[123] Emile Lambin, La flore des grandes cathÉdrales (Paris, 1897).

[124] L. Reau, Cologne (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); L. Leger, Prague (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); Henry Hymans, Bruges et Ipres (Paris, H. Laurens).

[125] Apocalypse xxi:17.

[126] Emile MÂle, L’art religieux de XIII^e siÈcle en France (Paris, Colin, 1908).

[127] Psalm xc:13.

[128] Eph. ii:20-21.

[129] John Ruskin, The Bible of Amiens, vol. 33, Complete Works (London, Cook & Wedderburn, 1908). Illustrated; chap. iv, “Interpretations.”

[130] Abbeville, close by, also had its Puy, in whose competitions figured Froissart, the historian, as laureate. The magnificent portal decorations (1548) of the Flamboyant Gothic collegiate church of St. Wulfran were contributed in this way.

Émile DeliguiÈres, L’Église Saint-Vulfran À Abbeville (Abbeville, Paillart, 1898); CongrÈs ArchÉologique, 1893.

[131] CongrÈs ArchÉologique, 1849 and 1898; AmÉdÉe Boinet, La cathÉdrale de Bourges (Collection, Petites Monographies), (Paris, H. Laurens, 1911); ibid., “Les sculpteurs de la cathÉdrale de Bourges,” in Revue de l’art chrÉtien, 1912; also published by Champion (Paris, 1912); Gaston Congny, Bourges et Nevers; Buhot de Kersers, “Les chapelles absidioles de la cathÉdrale de Bourges,” in Bulletin Monumental, vol. 40, p. 417; ibid., Histoire et statistique monumentale du dÉpartement du Cher (Bourges, 1875-98), 8 vols., 4to; Girardot et Durant, La cathÉdrale de Bourges (Moulins, 1849); G. Hardy et A. Gandillon, Bourges et les abbayes et chÂteaux de Berry (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1912); Cahier et Martin (P. P.), Monographie de la cathÉdrale de Bourges; vitraux du XIII^e siÈcle; Des MÉloizes, Les vitraux de Bourges postÉrieurs au XIII^e siÈcle (Lille, 1897), folio; ibid., Les vitraux de Bourges, 1901; ibid., “Note sur un trÈs ancien vitrail de la cathÉdrale de Bourges,” in MÉmoires de la Soc. des Antiquaires du Centre, 1873, vol. 4, p. 193; Champeaux et Gauchery, Les travaux d’art exÉcutÉs pour Jean de France, duc de Berry (Paris, Champion, 1894), folio; Buhot de Kersers, “CaractÈres de l’architecture religieuse en Berry À l’Époque romane,” in Bul. archÉol. du ComitÉ des Travaux hist. et scientifiques, 1890, p. 25; F. DeshouliÈres, “Les Églises romanes du Berry,” in Bulletin Monumental, 1909, p. 463; Raynal, Histoire de Berry; Vacher, Le Berry (Collection, Les rÉgions de la France), (Paris, L. Cerf); Sauvageot, Palais, chÂteaux, hÔtels et maisons de France; Sir Theodore Andreas Cook, Twenty-five Great Houses of France (London and New York, 1916).

[132] Rationale Divinorum officiorum, tr. by Neale and Webb of the Camden Society (Leeds, Green, 1843).

[133] Rodin should have placed his “Thinker” here: “Le Penseur aurait ÉtÉ au diapason dans cette crypt; cette ombre immense l’aurait fortifiÉ!”

—Rodin, Les cathÉdrales de France.

[134] “There is a charming detail in this section. Beside the angel, on the left, where the wicked are the prey of demons, stands a little female figure, that of a child, who, with hands meekly folded and head gently raised, waits for the stern angel to decide upon her fate. In this fate, however, a dreadful big devil also takes a keen interest; he seems on the point of appropriating the tender creature; he has a face like a goat and an enormous hooked nose. But the angel gently lays a hand upon the shoulder of the little girl—the movement is full of dignity—as if to say, ‘No; she belongs to the other side.’ The frieze below represents the general Resurrection, with the good and the wicked emerging from their sepulchers. Nothing can be more quaint and charming than the difference shown in their way of responding to the final trump. The good get out of their tombs with a certain modest gayety, an alacrity tempered by respect; one of them kneels to pray as soon as he has disinterred himself. You may know the wicked, on the other hand, by their extreme shyness; they crawl out slowly and fearfully; they hang back.”—Henry James, A Little Tour in France (Boston, Houghton Mifflin Company, 1900), p. 105.

[135] The chief piers of OrlÉans Cathedral were mined by ThÉodore de BÈze and blown up on the night of March 23, 1567. The portal, part of the choir, and the apse chapel escaped. The XII-century nave had double aisles with tribunes; the frontispiece also was XII century. The choir, begun in 1287, was finished by 1297, and a new Gothic nave was in progress at the time of the civil wars of religion. Henry IV undertook to rebuild OrlÉans Cathedral, and with his bride, Marie de Medici, laid the first stone in 1601. But a bastard-Gothic edifice is not compensation for earlier work. H. Havard, Éd., La France artistique et monumentale, vol. 6, p. 122, “OrlÉans,” G. Lefenestre; CongrÈs ArchÉologique, 1854 and 1892; G. Rigault, OrlÉans et le val de Loire (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); E. LÈfevre-Pontalis et EugÈne Garry, on OrlÉans Cathedral, in Bulletin Monumental, 1904, vol. 68, p. 309.

[136] Nouvelle Alliance windows are to be found at Chartres (sixth window in the nave’s north aisle), at Le Mans (the east window of the long Lady chapel), at Tours (in the axis chapel), in the transept of Sens Cathedral (in five lights below the north rose), and in the apse curve of Lyons Cathedral.

[137] The happy chance of travel led the writer, in May of 1914, to the ceremony of the unveiling of a statue of Jeanne d’Arc in the cathedral of this city, that has not known invasion—the military arsenal of France. As the preaching bishop exhorted modern France to remake her soul else she would perish, over that spellbound congregation seemed to pass a premonition of portentous events looming ahead. Within three months the World War opened, forte et aspre guerre, as they said in Jeanne’s day, war the chastiser, war the purifier: “Il y a des guerres qui avilissent les nations, et les avilissent pour des siÈcles; d’autres les exaltent, les perfectionnent de toutes maniÈres,” wrote Joseph de Maistre.

[138] Carved on Jacques Coeur’s house in Bourges are mottoes such as, “A vaillans coeurs rien impossible,” or “Dire, faire, taire, de ma joie,” or “En bouche close, n’entre mousche.” Vallet de Viriville, Jacques Coeur; Pierre ClÉment, Jacques Coeur et Charles VII.

[139] CongrÈs ArchÉologique, 1905, “Beauvais,” Chanoine Barsaux; P. Dubois, La cathÉdrale de Beauvais (Collection, Petites Monographies), (Paris, H. Laurens, 1911); AbbÉ P. C. Barraud, “Beauvais et ses monuments,” in Bulletin Monumental, vol. 27, passim. He gives studies on the Le Prince and other windows in the cathedral and St. Étienne, in MÉmoires de la Soc. AcadÉmique de l’Oise, 1851-53, vol. 1, p. 225; vol. 2, p. 537; vol. 3, pp. 150, 277; Louise Pillion, on St. Étienne’s glass, in Revue de l’art chrÉtien, 1910, p. 367; Eug. J. Woillez, ArchÉologie des monuments religieux de l’ancien Beauvoisis pendant la mÉtamorphose romane (Paris, 1839-49), folio; Graves, Notice archÉologique sur le dÉpartement de l’Oise (Beauvais, 1856); Gustave Desgardins, Histoire de la cathÉdrale de Beauvais (1875); AbbÉ L. Pihan, Beauvais, sa cathÉdrale, ses monuments (1905); ibid., Esquisse descriptive des monuments historiques dans l’Oise; see Gonse and Palustre on the portals of the cathedral; Monseigneur Barbier de Montault, “Iconographie des Sibylles,” in Rev. de l’art chrÉtiens, 1874.

[140] Carolingian work aboveground is rare; besides this Basse-Œuvre at Beauvais, there is St. Philibert de Grandlieu (Loire-InfÉrieure), part of the small church under the flank of JumiÈges’ ruined abbatial, portions of St. Jouin-de-Marnes (Deux-SÈvres), and vestiges in the walls of La Couture at Le Mans. There are Carolingian crypts at St. Quentin, Amiens, Chartres, OrlÉans, Auxerre, Flavigny. More exceptional still are Merovingian remains, such as the crypt of Jouarre, the small tri-lobed church of St. Laurent at Grenoble, the crypt of St. LÉger at St. Maixent (Deux-SÈvres), a crypt at Lyons, in St. Martin d’Ainay, and apsidal chapels in St. Jean’s baptistry at Poitiers. A list of the Romanesque monuments of the Ile-de-France and bordering districts is to be found in Arthur Kingsley Porter’s Medieval Architecture, 1909, vol. 2, pp. 13-49.

[141] Among the Flamboyant monuments of France are St. Wulfran’s frontispiece at Abbeville, begun in 1481, overcharged with ornament but with portals of great beauty; St. Riquier near by, also overcharged; the churches of Rue and MÉziÈres; faÇades of cathedrals at Sens, Senlis, Auxerre, Troyes, Tours, and Limoges; VendÔme’s frontispiece, and Albi’s porch; towers at Bordeaux, Rodez, Saintes, Chartres, Auxerre, Bourges, Rouen, and many other cities in Normandy; the cathedrals of Toul and Metz; St. Maurice at Lille, a well-restrained Flamboyant monument; the magnificent church of St. Nicholas-du-Port near Nancy; the choir of Moulins; St. Antoine at CompiÈgne and a number of civic halls such as CompiÈgne’s and St. Quentin’s. The beautiful Flamboyant Gothic church at PÉronne (1509-25) has been wiped out in the World War. Artois and Flanders were especially rich in late-Gothic edifices. Normandy was a Mecca of Flamboyant work—from Rouen, to that gem of the final phase, the choir of Mont Saint-Michel. Monseigneur Dehaisnes, Histoire de l’art dans la Flandre, l’Artois et le Hainaut (Lille, 1886), 3 vols.

[142] AndrÉ Michel, Éd., Histoire de l’Art, vol. 3, 1^Ère partie, “Le style flamboyant,” Camille Enlart (Paris, A. Colin), 1914, 10 vols.; Camille Enlart, “Origine anglaise du style flamboyant,” in Bulletin Monumental, 1886, 1906, p. 38; A. Saint-Paul, “L’architecture religieuse en France pendant la Guerre de Cent Ans,” in Bulletin Monumental, 1908, p. 5; ibid., Les origines du gothique flamboyant en France (Caen, 1907); Arthur Kingsley Porter, Medieval Architecture, vol. 2 (New York and London, 1907), 2 vols.

[143] CongrÈs ArchÉologique, 1902; V. C. de Courcel, La cathÉdrale de Troyes, (1910); L. Morel-Payen, Troyes et Provins (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1910); F. Arnaud, Description historique de l’Église cathÉdrale de Troyes; J. B. Coffinet, “Les peintres-verriers de Troyes,” in Annales ArchÉologiques, vol. 18, pp. 125, 212; A. J. de H. Bushnell, Storied Windows, chapters 32 and 33, on Troyes (New York, Macmillan Company, 1914); Ch. Fichot, Statistique monumentale du dÉpartement de l’Aube, vol. 1, Arrondissement de Troyes (Troyes, 1884), 4to; R. Koechlin and J.M. de Vasselot, La sculpture À Troyes et dans la Champagne mÉridionale au XVI^e siÈcle (Paris, A. Colin, 1900); Raymond Koechlin, “La sculpture du XIV^e et du XV^e siÈcle dans la rÉgion de Troyes,” in CongrÈs ArchÉologique, 1908; Paul Vitry, Michel Colombe et la sculpture franÇaise de son temps (Paris, 1901); Louis Gonse, La sculpture franÇaise depuis le XIV^e siÈcle (Paris, Quantin, 1895), folio; D’Arbois de Jubainville, Histoire des ducs et des comtes de Champagne, 1859, 7 vols.; Bontier, Histoire de Troyes et de la Champagne mÉridionale (Troyes, 1880), 4 vols.; AmÉdÉe Aufauvre, Troyes et ses environs.

[144] Translation from XIII-century French by Henry Adams.

[145] Generation after generation, the LyÉnin, MacadrÉ, Verrat, and Gontier families produced noted artists. Assier, Les arts dans l’ancienne capitale de la Champagne.

[146] The same feat can be seen in St. Nizier at Troyes, rebuilt in 1528 and literally filled with XVI-century glass. Its best window is in the transept (1552), and shows the beasts of heresy trampled upon, for that day was nothing if not controversial. In a central window of the choir, the Descent of the Holy Ghost, the artist made the hands of a figure in one panel appear in the neighboring panel, regardless of the stone mullions. In 1901 an anarchist bomb exploded in St. Nizier, and in 1910 a terrible storm wrecked more of its windows. The church possesses a Saint SÉpulcre and a Christ de PitÉ in which the Gothic spirit lingers. Its reredos, now in the Museum, was from the Juliot atelier. Her international fairs early accustomed Troyes to foreign influences. Flemish realism had fortified her sculptors and vitrine artists, and during the first third of the XVI century (when the trade of the city tripled itself) the new Italian ideas found favor. For a generation the just and loyal measure of Champagne’s own Gothic tradition held the leadership, but finally the Italian Renaissance conquered. When abstract types were substituted for types precisely observed, imagery became cold, declamatory, and pretentious. In several of the churches of Troyes will be found the Education of the Virgin by her mother, St. Anne, a theme for which this city had a partiality.

[147] AbbÉ O. F. Jossier, Monographie des vitraux de St. Urbain de Troyes (Troyes, 1912); E. LefÈvre-Pontalis, “Jean Langlois, architecte de St. Urbain de Troyes,” in Bulletin Monumental, 1904, vol. 64, p. 93; Albert Barbeau, St. Urbain de Troyes (Troyes, Dufour-Bonquot, 1891), 8vo; Viollet-le-Duc, Dictionnaire de l’architecture, vol. 4, pp. 182-192; AbbÉ Lahore, L’Église Saint-Urbain (1891).

[148] Within walking distance of Troyes are Ste. Maure, with a Jesse tree by Linard Gontier; Les NoÈs, with good sculpture and a Jesse-tree window of 1521; St. AndrÉ-lÈs-Troyes, with a lovely St. Catherine statue; St. Parre-les-Tertres, with a Vision of Augustus in camaÏeu like a magnificent enamel on white glass, and another grisaille-like Vision of Augustus at St. LÉger-lÈs-Troyes (1558); Chapelle St. Luc, with a triptych on wood, sculpture of the Three Maries, and good glass; Torvilliers, Pont-Ste.-Marie, and Montgueux, with other objets d’art. Eight miles away, at VerriÈres, is the best portal of the region and more late-Gothic glass. There are storied windows at St. Loup, St. Ponanges, Rosnay, Brienne, Rouilly (with a good Virgin image), Pouvres, Chavanges, Bar-sur-Seine, Bar-sur-Aube (with a statue of St. Barbara), Mussy-sur-Seine, Montier-en-Der, Arcis-sur-Aube, and Ceffonds, whose windows were the gift of Étienne ChÉvalier (1528). Some thirty miles away lies St. Florentin (six miles from Pontigny), where are twenty splendid Renaissance lights, among them a Creation window (1525), with God the Father wearing the tiara, one of 1528 telling St. Nicolas’ life in quatrains describing each scene, and a 1529 window devoted to the Apocalypse. Between Troyes and St. Florentin lies Ervy, where is a Crucifixion window (1570), showing the Saviour nailed to a Tree of Knowledge Cross with apples and leaves on its top, and Adam and Eve standing below. There are also the noted windows of the Sibyls (1515), representing twelve instead of ten prophetesses, each accompanied by the event of the New Law which she is said to have foretold, and the window called the Triumph of Petrarch (1502).

[149] Of the same appealing type as St. Martha at Troyes are the Virgin and Madeleine of the Holy Sepulcher group at Villeneuve l’ArchevÊque (Yonne), where are also some beautiful portal images of the XIII century. M. Ch. Fichot has brought forward testimony that would indicate the image called St. Martha in the church of the Madeleine is really one of St. Mary Magdelene herself. However, the majority of those who have written on the sculpture of Champagne continue to call it a St. Martha.

[150] CongrÈs ArchÉologique, 1855, 1875, and 1911, p. 447, the cathedral of ChÂlons; p. 473, Notre-Dame-en-Vaux; p. 496, St. Alpin; p. 512, Notre-Dame-de-l’Épine; E. LefÈvre-Pontalis, “L’architecture dans la Champagne mÉridionale au XIII^e et au XVI^e siÈcle,” in CongrÈs ArchÉologique, 1902, p. 273; ibid., “Les caractÈres distinctifs des Écoles gothiques de la Champagne et de la Bourgogne,” in CongrÈs ArchÉologique, 1907, p. 546; Louis Demaison, Les Églises de ChÂlons-sur-Marne (Caen, 1913); E. de BarthÉlemy, DiocÈse ancien de ChÂlons-sur-Marne. Histoire et monuments (Paris, 1861), 2 vols.; E. Hurault, La cathÉdrale de ChÂlons-sur-Marne et sa clergÉ au XIII^e siÈcle; A. J. de H. Bushnell, Storied Windows, chapter 34, on the windows of ChÂlons (New York, Macmillan Company, 1914); AbbÉ E. Musset, Notre Dame-de-l’Épine prÈs ChÂlons-sur-Marne. La lÉgende, l’histoire, le monument et le pÈlerinage (Paris, Champion, 1902); Chanoine Marsaux, “La prÉdiction de la sibylle et la vision d’Auguste,” in Bulletin Monumental, 1908, p. 235.

[151] CongrÈs ArchÉologique, 1890, Toul. In the series of Villes d’art cÉlÈbres, published by H. Laurens (Paris), are studies on Tournai, Ipres, and Avila: Henri Guerlin, SÉgovie, Avila, Salamanque; Henri Hymans, Gand et Tournai and Bruges et Ypres.

[152] L. Petit de Julleville, Histoire de la langue et de la littÉrature franÇaise, dirigÉe par (Paris, Colin et Cie, 1841-1901), 8 vols. In vols. 1 and 2 the Middle Ages are treated by LÉon Gautier, Gaston Paris, and Joseph BÉdier; Gaston Paris, La littÉrature franÇaise au moyen Âge (Paris, Hachette, 1890); ibid., Les origines de la poÉsie lyrique, en France au moyen Âge (Paris, 1892); LÉon Gautier, Origines et histoire des ÉpopÉes franÇaises (Paris, V. Palme, 1878-94), 4 vols.; Joseph BÉdier, Les lÉgends Épiques (Paris, H. Champion, 1908-13), 4 vols.; P. TarbÉ, Les chansonniers de Champagne (1851); Delaborde, Notice historique sur le chÂteau de Joinville. Haute-Marne (Joinville, 1891); Natalis de Wailly, Éd., Jean, sire de Joinville, texte original accompagnÉ d’une traduction. Translated into English, Bohns’ Antiquarian Library, VI, London; Bouchet, Éd., Villehardouin (Paris, 1891). English translation by Sir F. T. Marzial (London, Everyman’s Library, 1908).

