Builder Popes

Scaled model of the completed palace.

Clement V (1305-1314) lived simply as a guest in the Dominican monastery of Avignon. Then his successor John XXII (1316-1334) started the process of rebuilding and enlarging the old episcopal palace, which sat on a natural rocky outcrop overlooking the river at the northern edge of Avignon, and convert it into a fortified palace. However, it was John’s two successors who became the main builders of the impregnable fortress that stands to this day.

Cour d’Honneur (Ceremonial Courtyard) of the New Palace.

Benedict XII (1334-1342) built the first pontifical palace, an austere stronghold set around a vast cloister (now referred to as the Palais Vieux, or Old Palace). Then Clement VI (1342-1352) expanded Benedict’s palace with more lavish constructions around a grand internal courtyard. Now known as the Palais Neuf, or New Palace, it became the biggest Gothic palace in all of Europe, with 15,000 square meters (160,000 square feet) of floor space.The immense size of the palace facilitated the integration of the Curia (church administration) into the truly central administration of the Church that suited the needs of the papacy.

Life at the Pontifical Court

The Great Clementine Chapel held liturgical events.

More than 20 rooms are open to visitors, including several ceremonial halls of majestic proportions, such as the Consistory, the  Grand Audience Hall with its remarkable ceiling frescoes of the prophets, the 52 meters (170 feet) long  Great Clementine Chapel, which held official events and liturgical services, and the soaring Grand Tinel. The latter was primarily a reception and banquet room, but during conclaves, it was the room where the cardinals assembled to elect the new pope. For the occasion, the room was temporarily walled, with only a small aperture  left open to provide the necessary food. 

Detail of the chambre du cerf (room of the deer) fresco

The visit also includes the private apartments of Clement VI: the papal chamber and private study, commonly called the chambre du cerf (room of the deer), for the remarkable hunting scene frescoes that decorate the walls. The subject matter, while common in secular art at the time, is as unexpected in a room supposedly dedicated to study as it is for a room in a papal apartment.

 

St John Chapel frescoes by Matteo Giovanetti.

Other highlights include the Saint Martial and Saint John chapels, decorated with sumptuous frescoes by the Italian master Matteo Giovanetti, who had been charged by Clement VI to lead the decoration of the Palace. While a large proportion of these creations were lost in the course of time, several have survived to bear witness to the innovative artistic work created by the French and Italian schools of paintings in the 14th century – and the lavish ceremonial lifestyle of the pontifical court that supported it.

More on Papal Politics

Portraits of the Popes of Avignon – imagined by 19th century artist Henri Serrur.

Three more popes would keep their seat of power in the French city until the last of them, Gregory XI (1370–1378) brought the Avignon papacy to an end in 1377 when he returned the papal court to Rome. However, this departure was not the end of  the Avignon popes. The following year, the Roman Catholic Church split apart when a faction of cardinals refused to recognizes Gregory’s successor, the newly appointed Pope Urban VI. Instead, they elected a rival Pope, and returned to Avignon. Thus from 1378 to 1403, during a period known as the Western Schism, Avignon was the seat of a rival papacy, its popes referred to by the official church in Rome as “Antipopes.”

Avignon – the Palace of the Popes.

Good to Know

  • Getting there —  By Train: Avignon is located in southeastern France, 700 kilometers south of Paris. It is easily accessible in less than three hours by non-stop TVG (high-speed train) throughout the day from Paris – Gare de Lyon to the Avignon TGV station.  The TGV station lies  slightly outside of town, and is connected via regular shuttle trains to the Avignon Central Station (Gare d’Avignon Centre just outside the fortification walls on the southern edge of the old town. The city is also well connected other main cities in France and surrounding countries via regional regional and intercity trains.  These arrive at the Avignon Centre station.
  • Visiting —  The Popes’ Palace, Place du Palais, 84000 Avignon, France, is open every day, all year round from 10:00 am to 5:00 pm.  Check the website for extended visiting hours during the summer season.  Contact: tel. +33 (0) 4 32 74 32 74. Accessibility: due to its multiple stone stairways, the palace is regrettably not accessible to persons with reduced mobility.

 

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Palais des Papes

Beyond Narbo Martius — Narbonne Through The Ages

Beyond Narbo Martius — Narbonne Through The Ages

14 October 2022 | Europe, France, Places | 1 comment

Narbonne (or Narbo Martius as it was then called) was founded in 118 BC as the capital of the first Roman colony in Gaul. Located at the crossroad of the land and sea trade routes of southwestern Gaul, it became one of largest trading center in the western Mediterranean — until the fall of the Empire.

Shaped by a Tumultuous History

The Basilica Saint Paul-Serge illustrates the early Christian past of the city.

During the Middle Ages, a period dominated by christianity, Narbonne became the seat of a powerful archbishopric and a center of political power. The seaport also remained active, and the city relatively prosperous until the beginning of the 14th century when catastrophic flooding altered the course of the river Aude, turning the port into a pond — which explains how, over time, Narbonne came to be located in a wine-growing plain some 13 kilometers (8 miles) inland. Add the dual scourge of the Black Plague and the Hundred Years War, and it is easy to understand why the city experienced a drastic decline at that time

The Canal de la Robine is the central artery the old town.

