Stray Studies from England and ItalyGreene, John Richard
History
Stray Studies from England and Italy
Greene, John Richard
Italy -- Description and travel
Little remains to illustrate this earlier and more famous period of the
monastic history of Lerins which extends to the massacre of its monks by
Saracen pirates at the opening of the eighth century. The very look of
the island has been changed by the revolutions of the last hundred
years. It is still a mere spit of sand, edged along the coast with
sombre pines; but the whole of the interior has been stripped of its
woods by the agricultural improvements which are being carried on by the
Franciscans who at present possess it, and all trace of solitude and
retirement has disappeared. A well in the centre of the island and a
palm-tree beside the church are linked to the traditional history of the
founders of the abbey. Worked into the later buildings we find marbles
and sculptures which may have been brought from the mainland, as at
Torcello, by fugitives who had escaped the barbaric storm. A bas-relief
of Christ and the Apostles, which is now inserted over the west gate of
the church, and a column of red marble which stands beside it, belong
probably to the earliest days of the settlement at Lerins. In the little
chapels scattered over the island fragments of early sarcophagi,
inscriptions, and sculpture have been industriously collected and
preserved. But the chapels themselves are far more interesting than
their contents. Of the seven which originally lined the shore, two or
three only now remain uninjured; in these the building itself is either
square or octagonal, pierced with a single rough Romanesque window, and
of diminutive size. The walls and vaulting are alike of rough
stonework. The chapels served till the Revolution as seven stations
which were visited by the pilgrims to the island, but we can hardly
doubt that in these, as in the Seven Chapels at Glendalough, we see
relics of the earlier coenobitic establishment.
Public-domain text, read in full here on John Shaqi.
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