[153] Chanoine Boissonnot, La cathÉdrale de Tours (Tours, 1904); Paul Vitry, Tours et les chÂteaux de Touraine (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1905); ibid., Michel Colombe et la sculpture franÇaise de son temps (Paris, 1901); Marchand et BourassÉ, VerriÈres du choeur de l’Église metropolitaine de Tours (Paris, 1849), folio; A. J. de H. Bushnell, Storied Windows, chapter 22, on Tours (New York and London, 1914); Charles de Grandmaison, Tours archÉologique (Paris, 1879); AbbÉ Bosseboeuf, Tours et ses monuments; Monseigneur Chevalier, Promenades pittoresques en Touraine (Tours, 1869); AbbÉ J. J. BourassÉ, Recherches hist. et archÉol. sur les Églises romanes en Touraine (1869); L. Courajod, La sculpture franÇaise avant la Renaissance classique (Paris, 1891); Louis Gonse, La sculpture franÇaise depuis le XIV^e siÈcle (Paris, 1895), folio; Giraudet, Histoire de la ville de Tours (Tours, 1873), 2 vols.; Chalmel, Histoire de Touraine (1841), 4 vols.; Henri Guerlin, La Touraine (Collection, Provinces franÇaises), (Paris, H. Laurens); L. Barron, La Loire (Fleuves de France), (Paris, H. Laurens); C. H. Petit-Dutaillis, Charles VII, Louis XI et les premiÈres annÉes de Charles VIII (Paris, Hachette, 1902).

[154] Behind the choir of Tours Cathedral, in the Place GrÉgoire de Tours, a veritable nook of the Middle Ages, are XII-century vestiges of the Episcopal Palace, a mansion of the XV century, and near by is the rue de la Psalette, in which Balzac set the scene of his CurÉ de Tours. Why has not Tours named her chief square and residential street for Balzac, her own son, instead of for Emile Zola? Balzac’s sister has told of the profound impression made on him by the cathedral of Tours, especially by its marvels of stained glass, so that all through the novelist’s life the mere name “St. Gatien” had the power to rouse him to the dreams and aspirations of his youth.

[155] R. de Lasteyrie, L’Église St. Martin de Tours (Paris, 1891); Monsuyer, Histoire de l’abbaye de St. Martin; Henri Martin, Saint-Martin (Collection, L’art et les saints), (Paris, H. Laurens); Ed. ChÉvalier, Histoire de l’abbaye de Marmoutier (Tours, 1871), 2 vols. There are papers on the church of St. Julien de Tours in the MÉmoires de la Soc. archÉol. de Touraine, 1909, p. 13, and on St. Martin de Tours, 1907; also in the Bulletin Monumental, 1873, p. 830, on St. Symphorien de Tours. The abbatial of St. Julien, a contemporary of Tours Cathedral, is exceptionally pure Gothic. Its tower is Romanesque and in part dates before 1000.

[156] Many a Council has been held in Tours. In 1055 came Gregory VII, the reformer. In 1095 Urban II preached the First Crusade, and dedicated a Romanesque abbatial at Marmoutier. In 1107 Pope Paschal II came, in 1119 Calixtus II, in 1134 Innocent II, and Alexander III in 1163. At the Council of 1163 the new archbishop of Canterbury, Thomas Becket, pleaded for St. Anselm’s canonization, and the builder of Lisieux Cathedral, the politic Arnoul, delivered an address that urged the unity and liberty of the Church; yet later he upheld Henry II in his dispute with St. Thomas Becket. Tours can even boast a pope, for Martin IV (d. 1285) had long been a canon in St. Martin’s abbey.

[157] Such is the architectural wealth within reach of Tours that one can draw but a few monuments to the traveler’s attention. At Amboise is St. Hubert’s marvelously sculptured little chapel (c. 1491) and the church of St. Florentin (c. 1445). At Loches is Anne of Brittany’s oratory, a Virgin statue of Michel Colombe’s school of Tours, and the tomb of Agnes Sorel, attributed to the master who made Souvigny’s ducal tomb, Jacques Morel. The collegiate church of St. Ours is of exceptional interest to archÆologists; its narthex (now the first bay), covered by a tower, was built by Fulk II of Anjou; the porch, also with a tower over it, was added in the XII century. To that date belong the two bays of the church covered by hollow pyramids, said by Mr. A. Kingsley Porter to be an attempt to make a stone roof without wooden centering. At Beaulieu-lÈs-Loches, founded by Fulk Nerra, the choir is late-Gothic (1440-1540). At St. Catherine de Fierbois, where Jeanne d’Arc found her sword, is a charming Flamboyant Gothic church. There are Plantagenet Gothic vaults at Chinon. Nine miles from Chinon, at Champigny-sur-Veude, is a rich mass of Renaissance glass attributed to Pinagrier, with Bourbon-Montpensier portraits.

Some twenty miles from Blois is the Romanesque church of Fleury Abbey at St. BenoÎt-sur-Loire, with a superb XI-century narthex of three bays, surmounted by a tower. In 1562 the Huguenots wrecked the church. Also, between OrlÉans and Nevers, beside Sancerre, is the abbey church of St. Satur, a forerunner of Flamboyant Gothic, as early as 1361. The Benedictine church of La CharitÉ-sur-Loire derives chiefly from the Burgundian Romanesque school, influenced by Berry and Auvergne. Its central and west towers, its nave, and chevet belong to the second half of the XII century, the transept is earlier; there was a reconstruction of the nave after 1559.

Louis Serbat, “La CharitÉ-sur-Loire,” in CongrÈs ArchÉologique, 1913, p. 374; Abbe Bosseboeuf, Amboise. For Loches, see CongrÈs ArchÉol., 1869, 1910; G. Rigault, OrlÉans et le val de Loire (Collection, Villes d’art cÉlÈbres); F. Bournon, Blois, Chambord et les chÂteaux du BlÉsois (Collection, Villes d’art cÉlÈbres); A. Marignan, “Une visite À l’abbaye de Fleury À St. BenoÎt-sur-Loire,” in Revue de l’art chrÉtien, 1901-02, p. 291; L. Cloquet et J. Casier, “Excursion de la Gilde de St. Thomas et de St. Luc dans la Maine, la Touraine, et l’Anjou,” in Revue de l’art chrÉtien, 1889-90, vols. 42, 43; La Touraine artistique et monumental; Amboise (Tours, Pericet, 1899); Sir Theodore Andreas Cook, Twenty-five Great Houses of France (New York and London, 1916).

[158] Lucien BÉgule et C. Guigue, Monographic de la cathÉdrale de Lyon (Lyon, 1880); Lucien BÉgule, La cathÉdrale de Lyon (Collection, Petites Monographies), (Paris, H. Laurens); ibid., Les vitraux du moyen Âge et de la Renaissance dans la rÉgion lyonnaise (Lyon, A. Rey et Cie, 1911); ibid., Les incrustations dÉcoratives des cathÉdrales de Lyon et de Vienne (Lyon, 1905); H. Havard, Éd., La France artistique et monumentale, vol. 3, p. 80, C. Guigue; Émile MÀle, L’art religieux du XIII^e siÈcle, pp. 52-59, on the glass of Lyons Cathedral; CongrÈs ArchÉologique, 1907, p. 527, on St. Martin d’Ainay; AbbÉ Martin, Histoire des Églises et chapelles de Lyon (1909); AndrÉ Steyert, Nouvelle histoire de Lyon ... (Lyon, Bernoux et Gamin, 1895), 3 vols.; Meynis, Grands souvenirs de l’Église de Lyon (Lyon, 1886); Charletz, Histoire de Lyon (Lyon, 1902); Hefele, History of the Christian Councils, 12 vols.; H. d’Hennezel, Lyon (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); LÉon Maitre, “Les premiÈres basiliques de Lyon et leurs cryptes,” in Revue de l’art chrÉtien, 1900, p. 445; Henri Foeillon, Le MusÉe de Lyon (Paris, H. Laurens); L. Barron, Le Rhone (Collection, Fleuves de France), (Paris, H. Laurens).

[159] Paul Allard, Histoire des persÉcutions (Paris, 1892), 5 vols.; Histoire littÉraire de la France, vol. 1, pp. 290, 324, on St. IrenÆus and the churches of Lyons and Vienne (Paris, 1733).

[160] The church of St. Nizier also possessed a manÉcanterie in which Alphonse Daudet, as Le Petit Chose, spent some happy years. Another romance based on reality whose scene is Lyons is RenÉ Bazin’s l’IsolÉe. An ancient crypt under St. Nizier, shaped like a Greek cross, dedicated to St. Pothin since the IV century, has been ruined by restorations; the actual church is Rayonnant and Flamboyant Gothic, with a portal of the Renaissance by a son of Lyons, Philibert Delorme (d. 1570). Jean PerrÉal was also born here, as was Coysevox, who made the Virgin of St. Nizier (1676). Eminence in religious or idealistic mural painting has been attained by two sons of Lyons, Puvis de Chavannes (1824-98), who decorated the Museum with Le Bois SacrÉ, and Flandrin (1809-64), who frescoed the walls of St. Martin d’Ainay. Meissonier (d. 1891) was born here; so was AmpÈre, scientist and Christian believer (d. 1836). In the hospital of fifteen thousand free beds which opened its doors in the VI century and has never since closed them, worked a loved physician who was father of FrÉdÉric Ozanam, the founder of the Society of St. Vincent de Paul. St. Vincent’s heart is treasured in a chapel of the cathedral. Another of the leaders of the Catholic reform, St. Francis de Sales, died in Lyons in 1622.

[161] The see of Vienne was founded A.D. 160. The cathedral of St. Maurice, well set on the Rhone, contains vestiges of the church consecrated in 1106 by Paschal II, and which had been aided by that archbishop of Vienne, of the first line of Burgundy’s Capetian dukes, who became Pope Calixtus II in 1119. The present edifice is due to Bishop Jean de Bernin (1218-66), and was consecrated by Innocent IV in 1251. Only in 1533 were its faÇade and the four bays behind it finished. There is no transept. The XV century made the northern entrance, and the XVI century that to the south. The red incrustations form friezes, in the choir, below both triforium and clearstory.

A V-century bishop of Vienne was Claudianus Mamertus, who upheld Latin culture against the Barbarians, like his friend and fellow poet, Bishop Apollinaris Sidonius at Clermont. To Vienne’s bishop is attributed the noted hymn Pange lingua gloriosi proclium certamini, and the institution of the Rogation days of penance and procession before the Ascension, in that hour when earthquakes and volcanic eruptions had terrorized central France. In 1312 Vienne was the scene of a general Council of the Church at which the Templars were suppressed by a pope cowed into obedience by the king of France, who arrived at the Council with an escort of the size of an army. The majority of the bishops present held that to abolish the Order was not a legal act, since the charges against them were unproven. Therefore, Clement V was forced to fall back on the expedient plea of solicitude for the public good.

CongrÈs ArchÉologique, 1879; J. Ch. Roux, Vienne (Paris, Bloud et Cie, 1909); M. Reymond, Grenoble, Vienne (Collection, Villes d’art cÉlÈbres), (Paris, II. Laurens); Lucien BÉgule, L’ancienne cathÉdrale de Vienne-en-DauphinÉ (Paris, II. Laurens, 1914); Paul Berret, Le DauphinÉ (Collection, Provinces franÇaises), (Paris, II. Laurens).

[162] About thirty miles to the north of Lyons lies Bourg-en-Bresse, in whose suburbs is the church of Brou. The eighteen windows of the school of Lyons were installed when the church was finished in 1536. Marguerite of Austria built it in fulfillment of a vow of her mother-in-law, a Bourbon princess, Marguerite herself being daughter of Mary of Burgundy, a line, like the Bourbous, that gloried in sumptuous mausoleums. She intrusted the work to the Lyons master, Jean PerrÉal, who called on his aged friend, Michel Colombe, for the imagery of the tombs. Colombe designed Duke Philibert’s gisant and the six winged genii, executed later, with liberties, by Conrad Meyt, and his brother (artists trained at Lyons), and some Italians. Disagreements rose, and PerrÉal was superseded by Loys van Boghem, who erected a bastard Gothic church of the same heavy Flemish type popular then at Toledo and Burgos. The three rich overcharged tombs are in the choir. Marguerite almost became the wife of Charles VIII, late-Gothic builder, and for a short time was married to the only son of Isabelle and Ferdinand, whose tomb is a boast of Avila. When the early death of the Duke of Savoy left her a widow she governed the Netherlands for her nephew, the Emperor Charles V. Her father’s tomb at Innsbruck is one of the noted ones of the world, and the heraldic tombs of her mother and her grandfather (Charles le TÉmÉraire of Burgundy) are in Bruges.

If the traveler hopes to find flat, suburban Brou as described by Matthew Arnold, “mid the Savoy mountain valleys, far from town or haunt of man,” he will be disappointed. Moreover, no reflections fall from ancient glass, owing to the patina or coating added by time to its exterior surface. Poetic license is allowed, and “The Church of Brou” adds to this heavy votive monument the charm it needs:

V. Nodet, L’Église de Brou (Collection, Petites Monographics), (Paris, H. Laurens); C.J. Dufay, L’Église de Brou et ses tombeaux (Lyon, 1879); Paul Vitry, Michel Colombe et la sculpteur franÇaise de son temps (Paris, 1901), p. 365; Dupasquier et Didron, Monographie de Notre Dame de Brou (Paris, 1842), in 4º et atlas in fol.

[163] In the XV century the dukes of Bourbon filled their capital of Moulins with art treasures, and Souvigny’s abbatial, close by, was their necropolis. The present choir of Moulins Cathedral, originally the chapel of their palace, was begun by Agnes of Burgundy, daughter of Jean sans Peur, and finished by her sons, Jean II de Bourbon and Pierre II sire de Beaujeu, who in 1475 wedded the daughter of Louis XI and governed France with his wife during the minority of Charles VIII. Jeanne of France and her husband are portrayed on the folding doors of the splendid triptych (1488-1503), by some unknown French primitif now in the sacristy of Moulins Cathedral, and again in one of the three windows—warm in color and with fine, clear portrait work—in the square east wall of the chevet, glass that belongs to the transition from Gothic to Renaissance as the XV century merged in the XVI. Fifteenth-century windows are comparatively rare, so the twelve possessed by Moulins’ chief church are precious. Cardinal Charles de Bourbon, who beautified Lyons Cathedral, also appears in the Bourbon dukes’ window with his two brothers. The nave of Moulins Cathedral, in black-and-white Volvic stone, is a modern rendering by Lassus and Millet of the Primary Gothic of the region.

Souvigny was a Cluniac priory, in which died the two great Cluny abbots, St. Majolus (d. 994), who brought to France the noted William of Volpiano, the organizer of the Romanesque renaissance of architecture, and St. Odilo (d. 1049). In 1095 Urban II stayed in Souvigny, and so did Paschal II in 1106. The XII-century church was largely reconstructed in the late-Gothic day when the prior Dom Geoffrey Chollet wished to house fittingly the splendid new Bourbon tombs. That of Louis II (comrade in arms of Dugueselin) has been attributed without proof to Jean de Cambrai, who made the Berry tomb at Bourges. M. Guigue has ably assigned to Jacques Morel the tomb of Charles I and Agnes of Burgundy. The Bourbon line, direct in descent from St. Louis, mounted the French throne with Henry IV.

CongrÈs ArchÉologique, 1913, p. 1, Chanoine Joseph ClÉmat; p. 182, DoshouliÈres; J. Locquin, Nevers et Moulins (Collection, Villes d’art cÉlÈbres), (Paris, II. Laurens); H. Aucouturier, Moulins (1914); R. de Quirielle, Guide archÉologique dans Moulins (1893); AbbÉ Requin, “Jacques Morel et son neveu Antoine le Moiturier,” in Revue des Soc. des Beaux-Arts des DÉpartements (Paris, 1890); L. Courajod, “Jacques Morel, sculpteur bourguignon,” in Gazelle archÉol, 1885, p. 236; A. J. de H. Bushnell, Storied Windows (New York, 1914); L. du Broe de Segange, Hist. et description de la cathÉdrale de Moulins (Paris, 1885), vol. 2, Inventaire des richesses d’art de la France; L. Desrosiers, La cathÉdrale de Moulins, ancienne collÉgiale (Moulins, 1871); H. Faure, Histoire de Moulins (Moulins, 1900), 2 vols.; G. Depeyre, Les ducs de Bourbon (Toulouse, Privat, 1897).

[164] CongrÈs ArchÉologique, 1860, 1863, 1871, 1878, and 1910, p. 267, on the cathedral; p. 280, on Le Mans’ two Benedictine churches; AbbÉ A. Ledru et G. Fleury, La cathÉdrale St. Julien du Mans (Mamers, Fleury et Dangin, 1900), folio; Gabriel Fleury, La cathÉdrale du Mans (Collection, Petites Monographies), (Paris, H. Laurens); E. LefÈvre-Pontalis, Étude historique et archÉol. sur la nef de la cathÉdrale du Mans (1889); AbbÉ A. Ledru, Histoire des Églises du Mans (Paris, Plon-Nourrit, 1905-07); R. Triger, Le Mans À travers les Âges (Le Mans, 1898); E. Hucher, Vitraux peints de la cathÉdrale du Mans (Paris, Didron, 1865), folio and supplement claques; A. Echivard, Les vitraux de la cathÉdrale du Mans (Mamers, 1913): Bulletin Monumental, studies on Le Mans, in vol. 7, p. 359; vol. 14, p. 348 (Hueher); vol. 26, on the Geoffrey Plantagenet enamel; also vol. 31, p. 789; vol. 37, p. 704; vol. 39, p. 483 (Dion); vol. 44, p. 373; vol. 45, p. 63 (Esnault); and vol. 72, 1908, p. 155 (Pascal V. LefÈvre-Pontalis); De Wismes, Le Maine et l’Anjou, historique, archÉologique et pittoresque (Paris, A. Bry), 2 vols., folio; GuÉnet, Le Maine illustrÉ (Le Mans, 1902); AbbÉ R. Charles, Guide illustrÉ du Mans et dans la Sarthe (Le Mans, 1886); Kate Norgate, England Under the Angevin Kings (London, 1887), 2 vols.; Mrs. J. R. Green, Henry II (London, 1888); see also Davis (London, 1905); Robert Latouche, Histoire du comtÉ du Maine pendant le X^e et XI^e siÈcle (Paris, H. Champion, 1910); H. Prentout, Le Maine (Collection, Les rÉgions de la France), (Paris, L. Cerf); Histoire littÉraire de la France, vol. 11, p. 250, “Hildebert de Lavardin”; p. 177, “Geoffrey, abbÉ de VendÔme” (Paris, 1759); on Hildebert, see A. Dieudonne (1898) and P. DÉservellers.