In the beginning of the 16th century Narbonne emerged from its inertia when it was attached to the kingdom of France and became the most important stronghold in the region. Eager to reestablish its relevance as a commercial port, the city began the onerous work to canalize the remnants of the Aude River’s access to the Mediterranean. The Canal de la Robine was finally linked with the Royal Canal (now the Canal du Midi) in 1787, ushering Narbonne into its golden age of wine-making in the 19th century. To this day, the Canal de la Robine remains the central artery of the old town, and a perfect starting point for a stroll back in time through its winding cobbled streets.

The Basilica of Saint Paul-Serge

The nave of the Basilica Saint Paul-Serge features a blend of Romanesque and early Gothic elements.

Built on the site of a pre-Romanesque church that burned down in the 5th century, the Basilica of Saint Paul-Serge was rebuilt around 1180 as the first early Gothic church in Narbonne and one of the oldest of the south of France. Although its current incarnation is the result of numerous modifications and restorations from the 15th century onward, the structure has retained its remarkable mix of Romanesque and early Gothic architectural elements.

The sculptures on one the sarcophagi shows motifs belonging to pagan symbolism.

However, I found its crypt to be most remarkable part of the Basilica. Built upon the tomb of Saint Paul, the first Bishop of Narbonne, most likely dead in 250, who according to tradition was a converted Roman Pro-consul (Sergius Paulus) and one of seven missionaries sent to Gaul by Pope Fabian (235-250) to evangelize the country. As a sign of great devotion Christians dignitaries then wanted to be buried near his tomb — which explain the several sarcophagi of the Constantinian era (4th century) found in the crypt, including one ornamented with sculpted motifs reminiscent of pagan symbolism adapted to Christian iconography. 

The crypt also holds several amphorae, usually used to bury infants. The remains of Saint Paul, however, were transferred in 1244 to the choir of the basilica.

The Truncated Cathedral

The Cathedral of Saint-Just towers over the city skyline.

Towering above the Narbonne skyline, the Cathedral of Saint-Just and Saint-Pasteur is the perfect landmark to ensure you never get lost here. However, although it is now located in the heart of the city, in the Middle Ages it abutted the edge of the defensive fortifications. Started in 1272, the construction of this soaring Gothic structure — the fifth sanctuary to be constructed on the site since the early days of Christendom in the region — was a political statement by Pope Clement VI. Formerly  Archbishop of Narbonne, he decreed that  “this cathedral would equal the magnificent cathedrals of the Kingdom of France” (n.b. keeping in mind that Narbonne was at the time the seat of a semi-autonomous Viscounty nominally under the Counts of Toulouse).

The soaring choir is all that was built of the Narbonne Cathedral.

Thus began one of the most ambitious ecclesiastic construction projects of the 13th century, directly inspired by the great cathedrals of northern France. The choir was completed in 1332. It  boasts imposing dimensions: 40 meters (130 feet) wide, 60 meters (196 feet) long and a vault rising to 41 meters (135 feet) in height, it is surpassed only by Amiens (42 meters – 138 feet) and Beauvais (48 meters – 157 feet). And there it ended. With the onset of what would become the Hundred Years War leading to the reassessment of the fortifications, the city fathers realized that adding the nave and transept would encroach on the ramparts. The cathedral remains truncated to this day.

The Cloister

The cloister connects the cathedral to the episcopal palace.

Adjoining the cathedral and built from 1349 to 1417, on the site of an earlier Carolingian cathedral whose bell tower still remains, the cloister backs up against the 5th century fortifications. It is connected to the episcopal palace, also fortified. Its four galleries are framed by large arcades, with the supporting columns decorated with striking gargoyles.

 

 

The Palais des Archevêques

The Archbishops’ dining room is an 18th century masterpiece.

With the Gothic cloister and the Cathedral of Saint-Just, the Palace of the Archbishops forms a monumental complex, both residence and fortress, similar to the Palace of the Popes in Avignon. The Palace of the Archbishops consists of two separate parts: The Romanesque  Vieux Palais (Old Palace, circa 12th century) with its medieval rooms, chapel and oratory was unfortunately closed to the public for major maintenance and renovation at the time of my visit.

The Palais Neuf holds a fine European art collection.

The Palais Neuf (New Palace), built between the 14th and 19th centuries, housed the apartments of the archbishops. Nowadays, it is home to the rich collections of the City of Narbonne: earthenware from the 17th and 18th centuries, paintings from European schools from the 16th to the 19th centuries, and an interesting section of orientalist paintings. The various galleries and their decorations are themselves remarkable, especially the painted ceilings of the large audience room (17th century), the King’s room (17th century),  the Archbishops’ dining room (18th century) and the large reception gallery (19th century).

The Passage of the Anchor connects the Old Palace to the Cathedral.

Under the direction of Viollet-le-Duc the Palais Neuf was restored in 1845 to also house the Town Hall. The Neo-Classical facade is bracketed by two square towers (the 13th century dungeon and the 14th century Saint-Martial tower). A Romanesque passage connects  the Old Palace and the Cathedral. It is the Passage de l’Ancre (Passage of the Anchor), in reference to the navigation and berthing rights once levied by the Bishops from the users of the harbor.

 

Les Halles

The Art Deco-style covered market is a Narbonne institution.

