There are a number of old paintings, which, though they are not the work of artists of fame, might possibly prove to be of creditable workmanship, could one but see them through the gloom. In the before-mentioned porch are some frescoes by Simone Memmi, executed by him in the fourteenth century, when he came from Sienna to do the decorations in the palace. The side chapels are all of the fourteenth century; that of St. Joseph, now forming the antechamber of the sacristy, contains a noteworthy Gothic tomb and monument of Pope John XXII. It is much mutilated to-day, and is only interesting because of the personality connected therewith. The custodian or caretaker is in this case a most persistently voluble person, who will give the visitor little peace unless he stands by and hears her story through, or flees the place,--which is preferable. The niches of this highly florid Gothic tomb were despoiled of their statues at the Revolution, and the recumbent effigy of the Pope has been greatly disfigured. A much simpler monument, and one quite as interesting, to another Pope, Benedict XII.,--he who was responsible for the magnificence of the papal palace,--is in a chapel in the north aisle of the nave, but the _cicerone_ has apparently no pride in this particular shrine. An ancient (pagan?) altar is preserved in the nave. It is not beautiful, but it is undoubtedly very ancient and likewise very curious. The chief accessory of interest for all will doubtless prove to be the twelfth-century papal throne. It is of a pure white marble, rather cold to contemplate, but livened here and there with superimposed gold ornament. What decoration there is, chiefly figures representing the bull of St. Luke and the lion of St. Mark, is simple and severe, as befitted papal dignity. To-day it serves the archbishop of the diocese as his throne of dignity, and must inspire that worthy with ambitious hopes. The chapter of the cathedral at Avignon--as we learn from history--wears purple, in company with cardinals and kings, at all celebrations of the High Mass of Clara de Falkenstein. From a well-worn vellum quarto in the library at Avignon one may read the legend which recounts the connection of Ste. Clara de Mont Falcone with the mystery of the Holy Trinity; from which circumstance the honour and dignity of the purple has been granted to the prelates of the cathedral. No mention of Avignon, or of Arles, or of Nîmes could well be made without a reference to the revival of Provençal literature brought about by the famous "Félibrage," that brotherhood founded by seven poets, of whom Frederic Mistral is the most popularly known. The subject is too vast, and too vastly interesting to be slighted here, so perforce mere mention must suffice. The word Félibre was suggested by Mistral, who found it in an old hymn. Its etymology is uncertain, but possibly it is from the Greek, meaning "a lover of the beautiful."