[166] W. H. Goodyear, “Architectural Refinements in French Cathedrals,” in Architectural Record, 1904-05, vols. 16, 17; ibid., “Architectural Refinements, a reply to Mr. Bilson,” in Journal of the Royal Institute of British Architects, 3d series, 1907, vol. 15, p. 17; Anthyme Saint-Paul, “Les irrÉgularitÉs de plan dans les Églises,” in Bulletin Monumental, 1906, p. 135.

Professor Goodyear’s theory of intentional asymmetry in mediÆval buildings—such irregularities as curves of alignment, vertical curves, want of parallelism in walls and piers, deflection of axis—has not found favor with various French and English archÆologists, but much of what he has noted may some day be accepted as self-evident.

[167] In Le Mans are two Benedictine churches of archÆological interest. De Cultura Dei is now Notre-Dame-de-la-Couture. When the church was rebuilt after a fire in 1180, big Plantagenet Gothic vaults, each section with eight ribs, were flung over the wide nave, which originally had possessed side aisles. Vestiges of a Carolingian church, built a decade before 1000, are in the crypt and the lower walls of choir and transept, where alternance of stone and brick work appears. The chevet is the oldest example now extant of an ambulatory and radiating chapel. In the XII century the upper choir was rebuilt, and again it was retouched during the XIII and XV centuries. The faÇade and the well-sculptured portal are late XIII century. A charming XVI-century Virgin, by Germain Pilon, on a pier opposite the pulpit, is to be classed with the prolongation of the Region-of-the-Loire school of sculpture whose center was Tours. Across the Sarthe lies the other Benedictine church, the former St. Julien-du-PrÉ, a Romanesque edifice of the XI and XII centuries, revaulted in the Flamboyant Gothic day.

[168] “O noble peuple d’artisans! Si grands, que les artistes d’aujourd’hui n’existent pas auprÈs de vous!”—Rodin, Les cathÉdrales de France.

[169] De la Tremblay, Dom Coutil, L’Église abbatiale de Solesmes (Solesmes, Imprimerie St. Pierre, 1892), folio; Paul Vitry, Michel Colombe et la sculpture franÇaise de son temps (Paris, 1901); Dom GuÉpin, Description des deux Églises abbatiales de Solesmes, and also his Solesmes et Dom GuÉranger (Le Mans, 1876); Dom GuÉranger, l’AnnÉe Liturgique (Paris, 1888), 12 vols., tr. Worcester, England, The Liturgical Year, and also his Études historiques de l’abbaye de Solesmes; Cagni et Mocquereau, Plain chant and Solesmes (tr. London, 1902).

Among those who have taken part in the discussion as to who made the sculptural groups at Solesmes are L. Palustre, Girardet, Charles and Louis de Grandmaison, Benj. Fillon, CÉlestin Port, Lambin de Lignin, E. Cartier, A. Salmon, and AbbÉ Bosseboeuf.

[170] The church of St. Elizabeth, in Marburg, is one of the earliest Gothic monuments in Germany, 1235-83. The saint was linked with the new system of building. For the king of Hungary, Villard de Honnecourt built Kassovic church. Her aunt was the gentle Agnes of MÉran, married to Philippe-Auguste. Her half sister, Yolande, wedded that other builder of churches, Jaime el Conquistador, from whom sprang Yolande of Aragon, King RenÉ’s mother, also a builder. St. Elizabeth’s niece, daughter of the king of Hungary, married Charles II d’Anjou, who began the best Gothic church in Provence, at St. Maximin.

[171] AmÉdÉe Boinet, Verdun et St. Mihiel (Collection, Petites Monographies), (Paris, H. Laurens).

[172] AmÉdÉe Boinet, St. Quentin (Paris, H. Laurens); Ch. Gomart, “Notice sur l’Église de St. Quentin,” in Bulletin Monumental, 1856, p. 226; and 1870, p. 201; Pierre BÉnard, Monographie de l’Église de St. Quentin (Paris, 1867), 8vo; also his studies in the publication of the SociÉtÉ AcadÉmique ... de Soissons, 1864, p. 260; and 1874, p. 300; Lecocq, Histoire de la ville de St. Quentin (St. Quentin, 1875); J. B. A. Lassus, Éd., L’album de Villard de Honacort (Paris, 1858; and London, tr. by Willis, 1859); Jules Quicheral, MÉlanges d’archÉologie et d’histoire (1886), vol. 2, on Villard de Honnecourt’s album; Camille Enlart, HÔtels de ville et beffrois du nord de la France (Paris, H. Laurens, 1919); ibid. on Villard de Honnecourt, in Bibli. de l’École des chartes, 1895.

[173] Alfred Noyes, Collected Poems (London, Methuen; New York, Fred. A. Stokes Co.).

[174] J. BerthelÉ, “L’architecture plantagenet,” in CongrÈs ArchÉologique, 1903, p. 234; E. LefÈvre-Pontalis, “L’architecture plantagenet,” in CongrÈs ArchÉologique, 1910; Prosper MerimÉe, Notes d’un voyage dans l’Ouest de la France (1836); Choyer, “L’architecture des Plantagenets,” in CongrÈs ArchÉologique, 1871, p. 257; CÉlestin Port, Dictionnaire de Maine-et-Loire, 3 vols.; AbbÉ Bosseboeuf, L’architecture plantagenet(Angers, LachÈne, 1897).

[175] Saintes lies on the Charente, some fifty miles from AngoulÊme. In the venerable XII-century church of St. Eutrope cropped out one of the early sporadic uses of diagonals. Its crypt, which is one of the largest in France, is braced on heavy, semicircular arches. The exterior of the apse is decorated. Nothing is left of the original nave; the present one is transitional work. The choir and part of the transept are of the XV century. The superb tower, with corner-turret effects that rise from base to summit, was finished with a spire by 1480. It is said that John XXII, who promulgated the Angelus by his bull of 1318, had learned its usage from a custom of St. Eutrope. The church of St. Pierre, at Saintes, rebuilt in 1117, and again in 1450, has another Flamboyant Gothic tower of good design, which is now much wasted by decay. See CongrÈs ArchÉologique, 1894; 1912, pp. 195, 309; also Bulletin Monumental, 1907, vol. 71; J. LaferriÈre et G. Musset, L’art en Saintonge et en Aunis; Ch. Dangibeaud, L’École de sculpture romane saintongeaise (Paris, 1910).

[176] CongrÈs ArchÉologique, 1858, 1901, and 1910; Chanoine Roux, Monographie de St. Front de PÉrigueux (PÉrigueux, 1920); J. A. Brutails, “La question de St. Front,” in Bulletin Monumental, 1895, p. 125; 1906, p. 87; 1907, p. 517; Anthyme Saint-Paul, on St. Front, in Bulletin Monumental, 1888, p. 163; 1891, p. 321; 1906, p. 5; FÉlix de Verneilh, L’architecture byzantine en France, 1851; R. Michel-Dansac, De l’emploi des coupoles sur la nef dans le sud-ouest Aquitain; Corroyer, L’architecture romane, 1888; ibid., L’architecture gothique, 1899; Ch. H. Besnard, “Étude sur les coupoles et voÛtes domicales du sud-ouest de la France,” in CongrÈs ArchÉologique, 1912, vol. 2, p. 118; AbbÉ PÉcout, PÉrigueux; R. PhenÉ Spiers, “St. Front de PÉrigueux et les assises À coupoles,” in Bulletin Monumental, 1897; 1907, p. 175.

[177] The cathedral of Cahors was damaged by earthquake in 1303, after which its apse was rebuilt as Gothic, but not too much out of harmony with the rest of the church. The ancient frescoes are full of interest. At the north end of the transept is a now unused portal, whose sculpture belongs to the same Midi school as Moissac, but later and calmer work. The Christ of its tympanum is classed with VÉzelay, Chartres, and Beaulieu—the supreme Christ images of Romanesque art. M. Forel praises the angels’ magnificent gesture of adoration. The XIV-century west front resembles those of the Brunswick churches whose faÇade and towers comprise one massive up to the roof. John XXII (1316-33), the second Avignon pope, was born in Cahors, where he founded the university, contributed toward the cathedral, and built a bridge over the Lot which is considered the handsomest of the Middle Ages. In the diocese of Cahors is Rocamadour, the most picturesque pilgrim shrine of Our Lady in France, visited by St. Louis. E. Rey, La cathÉdrale St. Étienne de Cahors (Cahors, J. Girma, 1911); CongrÈs ArchÉologique, 1907, p. 413; Alexis Forel, l’Voyage au pays des sculpteurs romans, vol. 2, p. 52; “Le cloÎtre de la cathÉdrale de Cahors,” in Bulletin Monumental, 1883, p. 110; E. Rupin, Roc-amadour (Paris, Baranger, 1904).

[178] CongrÈs ArchÉologique, 1847, 1903, and 1912; Biais, La cathÉdrale d’AngoulÊme (Paris, H. Laurens); H. de la MauviniÈre, Poitiers et AngoulÊme (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1908); J. George, La cathÉdrale d’AngoulÊme (AngoulÊme, Cha 1901-04); Michon, Histoire de l’Angoumois, 1846; ibid., Statistique monumentale de la Charente, 1844; Viollet-le-Duc, Dictionnaire de l’architecture (see article coupole); Sharpe, A Visit to the Domed Churches of Charente (London, 1876); J. A. Brutails and Spiers, “Les coupoles du PÉrigord et de l’Angoumois,” in Bulletin Monumental, 1895, 1897, 1906, and 1907.

[179] Four miles from AngoulÊme is the curious octagonal church of St. Michel d’Entraignes (1137), built up to its big dome, as it were. Close to it is FlÉae, whose three cupolas have no separate bases, but are pierced directly by the big arcades, which is more the Byzantine way of making a cupola than the French. Six miles from AngoulÊme are the ruins of La Couronne abbatial, where once was a Plantagenet Gothic choir; and ten miles away, at Roullet, is a remarkable sculptured faÇade. Aulnay’s fine church has a decorated front, well-cut capitals, and a ribbed cupola, without distinct pedestal. Pont l’AbbÉ possesses one of the best Romanesque faÇades in France. At Ruffec and at Civray are others. There is a church at Charroux with the curious plan of three aisles round a central octagon. Cupola churches are to be found at Plazzac, Bassac, Gensae, Cognac, Souillae, and Solignac, six miles from Limoges. Studies of these churches by E. LefÈvre-Pontalis, L. Serbat, and AndrÉ Rhein are to be found in the CongrÈs ArchÉologique, 1912.

[181] CongrÈs ArchÉologique, 1862 and 1910; L. Magne, “L’ancienne abbaye de Fontevrault,” in L’architecte, 1910, p. 60; A. de Caumont, “Fontevrault,” in Bulletin Monumental, 1867, p. 73; Bernard Palustre, “Les coupoles de Fontevrault,” in Bulletin Monumental, 1898, vol. 63, p. 500; Honorat Nicquet, Histoire de l’ordre de Fontevraud, 1642; G. Malifaud, L’abbaye de Fontevrault, notices historiques et archÉologiques (Angers, 1866); AbbÉ Bosseboeuf, Fontevrault, son histoire et ses monuments (Tours, 1867); Édouard, Fontevrault et ses monuments (Paris, 1874), 2 vols.; Joseph Joubert, “Les mausolÉes des Plantagenets À Fontevrault,” in MÉm. de la Soc. d’arts d’Angers, 1903; and 1906, p. 61, Chanoine Urseau; Vietor Pavie, “Westminster et Fontevrault,” in MÉm. de la Soc. d’arts d’Angers, 1866, p. 229; Histoire littÉraire de la France (Paris, 1756), vol. 10, p. 153, “Robert d’Arbrissel.”

[182] Louis Corroyer, L’architecture gothique (Paris, 1899), p. 1. “La coupole, sous sa forme symbolique, est l’oeuf d’oÙ est sorti un systÈme architectonique qui a causÉ une rÉvolution des plus fÉcondes dans le domaine de l’art.”

[183] “Dans ces choses-lÀ on eu dit plus qu’il n’y en a, mais aussi il y a souvent plus qu’on eu dit,” says the discreet historian MÉzerai.

[184] CongrÈs ArchÉologique, 1910, the cathedral of Angers; p. 161, Chanoine Urseau; p. 182, St. Serge; p. 228, the chÂteau; p. 232, l’ÉvÊchÉ; Louis de Farcy, Monographie de la cathÉdrale d’Angers (1910), 3 vols. and album; ibid., Les vitraux de la nef de la cathÉdrale d’Angers (1912); J. Denais, Monographie de la cathÉdrale d’Angers (Paris, 1899); John Bilson, “Angers Cathedral, the Vaults of the Nave,” in Journal of the Royal Institute of British Architects, 1911-12, p. 727; also in the CongrÈs ArchÉologique, 1910, vol. 2, p. 203; V. Godard-Faultrier, RÉpertoire archÉologique de l’Anjou (1865); L. Halphen, Le comtÉ d’Anjou au XI^e siÈcle (Paris, Picard, 1906); LÉon Palustre, La Renaissance en France (3 vols.), vol. 3, Anjou et Poitou (Paris, Quantin); H. Jouin, Les musÉes d’Angers (Paris, Plon, 1885), 4to; PÉan de la Tuilerie, Le Maine et l’Anjou; Wismes, Le Maine et l’Anjou, historiques, archÉol. e pittoresque (Paris), 2 vols., folio; E. Lelong, “Histoire et mon. d’Angers,” in Angers et l’Anjou (1903); Lecoy de la Marche, Le roy RenÉ, sa vie, son administration (Paris, 1875), 2 vols.; Kate Norgate, England Under the Angevin Kings (London, 1887), 2 vols.; De Solies, Foulques Nerra; CÉlestin Port, Dictionnaire historique, gÉographique, et biographique de Maine-et-Loire (Paris and Angers, 1874-78), 3 vols. also his Notes et notices angevins (Angers, 1879); A. J. de H. Bushnell, Storied Windows (New York, Macmillan Company, 1914); Sir J. H. Ramsay, The Angevin Empire, (London, 1903).

[185] Ch. H. Besnard, “La coupole nervÉe de la Tour St. Aubin d’Angers,” in CongrÈs ArchÉologique, 1910, vol. 2, p. 196; L. de Farcy, “Tour St. Aubin,” in Bulletin Monumental, 1906, p. 558.

[186] Beginning with a Breton woodsman, five counts of Anjou ruled before Fulk III the Black (989-1040). He held VendÔme, Amboise, and Loches, where he founded Beaulieu Abbey, and he won Chinon, and Saumur, where he established St. Florent-les-Saumur. His grandfather, Fulk II the Good, a canon in St. Martin’s at Tours, and a poet, had said, “Rex illiteratus est asinus coronatus,” which Henry I of England was fond of repeating. The son of Fulk Nerra was Geoffrey Martel (d. 1060), who won Tours and Le Mans, but later lost the overlordship of the latter to William the Conqueror. He founded the TrinitÉ at VendÔme. Geoffrey and Fulk, his two nephews, succeeded in turn, but Geoffrey was kept imprisoned in Chinon for almost thirty years by his unnatural brother Fulk Rechin, or the Quarreler, who had all the greed, subtlety, and turbulance of his line, without its genius for statesmanship. He is counted as the first historian of the Middle Ages. (See Hist. littÉr. de la France (Paris, 1750), vol. 9, p. 391.) Fulk Rechin’s son by the beautiful Bertrada de Montfort (who deserted him for the king of France) was Fulk V, who wedded the heiress of Maine. When later Fulk V won a second heiress in the East, he left Anjou and Maine to his son Geoffrey the Handsome, and reigned as king of Jerusalem (d. 1143). Geoffrey (d. 1151), nicknamed Plantagenet, married to the heiress of Normandy and England, always preferred Le Mans to Angers. His son became Henry II of England and a leader in Europe because of his territorial possessions on the Continent and his ability as a statesman.

[187] The abbatial of St. Nicolas-du-Ronceray is in a lamentable state; its nave serves as a hall for the Arts and Crafts school, the transept’s north arm is a laundry, and its south arm a roofless ruin. The dome at its crossing is without distinct pedestal. The nuns of this house erected at the side of their own sanctuary, the TrinitÉ church for parish use. The present admirable TrinitÉ was built after a fire in 1062. Its chevet and transept are the oldest parts, and then rose the nave, covered with First-Period Angevin vaults (c. 1170). Chapel-like niches are lost in the thickness of the walls.

Angers’ abbatial of St. Martin contains Gallo-Roman, Merovingian, and Carolingian vestiges, and parts of the XI, XII, and XV centuries. Fulk Nerra rebuilt it on returning from one of his pilgrimages. Over its transept-crossing is a dome modeled on the one at Fontevrault, without separate pedestal. The church possesses one of the earliest eight-branch Gothic vaults extant; King RenÉ added the Flamboyant parts. Chanoine Pinier at his own expense is restoring the choir and transept.

CongrÈs ArchÉologique, 1910, vol. 1, p. 211, “St. Martin,” Chanoine Pinier; and vol. 2, p. 12, “St. Nicolas-du-Ronceray,” E. LefÈvre-Pontalis.

[188] Bishop Ulger carried forward, too, the episcopal palace which stood on V-century walls over the Roman citadel and is connected with the cathedral’s transept. Its ancient faÇade is the finest civic monument in Angers (1101-49). The ground floor was used as a stable; over it rose Bishop Ulger’s synodal hall, and under the rafters was made a library in the XV century. Angers is exceptionally rich in late-Gothic and Renaissance mansions. G. d’Espinay, Angers et l’Anjou (Angers, 1903); ibid., Notices archÉol., Les monuments d’Angers, Saumur et ses environs (Angers, 1875), 2 vols.

[189] The first line of Anjou’s counts came to an end when John Lackland did away with his nephew, Arthur of Brittany. The region of the Loire became then most willingly a part of Phillipe-Auguste’s royal domain. Anjou was given as an appanage to St. Louis’ brother Charles d’Anjou, whose first wife brought him Provence, and who by invitation and conquest became king of the Two Sicilies. His son, Charles II, built the church of St. Maximin in Provence. He left only one daughter, who married the Count of Valois, like herself of St. Louis’ direct line. The son of that union mounted the French throne as Philip VI. It was his son, Jean le Bon, who again detached Anjou from the French crown for his son Louis, who began the short-lived third line of Angevin princes.