No visit to Narbonne is complete without a stop at Les Halles, the hugely popular Baltard-style covered market built in 1901along the Canal de la Robine right in the center of town. Its elegant cast iron structure, ornate stone pillars and majestic glass roof have earned for the second year in a row in 2022 the coveted “most beautiful market in France” distinction.

All manners of top quality foodstuff await shoppers in the spectacular covered market.

But more than a landmark, Les Halles are a bustling Narbonne institution, where locals go to socialize and do their victuals shopping. Over 60 vendors have their merchandise on display, and you can find just about anything in their stalls. The butchers and delicatessens are near the main entrance, the fishmongers in the back, and everything else is in between. The best of fresh produce, dizzying arrays of cheeses, breads and pastries, olives, local honey… it’s all there, in irresistibly colorful displays. Caterers, bars and wine merchants are interspersed throughout. Whether you want to purchase fresh ingredients for the day’s meal or settle in for a snack or lunch, stop by daily from 7:00 am to 2:00 pm, including Sunday and holiday, without exception.

 

Good to Know

  • Getting there — Narbonne is located 850 kilometers (530 miles) south from Paris, in close proximity to the western Mediterranean shore. By air: the nearest regional airports are in Carcassonne, Montpellier and Perpignan, with mainly seasonal connections to major airports in France and neighboring countries.  By train: the centrally located Narbonne train station offers direct connections to Paris, Barcelona, Toulouse, Marseille and many regional destinations throughout the day. By road: Highways  A9 and A6 pass through Narbonne.
  • Visiting — The Basilica of St Paul-Serge, 21 Rue Arago, 11100 Narbonne, is open to visitors year round Monday through Saturday from 9:00 am to 12:00 noon and 2:00 pm to 6:00 pm. Closed on Sunday, January 1, May 1, and November 11. The Cathedral St Just, Rue Armand Gauthier, 11100 Narbonne, is open year round from 9:00 am to 12:00 noon and 2:00 pm to 6:00 pm. Closed on January 1, May 1, and November 11. The Palais des Archevêques, Place de l’Hôtel de Ville, 11100 Narbonne.  The museum is open from October 1 to May 31, every day except Tuesday, from 10:00 am to 12:00 noon and from 2:00 pm to 5:00 pm and from June 1 to September 30, every day, from 10:00 am to 6:00 pm.  Closed on major national holidays. Les Halles, 1 Boulevard du Docteur Ferroul, 11100 Narbonne, is open daily throughout the year from 7:00 am to 2:00 pm.

A Few Souvenirs

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Narbonne

Narbo Via – In Search of Narbonne’s Roman Past

Narbo Via – In Search of Narbonne’s Roman Past

2 October 2022 | Europe, France, Places | 1 comment

In 125 BC, the major Greek port city of Massalia (now Marseille) in the hellenized region of Southern Gaul, threatened by incursions from the Celto-Ligurian tribes of the Provencal hinterland, called for help from its Roman ally. The Senate sent its armies and within a few years, they had subjugated the local populations from Southern Gaul to the Pyrenees. Rome now controlled the vast area linking Italy to Spain.

Virtual reconstitution of the Narbo Martius waterfront.

To secure these strategic territories and ensure control of their trade routes, in 118 BC, the Senate ordered the construction of a thoroughfare, the Via Domitia, and the foundation of the first Roman colony outside of Italy. Two thousand Roman citizens were settled on a prime location of the lower Aude Valley, in immediate proximity to the Mediterranean coast. Colonia Narbo Martius, the present day Narbonne, was born.

 

A Turbulent History

Slab of decorated marble(circa early 2nd century AD featuring eagles and a central thunderbolt – symbols of Jupiter.

As the capital of the Narbonnaise Province, Narbo Martius became a major merchant port of the Roman Empire. It experienced its heyday in the first two centuries AD, when it spread across nearly 240 hectares (590 acres) upon which rose the various monuments typical of the large Roman city: forum, temples, amphitheater, thermal baths, market. However, among the many temples that Narbo Martius must have had, only the great sanctuary discovered in the 19th century on the site of Narbonne’s high school is known to us. Located in the heart of the original Roman city and looking over the forum, it is now identified as its Capitol —the  temple dedicated to the three deities Jupiter, Juno and Minerva.

Fragments of the architectural grandor of Narbo Martius can be admired today at Narbo Via.

Unfortunately, the structures of the ancient city almost completely disappeared over the centuries of Narbonne’s turbulent history, starting with the general decline of the empire in the 3rd  century. Then in the 5th century, it fell into the hands of the Visigoths before being conquered by the Arabs in 719 and looted by the Vikings in 859. Through the successive reconstruction efforts, the remains of the Roman past became a convenient stone quarry for centuries of builders. Consequently, although no complete Roman monument has survived, many fragments of architecture that illustrated the splendor of the city have been preserved.

Reviving a Lost City

The lapidary wall is the backbone of the museum.

Now, thanks to the work of archaeologists and virtual reconstitution specialists, it is possible to experience what Narbo Martius looked like in the Narbo Via museum, open in May 2021 at the eastern edge of the city. Upon entering the airy, light-filled reception area, the eye is immediately drawn to the spectacular backbone of the building: a soaring gallery lining the entire back wall, covered by a monumental (76 by 10 meters or 250 by 32 feet) storage device, custom designed to showcase the remarkable lapidary collection of Narbo Via. This unique lapidary wall consists of 760 blocks of carved limestone weighing on average 400 kilograms (900 pounds) each. Originally funerary blocks that evoked the profession or the trade of the deceased, they were ‘harvested’ from Roman necropolises and systematically repurposed throughout the middles ages into the successive fortification walls of the city.

