The twenty-first day

antique shops, and even more food


Morning mist soon cleared but the mud was still wet when I set out the next day. Condom remained invisible till only a couple of miles away, then suddenly there it lay, hundreds of white facets glinting in the sunlight, like a diamond against green cloth. Its cathedral the first church of real beauty since Conques; late gothic (1507-31), but disciplined in its flamboyance; every curve becomes an ogee, every window's tracery is different. All the wall is made of glass, the tall side chapels stressing the height and brightness of the building. It was, apparently, designed by the bishop; a man of rather more discernment, if no more taste, than the vintage-fancier of Lectoure. The connection is not entirely fanciful; the Armagnac museum in Condom has a bottle - unopened - of wine from the cellars of the episcopal palace in Lectoure.

The cloisters have a rather gloomy double arcade at each end, and above, there are seventeenth century apartments. They feel more like a market hall in a decayed county town than a cloister; boys illegally play ball on the grass in the centre. No provision was made for the monks' accommodation; presumably they found digs in the town, like extra-mural students. It has had several incarnations; first used as a brandy store; then bought by the council as a foie gras market in 1880. The usual catalogue of blasphemous uses, like the Parthenon used as a magazine; uses vary, but buildings stay, remarkably unchanged.

Condom is full of classical houses, even mansions (such as the Ryst-Depeyron chais, formerly Hotel de Cugnac); pedimented doorcases seen from the side in sunlight on a descending street create a series of light edges, an articulation of the curved wall.

Somewhere in Condom is the quintessence of antique shops, or rather the epitome; a window through which can be seen, in a clear shade, a few, just a few, really excellent pieces, and two scintillant candelabra. I enter; no-one is there, but there is a fire in the grate hissing, casting its orange shades on the mahogany furnishings and the chiaroscuro madonna. It is like trespassing in Snow White's castle.

Condom is a newcomer, an eleventh century foundation; but it has the feel of old riches, its economy always firmly based on the wine trade. An English town for three hundred years; the cathedral now has an altar to Joan of Arc. And besides the English, we find Protestants here; Nérac, close by, was the headquarters of a Protestant literary circle around the d'Albrets, including Marot; Eauze also was a reformed town, with its half-timbered house of Jeanne d'Albret, a heavybrowed crazyleaning construction on the main square.

The next day is back to mist and drizzle. Purple-grey clouds hang motionless, unwilling to move. Then suddenly about two of the afternoon the half of sky behind me was completely blue, just a few wisps of pure white, and the half in front covered in leaden clouds which were not yet quite heavy enough to believe in a real storm. The climates divided almost exactly at the zenith; a schizophrenic vault.

I did not fulfil my vow of luxury in Condom; I passed by the three-star hotel, the Trois Lys, set in its own courtyard and small enough for intimacy, and stayed instead at a cramped hotel and ate a dinner of tinned asparagus, cold gristly steak, a stale rhum baba. So the luxury had to wait until Montréal, a royal bastide indeed to go on the evidence of its restaurant, where by luck I passed two bars, hurrying to see the arcade, and following a faded sign discovered Chez Simone. The Gascon menu; asparagus, salmis de palombe with delightfully dark flesh and gravy ink-black; magrets de canard; finally croustade, little points of crisped pastry over apples in armagnac. A Côtes Saint-Mont, full and sweet. To finish a Floc de Gascogne, like a sweet muscat, but sharp, and cold. Like the country, the cooking; dark and rich, but with a sharpness of the wind blowing, of the hardness of life, not like the creamy, yellow, sunlit feel of Normandy. Armagnac like the spirits of distilled angels. It cost me a walk in the dark and the rain into Eauze, and I did not care.

And onwards. . .


© Andrea Kirkby 1996