[190] That a portion of Angers’ palace walls dates from Gallo-Roman times is indicated by the courses of brick in the small stones. When such brick courses alternate with big material, the work was done after 1000. Of the red flint-stone castle built by Fulk Nerra only fragments remain. A fire in 1132 and later disasters wiped out the counts’ residence, to which Henry Plantagenet had added. L. de Farcy, “La chapelle du chÂteau d’Angers,” in Revue de l’art chrÉtien, 1902; Henri RenÉ, Le chÂteau d’Angers (Angers, 1908); H. Havard, Éd., La France artistique et monumental, vol. 2, “Angers,” H. Jouin.

[191] The nave of St. Serge is a mediocre XV-century structure. In its transept walls are vestiges of earlier churches; the cordons of brick in the stonework date from Carolingian times. CongrÈs ArchÉologique, 1871 and 1910; V. Godard-Faultier, “Le coeur de St. Serge À Angers,” in Bulletin Monumental, 1866, vol. 32; J. Denais, “Histoire et description de l’Église St. Serge À Angers,” in L’inventaire des richesses d’art de la France, vol. 4, p. 20, Province, monuments religieux (Paris, Plon).

[192] CongrÈs ArchÉologique, 1862 and 1910; Prosper MerimÉe, Notes d’un voyage dans l’Ouest de la France (Paris, 1836), pp. 345-358; G. d’Espinay, Notices archÉologiques. Les monuments d’Angers, Saumur et ses environs (Angers, 1875), 2 vols.; CÉlestin Port, “Les stalles et les tapisseries de St. Pierre de Saumur,” in Revue des SociÉtÉs savantes, 1868, p. 278; ibid., Dictionnaire historique, gÉographique, et biographique de Maine-et-Loire (Paris and Angers, 1874-78), 3 vols.; V. Godard-Faultrier, Monuments antiques de l’Anjou, arrondissement de Saumur (Angers, 1863); Jules Juiffrey, “Tapisserie du XV^e siÉcle À l’Église Notre Dame-de-Nantilly À Saumur,” in Revue de l’art ancien et moderne, 1897, vol. 4, p. 75; EugÈne MÜntz, Jules Juiffrey, Alex. Pinchart, Histoire gÉnÉrale de la tapisserie (Paris, 1879-84), 3 vols.

[193] From Saumur, eight miles down the Loire, can be visited the magnificent Romanesque church at Cunault, XI and XII centuries. It has noticeable capitals, mural paintings, and Plantagenet vaults with sculptured keystones and figurines. Two miles below it lies Gennes, whose church has Angevin vaults of the First Period. To be reached, via DouÉ-la-Fontaine, are both Puy-Notre-Dame and AsniÈres, the latter called “the most beautiful ruin in Anjou.” Its square-ended XIII-century choir resembles St. Serge’s. Slender pillars divide that wide chevet into three aisles of equal height, composing one of the most graceful specimens of the school’s Third Period. One arm of the transept has heavy diagonals of the first phase, and over the other are the eight-branch type. The Huguenots wrecked AsniÈres in 1569. The present nave is a restitution. A society of artists saved the choir and transept from demolition.

The abbatial of Puy-Notre-Dame is very beautiful. Heavy diagonals of the First Period cover the transept’s south arm; eight-branch vaults cover the nave and the transept’s north limb; over the choir, which resembles St. Jean’s chevet at Saumur, is a much-ramified Plantagenet vault. The lofty side aisles and clustered piers make this interior one of the best of XIII-century Angevin works extant. At St. Germain-sur-Vienne (Indre-et-Loire), two miles from Candes, the choir has the complicated multiple-ribbed vault of the Third Period, with three lines of keystones.

CongrÈs ArchÉologique, 1910, p. 128, Cunault and Gennes; p. 65, Puy-Notre-Dame and AsniÈres; E. de LoriÈre, “AsniÈres-sur-VÈgre,” in Revue hist. et archÉol. du Maine, 1904, p. 95.

[194] At the battle of Jargeau, Jeanne reminded the duke of her promise. D’AlenÇon himself has related the episode: “Je lui fis observer que c’Était aller bien vite en besogne que d’attaquer si promptement: ‘Soyez sans crainte,’ me dit-elle, ‘l’heure est bonne quand il plaÎt À Dieu, il faut besoigner quand s’est sa volontÉ: agissez, Dieu agira! Ah, gentil duc,’ me dit-elle quelques instants aprÈs, ‘aurais-tu peur? Ne sait-tu pas que j’ai promis À ta femme de te ramener sain et sauf?’” Alas, for the deterioration of character brought about in those troubled years of foreign invasion and misrule; Jeanne’s gentil duc was later to plot with the English and to be impeached.

At Chinon are specimens of Plantagenet Gothic (Bulletin Monumental, 1869). In the Loire-et-Cher department are some fourteen churches of the school. The other Plantagenet monuments usually seen by the traveler before his arrival in Angou are the eight-branch vaults at VendÔme, in the transept of the TrinitÉ; the vault under the northwest tower of Tours Cathedral; and in Le Mans, the cathedral nave and the church of the Couture. At Mouliherne (Seine-et-Loire) every type of the Plantagenet development is present.

CongrÈs ArchÉologique, 1910, vol. 1, p. 130, “St. Florent-les-Saumur,” AndrÉ Rhein; vol. 2, “Les voÛtes de l’Église de Mouliherne,” AndrÉ Rhein; p. 247, “Les influences angevines sur les Églises gothiques du BlÉsois et du VendÔmois,” F. Leseur.

[195] Congres ArchÉologique, 1910, p. 33, AndrÉ Rhein, on Candes; AbbÉ BourassÉ, “Notice historique et archÉologique sur l’Église de Candes,” in MÉmoires de la Soc. archÉol. de Touraine, 1845, p. 141; Suppligeon, Notices sur la ville et la collÉgiale de Candes (Tours, 1885).

[196] CongrÈs ArchÉologique, 1843, 1884, and 1903, “Poitiers,” AndrÉ Rhein; H. L. de la MauviniÈre, Poitiers et AngoulÊme (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1908); AbbÉ Auber, Histoire de la cathÉdrale de Poitiers (Poitiers, 1849), 2 vols.; ibid., Histoire civile, relig. et littÉraire du Poitou (Poitiers, 1856), 8 vols.; J. BerthelÉ, Recherches pour servir À l’histoire des arts en Poitou; Alfred Richard, Histoire des comtes du Poitou, 788-1204 (Paris, Picard et fils, 1903), 2 vols.; Dreux-Duradier, Histoire littÉraire du Poitou; Alexis Forel, Voyage au pays des sculpteurs romans (Paris and Geneva, 1913), 2 vols.; Raynouard, Choix des poÉsies originales des troubadours (Paris, Didot, 1816), vol. 5, “Richard Coeur-de-Lion”; R. P. Largent, St. Hilaire de Poitiers (Collection, Les Saints), (Paris, Lecoffre); J. Robuchon, Paysages et monuments du Poitou (Paris, 1890-1903), folio; (on Poitiers, Mgr. Barbier de Montault); Benj. Fillon, Poitou et VendÉe; A. J. de H. Bushnell, Storied Windows (New York, Macmillan Company, 1914); Boissonnade, Le Poitou (Collection, Les rÉgions de la France), (Paris, Cerf, 1920).

[197] The Vexilla regis prodeunt hymn is sung on Good Friday when the Blessed Sacrament is carried from the Repository to the main altar, and as a vesper hymn from the Saturday before Passion Sunday to Maundy Thursday. It has also been incorporated in the Roman Breviary for feasts of the Holy Cross. There have been a host of translations. In his Medieval Hymns and Sequences, London, 1813, Dr. J. M. Neale thus rendered the first quatrain:

[198] Montierneuf was founded in 1078 by Guillaume VIII (d. 1086). Only eight of the nave’s eleven bays remain. The chevet was rebuilt in the XIV century. The abbey was sacked in 1562. St. Porchaire’s tower is all that remains of an XI-century church, a contemporary of Notre Dame-la-Grande and Montierneuf. It was to be destroyed in 1843, but luckily some visiting archÆologists saved it. From St. Porchaire’s belfry rang the summonses of Poitiers University. De Cherge, “MÉmoire historique sur l’abbaye de Montierneuf de Poitiers,” in MÉm. de la Soc. des antiquaires de l’Ouest, 1844; Deux Étudiants de l’UniversitÉ de Poitiers, Francis Bacon et RenÉ Descartes, 1867, p. 65.

[199] St. Savin lies thirty miles from Poitiers. Its choir and transept belong to the early part of the XII century, and its nave was erected about thirty years after. Its donjonlike tower was crowned later by a spire, the highest in southwest France with St. Michel’s at Bordeaux. Like Etruscan vase ornamentation are its unique frescoes giving Genesis, Exodus, and the Apocalypse. On the route from Poitiers to St. Savin lies Chauvigny, “the pearl of Poitou,” with the ruins of several castles. Its church of St. Pierre has a decorated apse and some eight-branch Plantagenet vaults; its church of Notre Dame possesses some XV-century frescoes.

Another of the chief Poitou-Romanesque churches is at St. Maixent, thirty miles from Poitiers, via Niort. The nave is XII century, the choir, Angevin Gothic, and the tower, Flamboyant; its crypt capitals are noticeable.

The abbey church at St. Jouin-de-Marnes, near Montcontour, has a good faÇade, a fine Romanesque tower, a transept of the end of the XI century, and a XII-century choir and nave, only three of whose vault sections, however, are the primitive ones. In the XIII century the present elaborate masonry roof was substituted. It belongs to the Third Period of the Plantagenet school, with three lines of keystones. Airvault abbey church, not far away, built a similar much-ramified vault, the prototype for that of Toussaint, at Angers.

Parthenay can be included in the trip from Poitiers to St. Jouin-de-Marnes. In its venerable church took place the scene when St. Bernard rose in majesty at the altar and compelled the giant sinner Guillaume X of Aquitaine to repent.

Three miles from Poitiers lies St. Benoit’s Romanesque church, with a XIII-century spire, and five miles away is LigugÉ, where St. Martin, under St. Hilary’s guidance, founded the first monastery in Gaul. Dom Prosper GuÉranger restored LigugÉ in 1864, and here J. K. Huysmans lived, as he has described in l’Oblat. The XV-century church was rebuilt by that prelate of the Renaissance, Geoffrey d’Estissac, whom Rabelais came to visit.

CongrÈs ArchÉologique, 1910, St. Savin; p. 119, Airvault; p. 108, St. Jouin-de-Marnes, and the latter also in the CongrÈs of 1903; Prosper MerimÉe, Les peintures de St. Savin (Paris, 1845), folio; Ch. Tranchant, Guide pour la visite des monuments de Chauvigny en Poitou (Paris, 1901).

[200] Probably because of the magistral window at Poitiers, the Byzantine tradition of the crucified Christ lingered long in the art of midland France. Over an altar of the chapel of BourgonniÈre, in the parish of BouzillÉ, in Angers diocese, is a remarkable XVI-century polychrome image of the Saviour, unwounded, robed, and awake, with arms wide outstretched against the Cross.

[201] In 1106 gathered another council at Poitiers, a holy-war rally, but the war was to be waged on Christian Constantinople. The superb Bohemund, the new prince of Antioch, came to organize the expedition; he had gone on the First Crusade for booty, fierce as a Norman, astute as an Italian, in person like a Greek god, tall beyond man’s normal height, broad-shouldered, and lithe—so the Greek princess at Constantinople saw him. Philip I gave him his daughter, and on Tancred, his cousin, a true hero of the holy wars, not a buccaneer, the king of France bestowed his daughter by the fair Bertrada de Montfort.

[202] E. LefÈvre-Pontalis, Étude archÉologique de St. Hilaire de Poitiers (Caen, 1904); also in the CongrÈs ArchÉologique of 1903; De Longuemar, “Essai historique sur l’Église Saint Hilaire-le-grand de Poitiers,” in MÉmoires des antiquaires de l’Ouest, 1856.

[203] De la Croix, Étude du baptistÈre de St. Jean de Poitiers (Poitiers, 1903); E. LefÈvre-Pontalis, “Les fouilles du R. P. de la Croix au baptistÈre de St. Jean À Poitiers,” in Bulletin Monumental, 1902, vol. 66, p. 529; Mgr. X. Barbier de Montault, Œuvres complÈtes (various studies on the monuments of Poitiers and its region), (Poitiers, Blais et Roy, 1899).

[204] Like other Greek works of the period the Minerva at Poitiers shows the influence of Egyptian art in its stiff, regal attitude. The proud, full chin is uplifted. The shapely back is molded by a leopard’s skin. The right arm is missing, but the left arm is honey-hued and as delicate as flesh in appearance. She bears the olive branch of peace, this wise Minerva.

[205] Lucien Magne, Le Palais de Justice de Poitiers.

[206] CongrÈs ArchÉologique, 1850 and 1895; AbbÉ Ph. Gobillot, La cathÉdrale de Clermont (Clermont-Ferrand, F. L. Bellet, 1912); H. du Ranquet, La cathÉdrale de Clermont-Ferrand (Collection, Petites Monographies), (Paris, H. Laurens); ibid., “Les architectes de la cathÉdrale de Clermont-Ferrand,” in Bulletin Monumental, 1912, vol. 76, p. 7; G. Desdevises du DÉzert et L. BrÉhier, Clermont-Ferrand, Royat et le Puy-de-DÔme (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1910); Louis BrÉhier, L’Auvergne (Collection, Les provinces franÇaises), (Paris, H. Laurens, 1910); ibid., in Revue de l’art chrÉtien, 1912, on the capitals of Notre Dame-du-Port; G. Fraipont, L’Auvergne (Collection, Montagnes de France), (Paris, H. Laurens); E. Vimont, Les deux principales Églises de Clermont; R. de Lasteyrie, L’architecture religieuse en France À l’Époque romane (Paris, 1912); H. Stein, Les architectes des cathÉdrales gothiques (Paris, 1912); Prosper MÉrimÉe, Notes d’un voyage en Auvergne (Paris, 1838); Alexis Forel, Voyage au pays des sculpteurs romans (Paris and Geneva, 1913), 2 vols.; Saveron, Les origines de la ville de Clermont; Ambrose Tardieu, Histoire de la ville de Clermont; G. Desdevises du DÉzert, Bibliographie du centenaire des croisades À Clermont-Ferrand (Clermont-Ferrand, 1895); D. Branche, Auvergne au moyen Âge (Clermont-Ferrand, 1842); Paul Allard, St. Sidoine Apolinaire (Collection, Les Saints), (Paris, Lecoffre); Taylor et Nodier, Voyage pittoresque dans l’ancienne France. Auvergne (Paris, Didot, 1829-33), 3 vols.

[207] “Il est peu de constructions ogivales qui se prÉsentent d’un faÇon plus dÉgagÉe et plus pittoresque. La sombre masse se dÉtache de la ville aux rues tortueuses comme une haute statue de son piÉdestal. Les deux flÈches hardies s’encadrent dans la cirque majestueux de montagnes volcaniques. Il semble que la cathÉdrale soit le Mont-Saint-Michel de cette baie aux lumiÈres mouvantes. TantÔt silhouettÉe par de vigoureux Éclairages, tantÔt estompÉe par les vapeurs qui planent dans la vallÉe, et quelquefois, aux heures matinales Émergeant de leur nappe grise, comme une haute mÂture au-dessus de la mer tranquille, elle reste toujours fiÈre, imposante, poÉtique.”—Louis Gonse, L’art gothique (Paris, 1891).

[208] The Chaise Dieu monastery, founded by St. Robert in 1043, was later affiliated with Cluny. The present church was begun in 1344 by Clement VI, who built the choir and four bays of the nave. The abbatial was completed, after 1370, by his nephew, Gregory XI. Clement had Avignon artists prepare his funeral monument, which originally possessed over forty statuettes representing his relatives, for he came of the great lines of Beaufort and Turenne. The Casa Dei abbatial, though possessed of grandeur, is dull and heavy. The aisles are as high as the principal span. The octagonal piers with uncut capitals lack elegance and lightness, the windows are the narrowest lancets, and there are no flying buttresses. Molds die away in the piers above the capitals—an early appearance of Flamboyant Gothic. The cloister (1378-1417) is frankly late-Gothic. The denuded church once was filled with the tombs of local magnates, among them those of the Lafayette family, precious pages of French history obliterated in 1562 and 1793. As if to shut out the funereal, humid aisles, the choir has been lined with tapestries (begun in 1492) unsurpassed in France. They reproduce the Mirror of Perfection and the Bible of the Poor, two books popular in the XIII and XIV centuries. Each episode of the Saviour’s life is accompanied by scenes of the Old Testament, prefiguring it. On the outer wall of the choir screen is a sketch, a Dance of Death, with the grim skeleton stalking in and out, touching with his chill finger pope, baron, burgher, page, field laborer, and little child. No XIII-century church had allowed so gruesome a theme on its walls. This lugubrious allegory came into vogue after the Black Death of 1348, when a third of Europe’s population perished. CongrÈs ArchÉologique, 1904, pp. 54, 402; E. Durand, La Chaise Dieu (1903); Maurice FanÇon, L’Église abbatiale de la Chaise Dieu en Auvergne; Émile MÂle, L’art religieux de la fin du moyen Âge (Paris, Colin, 1910).

[209] “Quiconque en a senti une fois la beautÉ forte et simple de ce vigoureux style roman-auvergnat, dont l’origine demeure mystÉrieuse, n’oublie plus ces Églises, solides, trapues, ramassÉes, dont l’ordonnance extÉrieure, au lieu d’Être un dÉcor plaquÉ, reproduit en relief l’ordonnance intÉrieure. Vue du chevet surtout, avec l’hÉmicycle de leurs chapelles serrÉes, accolÉes contre la masse de l’Édifice, elles donnent une saisissante impression d’aplomb et d’unitÉ.”—Paul Bourget, Le demon du midi (Paris, Plon-Nourrit et Cie, 1913).

The feast of Notre Dame-du-Port falls on May 15th, and the city is illuminated with myriads of little lamps.

[210] Polychrome decoration is to be found everywhere in Auvergne: Royat, Riom, Mozac, Saint-Saturnin, Orcival, Saint-Nectaire (where are some of the best carved capitals in the region), Issoire (observe La cÈne sculptured on one of its capitals), Le Puy, and Brioude. This latter is one of the most beautiful of XII-century churches, showing Burgundian traits as well as those of Auvergne and the Velay. The influence of the Romanesque school of Auvergne spread to Parthenay, Saintes, Nevers, Toulouse, Santiago, and Avila. CongrÈs ArchÉologique, 1904, p. 542, E. LefÈvre-Pontalis, on Brioude; CongrÈs ArchÉologique, 1895, pp. 96, 238, 292, on Saint-Nectaire; and p. 177, “École romane d’Auvergne,” H. du Ranquet; Bulletin Monumental, 1909, vol. 73, p. 213, “Saint-Nectaire,” AbbÉ G. Rochias.