Detail of a funerary stele honoring a local personality.

Past the wall, almost 2,800 square meters (29,000 square feet) of exhibit space bring together the collections of two previous local museums as well as recently discovered finds from various excavation projects around the city. With over 580 artifacts, the overall exhibition itinerary helps revive the lost city of Narbo Martius. One part focuses on elements of former monuments and statuary, another features individual funerary steles, sarcophagi and monuments that honored local personalities.

 

Narbo Martius Revisited

A virtual reconstitution of the original Roman Capitol.

Another high point of the visit is the spectacular 3D, virtual reality stroll through the Roman city, which brings into vivid focus the various themed collections presented throughout the museum. Thanks to the evocative power of three-dimensional reconstitution, visitors can experience the various emblematic landmarks of Narbo Martius: the city and its Capitol, the domus of the Clos de la Lombarde, the thermal baths, the amphitheater. At the center of the route, an immersive projection room with a 180 degree  panoramic screen takes viewers to the key places of the Narbonnaise capital, from the port of Narbo Martius to the heart of the city and along by the Via Domitia.

The Horreum

The tunnels of the Horreum illustrate the architectural expertise of the ancient Romans.

Now five meters below ground level in the heart of the modern city, the Horreum (or warehouse in Latin) is a network of galleries leading to a series of small storage rooms built in the 1st century BC. Used for storing grain, wine and oil, it constituted the foundations of a building, most likely a market hall that has since disappeared. The Horreum remained in partial use as private cellars until it was declared an historic monument in 1961. It was finally open to visitors in 1975. Its well preserved walls are evidence of the architectural expertise and know-how of the ancient Romans. 

 

The Clos de la Lombarde

The Clos de la Lombarde was a Late Antiquity urban neighborhood.

Along with Horreum, the archaeological remains of the Clos de la Lombarde are one of the only visible – and visitable – Roman sites in Narbonne. Located in the northwestern area of the contemporary city center, the site was revealed in 1910 with the fortuitous discovery of a sarcophagus in a privately owned urban garden plot. However, active excavations didn’t begin until1973, when they then promptly offered a wealth of information about an aristocratic urban neighborhood in the Late Antiquity. Archaeologists discovered the foundations of houses, workshops, and a bathhouse.

A number of mosaic floors have been uncovered.

Archaeological research has shown that the area was occupied from the end of the Roman Republic (circa 27 BC) until the 5th century. It consisted of a large residential quarter along parallel streets, some flanked by porticos (covered colonnades), which were wide enough to conduct business and build small shops. The artisans must have done their work in the adjacent houses. Remains of water conduits and drains have also been found. 

 

 

An Opulent Neighborhood

The House with the Large Triclinium featured a marble floor.

Among the many remarkable finds, the ‘House with the Large Triclinium’ with a surface of 705 square meters (7,600 square feet) and  consisting of several units is a typical aristocratic mansion of the 2nd century AD. Three units had access to the garden, one had direct access to the street, and a spacious 90 square meters (970 square feet) room has been identified as the triclinium (dining hall) Remarkable wall paintings and a floor covered with multicolored marble were found here.

 

The magnificent frescos of the House of the Genius can now be experienced in virtual reality at Narbo Via.

The House of the Genius dates back to the 1st century BC and has a surface of 975 square meters (10,500 square feet). It features an atrium and a peristyle and is comparable to the houses found in Pompeii. Here the living quarters were open to a garden surrounded by porticos, while the atrium, entrance hall and triclinium played a public function. Many rooms in this luxurious mansion had fine floor mosaics of black and white stones. The walls were decorated with equally splendid frescos. Among these were representations of a winged Victoria, of a genius carrying a cornucopia and pouring a libation, and of an Apollo with a laurel wreath (the protective deity of the emperor Augustus). 

Sarcophagi were found in the crypt of the basilica,

The mansions were abandoned in the course of the 3rd century, and a church was built on top of them in the 4th century. This Paleo-Christian basilica, the first known christian church in Narbonne, covered part of the House of the Genius. Underneath, the crypt and traces of a baptistery have been found, together with several sarcophagi. After the 5th  century, the religious building was abandoned and the area went into decline.

A visit of the site is especially meaningful after seeing the mosaics and paintings originally found here at the Narbo Via museum.

Panoramic view of Narbo Martius created in vrtual reality at Narbo Via.

Good to Know

  • Getting Around — Much of the city centre can be covered on foot. There is also a free shuttle bus (the Citadine – lines 1 and 2) that services the various points of interest every 10 minutes Monday through Saturday  from 7:40 am to 7:20 pm.
  • Narbo Via, 2, avenue André Mècle, 11100 Narbonne, is open Tuesday through Sunday, 10:00 am to 7:00 pm from May 2 through September 30, and 11:00 am to 6:00 pm from October 1 through April 30.  It is closed on Monday and national holidays.  Contact:  tel. +33 (0) 4 68 90 28 90, e-mail..
  • The Horreum,  7 Rue Rouget de Lisle, 11100 Narbonne, is open Tuesday through Sunday, 10:00 am to 1:00 pm and 2:00 pm to 6:00 pm from May 2 through September 30 and 10:00 am to 12:00 noon and 2:00 pm to 5:00 pm from October 1 through April 30. It is closed on Monday and national holidays.
  • The Clos de la Lombarde — 28, rue Chanzy, 11100 Narbonne, is open to visitors for guided visits on Saturday mornings only, at 9:45 am and 10:45 am.  Contact: e-mail.