[211] Those who visit Riom (which lies close to Clermont) should go to Aigueperse, eight miles away, to see Mantegna’s St. Sebastian and a Nativity by a brother of Ghirlandajo. As the lord of the region, a Bourbon-Montpensier—who died in 1496, had married the sister of the Gonzaga ruler of Mantua, these treasures probably came through that source. CongrÈs ArchÉologique, 1895; and 1913, p. 124, Mozac, AbbÉ Luzuy; p. 144, Riom, P. Gauchery; Paul Mantz, “Une tournÉe en Auvergne,” in Gazette des Beaux-Arts, 1886; AbbÉ R. CrÉgut, La vierge du Mathuret (Clermont-Ferrand, 1902); ibid., Les vitraux de la Sainte-Chapelle de Riom (1906); E. Clouard, Les gens d’autrefois aux XV^e et XVI^e siÈcles. (The controversy on the Madonna of the Bird is here summed up); Gondalon, Riom et ses environs (Riom, Jouvet, 1904); A. de Champeaux et P. Gauchery, Les travaux d’art exÉcutÉs pour Jean, duc de Berry (Paris, II. Champion, 1891); Camille Eulart, Le musÉe de sculpture comparÉe du palais du TrocadÉro (on the vierge À l’oiseau), (Paris, H. Laurens, 1913).

[213] Marcel Reymound et Ch. Girard, “La chapelle de St. Laurent À Grenoble,” in Bulletin ArchÉologique, 1914-16, vol. 56, p. 176.

[214] Emile MÂle, “L’art du moyen Âge et les pÈlerinages” in Revue de Paris, Oct. 1919, Feb. 1920.

[215] RenÉ Fage, La cathÉdrale de Limoges (Collection, Petites Monographies), (Paris, H. Laurens, 1913); AbbÉ Arbellot, Monographie de la cathÉdrale de Limoges (Limoges, 1853); A. Petit, “Les six statues du jubÉ de la cathÉdrale de Limoges,” in Bulletin Monumental, 1912, vol. 62, p. 144. MM. Émile MÂle, AndrÉ Michel, and Louis Gonse have written on the jubÉ; RenÉ Fage, “Le clocher limousin À l’Époque romane,” in Bulletin Monumental, 1907, vol. 71, p. 262; Anthyme Saint-Paul, “ArchÉologie limousin,” in L’Almanac limousin, 1885; Charles de Lasteyrie, L’abbaye de St. Martial de Limoges (Paris, Picard, 1901); A. Leroux, L’abbaye de St. Martial de Limoges (Toulouse, 1901); ibid., GÉographie et histoire du Limousin (Limoges, 1892); Ernest Rupin, L’oeuvre de Limoges (Paris, 1890); A. Meyer, L’art de l’Émail de Limoges (Paris, 1896); P. Lavedan, LÉonard Limosin et les Émailleurs franÇais (Collection, Les Grands Artistes), (Paris, H. Laurens). (The meeting for the CongrÈs ArchÉologique, 1921, is to be held at Limoges.)

[216] Rendered in modern French by J. Demogeot.

[217] Inferno, xxviii:112-142.

[218] CongrÈs ArchÉologique, 1861; Charles Saunier, Bordeaux (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); J. A. Brutails, Les vieilles Églises de la Gironde (Bordeaux, Feret et fils, 1912); ibid., “La cathÉdrale de Bordeaux,” in Le moyen Âge, 1899-1901, vols. 12-14; H. Havard, Éd., La France artistique et monumentale “Bordeaux,” L. de Foucaud, vol. 5, p. 105; Cirot de la Ville, Origines chrÉtiennes de Bordeaux, ou hist. et descript. de l’Église de St. Seurin (Bordeaux, 1867); P. J. O’Reilly, Histoire de Bordeaux (Paris and Bordeaux, 1857), 6 vols.; C. Jullian, Histoire de Bordeaux (Bordeaux, 1895); L. Barron, La Gascogne (Collection, RÉgions de la France), (Paris, L. Cerf); ibid., La Garonne (Collection, Fleuves de France), (Paris, H. Laurens); P. Courteault, Histoire de Gascogne (Collection, Les vieilles provinces de France), (Paris, Boivin et Cie).

[219] In the nave of the cathedral is the neo-classic tomb of Cardinal de Cheverus, who died, archbishop of Bordeaux, in 1836. Driven out of France at the time of the Revolution, he founded the see of Boston, Massachusetts, in the United States of America.

[220] The beautiful cloister of St. Bertrand-de-Comminges belongs to the XII century. In 1536 the Renaissance art prelate, Jean de MaulÉon, presented the carved choir stalls. CongrÈs ArchÉologique, 1874, p. 249, J. de LauriÈre; and 1906, p. 79, Louis Serbat; Morel, Essai hist. sur St. Bertrand-de-Comminges; d’Agos, Description de l’Église cathÉdrale de Comminges.

[221] The cathedral of Bayonne was begun about 1135 under AliÉnor of Aquitaine’s father. The choir is of that century; the nave was finished about 1335, and some of its sculptures, showing the national crest with the arms of both England and France, recall the short sovereignty in France of Henry V and Henry VI. The cloister of Bayonne ranks with those of Elne and Arles. A transept is indicated merely by the spacing of bays. The XII-century tower was rebuilt from 1501 to 1544. The interior of the cathedral is more firm than it is graceful, owing to the piers being six feet square and to an excessive sobriety in ornamentation. CongrÈs ArchÉologique, 1888.

[222] LÉon Gautier, Éd., Chanson de Roland (Tours, MÂme, 1895), section 297, l. 3684.

[223] CongrÈs ArchÉologique, 1874 and 1906; H. Graillot, Toulouse et Carcassonne (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); Jules de LahondÈs, Toulouse chrÉtienne; l’Église de St. Étienne, cathÉdrale de Toulouse; ibid., “Les chapiteaux de St. Sernin de Toulouse,” in MÉm. de la Soc. archÉol. du Midi de la France, 1897; Anthyme Saint-Paul, “St. Sernin,” in Album des monuments du Midi de la France, 1897; in Bulletin Monumental, 1899; and in Revue de l’art chrÉtien, 1905, vol. 48, p. 145; AbbÉ Lestrade, Histoire de l’art À Toulouse (Toulouse, 1907); H. L. Gillet, Histoire artistique des ordres mendiants (Paris, 1912); A. Marignan, Histoire de la sculpture en Languedoc des XI^e et XIII^e siÈcles (Paris, Bouillon, 1902); Alexis Forel, Voyage au pays des sculpteurs romans (Paris and Geneva, 1913), 2 vols.; Roschach, Le musÉe de Toulouse, “Inventoire des richesses d’art de la France: ministÈre de l’instruction publique” (vol. 8), (Paris, 1908), 4to; Martin, L’art roman en France (Paris, 1910); H. Revoil, L’architecture romane du Midi de la France (Paris, 1873-90), 3 vols.; R. de Lasteyrie, L’architecture religieuse en France À l’Époque romane (Paris, 1912); Vie et Vaissette, supplemented by Du MÈge, Molinier, and Roschach, Nouvelle histoire de Languedoc (Toulouse, Privat, 1872-92), 15 vols.

[224] FrÉdÉric Mistral, PoÈmes (Paris, Charpentier-Fasquelle, 1912).

[225] “Wisdom hath built herself a house, she hath hewn her out seven pillars.”—Prov. ix:1.

[226] From the Chapelle de Rieux at the Cordeliers came some curious statues which are now in the Museum of Toulouse. Their date is certain, 1324 to 1348, yet their realism is of the XV century. Again Languedoc proved precocious in sculpture. In the Museum is a XIV-century statue of Bishop Guillaume Durandus, author of Rationale.

[227] When Moissac was affiliated with Cluny and reformed, its church was rebuilt by Abbot Durand, whose image adorns a pier of the cloister’s east gallery. The walls of the nave belong to the edifice consecrated in 1063. That church of three aisles was remade with cupolas and blessed in 1180, and of the same date are the fortified narthex and its tower. Owing to those defenses the celebrated portal is in the south wall of the porch, not in the church axis. The Gothic ribs beneath the tower are rectangular and three feet wide. In the XIV century the cupolas were replaced by diagonals. The cloisters were begun about 1100 under Abbot Ansquitil, who made the pier images, also the marble parts of the portal, its trumeau, and the Visitation. Abbot Roger (1115-31) finished the cloisters, inscribing the carved Scripture scenes of the capitals. During the first quarter of the XII century Moissac’s imagery passed from the squat, coarsely executed figures of the cloister piers to the appealing, etherealized types—“fluides crÉations du Languedoc”—the Annunciation group. Mr. A. Kingsley Porter thinks that door-jamb-figure sculpture was first used by Guglielmo at Modena Cathedral (c. 1100), and from Italy passed into southern France. The current of art flowed in the opposite direction, too, for the coupled colonnettes, typical of the Romanesque cloisters of Provence, Languedoc, and Spain, soon found their way across the Alps, where early examples are to be seen at Verona and Aosta, and at the cathedral door of Verona are Languedoc’s elongated figures with crossed feet. The Portico de la gloria at Santiago sets forth the vision of John the Beloved at Patmos quite as Moissac’s tympanum presents it. CongrÈs ArchÉologique, 1901, vol. 2, pp. 43, 303; E. Rupin, Abbaye et les cloÎtres de Moissac (Paris, Picard, 1897); AndrÉ Michel, “Sculpture romane de Moissac,” in Bull. de la Soc. ArchÉol. du Midi de la France, 1899 to 1901; Roger Peyre, Padoue et VÉrone (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens).

[228] The master of French iconography, M. Émile MÂle, is on the eve of publishing a work on XII-century imagery, of which he says, “The art of Languedoc undulates like a flame in the wind, that of Provence seems cast in bronze.”

[229] Paradiso, xii:70-73.

(“Dominic was he named; and I speak of him as of the husbandman whom Christ chose for his orchard to bring aid to it. Well did he show himself a messenger and a familiar of Christ.”)

[230] Douais, L’Inquisition, ses origines, sa procÉdure (Paris, 1906); A. Molinier, L’Inquisition dans le Midi de la France au XIII^e et au XIV^e siÈcles (Paris, 1880); Vacandard, L’Inquisition; Étude historique et critique sur le pouvoir coercitif de l’Église (Paris, 1907), (tr. London and New York, Longmans, Green & Co., 1908); Jean Guiraud, Histoire patiale, histoire vraie (Paris, 1911); ibid., Questions d’histoire et d’archÉologie chrÉtienne (Paris, 1906); ibid., St. Dominique (Collection, Les Saints), (Paris, Lecoffre, 1909), (tr. London, Washburne, 1913); C. M. Antony, In St. Dominic’s Country (London, Longmans, Green & Co., 1912); Mortier, Histoire des maÎtres gÉnÉraux de l’Ordre des FrÈres PrÊcheurs (Paris, 1903), 5 vols.

[231] Jean Guiraud, Cartulaire de Notre Dame-de-Prouille (Paris, Picard, 1907), 2 vols. Vol. 1 is the ablest exposition of the Albigensian tenets; A. Molinier, “L’Albigeisme languedocien au XII^e et XIII^e siÈcles,” in Histoire de Languedoc, vol. 1 (Toulouse, Privat, 1872-92), 15 vols.; C. Douais, Les Albigeois; action de l’Église au XIII^e siÈcle (Paris, 1889); A. Luchaire, Innocent III; la croisade des Albigeois (Paris, Hachette, 1905).

[232] “Les vainqueurs mettent À sac toutes les maisons au nombre de 7000.... Si trouvÈrent en la ville grant avoir; si en prisent donquel qu’ils veurent et le remanant ils ardirent. LÀ eut grant persÉcution d’hommes, de femmes et d’enfans, dont ce fut pitiÉ.”—Froissart, book I, chap. lxxvi.

[233] Paul Fournier, St. Raymond de Pennafort (Collection, Les Saints), (Paris, Lecoffre). St. Raymond’s life, from 1175 to 1275, covers one of the most vital centuries in history. He helped St. Peter Nolasco found the Order of Mercy to redeem Christian captives from Islam; he founded chairs for the study of Oriental languages; he reformed morals by his preaching. A voluntary teacher of philosophy at twenty, then a trained lawyer, it was not till he was touching the half-century limit that he entered the Dominican Order, of which he became the head. For fifty more years he gave himself up to works for humanity’s advancement.

[234] CongrÈs ArchÉologique, 1863; Jean Laran, La cathÉdrale d’Albi (Collection, Petites Monographies), (Paris, H. Laurens, 1911); H. Crozes, Monographie de la cathÉdrale de Ste. CÉcile d’Albi, 1873; E. d’Auriac, Histoire de l’ancienne cathÉdrale et des ÉvÊques d’Albi (Paris, 1858); AbbÉ A. Aurial, “La voÛte de Ste-CÉcile d’Albi,” in Revue de l’art chrÉtien, 1913, p. 91; Prosper MerimÉe, Notes d’un voyage dans le Midi de la France (1835); B. L. de RiviÈres, “Les Églises d’Albi,” in Bulletin Monumental, 1873, vol. 39, p. 194; Taylor et Nodier, Voyages pittoresques dans l’ancienne France. Languedoc (Paris, Didot, 1833-37), 2 vols.

[235] In the Romanesque brick church of St. Salvi, with its imposing tower and XII-century cloister, St. Bernard preached in 1145.

[236] The cathedral of Auch, which can be visited from Toulouse, was rebuilt (1371) by a nephew of Innocent VI, and again, after a fire in 1483. It is quite devoid of capitals. The faÇade is neo-classic. The choir stalls (1520-29) are masterpieces; Italianate fawns and Bacchantes are placed beside sacred personages. The magnificent windows, of the transition between Flamboyant Gothic and Renaissance, were the work of Arnaud de Moles (1507-13); their portrait studies are like Holbein’s pictures. AbbÉ CanÉto, Notice sur l’Église metro. de Ste. Marie d’Auch and CongrÈs ArchÉologique, 1901.

The cathedral of Rodez, some fifty miles west from Albi, built its grand Flamboyant tower, la couronne, from 1510 to 1526, under the Blessed FranÇois d’Estaing. The Romanesque cathedral at Rodez was supplanted by the present one in 1277. The works flagged, however, and the nave was built as late-Gothic by Bishop Guillaume de la Tour d’Oliergues and a nephew who succeeded him. The west faÇade was left bare, since there the church overlooked the ramparts; to it were added later a rose window and a Flamboyant gallery. G. de Cogny, in Bulletin Monumental, 1874, vol. 39; Bion de Marlavagne, CathÉdrale de Rodez (Paris, 1875).

[237] CongrÈs ArchÉologique, 1868; and 1906, J. de LahondÈs; Viollet-le-Duc, La citÉ de Carcassonne (Paris, 1858); H. Graillot, Toulouse et Carcassonne (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); L. FÉdiÉ, Histoire de Carcassonne (Carcassonne, 1887); C. Douais, Soumission de la vicomtÉ de Carcassonne par Simon de Montfort; Cros-Meyrevieille, Histoire des comtes de Carcassonne (1845), 2 vols.; Gaston Jourdanne, La citÉ de Carcassonne (1905).

[238] Louis Serbat, in CongrÈs ArchÉologique, 1868 and 1906; L. Narbonne, La cathÉdrale de Narbonne, 1901; Victor Mortet, “Notes historiques et archÉologiques sur la cathÉdrale de Narbonne,” in Annales du Midi, vol. 10, p. 401; vol. 11, pp. 273 and 439—also printed separately (Toulouse, Privat, and Paris, Picard, 1899); F. Pradel, Mono, graphie de l’Église St. Juste de Narbonne (Narbonne, Caillard, 1884); Ch. Lentheric, Les villes mortes du Golfe de Lyon: Narbonne, Maguelonne, Aigues-Mortes, Arles, Les Saintes-MariÉs (Paris, Plon, 1883); “École gothique religieuse du Midi de la France,” in Positions des thÈses soutenues par les ÉlÈves de l’École des chartes en 1909; Histoire littÉraire de la France, vol. 32, p. 474, on Gilles Aycelin, archbishop of Narbonne and Rouen, LÉopold Delisle.

[239] For the other churches at Narbonne, see the CongrÈs ArchÉologique, 1906. M. LefÈvre-Pontalis devotes a study to St. Paul Serge (p. 345), whose choir was built from 1229 to 1244. In the transept are vestiges of the primitive church. Two bays of the nave are of the XIV century, and the others are XII-century work redone in the XIII. To bind together the bulging walls, flat arches were thrown over the central vessel at the level of the pier arches. The church presents such peculiarities in the Midi as circulation passages at different levels round the edifice. There are false tribune arches, and over the pier arcade a passageway is maneuvered. Sergius Paulus was the first to preach Christianity in the city. In Narbonne’s valuable Museum are classic vestiges of the city’s great day under the Roman Empire. Many of the classic marble columns are to-day in the mosque at Cordova. Ch. E. Schmidt, Cordoue, Grenade (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens).

[240] The Cistercian abbey of Fontfroide lies in a wild gorge some six miles from Narbonne. The church, begun in the middle of the XII century, was roofed with a pointed cradle vault. The cloister, like that at Tarragona, was covered with bombÉ vaults on eight ribs. Little marble columns support the Gothic masonry roof of the chapter house, which, like Poblet’s, opens by arcades on the cloister. Twelve monks from Fontfroide founded Poblet in 1150. The countess who ruled Narbonne for sixty years confirmed the abbey charter in 1157: ” I, Ermengarde, give to God and the Blessed Mary, to Abbot Vital and the present and future servants of God, the lands of Fontfroide,” runs her deed of gift. Doubly is a nation robbed when monastic lands are held by private individuals who assume no responsibility toward the public, as did a majority of the ancient houses, before royalty named its favorites as their abbots. Even as vast tracts were granted to nobles that they might perform gratis the military defense of a land, so monasteries were expected to give payment for their domains, by voluntary services to civilization. J. de LahondÈs, in CongrÈs ArchÉologique, 1906, p. 61; Calvert, Études historiques sur Fontfroide (1875); G. Desdevises du DÉzert, Barcelone et les grands sanctuaires d’art catalan (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens).

[241] Perpignan’s aisleless cathedral of St. Jean was begun in 1324 and finished, as the century ended, under the kings of Majorca, who then ruled the Roussillon. The transept ends are apsidal below and pentagonal above. Beside it stands an older St. Jean, dedicated in 1025. The see originally was at Elne, where the cathedral was rebuilt in the XI century; lotus leaves are carved on the capitals of its lovely marble cloister (c. 1175). CongrÈs ArchÉologique, 1868; and 1906, p. 109, Perpignan; p. 135, Elne; E. de BarthÉlemy, ” Le cloÎtre de la ville d’Elne,” in Bulletin Monumental, 1857, vol. 23; Bernard Palustre,” Perpignan et ses monuments,” in Revue d’hist. et d’archÉol du Roussillon, 1905; Auguste Brutails, ” Notes sur l’art religieux du Roussillon,” in Bulletin archÉol. du comitÉ des traveaux hist. et scientifique, 1892, No. 4; 1893, No. 3; P. Vidal, Histoire de la ville de Perpignan (Paris, 1897); P. Vidal et J. Calmette, Le Roussillon (Collection, Les rÉgions de la France), (Paris, L. Cerf, 1909); J. de Gazanyola, Histoire de Roussillon (Perpignan, Alzinc, 1857); Isabel Savory, Romantic Roussillon (London, Unwin, 1919).

[242] EugÈne MÜntz, Les constructions du pope Urbain V À Montpellier, 1364-70 (Paris, 1900); Jean Guiraud, Les fondations du pape Urbain V À Montpellier (Montpellier, 1899), 3 vols.; G. E. Lefenestre, Le musÉe de Montpellier (vol. 1, p. 189, “Inventaire des richesses d’art de la France: ministÈre de l’instruction publique”), (Paris, 1878); Émile Bonnet, AntiquitÉs et monuments du dÉpartement de l’HÉrault (Montpellier, 1908); AbbÉ M. Chaillon, Le bienheureux Urbain V, 1310-70 (Collection, Les Saints), (Paris, Lecoffre, 1911); A Germain, Maguelonne, Étude historique et archÉologique; A FabrÉge, Histoire de Maguelonne (Montpellier, 1900), 2 vols.

[243] Jean Aicard, Arlette des Mayons (Paris, Flammarion, 1916).

[244] To the northwest of Montpellier, near Aniane, is St. Guilhem-le-DÉsert, with blind niches in its exterior apse wall that derive from such Lombard churches as S. Ambrogio at Milan. Lombard towers, arched corbel tables, and mural arcaded bands passed from northern Italy into Languedoc. The early intersecting ribs here were exceptional for the Midi in being profiled. The nave and aisles are of the first half of the XI century, the chevet and transept of the early XII, as is the cloister, which once had a second story. The narthex was built from 1165 to 1199. The first duke of Aquitaine, AliÉnor’s ancestor, died here, a monk. CongrÈs ArchÉologique, 1906, p. 384; “L’Église abbatiale de St. Guilhem-le-DÉsert,” Émile Bonnet; Joseph BÉdier, Les lÉgendes Épiques, vol. 1, “St. Guillaume de Gellone” (Paris, H. Champion, 1908-13), 4 vols.

[245] Innocent III was the best type of the theory, enunciated by Boniface VIII as the XIII century closed, that civil rulers derive their power from religious authority. Leo XIII, in the encyclical Immortale Dei, November, 1885, set aside that claim. Each should keep to its own sphere, he said, one is not subordinate to the other; civil authorities are to attend to human affairs, and spiritual authorities to divine things. With every monarch in Europe appealing to him for his arbitration, it is little wonder that Innocent III should have held the views he did.

[246] Mende lies in the mountains of western Languedoc. Its cathedral was begun (1365) under the auspices of Urban V, whose statue stands in the square close by. Practically it is a XV-century church, without capitals, flying buttresses, or transept. During twelve years the architect was Pierre Juglar, an associate, at Riom, of those Flamboyant Gothic masters, the Dammartin brothers. The cathedral was finished with its two towers in 1512. From 1286 to 1296 the bishop of Mende was Guillaume Durandus, author of Rationale, the famous book on church symbolism. He was governor under the popes of the marches of Ancona and the Romagna, and led the papal forces in battle. The Italian city of Castel Duranti was named after him. When he died at Rome in 1296, Giovanni Cosmati made his tomb, a masterpiece in the only Gothic church of Rome, Santa-Maria-sopra-Minerva. Urban V was generous also to St. Flour (which lies south of Mende), whose abbatial was rebuilt in the XIV century; John XXII had raised it to cathedral rank in 1317. CongrÈs ArchÉologique, 1857, Mende.

[247] Nothing now at St. Victor’s, Marseilles, is earlier than the XI century. A pre-Gothic use of diagonal ribs (with Lombard rectangular profiles) cropped out here, yet when the upper church was remodeled in the XIII century, Romanesque vaulting was used. Urban V rebuilt the transept, made the square apse, and raised the battlemented towers. When he visited Marseilles in 1373 every man in the city ceased his work to welcome him. As it was his desire to be buried in his former abbey, his remains were brought hither in 1372, and his successor, Gregory XI, raised a sumptuous Gothic monument forty feet in height. AbbÉ A. d’Agnel, “L’abbaye de St. Victor de Marseilles,” in Bulletin historique et philosophique, 1906, p. 364; EugÈne MÜntz, “St. Victor, Marseilles,” in Gazette ArchÉol., 1884.

[248] In his short time in Rome Urban V gave commissions for art works to Giottino and the sons of Taddeo Gaddi, and he had made the precious shrine for the relics of St. Peter and St. Paul in the Lateran. (See EugÈne MÜntz in the Cronique des Arts for 1880.)

[249] Translated by F. J. C. Kearns, O. P.

[250] CongrÈs ArchÉologique, 1909, p. 183; J. Ch. Roux, Aigues-Mortes (Paris, Bloud et Cie, 1910); F. Em. di Pietro, Histoire d’Aigues-Mortes (Paris, 1849); Marius Topin, Aigues-Mortes (NÎmes, 1865); AbbÉ H. Aigon, Aigues-Mortes, ville de St. Louis (1908); H. Havard, Éd., La France artistique et monumentale, vol. 3, p. 145; Ch. LenthÉric, Le littoral d’Aigues-Mortes au XIII^e et au XIV^e siÈcles (NÎmes, 1870); Vie. (Dom) et Vaissette (Dom), Histoire de Languedoc, vol. 7, p. 107, 3d Éd.; Viollet-le-Duc, Dictionnaire de l’architecture, vol. 1, pp. 378, 390; vol. 9, p. 182.

[251] Maurice BarrÈs, Le jardin de BÉrÉnice (Paris, Charpentier, 1894).

[252] CongrÈs ArchÉologique, 1897, p. 98; and 1909, p. 168, L. H. Labande; J. Ch. Roux, St. Gilles, sa lÉgende, son abbaye, ses coutumes (Paris, Lemerre, 1910), 4to; J. Hubidos, Histoire et dÉcoration de l’Église abbatiale de St. Gilles (NÎmes, 1906); De Lasteyrie, Étude sur la sculpture franÇaise au moyen Áge (Paris, 1902); A. Marignan, L’École de sculpture de Provence du XII^e au XIII^e siÈcle; Histoire littÉraire de la France, vol. 19, p. 268, Clement IV (Paris, 1838); Forel, Voyage au pays des sculpteurs romans (Paris and Geneva, 1913), 2 vols; W. VÖge, Die AnfÄnge des monumentalen Styls.

[253] Edmond Rostand, “Le nom sur la maison,” in Le vol de la Marseillaise (Paris, Charpentier-Fasquelle, 1919).

[254] Les Saintes-Maries is a desolate village of the Camargue, on the sea by the “Rhone of St. Gilles,” six miles to the west of the big Rhone. The crenelated fortress-church replaced, in the XII century, one destroyed by Saracens. Its eastern end rises in three stories; below, in the crypt, is the shrine of Sara, the dark handmaiden; above is the high altar; and crowning all is the shrine (placed in St. Michael’s care) in which Mary Jacobi and Mary Salome are honored. Their chapel opens on the church over the entrance to the Mass chapel. The sculpture resembles that of St. Trophime, at Arles; perhaps the much-eroded marble lions came from some monument of antiquity. Twice a year there are popular pilgrimages to Les Saintes-Maries, that of May being frequented by the gypsies. Monseigneur Duchesne, “La lÉgende Sainte-Marie-Madeleine,” in Annales du Midi, 1903, vol. 5; Georges de Manteyer, “Les lÉgendes saintes de Provence,” in MÉlanges d’archÉol. et d’hist.: École de Rome, 1897, vol. 17; Faillon, L’apostolat des Saintes-Maries en Provence. (This latter gives the Midi loyalists’ point of view.) (1848, 2 vols.)

[255] CongrÈs ArchÉologique, 1897, pp. 95, 291, Tarascon; pp. 92, 333, Beaucaire; and 1909, p. 262, Tarascon. The church of St. Martha at Tarascon was dedicated in 1197, but reconstructed in the XIV century. The south portal, with its curious little gallery, is of the XIII century. The honored relics are in the crypt in a heavy tomb of 1650. The simpler sarcophagus that once held them now stands by the side wall. All over France the defeat of paganism by Christian bishop or saint was symbolized by a dragon, and in the course of time the people often took the symbol for reality. The legend of St. Martha’s Tarasque, or dragon, may be of this origin. Louis II d’Anjou began the castle of Tarascon, which was decorated by good King RenÉ. At Beaucaire, across the Rhone, is a tower built by St. Louis. The international fair of Beaucaire was famous. “Aucassin was of Beaucaire, of a goodly castle there”:

Turn to that cante-fable of the XIII century, and live again the Midi’s days of chivalry. Turn to that XIX-century masterpiece of satirical generous humor, Tartarin de Tarascon, more likely to survive than many a more pretentious tale, so gay it is.

F. W. Bourillon, Éd. and tr. of Aucassin et Nicolette (Oxford, 1896).

[256] CongrÈs ArchÉologique, 1876; and 1909, p. 213, L. H. Labande; L. H. Labande, “Étude historique et archÉologique sur St. Trophime d’Arles,” in Bulletin ArchÉologique, 1904, p. 459; J. de LouviÈre, “St. Trophime d’Arles,” in Bulletin Monumental, 1876, vol. 42, p. 741; AbbÉ Bernard, La basilique primatiale de St. Trophime d’Arles, 2 vols., 8vo; Roger Peyre, NÎmes, Arles, Orange (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1904); Georges de Manteyer, La Province du I^e au XII^e siÈcle (1908); F. Beissier, Le pays d’Arles (1889); AbbÉ Pougnet, Étude analytique sur l’architecture de la Provence au moyen Âge (1867); H. Revoil, L’architecture romane du Midi de la France (Paris, Morel et Cie, 1873), 3 vols.; Martin, L’art roman en France (Paris, 1910); Rebatu, AntiquitÉs d’Arles (1876); J. B. de Rossi, “Le cimÉtiÈre des Arlescamps et sa basilique de St. Pierre,” in Bulletin Monumental, 1875, vol. 41, p. 170; E. Leblant, Les sarcophages chrÉtien de la Gaule (1886); Alexis Forel, Voyage au pays des sculpteurs romans, vol. 1, chap. 1, “Arles-la-grecque” (Paris and Geneva, 1913), 2 vols.

[257] “Saint-Trophime, humide et ÉcrasÉ, dit une louange irrÉsistible  la solitude et s’offre comme un refuge contre la vie.... Arles, oÙ rien n’est vulgaire.”—Maurice BarrÈs, Le jardin de BÉrÉnice (Paris, Charpentier, 1894).

[258] There is another cloister at Montmajour, four miles from Arles. Its transverse ribs are caught along the wall on corbels carved with grotesques. Nothing at Montmajour pre-dates A.D. 1000. In the monastery church appeared (in the transept) some early diagonals; the crypt (middle of the XII century) is of a peculiar plan: a circular chapel in the middle of its apse with chapels radiating from the passage round it. From each arm of the transept projects an apse chapel. Under a hillock is a small shrine remade in the XIII century. In 1369 a tower of defense was added to the abbey. The curious chapel of the Holy Cross, in a meadow near by, is not of the time of its foundation, 1019, but a reconstruction of the XII century, probably intended for the chapel of a graveyard. Montmajour once rose from the sea marshes that for centuries came up to the gates of Arles. J. M. Trichaud, Les ruines de l’abbaye de Montmajour-lÈs-Arles (Arles, 1854); CongrÈs ArchÉologique, 1876, p. 362; and 1909, p. 154; Chantelon (Dom), Histoire de Montmajour (1890); L. Royer, L’abbaye de Montmajour-lÈs-Arles (Abbeville, Paillart, 1910).

[259] “Sur cette terre ÉlÉgante, au dessin si prÉcis et si pur, sous cette lumiÈre pÉnÉtrante, sur ces champs rouges oÙ l’ovilier verse son ombre fine et grise, sur ces bords que la mer antique bat de sa flot court et rythmÉ, subsistent des oeuvres et des souvenirs qui ne dÉpareraient pas la GrÈce elle-mÊme, mÈre de toute beautÉ. Le Pont du Gard, la Maison CarrÉe, les ArÈnes de NÎmes et d’Arles, Saint Trophime, Montmajour, Les Saintes-Maries, Les Baux, le ChÂteau des Papes À Avignon, les remparts de Saint Louis À Aigues-Mortes, le Peyrou À Montpellier, le canal du Midi, sont les monuments de cette activitÉ sÉculaire qui recueillit l’hÉritage de Rome, et l’entretint tout le long de cette vallÉe du RhÔne qui, À ses deux extrÉmitÉs, comme deux phares, porte deux villes, deux rÉpubliques qui n’ont rien de supÉrieur par l’antiquitÉ, l’activitÉ, et l’Éclat: Lyon et Marseilles.”’—Gabriel Hanotaux.

[260] L. Rostan, Monographie du couvent de St. Maximin, 1874; AbbÉ AlbanÈs, Le courent royal de St. Maximin; Monseigneur Duchesne, “La lÉgende de Ste. Marie Madeleine,” in Annales du Midi, 1893, vol. 5; L. G. PÉlissier, La Provence (RÉgions de la France), (Paris, L. Cerf).

[261] Rationale divinorum officiorum, translated by Neale and Webb (Camden Society) as The Symbolism of Churches and Church Ornament (Leedes, Green, 1843).

[262] His son, St. Louis d’Anjou, died archbishop of Toulouse, having resigned his heirsships after captive years in Spain proved to him the futility of grandeur. Giotto painted him on the walls of Santa Croce, Florence. His chasuble, a masterpiece of embroidery, was preserved by the solid wardrobes of St. Maximin’s XIV-century sacristy.

[263] L. H. Labande, “St. Sauveur d’Aix-en-Provence,” in Bulletin archÉological du comitÉ des travaux historiques et scientifiques (Paris, 1912), p. 289; AbbÉ E. F. Maurin, Notice historique et description de l’Église mÉtropolitaine St. Sauveur d’Aix (Aix-en-Provence, 1837); Prosper de St. Paul, “La cathÉdrale d’Aix-en-Provence,” in Bulletin Monumental, 1875, vol. 41, p. 442; J. Ch. Roux, Aix-en-Provence (Paris, Bloud et Cie, 1907); L. Dimier, Les primitifs franÇais (Collection, Les Grands Artistes), (Paris, H. Laurens).

[264] CongrÈs ArchÉologique, 1882; 1897, p. 113; and 1909, L. H. Labande; AndrÉ Hallays, Avignon el le Comtat-Venaissin (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); F. Digonnet, Le palais des papes d’Avignon (after R. P. Ehrle, S. J.), 1907; L. Duhamel, Les origines du palais des papes d’Avignon (Tours, 1882); L. H. Labande, “L’Église de N.-D.-des-Doms À Avignon,” in Bulletin ArchÉologique, 1906; A. Penjon, Avignon la ville, et le palais des papes (1905); LÉon Palustre, “Les peintures du palais des papes À Avignon,” in Bulletin Monumental, 1874, vol. 40, p. 665; EugÈne MÜntz, “Les tombeaux des papes en France,” in Gazette des Beaux-Arts, 1887, vol. 36, pp. 275, 367; ibid., “Les sources de l’histoire des arts dans la ville d’Avignon pendant le XIV^e siÈcle,” in Bulletin ArchÉologique, 1887, p. 249; Verlaque, Jean XXII, sa vie, ses oeuvres (Paris, 1883); Robert AndrÉ-Michel, “Les fresques de la garde-robe au palais des papes À Avignon,” in Gazette des Beaux-Arts, 1914-16, vol. 56, p. 293. (This study of the frescoes, discovered in 1909, was the author’s last work. He fell in battle at Crouy-sur-Ourcq in 1914); Louis GuÉrard, R. P., Les papes d’Avignon (Paris, Lecoffre, 1910); Jean Guiraud, L’Église et les origines de la Renaissance (chap. 2, on thÉ Avignon popes). (Paris, Lecoffre, 1902).

[265] While the popes ruled in Avignon, churches rose from end to end of the city. In St. Didier (XIV century) is the bas-relief N. D.-du-spasme made for King RenÉ in 1476 by Francisco Laurana, one of the earliest Renaissance sculptors to work in France. He made the tomb for King RenÉ’s brother in Le Mans Cathedral. The Gothic-Renaissance faÇade (1512) of St. Pierre is of singular grace; the date of its carved doors is 1551. There is a XV-century pulpit, and a retablo (1461) by Antoine Le Moiturier, born in Avignon, who finished the celebrated tomb of Jean Sans Peur now in Dijon’s Museum. CongrÈs ArchÉologique, 1909, p. 17; A. Chaillot, Les oeuvres d’art dans les Églises et chapelles d’Avignon; G. Bayle, Notes historiques sur l’Église de St. Pierre d’Avignon (Avignon, 1899).

[266] CongrÈs ArchÉologique, 1897, p. 280; and 1909, p. 144, Villeneuve-lÈs-Avignon; Jules FormigÉ, Rapport sur la Chartreuse de Villeneuve-lÈs-Avignon (Gard), (Paris, 1909); Robert AndrÉ-Michel, “Le tombeau du Pope Innocent VI À Villeneuve-lÈs-Avignon,” in Revue de l’art chrÉtien, 1911, p. 204.

[267] CongrÈs ArchÉologique, 1907 and 1913; A. Kleinclausz, La Bourgogne (Collection, RÉgions de la France), (Paris, L. Cerf, 1905); ibid., Histoire de Bourgogne (Paris, 1909); Dom. Urbain Plancher, Histoire gÉnÉrale de Bourgogne (1739-81), 4 vols.; Claude CourtÉpÉe, Description du duchÉ de Bourgogne (1775-85); De Barente, Histoire des ducs de Bourgogne de la maison de Valois (Paris, 1825), 12 vols.; Ernest Petit, Histoire des ducs de Bourgogne de la race capÉtienne (Dijon, 1905), 9 vols.; A. de Caumont, “Rapport sur une excursion archÉol. en Bourgogne,” in Bulletin Monumental, 1852, vol. 18, p. 225; J. Calmette et H. Drouot, La Bourgogne (Collection, Provinces FranÇaises), (Paris, H. Laurens); A. Perrault-Dabot, L’art en Bourgogne (1897); J. L. Bazin, “La Bourgogne sous les ducs de la maison de Valois, 1361-1478,” in MÉmoires de la Soc. Éduenne, 1901, vol. 29, p. 33; Taylor et Nodier, Voyages pittoresques et romantiques dans l’ancienne France, La Bourgogne (Paris, Didot, 1863), 2 vols., folio; W. S. Purchon, “An architectural Tour in Central France and Burgundy,” in Journal of the Royal Institute of British Architects, 1913-14, 3d series, vol. 21, p. 557.