A Few Souvenirs

Location, location, location!

Narbonne

A Paleolithic Treasure Under The Sea — Cosquer Cave

A Paleolithic Treasure Under The Sea — Cosquer Cave

10 September 2022 | Europe, France, Places | 2 comments

In 1985, while diving in the Massif of the Calanques, the jagged limestone cliffs that line the Mediterranean coastline between Marseille and Cassis, local professional diver Henri Cosquer came upon a cave that caught his attention. Located at a depth of 37 meters (121 feet), it would turn out to be the portal of a deep underwater passageway.

A  Unique Discovery

The Cosquer Cave is a surreal landscape of colossal stalactites and stalagmites.

Over the next few years, he returned to progressively explore the 175-meter (574-foot) long, upward-sloping tunnel. Finally, in 1990, he and three of his closest diving partners emerged onto the hardened limestone “beach” of a vast partially submerged chamber. For the next two hours, they explored a surreal landscape of colossal stalactites, stalagmites, leaning vaults and limestone walls, orange-hued in the light of their flashlights.

The outline of a hand first caught the divers’ eye.

Here the story would have ended, with the discovery of a magnificent cave inaccessible to anyone but the most determined of expert divers, if as they were getting ready to depart, the imprint of a hand hadn’t appeared in the beam of Cosquer’s lamp. In the weeks that followed, the team returned several times and discovered an astonishing prehistoric bestiary, as well as amazingly preserved hearths. In addition to multiple figures of the bisons, horses, ibexes and stags common in prehistoric caves, they also found seals and penguins, figures until then unknown in parietal art.

Bison close-up.

The find was officially reported to the Department of Underwater Archeological Research in September 1991 and subsequently authenticated. Carbon dating showed that the cave had been intermittently frequented from 31,000 BCE to 12,000 BCE by hunter-gatherers from the last ice age, when the sea level was 120 meters (393 feet)  lower than it is today, and the coast eight kilometers (five miles) farther. During that time, the entrance of the cave is believed to have been located high on the face of the cliff, in a landscape surrounded by grassland.

A Treasure in Jeopardy

The penguins panel.

To date, a staggering number of cave art have been inventoried on the vaults and walls, including 200 animals representing eleven species: horses, aurochs (the ancestors of all cattle), bisons, a variety of antelopes (megaceroses, ibexes, chamois and saiga), one feline, seals, penguins and fish. Also discovered are geometric motifs that may evoke other sea animals thus far not identified. There are also a few rare human representations, 65 negative handprints in red (21) and black (44), and more than 200 non-figurative signs: rectangles, zigzags and dots. 

 

The legs of a horse close to the water are already being swallowed by the sea.

The uniqueness of the site, the wealth and diversity of the engravings and paintings, and its long human occupation during the Upper Paleolithic Period make the Cosquer Cave a site of global significance — and one whose preservation is a matter of urgency. The process of disintegration began some 10,000 years ago: since the end of the last glacial period, the rising sea levels have submerged more than three quarters of the cave. The quarter that has remained dry is now being nibbled away by the effects of climate change and the rise of sea level. As specially trained diver-archeologists race to document the cave’s Paleolithic art treasures, they also note the acceleration of the process. The legs of a horse close to the water at the time of the discovery have already been swallowed by the sea.

An Essential Preservation Project

The spectacular contemporary Villa Méditerranée is now the permanent home of Cosquer Méditerranée.

Given that the location of the Cosquer Cave makes it inaccessible to anyone but a handful of expert and that, in the medium to long term, its submersion is inevitable, it was clear that creating an accurate replica was the only way to preserve this world heritage site and make it accessible to the general public. Unlike other centers of rock art (Lascaux and Chauvet), Cosquer Méditerranée is located in an urban area, in the heart of the Marseille waterfront, and housed in an existing building: the Villa Méditerranée, a spectacular contemporary architecture creation inaugurated in 2013. Fitting the  2,300-square meter (24,750-square foot), figure eight-shaped cave into a square area with a surface area of 1,750 square meters (18,800 square feet) in basement level of the building presented an additional challenge.

Visitors can now experience the cave in 3D and virtual reality.

Using the latest ultra high-precision 3D technology available today to capture hundreds of laser scans and 360-degree high definition images, more than fifty versions were made to produce a replica of the cave and adapt it to the constraints of the Villa Méditerranée, into which an itinerary had to be integrated. The unified model of the cave, which was then validated scientifically and stenographically, was sent to all the key participants in the project, and in particular, the artists who made the physical replica of the cave. Cosquer Méditerranée was inaugurated in June 2022, and now offers visitors the opportunity to experience the cave in 3D and in a virtual reality tour.

A Dive Into The World of Henri Cosquer

The circuit introduces visitors to every types of rock art.