[269] “On peut dire que vers le X^e siÈcle, le genre humain en Europe, Était devenu fou. Du mÉlange de la corruption romaine avec le fÉrocitÉ des barbares qui avaient inondÉ l’empire, il Était enfin resultÉ un État de choses que, heureusement peut-Être, on ne reverra plus. La fÉrocitÉ et la dÉbauche, l’anarchie et la pauvretÉ Étaient dans tous les États. Jamais l’ignorance ne fut plus universelle. Le chaire pontificale Était opprimÉe, deshonorÉe, et sanglante.”—Joseph de Maistre.

[270] CongrÈs ArchÉologique, 1899, p. 48; 1913, p. 65, Jean Virey; MillÉnaire de Cluny (MÂcon, 1910), 2 vols.; Jean Virey, L’architecture romane dans l’ancien diocÈse de MÂcon (Paris, 1892), 2 vols.; ibid., L’abbaye de Cluny (Collection, Petites Monographies), (Paris, H. Laurens); Chanoine L. Chaumont, Histoire de Cluny (Paris, 1911); Migne, Dictionnaire des abbayes (Paris, 1856); Ch. de Montalembert, Monks of the West (trans. London, 1896); H. Pignot, Histoire de l’ordre de Cluny depuis la fondation de l’abbaye jusqu’À la mort de Pierre le VÉnÉrable (Autun et Paris, 1868), 3 vols.; F. L. Bruel, Cluny, 910-1910. Album historique et archÉologique (MÂcon, 1910), 4to; Ponzet, in Revue de l’art chrÉtien, 1912, on the capitals of Cluny’s abbatial; David, Grands abbayes de l’occident (Paris, 1909); Lecestre, Abbayes en France (Paris, 1902); G. T. Rivoira, Lombardic Architecture, vol. 2, p. 104, Cluny; p. 112, Tournus. Tr. by G. McN. Rushforth (London and New York, 1910); Demimuid, Pierre le VÉnÉrable et la vie monastique au XII^e siÈcle (Paris, 1895); A. Penjon, Cluny, la ville et l’abbaye (Cluny, 1884); ibid., “AbÉlard et Pierre le VÉnÉrable d’aprÈs Dom Gervaise,” in Annales de l’Acad. de MÂcon, 1910, p. 393; Histoire littÉraire de la France, vol. 7, p. 318, “Le bienheureux Guillaume, abbÉ de St. BÉnigne”; p. 399, “Raoul Glaber”; p. 414, “St. Odilon” (Paris, 1746); vol. 9, p. 465, “St. Hugues”; p. 526, “AbbÉ Jarenton” (Paris, 1750); vol. 14, p. 211, “Pierre le VÉnÉrable”; p. 129, “St. Bernard” (Paris, 1764).

[271] Dr. John Mason Neale, Éd., Rhythm of Bernard of Morlaix (London, 1858). Dr. Neale has here rendered his translation like the XII-century original, dactylic hexameters divided into three parts.

[272] “Ah! ce Cluny!... ce fut vraiment l’idÉal du labeur divin, l’idÉal rÊvÉ! Ce fut, lui, qui rÉalisa le couvent d’art, la maison du luxe pour Dieu.”—J. K. Huysmans, L’Oblat (Paris, Plon-Nourrit et Cie).

[273] Some of the French houses affiliated with Cluny were VÉzelay, the TrinitÉ at VendÔme, the TrinitÉ at FÉcamp, St. Martin-des-Champs and St. Germain-des-PrÉs at Paris, St. Denis, the Caen abbatials, St. Ouen at Rouen, JumiÈges, St. Wandrille, St. Remi at Rheims, Notre Dame at ChÂlons-sur-Marne, St. BÉnigne at Dijon, Tournus, St. Maixent, St. Savin, Ste. Foy at Conques, Moissac, St. Sernin at Toulouse, and St. Eutrope at Saintes.

[274] The church of Notre Dame built in Cluny by St. Hugues was burned in 1233, and immediately reconstructed as Burgundian Gothic; the lower walls and some of the capitals are of St. Hugues’ time. Consoles, sculptured with heads, such as those under the lantern, are frequent in the province, but a central tower is exceptional. In the XVIII century the narthex was destroyed. St. Marcel’s church was rebuilt after a fire in 1159 by the abbot of Cluny, who was a great-nephew of William the Conqueror. The octagonal tower, capped by a XIII-century spire, is of exceptionally lovely proportions. CongrÈs ArchÉologique, 1913, p. 68. St. Hugues also founded the CharitÉ-sur-Loire, whose church was dedicated by his pupil. Paschal II, in 1107, at which ceremony assisted Suger, then a monk at St. Denis. Only the transept and absidioles are of that time, for the choir, nave, and tower are Burgundian Romanesque of the second half of the XII century; the Lady chapel rose two centuries later. Once the abbatial was four hundred feet long, but a fire, in 1559, damaged it and only four bays of the nave remain. CongrÈs ArchÉologique, 1913, p. 374, Louis Serbat; AndrÉ Philippe, “CharitÉ-sur-Loire,” in Bulletin Monumental, 1905, vol. 69, p. 469.

[275] De Foville, Pise et Lucques (Villes d’art cÉlÈbres) (Paris, H. Laurens).

[276] HÉloÏse as a girl, in the convent of Argenteuil, studied Greek, Latin, Hebrew, philosophy, and theology; the women of that age were as eager for learning as the men. In 1817 her body and that of AbÉlard were removed to the cemetery of PÈre la Chaise at Paris. Le Roux de Lincy, Les femmes cÉlÈbres de l’ancienne France (Paris, Leroi, 1848), 2 vols. For AbÉlard, see de RÉmusat (Paris, 1855) and E. Vacandard (Paris, 1881).

[277] CongrÈs ArchÉologique, 1899; and 1913, p. 63, E. LefÈvre-Pontalis; AbbÉ Cucherat, Monographie de la basilique du SacrÉ Coeur À Paray-le-Monial, 1884; N. de Nicolai, GÉnÉrale description du Bourbonnais.

[278] John Mason Neale, Collected Hymns, Sequences, and Carols (London, Hodden & Stoughton, 1914), p. 199, a translation of the XII-century poem of Bernard de Morlaix.

[279] CongrÈs ArchÉologique, 1899, p. 62; and 1907, p. 32, Joseph DÉchelette; also p. 537; H. de Fonteray and A. de Charmasse, Autun et ses monuments (1889); AbbÉ Devoncoux, Description de l’Église cathÉdrale d’Autun (1845); Claude CourtÉpÉe, Description de la duchÉ de Bourgogne, vol. 6; H. Havard, Éd., La France artistique et monumentale, vol. 5, p. 49, L. PatÉ, on Autun; Paul Vitry, in Revue ArchÉol., 1899, p. 188; Montegut, Souvenirs de Bourgogne.

[280] The abbey of St. Andoche, Saulieu, was named for a companion of St. Benignus, a Greek missionary sent to evangelize Gaul, perhaps by St. Polycarp of Smyrna. The church was rebuilt early in the XII century, and of that period is the nave whose capitals present sculpture of different epochs: the barbaric earlier grotesques censured by St. Bernard, then a few acanthus leaves and medallions, and, finally, naturalistic work. Calixtus II dedicated Saulieu’s abbey church in 1119. In 1339 the English sacked the choir and transept, which were rebuilt in 1704. That true son of Burgundy, Vauban, the celebrated engineer of Louis XIV, was born in a chÂteau near Saulieu in 1633: “The most honest man of his century, the simplest, truest, and bravest,” according to St. Simon. He covered France with defenses whose worth was proved in 1914. One can comprehend qualities in a region’s architecture by a knowledge of regional characters. CongrÈs ArchÉologique, 1907, p. 103, Pierre de Truchis, on Saulieu. The architect Soufflot, of M. LefÈvre-Pontalis’ family, was a Burgundian.

[281] The cathedral of Langres in ancient Burgundy resembles Autun in its channeled pilaster strips and its acanthus-leaf sculpture. Its choir was rebuilt in 1100, using simultaneously groin vaulting and diagonals. The faÇade is neo-classic.

[282] CongrÈs ArchÉologique, 1899, p. 68; A. Kleinclausz, Dijon et Beaune (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); Alphonse Germain, Les NÉerlandais en Bourgogne (Bruxelles, 1909); ArsÈne PÉrier, Un chancelier au XV^e siÈcle, Nicolas Rolin (Paris, Plon, 1904); H. Chabeuf, in Revue de l’art chrÉtien, 1900, p. 193, on the tapestries of Beaune; AbbÉ Bavard, Histoire de l’HÔtel Dieu de Beaune (Beaune, 1881); AndrÉ Michel, Éd., Histoire de l’art, vol. 3, premiÈre partie, “La tapisserie aux quatorziÈme et quinziÈme siÈcles,” Jules Guiffrey.

[283] Robert Vallery-Radot, Le rÉveil de l’esprit (Paris, Perrin et Cie, 1917).

[284] CongrÈs ArchÉologique, 1907, p. 4, Avallon, Charles PorÉe, and p. 129, G. Fleury; p. 97, MontrÉal, Charles PorÉe; p. 49, Flavigny, P. de Truchis; E. Petit, Avallon et l’Avallonnais (Auxerre, Gallot, 1867); R. Vallery-Radot, Un Coin de Bourgogne; Avallon; AbbÉ Villetard, “Les statues du portail de l’Église St. Lazare d’Avallon,” in Bull. de la SociÉtÉ d’Études d’Avallon, 1899, 1900, and 1901; E. Petit, “CollÉgiale de MontrÉal,” in L’Annuaire de l’Yonne, 1861, p. 121; G. T. Rivoira, Lombardic Architecture (tr. London and New York, 1910), vol. 2, on the crypt of Flavigny; L. Bondot et J. Galimard, Restes de l’ancienne basilique de Flavigny (1906); Claude CourtÉpÉe, Description du duchÉ de Bourgogne, vol. 3, on Flavigny; Lucien BÉgule, L’abbaye de Fontenay et l’architecture cistercienne (Lyon, 1912). There is also a study by BÉgule of Fontenay in the Petites Monographies series published by H. Laurens; J. B. Corbolin, Monographie de l’abbaye de Fontenay (CÎteaux, 1882).

[285] Discours de rÉception de M. Louis Pasteur À l’AcadÉmie FranÇaise, 1882. Pasteur was born at DÔle (Jura), once a part of ancient Burgundy. A grandson, Robert Vallery-Radot, is one of the younger generation that comprehends the spiritual essence of the Middle Ages. He has written of the potency of his prayer in the church dedicated to holy Lazarus in his native Avallon. Another grandson, Jean Vallery-Radot, is a rising member of the school of mediÆval archÆology.

[286] Jean de Chastellux, Travels in America, 1780-1782. He was the first to have himself inoculated with smallpox in order to give confidence to the people. The heir of Chastellux was a hereditary first canon in Auxerre Cathedral, privileged to sit in its choir with a falcon on his wrist.

[287] CongrÈs ArchÉologique, 1907, p. 199; AbbÉ Henry, Histoire de l’abbaye de Pontigny (Avallon, 1839); Chaillon des Barres, L’abbaye de Pontigny (Paris, 1844); Histoire littÉraire de la France, vol. 11, p. 213, “St. Étienne, troisiÈme abbÉ de CÎteaux” (Paris, 1759).

[288] “The long prospect of nave and choir ends with a sort of graceful smallness in a chevet of seven closely packed, narrow bays. It is like a nun’s church, or like a nun’s coif.”—Walter Pater, on Pontigny, in Miscellaneous Studies (London, The Macmillan Company, 1895).

[289] J. C. Robertson, ed., Material for the History of Thomas Becket. Rolls series, 7 vols.; vols. 1 to 4 contain the lives written by John of Salisbury, Herbert of Bosham, etc. Other studies of St. Thomas of Canterbury are Morris (London, 1885); Kate Norgate (Dictionary of National Biography); L. Huillier (Paris, 1891), 2 vols.

[290] CongrÈs ArchÉologique, 1907, p. 27; Charles PorÉe, L’abbaye de VÉzelay (Collection, Petites Monographies), (Paris, H. Laurens); H. Havard, Éd., La France artisque et monumentale, vol. 4, VÉzelay; De George, “L’Église abbatiale de VÉzelay,” in L’Architecture, 1905; L. E. LefÈvre, “Le portail de l’abbaye de VÉzelay,” in Revue de l’art chrÉtien, 1906, p. 253; also, 1904, vol. 54, p. 448, G. Sanoner; Crosnier, “Iconographie de l’abbaye de VÉzelay,” in CongrÈs ArchÉologique, 1847, p. 219; V. Flandin, “VÉzelay,” in Annuaire statistique du dÉpartement de l’Yonne, 1841-45; A. ChÉrest, Études historiques sur VÉzelay (Auxerre, 1868); Gally, VÉzelay monastique (Tonnerre, 1888); Camille Enlart, Le musÉe de sculpture comparÉe du TrocadÉro (Paris, H. Laurens, 1913); A. Thierry, Lettres sur l’histoire de France, chaps. 22-24; Joseph BÉdier, Les lÉgendes Épiques, vol. 1, “La lÉgende de Girard de Roussillon” (Paris, H. Champion, 1908), 4 vols.

[291] Maurice BarrÈs, La colline inspirÉe (Paris, Émile-Paul, frÈres, 1913).

[292] Louis Gonse, L’Art Gothique (Paris, Quantin, 1891).

[293] St. PÈre-sous-VÉzelay, below the hill, occupies the site where Girard de Roussillon’s foundation was first established. The present church is a typical Burgundian Gothic edifice, partly of the XII and partly of the XIII century. Carved corbels catch the fall of certain diagonals, and in place of a triforium is an interior passageway that passes through the shafts. In the opening years of the XIV century was added the narthex, a noble porch of two bays whose capitals have foliage in little bunches set in two rows. The faÇade is decorated by big statues like that of the Madeleine church, a mile away, and at the corners of the tower, a landmark for the valley, are sculptured angels blowing trumpets. The choir of St. PÈre-sous-VÉzelay was wrecked during the English wars, and was in large part rebuilt as late-Gothic. CongrÈs ArchÉologique, 1907, p. 16; AbbÉ Pissier, “Notice historique sur Saint-PÈre-sous-VÉzelay,” in Bull. de la Soc. des Sciences de l’Yonne, 1902, vol. 56, pp. 33, 275.

[294] In his Via Crucis, F. Marion Crawford has described the great gathering at VÉzelay.

[295] The Huguenot leader, ThÉodore de BÉze, was born in the bourg of VÉzelay. His brother, a canon in the church of St. Lazare at Avallon, espoused the opposite side with equal zest.

[296] CongrÈs ArchÉologique, 1907, p. 64, Pierre de Truchis; AbbÉ Bouzerand, MÉmoirs sur l’Église Notre Dame de Semur, 1864; ibid., Histoire gÉnÉrale de Semur-en-Auxois; Ledeuil, Notice sur Semur-en-Auxois (Semur-en-Auxois, 1886); Taylor et Nodier, Voyage pittoresque et romantique dans l’ancienne France. Bourgogne (Paris, Didot, 1863), folio; Max Quantin, RÉpertoire archÉol. du dÉpartement de l’Yonne (Paris, 1908); EugÈne LefÈvre-Pontalis, “Les caractÈres distinctifs des Écoles gothique de la Champagne et de la Bourgogne,” in CongrÈs ArchÉologique, 1907, p. 546.

[297] CongrÈs ArchÉologique, 1850, p. 22; and 1907, p. 167, Charles PorÉe; p. 599, Camille Enlart, on the sculptured doors of Auxerre Cathedral: Camille Enlart, La cathÉdrale d’Auxerre (Collection, Petites Monographies), (Paris, H. Laurens): A. ChÉrest, La cathÉdrale d’Auxerre. Conferences d’Auxerre (Auxerre, 1868); Émile Lambin, “La cathÉdrale d’Auxerre,” in Revue de l’art chrÉtien, 1897, vol. 47, p. 383; Charles PorÉe, “Le choeur de la cathÉdrale d’Auxerre,” in Bulletin Monumental, 1906, vol. 70, p. 251; Louise Pillion, “Sculpture de la cathÉdrale d’Auxerre,” in Revue de l’art chrÉtien, 1905, p. 278; Viollet-le-Duc, Dictionnaire de l’architecture, vol. 4, p. 131, on construction; vol. 9, p. 447, on vitrail; Victor Petit, “Description des villes et campagnes du dÉpartement de l’Yonne” (Auxerre, 1876). In the Annuaire de l’Yonne, earlier studies on Auxerre are, 1841, p. 38, F. de Lasteyrie; 1843, p. 128, V. Petit; 1846, p. 207, and 1847, p. 141, Challe; 1872, p. 161, and 1873. p. 3, Daudin; AndrÉ Philippe, “L’architecture religieuse au XI^e et au XII^e siÈcle dans l’ancien diocÈse d’Auxerre,” in Bulletin Monumental, 1904, vol. 68, passim. Other notices on Auxerre in the Bulletin Monumental are, 1847, vol. 13, p. 153, and 1849, vol. 15, p. 145, Victor Petit; 1872, vol. 38, pp. 494, 744, Victor Petit; AbbÉ Lebeuf, Histoire d’Auxerre; E. Moulton, La guerre au XVI^e siÈcle (Paris, H. Laurens).

[298] St. Germain’s abbatial is less pure Gothic than the cathedral’s choir. Beneath its sanctuary are two superimposed crypts, the lower one of the IX century, and that above it belonging to the XIII-century reconstruction of the abbey church. Conflagrations wiped out several early churches of the monastery. In the XII century rose the Romanesque tower—one of the best in France; until 1820 it was attached to the nave. A total reconstruction of the abbatial was necessary in 1277, but after the upper crypt and the choir were undertaken there came a pause. The abbot here (1309-39), who erected the crenelated inclosure walls of the monastery, resumed the church as Rayonnant Gothic. Urban V, the greatest of the Avignon patrons of art and letters, had been abbot of St. Germain (1352), and his arms were cut on a keystone of the new nave, to which he contributed, as did his successor, Gregory XI. Soon after the church was completed it was pillaged during the religious wars. Napoleon turned the establishment into a hospital, which it still is. CongrÈs ArchÉologique, 1907, p. 182, C. PorÉe; p. 627, Jules Tillet; AbbÉ V. B. Henry, Histoire de l’abbaye de St. Germain d’Auxerre (Auxerre, Gallot, 1853); Victor Petit, “Les cryptes de St. Germain d’Auxerre,” in Bulletin Monumental, 1872, vol. 38, p. 494; Viollet-le-Duc, Dictionnaire de l’Architecture, vol. 3, p. 377.