The visit begins in a replica of Cosquer’s diving club, including the gear used by professional and amateur divers at the time of the cave’s discovery, followed by an elevator ride down to the entrance of the replica. Designed to accommodate twenty-four people, the elevator evokes a nautical elevator for divers: screens simulate the descent to 37 meters as visitors are taken to an underwater station in the basement level  to embark on exploratory vehicles.  

Giant Penguin close-up.

Each of these vehicles can accommodate up to six passengers for a slow, thirty-five minute 220-meter (725-foot) itinerary in semi-darkness. Wearing audio headsets that are synchronized with the panels, the visitors gradually discover the rock art panels that light up as they approach. The circuit enables visitors to see all the types of rock art and understand their significance. Everything, including the presence of bodies of water, contributes to creating the illusion of being in the real cave. 

The archaeological interpretation centre features a life-size replica of a megaceros antelope.

Visitors come back up into daylight via a large airy staircase that take them to the vast, light-filled third floor, where the archaeological interpretation centre is located. Here in addition to life-size models of the thirteen animal species represented on the cave walls, they can enjoy breathtaking views of the waterfront and the Mediterranean seascape all the way to the horizon. 

Cosquer Cave Panorama.

Good to Know

  • Getting there — By train: Marseille is easily reached by direct TGV (high speed train) connections throughout the day from Paris (3.5 hours) and Lyon (1.5 hour), as well as Geneva (3.5 hours), Brussels (5.5 hours) and Frankfurt (7 hours). By air: For air travelers, the Marseille-Provence International Airport is 30 kilometers (18.5 miles) northwest of the city. It has numerous flights throughout the day from Paris, London and other major European cities. A shuttle bus runs every 15 minutes between the airport and the center of the city.
  • Visiting — Cosquer Méditerranée is located on the J4 Esplanade, 13002, Marseille.  It is open everyday year round including holidays. Opening hours vary seasonally and are updated on the official website. Contact — tel.: +33 (0)4 91 31 23 12.
  •  Note — Photography by visitors is strictly prohibited throughout the cave. All images in the article are used by permission © Kleber Rossillon&Région Provence-Alpes-Côte d’Azur/Sources 3D MC.  

Location, location, location!

Villa Cosquer

Raoul Dufy — A Passion for Color

Raoul Dufy — A Passion for Color

3 June 2022 | Europe, France, Places | 1 comment

One of my favorite museums in the south of France, the Hôtel de Caumont – Art Center recently opened a new exhibit focusing on the work of the French painter Raoul Dufy (1877 – 1953). Held in conjunction with the Musée d’Art Moderne de la Ville de Paris, which owns one of the largest collection of the artist’s works, the exhibition ‘Raoul Dufy: a Passion for Color’ explores the artist’s entire career, with particular attention to Dufy’s close link with Provence and the work of Paul Cezanne.

From Normandy to Provence

Yacht in Le Havre (1904). Oil on canvas, 69 x 81 cm. Le Havre Musée d’Art Moderne-André Malraux.

Born in Le Havre, a major port city on the English Channel, Dufy takes his first step as an artist at the city’s Municipal Art School before being awarded a scholarship to the École Nationale Supérieure des Beaux-Arts (National School of Fine Arts) in Paris in 1900. His early works, mainly landscapes of the Normandy coast, are Impressionist in style, until 1905 when he encounters the work of Henri Matisse and Fauvism at the famous Salon des Independents — and is briefly attracted by the power of color and the strength of drawing of the Fauvist mouvement.

Fishing Boats in Martigues (circa 1910). Oil on canvas, 46 x 55 cm. Private Collection.

Then, in 1908, during a trip to the south of France with Georges Braque, Dufy discovers the work of Cezanne. He goes to paint at l’Estaque, a small fishing port close to Marseille, in homage to the Provencal master. While Braque turns to cubism a year later, Dufy continues to study Cezanne’s work until 1914. The blues of the sea and sky remain at the heart of his on-going exploration of his favorite motifs: coastal landscapes, boats, regattas and bathers. But he now adds the ochres, greens and reds hues of Provence to his palette. Warm orange tones also make their way into his indoor scenes, showing the extent to which the southern climate is influencing his appreciation of color.

The Cezanne Legacy

Nice Pier and Promenade (circa 1926). Oil on Canvas, 38 x 46 cm. Paris Museum of Modern Art

This newfound “Cezannism” endures in the work of  Dufy to the end of the decade. He applies it to his own places of residence,  Paris and Le Havre. After the First World War, Dufy returns to Vence. Now, while still inspired by Cezanne, he also has a short flirtation with Cubism even as his own distinctive style emerges in the early 1920’s: skeletal structures, arranged with foreshortened perspective, and the use of thin washes of color applied quickly, in a manner that comes to be known as stenographic. Dufy’s cheerful oils and watercolors depict events of the time, including yachting scenes, sparkling views of the French Riviera, regattas and musical events.

A Multifaceted Talent

The Large Bather (1913). Oil on canvas 182 x 245 cm. On deposit at the Royal Museums of Fine Arts of Belgium, Burssels. Private Collection.

In addition to his coastal landscapes, the exhibition presents other Dufy favorite themes, among them interiors of his successive workshops, flowers and bathers. The later is a subject of infinite variations as Dufy associates the bather motif with mythological evocations of nymphs and goddesses of Greek and Roman Antiquity, such as Amphitrite or Venus. 

 

 

 

Bouquets of wild flowers, circa 1948. Watercolor and gouache on Arches vellum, 50 x 65.7cm.

He also nurtures a strong interest in flowers, to the point of specializing in the field. From 1910 to 1930, he produces a number of highly successful floral patterns for the French couturier Paul Poiret’s textile company and the Bianchini-Férier silk factory in Lyon. He excels in this area, in which ornaments, scrolls and ellipses are matched by a subtly infinite palette of colors. Then in the 1940’s, he turns to watercolor to represent wildflowers such as poppies, cornflowers, daisies, irises and anemones in seemingly careless bouquets and garden still lifes.

Dufy transferred his mythologicaldesigns onto ceramics.

Throughout his career, he also acquires a reputation as an illustrator and as a commercial artist. His engraving plates appear in books by Guillaume Apollinaire, Stéphane Mallarmé, and André Gide among others. He produced a huge number of tapestry and ceramic designs. And he paints murals for public buildings.

 

 

 

The Electricity Fairy

The exhibition ends with an immersive installation of the Electricy Fairy mural.

In 1937, for the International Exposition of Arts and Technology in Paris, Dufy completes one of the most ambitious paintings ever undertaken: a monumental work of 600 square meters (6500 square feet), composed of 250 panels illustrating the social role of light, to decorated the inside façade of the Pavilion of Light and Electricity. To represent the history of electricity from its first observations to its most recent applications, the composition is organized as a liberated, lively drawing of bright blocks of color, depicting many of the artist’s favorite subjects, including yachts, flocks of birds, festive scenes and allegorical and mythological figures. The work can now be admired in its dedicated permanent hall at the Paris Museum of Modern Art. But the creators of the current exhibition found a way to bring it to their visitors: the last room of the itinerary features an immersive installation of La Fée Électricité which allow the viewer to appreciate the work in greater detail than the original display.

Dufy’s Workshop in Perpignan (1942). Oil on canvas, 65 X 85 cm. Paris Museum of Modern Art.

Dufy’s artistic legacy languished for a number of decades after his death in 1953. Critics seemed to consider that the optimistic, fashionably decorative nature of his work trivialized it. Featuring more than ninety works from French and international public and private collections to prove them wrong, the exhibition, which runs until September 18, 2022, is well worth a visit if you happen to be anywhere this summer within detour distance from Aix-en-Provence and the Hôtel de Caumont – Art Center.

The original of La Fée Electricité resides at the Paris Museum of Modern Art.

Good to Know

  • Getting There –By train: there are frequent TVG (high speed train) connections throughout the day from Paris (3 hours) and Lyon (1 hour) as well as Geneva (3 hours) and Brussels (5 hours) to Aix-en-Provence. The TGV train station is located 15 kilometers (9.5 miles) southwest of town, with a bus shuttle running every 15 minutes between the station and the bus terminal in the center of town. By plane: Marseille–Provence airport is 25 kilometers (15.5 miles) southwest of Aix, with numerous flights from Paris, London and other major European cities. It is served by the same shuttle as the TGV station.
  • Visiting – Caumont Art Center, 3, rue Joseph Cabassol, 13100, Aix-en-Provence, France.Is open daily from May 6 to September 18 from 10:00 am to 7:00 pm, and from September 19 to May 5 from 10:00 am to 6:00 pm. Contact: e-mail, or Tel: +33 (0) 4 42 20 70 01.

A Few Souvenirs

Location, location, location!

Hotel de Caumont - Art Center

In the Historic Center of Aix-en-Provence — A Gem of Contemporary Cuisine

In the Historic Center of Aix-en-Provence — A Gem of Contemporary Cuisine

7 May 2022 | Europe, Food, France, Places | 2 comments

The capital of the Duchy of Provence and a renowned cultural center throughout the Middle Ages, the city of Aix-en-Provence require no introduction. Its well preserved Medieval and Renaissance historic center, vibrant artistic life and colorful open-air markets draw visitors from the world over.

In the heart of the historic center – NIRO by Le Gambetta.

And where tourists abound, so do eateries of all stripes! Fast food counters line the cobbled alleys of the old town and bistro terraces invade its tiny squares. The food they dish out is mainly forgettable, the service often rushed. Their purpose is to provide sightseers with ready sustenance and the impression they are taking in a bit of the laid-back mediterranean vibe before they move on to their next selfie opportunity. To be fair, Aix is also home to a few restaurants where culinary excellence still flourishes, establishments where savvy patrons can enjoy leisurely three-course meals of the best contemporary fare France has to offer—places like NIRO by Le Gambetta.

Bistronomie at its Best

The inviting dining room is the perfect setting for a relaxed Bistronomie evening.

What’s Bistronomie? A culinary trend started some three decades ago by a handful of young, classically trained French chefs who saw the need to bring the traditional Haute Cuisine of the prestigious high-end restaurants — and stratospheric prices — down to earth. They focused their creative talents on simple, high quality products of the French heartland to take bistro fare to new heights. Bistronomie was born!. In the heart of the historic center of Aix en Provence, NIRO by Le Gambetta is the epitome of the Bistronomie vision.

A delicate Mousse of Shiitake Mushrooms Amuse Bouche.

In their elegantly casual restaurant, its owner Chef Damien Serre-Combe (in the kitchen) and his wife, the ever-charming Claire (in the dining room) deliver on the Bistronomie promise. The menu is modest in size only: four appetizers, five main courses and four desserts, with each category featuring a vegetarian option, plus a cheese board and a couple of weekly special  mains. It is enhanced by a short, well thought-out wine list, a number of choices offered also by the glass to facilitate pairings. But with every dish remarkably creative and flawlessly executed, choice is still a dilemma. This is why, over the two weeks of her recent visit, a long-time friend and fellow foodie and I determined to eat our way through the NIRO menu.

Cochon Confit with Black Garlic Cream.

Each meal began with a complimentary amuse-bouche, a few mouthfuls of a delicate treat to stimulate our taste buds while we perused the menu. One day, it was a generous dollop of shiitake mushroom mousse on a bed of creamy zucchini purée, enhanced with exotic spices and a drop of truffle oil. The next day, it was rave-worthy baby oyster mushrooms sautéed in a melange of fresh aromatic herbs. Then we got to the serious business of discovering our favorite dishes.

And The Winners Are…

Miso-glazed salmon with caramelized cumquats.

In the Main Course Category — I thought I had found it on the first day with the Cochon Confit:  succulent cubes of slow-cooked pork loin topped with a velvety cream of black garlic, garnished with a mousse of celeriac (a.k.a celery root) and hazelnuts. But the next day’s Saumon Laqué au Miso, a moist pan cooked slab of salmon, brushed with a Miso glaze and garnished with caramelized cumquats and a medley of crunchy seasonal vegetable, was pure bliss. Full disclosure: I ordered it a second time during our “challenge.”  Therefore I suppose it should be declared the winner?  But I’ll call it a draw.

The Foie Gras Maison appetizer.

Appetizers — The main course portions were so generous that wisdom dictated forgoing the starter – but my friend and I occasionally agreed on one to share, such as the intriguing Poulpe de Roche à la Galicienne: tender slices of Rock Octopus, simmered in Spanish spices, and served cold with a garlicky Aioli sauce. On an other visit I opted for the sumptuous Medaillons de Foie Gras Maison — three slices of home made Foie Gras served with toasted Ginger Bread and Mango relish. Generous enough to share or pass for a decadent main course. Definitely a winner either way!

Chocolate Millefeuille with caramelized Pineapple.

Desserts — Always the hardest of decisions, since I’ve seldom met a dessert I didn’t like, but the honor easily went to the exotic Millefeuille Chocolat-Ananas: two wafter-thin outer layers of nutty chocolate crunch holding caramelized fresh pineapple chunks and topped with coconut mousse. 

 

 

The Man Behind the Magic

Chef Damien Serre-Combe.

Born in Martiques, a picturesque little town just west of Marseille, Chef Damien spent his formative years in West Africa, where his businessman father had settled. There, he acquired his interest in exotic spices “while enjoying home-cooked meals at my local friends.” Back in Marseilles as a university student, he took a job as a dishwasher in a top local restaurant to help finance his medical studies—and discovered his passion. He started the long cooking apprenticeship process, working his way up in the kitchen and acquiring a degree in restaurant management along the way, ultimately opening his own restaurant in 2016.

Another heavenly Amuse-Bouche creation: oyster mushrooms sautéed in aromatic herbs.

It was simply Le Gambetta back then, a neighborhood hole-in-the-wall named for its street address, just outside the boundaries of the old town. Already the vision of Chef Damien stood out: imaginative combinations of unusual spices and seasonal products of the highest quality, prepared with flair and served with spot-on timing. Le Gambetta quickly became a bursting-at-the-seams neighborhood favorite. Then the pandemic shuttered the entire country.

The Pear Tart on a base of pecan nuts nougat was my dessert first runner up.

Chef Damien used the downtime well, scouting and ultimately acquiring his ideal location in the much thought-after picturesque historic center of town. Here, he designed his kitchen into a coherent work space, and the “front of the house” into an inviting dining room with a remarkably efficient open service area. And he found the time to finetune his seasonally-inspired menus. “I always start with spices,” he explained, “then focus on how they can enhance the flavor of the varied seasonal products.”  He also favors the fresh catch from  nearby small Mediterranean fishing ports and the abundance of heirloom vegetables from back-country farms.  It’s NIRO now (by Le Gambetta for your loyal fans of yore) and it’s better than ever. If your travel plans take you anywhere near Aix-en-Provence, make sure to call ahead for reservations. It’s well worth a detour!

Good to Know

  •  NIRO by Le Gambetta , 37 Place des Tanneurs 13100 Aix-en-Provence, is open Tuesday through Saturday from 12:00 noon to 2:00 pm and 7:30 pm to 9:45 pm. It is closed on Sunday and Monday. Tel.  +33 (0) 4 42 27 65 46.
  • Getting there—NIRO is located in the pedestrian historic center, a short 10-minute walk from the Cours Mirabeau and La Rotonde.
  • This cozy restaurant with its relaxing contemporary flair and off-street shaded terrace can accommodate a maximum of 50 guests. While it is still a word-of-mouth place at the time of this writing, the word is deservedly getting around fast. Reservations are strongly recommended any time and a must on weekends.

 

Location, location, location!

NIRO by Le Gambetta