[299] At her trial in Rouen Jeanne spoke of Auxerre Cathedral: “En route, je traversai Auxerre, oÙ j’entendis la messe dans la principale Église.... Alors, j’avais frÉquemment mes voix.” Marius Sepet, Au temps de la Pucelle, rÉcits et tableaux (Paris, P. TÉqui, 1905).

[300] The abbey church at St. EusÈbe is of archÆological interest. The octagonal tower over its altar, forming internally a lantern, is of the XII century, as are the piers and their arches. A pause came between the making of the nave’s lower and upper parts, for the church did not follow the usual custom of advancing bay by bay, but was constructed story by story. The west front is full Gothic, and the ambulatory of the XIII century. The original choir was in large part replaced by the present well-built Flamboyant Gothic one, finished by 1530. What used to be the episcopal palace of Auxerre is to-day the Prefecture. It shows, in its wall on the river side, the Romanesque gallery built by Bishop Hugues de ChÂlons (1116-36). Its hall, with pignons alike at both ends, was erected by Bishop Guillaume de Mello (1247-70). CongrÈs ArchÉologique, 1907, p. 188; Corberon, Auxerre, ses monuments; Lescuyer, “Notice sur l’Église de St. EusÈbe,” in l’Annuaire de l’Yonne, 1839, p. 318; 1845, p. 103, “St. EusÈbe,” Max Quantin.

[301] The west apse of Nevers’ Cathedral, dedicated to St. Juliette, mother of the child martyr, St. Cyr, formed, with its crypt and transept, part of the XII-century Romanesque edifice. Late in the XIII century was built a Gothic nave, which was reconstructed after a fire in 1308, and again its outer walls were reconstructed in the Flamboyant Gothic day. The present choir dates from the XIV century. The fine tower at the transept’s southern faÇade was built 1506 to 1528. Nevers’ former ducal palace, of the XV century, stands on a park overlooking the Loire. The Romanesque abbey church of St. Étienne, founded, tradition says, by St. Columbanus, combines the schools of Auvergne and Burgundy, and is important to archÆologists because the date of its building, 1063 to 1097, is certain. The expense of constructing it caused the Count of Nevers to forego the First Crusade. Bishop Ives of Chartres consecrated the church in 1097. CongrÈs ArchÉologique, 1913, p. 300, Louis Serbat; Gaston Congny, Bourges et Nevers; J. Locquin, Nevers et Moulins (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); Monseigneur Crosnier, Monographie de la cathÉdrale de Nevers (1854); AbbÉ Sery, Les deux apsides de la cathÉdrale de Nevers (1899); Morellet, Barat, et BussiÈre, Le Nivermois (1840), 2 vols.; Paul Meunier, Nevers historique et pittoresque (1901).

[302] “Because the pearly white surfaces of the grisaille would make the adjacent colored surfaces appear heavy and opaque, they introduced, into these latter, limpid blues and yellows, very light reds, whites with a greenish or rosy tint. In the high windows of the cathedral of Auxerre they first tried this method, and here the grisaille is chased with a large and firm design that offsets the transparency of the colorless surfaces. Notice how the pedestal and the canopy, both very light, bind together the bands of grisaille on either side, while the latter is heavily painted with a trellis and rich ornaments. In Auxerre, the grisaille is found only in the lateral windows which are seen obliquely. The apse windows, meant to be seen, in face and from a distance, are filled with color. The lateral windows are sufficiently opaque to prevent the solar rays which pass through them from lighting the colored windows on the reverse side. At certain hours the luminous rays throw a pearly light on the colored windows, imparting to them a transparency of tone and a delicacy impossible to describe. The opalescent light from the lateral windows makes a sort of veil of extreme transparency under the lofty vaults, and is pierced by the brilliant tones of the apse windows, producing the sparkle of jewels. Solid outlines then seem to waver like objects seen through a sheet of limpid water. Distance changes values and gains a depth in which the eye loses itself. Hourly during the day these effects are modified, and always with new harmonies of which one never wearies trying to understand.”

—Viollet-le-Duc, Dictionnaire de l’architecture, vol. 9, p. 447.

[303] John Mason Neale, translator of “The Rhythm of Bernard of Morlaix” (e. 1140), in Collected Hymns, Sequences, and Carols (London, Hodder & Stoughton, 1914), p. 19.

[304] “Je donne la palme À Jacques Amyot sur tout nos Écrivains franÇais.”—Montaigne.

“Quand il s’agit d’une jolie et gracieuse naÏvetÉ de langage, on dit aussitÔt pour le dÉfinir: C’est de la langue d’Amyot.”—Sainte-Beuve.

[305] CongrÈs ArchÉologique, 1907, on Dijon, Charles PorÉe; p. 546, “Les caractÈres distinctifs des Écoles gothiques de la Champagne et de la Bourgogne,” E. LefÈvre-Pontalis; A. Kleinclausz, Dijon et Beaune (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens); ibid., “L’art funÉraire de la Bourgogne,” in Gazette des Beaux-Arts, 1901-02; ibid., Claus Sluter et la sculpture bourguignonne au XV^e siÈcle (Paris, 1906); AbbÉ L. Chomton, Histoire de l’Église St. BÉnigne de Dijon (Dijon, 1900), folio; G.T. Rivoira, Lombardic Architecture, vol. 2, chap. 1, on St. BÉnigne (tr. London and New York, 1910); Chanoine Thomas, Épigraphie de Notre Dame de Dijon (1904); H. Chabeuf, “TÊte sculptÉe À Notre Dame de Dijon,” in Revue de l’art chrÉtien, 1900, vol. 43, p. 472; ibid., Dijon, monuments et souvenirs (Dijon, Damudot, 1894); H. Havard, Éd., La France artistique et monumental, vol. 6, p. 26, Cunisset-Carnot; Alphonse Germain, Les NÉerlandais en Bourgogne, 1909; Raymond Koechlin, La sculpture belge et les influences franÇaises au XIII^e siÈcle (Paris, 1903); Louis Courajod, LeÇons professÉes À l’École du Louvre, 1887-96. Vol. 2, Origines de la Renaissance (Paris, Picard et fils, 1901), 3 vols. On the sculpture at Dijon, see MM. Paul Vitry, Louis Gonse, LÉon Palustre, AndrÉ Michel; A. Humbert, Sculpture en Bourgogne (Paris, H. Laurens); Ernest Petit, Hist. des ducs de Bourgogne de la race capÉtienne (Dijon, 1905), 9 vols.; B. de Barante, Hist. des ducs de Bourgogne de la maison de Valois (Paris, 1825), 12 vols.; Petit-Dutaillis, Charles VII, Louis XI, et les premiÈres annÉes de Charles VIII (Paris, Hachette, 1902); AbbÉ Chevalier, Le vÉnÉrable Guillaume, abbÉ de St. BÉnigne (Dijon, 1875).

[306] “La gloire de Bossuet est devenue l’une des religions de la France; on la reconnaÎt, on la proclame, on s’honore soi-mÊme en y apportant chaque jour un nouveau tribut. Bossuet, c’est le gÉnie hÉbreu, Étendu, fÉcondÉ par le Christianisme, et ouvert À toutes les acquisitions de l’intelligence, mais retenant quelque chose de l’interdiction souveraine. Il est la voix Éloquente par excellence, la plus simple, la plus forte, la plus brusque, la plus familiÈre, la plus soudainement tonnante.”—Sainte-Beuve.

No city has been more prolific in notable sons than Dijon, where, as Voltaire said, “le mÉrite de l’esprit semble Être un des caractÈres des citoyens.” Among them are Rameau, the musician (1683-1764), who founded French opera and discovered important laws in harmony; he and his descendants were exempted from tithes by their native city; Dubois, the sculptor (1626-94), whose Assumption and the high altar of Notre Dame, Dijon, are his best works; the critic and philologist, La Monnaye (b. 1641); the playwright, CrÉbillon (d. 1762); Piron, the witty epigrammatist (d. 1773); the learned PrÉsident de Brosse (1709-77), whose Lettres d’Italie are full of Burgundian vivacity and salt, and whose friend, Buffon, the naturalist (1707-88), though born at Montbard, was educated in Dijon, where his father was counselor in the parliament. The grandmother of Madame de SÉvignÉ, St. Jeanne FranÇoise de Chantal, founder of the Visitation Order, was born at 17 rue Jeannin, 1572. Her father was a president of Dijon’s parliament. The sculptor Rude was a son of Dijon (d. 1855), and in this same city that had produced St. Bernard and Bossuet, the most eloquent preacher of the XIX century, Lacordaire, spent his childhood and youth, as his mother came of an old legal family here. LÉon Deshairs, Dijon, architecture des XVII^e et XVIII^e siÈcles (Paris, 1910).

[307] Tournus abbey (SaÔne-et-Loire), when founded, was affiliated with the Columban tradition. From 946 to 980 the church was rebuilt, and again from 1008 to 1028, under the auspices of William of Volpiano, abbot of St. BÉnigne. On its outer walls are Lombard mural arcaded bands. The massive forechurch, or narthex of three bays, has two stories of different dates, the lower one about 950, and the upper about 980. The vault of the latter—a cradle carried on brackets—is the earliest example extant in France of a wide-span masonry roof at such a height. Tournus exemplified the militant spirit of Burgundy’s Romanesque school by experimenting with every kind of vault, cradle, half cradle, transverse cradle, and groin. The pier arcades of the main church are of William of Volpiano’s time. The transept and choir are early XII century, and in that same period the reconstructed nave was covered by an experiment in stone roofing which never made a school; it had been used in Persia in the VI century. A series of half barrels borne on lintels were placed side by side across the wide nave, from north to south, instead of one long tunnel vault from east to west. The system allowed for the better lighting of the upper church, and as each barrel vault was buttressed by the one next it, only at the east and west ends of the edifice was abutment required. CongrÈs ArchÉologique, 1899, pp. 223, 236; and 1909; Clement Heaton, in Journal of the Royal Institute of British Architects, 3d series, 1909.

[308] Viollet-le-Duc, Dictionnaire de l’Architecture, vol. 4, pp. 131-147; Huysmans, L’Oblat, chap. 5, on Notre Dame of Dijon. In his story, which is the continuation of En Route and La CathÉdrale, Huysmans described the closing of the Burgundian monastery of Val des Saints near Dijon. His theory is that by such acts the balance of good and evil in the world is destroyed, since no longer is propitiatory self-sacrifice and prayer offered to heaven for the sins being committed on earth: “Il faut s’attendre À ce que le Bon Dieu tombe sur nous ... pour remettre les choses en place, et vous savez comment il procÈde, dans ces cas lÀ, il vous accable d’infirmitÉs et d’Épreuves.”

[309] A clockmaker named Jacquemart made such works, hence their name. Originally only one figure struck the hours on the big bell. Then a wife, Jacqueleine, was given to the bell-knocker, and after a local wit had rallied the couple on their childless state, first one child, Jacquelinet, was added, and then another, Jacquelinette, and the industrious children now ring the quarter hours on the little bells.

[310] Works of St. Bernard, edited by Mabillon (Paris, 1669-90), tr. by Eales and Hodges (London, 1889), 4 vols.; E. Vacandard, Vie de Saint Bernard (Paris, Lecoffre, 1895), 2 vols.; other studies of the saint, by Eales (London, 1890) and R. P. Ratisbonne; De Dion, Étude sur les Églises de l’ordre de CÎteaux; Arbois de Jubainville, Étude sur l’État intÉrieur des abbayes cisterciennes et principalement de Clairvaux au XII siÈcle (Paris, 1858); Lucien BÉgule, L’abbaye de Fontenay et l’architecture cistercienne (Lyon, 1912); Camille Enlart, L’architecture gothique en Italie (Paris, 1893); ibid., En Espagne et en Portugal (Paris, 1894); ibid., “Villard de Honnecourt et lex Cisterciens,” in Biblio. de l’École des chartes, 1895; Bulletin Monumental, 1904, AndrÉ Philippe, on Cistercian churches; John Bilson, The Architecture of the Cistercians; Their Earliest Churches in England (London, 1909); also in the Journal of the Royal Institute of British Architects, 1909; Marcel Aubert, on Cistercian churches in Germany.

[311] The castle of Fontaine-lÈs-Dijon was held by Bernard’s lineage till the XV century. To-day the site is covered by an unfinished commemorative church. The village church is of the XVI century.

[312] As at CÎteaux, scarcely an ancient vestige remains at Clairvaux. The XII-century monastic storehouse now serves as a house of detention. All trace of St. Bernard’s tomb has been lost. The Revolution finished what the Huguenot wars and the absentee commendatory abbots began.

[313] M. Enlart calls Fossanuova, on the Appian Way between Rome and Naples, the first Gothic church in Italy, begun in 1187 by Burgundian Cistercians. Mr. Porter thinks that the infiltration had begun thirty years earlier through various channels. In 1208 Innocent III dedicated Fossanuova; in 1274 St. Thomas Aquinas died there, en route to the Council at Lyons. The same plain Burgundian plan was followed at Casamari (1217), and a daughter house of the latter was S. Galgano (1218), from which went monks who are cited as the masters-of-works of Siena Cathedral, the best Gothic edifice of the peninsula. Monks from French Clairvaux built the three Chiaravalle churches of Italy, and monks from Pontigny raised S. Martino near Viterbo. Later, Italy felt the influence of different French schools; thus the Naples churches are Gothic of Provence because southern French architects accompanied Charles d’Anjou, count of Provence, when he became king of the Two Sicilies. At Assisi the church of S. Francesco shows the Gothic traits of Burgundy, Provence, and Champagne. The Cistercians introduced the torus profile of diagonals, but they long clung to round-headed windows. The Provence masters introduced pointed arched windows. In Spain, CÎteaux found a rival in the monks of Cluny for the dissemination of the new art. In the XII century a large number of Spanish bishoprics were filled by Cluny monks. Sometimes they built according to their own native architecture, as in Lugo Cathedral, San Vincente at Avila, and churches in Seville, which are Burgundian Romanesque. SigÜenza Cathedral is Burgundian both in its Romanesque and Gothic parts. Zamora Cathedral, consecrated 1174, and the old cathedral of Salamanca, show traits of Aquitaine; both sees were occupied by Bishop Jerome, who came from PÉrigieux. The Cistercians of Spain did not confine themselves, as in Italy, to typically Burgundian Gothic churches. Poblet and Santa-Creus (1157) derive from the early Gothic of Midi France, as well as from Burgundy. Las Huelgas, the Cistercian house for nuns near Burgos, finished about 1180, shows slight Burgundian and much Plantagenet Gothic influence. The foundress was the daughter of Henry II and AliÉnor of Aquitaine. In Spain, as in Italy, the later Gothic monuments conformed to the standards of northern French Gothic. Portugal was more exclusively a Cistercian field of art. In 1148, AlcobaÇa monastery was founded by the son of a Burgundian prince, progenitor of Portugal’s royal line. While it shows Angevin Gothic traits, its plan is the sober Cistercian Burgundian type. In the military Orders of Spain and Portugal the Cistercian Rule was used. The king of Sweden, in 1143, obtained Cistercian missionaries from Clairvaux; in Denmark the abbey church of SorÖ is Burgundian Gothic. Camille Enlart, Les origines de l’architecture gothique en Espagne et en Portugal (Paris, 1894); ibid., L’architecture gothique en Italie (Paris, 1893); ibid., Notes archÉologiques sur les abbayes cisterciennes de Scandinavie (Paris, 1894); ibid., “Villard de Honnecourt et les Cisterciens,” in Biblio. de l’École des chartes, 1895; ibid., L’art gothique ... en Chypre (Paris, 1899), 2 vols.

[314] CongrÈs ArchÉologique, 1908; V. Ruprich-Robert, L’architecture normande aux XI^e et XII^e siÈcles (Paris, 1897), 2 vols.; A. de Caumont et Ch. de Beaurepaire, MÉmoires historiques sur la Normandie: antiquitÉs, monuments, histoire (1827-36); La Normandie monumentale et pittoresque. Seine-InfÉrieure, Calvados, Eure, Orne, Manche (Le Havre, Lemale et Cie), 8 vols, folio; LÉon le Cordier, “L’architecture de la Normandie au XIII^e siÈcle,” in Bulletin Monumental, 1863, vol. 29, p. 513; Chanoine PorÉe, L’art normand (Paris, 1914); Taylor et Nodier, Voyages pittoresques ... dans l’ancienne France. Normandie (Paris, Didron, 1825), 2 vols., folio; Henri Prentout, La Normandie (Collection, Les provinces franÇaises), (Paris, H. Laurens, 1910); LechandÉ d’Anisy, Les anciennes abbayes de Normandie (1834), 2 vols, and atlas; Ordericus Vitalis, The Ecclesiastical History of England and Normandy (London, Bohn Library, 1856), 4 vols.; Albert Sorel, Pages normandes (Paris, Plon, 1907).

On Normandy’s history, see Stubbs, Freeman, Palgrave, H. W. C. Davis, G. B. Adams, Sir J. H. Ramsay, Miss Kate Norgate, Mrs. J. R, Green, etc. A. Thierry in his ConquÊte de l’Angleterre gives details of the oppression of the Anglo-Saxons by their Norman conquerors.

[315] Rodin, Les cathÉdrales de France, (Paris, A. Colin, 1914).

[316] Chanoine PorÉe, Histoire de l’abbaye du Bec (Évreux, impri. de HÉrissey, 1901); La Normandie monumentale et pittoresque Eure, vol. 2, p. 221, “Bec,” Chanoine PorÉe (Le Havre, Lemale et Cie, 1895); Ragey, Histoire de Saint Anselm (Paris, 1889); Martin Rule, Life and Times of St. Anselm (London, 1883).

Other studies of St. Anselm by RÉmusat (Paris, 1853); R. W. Church (London, 1870); J. M. Rigg (London, 1896), and in Lives of the Archbishops of Canterbury (London, 1860-75); Histoire littÉraire de la France, vol. 8, p. 260, “Lanfranc” (Paris, 1749); vol. 9, p. 398, “St. Anselm”; p. 369, “Gondulfe, ÉvÊque de Rochester” (Paris, 1750).

[317] V. Ruprich-Robert, L’architecture normande aux XI^e et XIII^e siÈcles (Paris, 1885-87); G. T. Rivoira, Lombardic Architecture, vol. 2, on Normandy (London and New York, 1910), translated from Le origini dell’architettura lombarda (Milano, 1908); Canoine PorÉe, L’art normand (Paris, 1914); Camille Enlart, Manuel d’archÉologie franÇaise (Paris, Picard et fils, 1904), 2 vols.; R. de Lasteyrie, L’architecture religieuse en France À l’Époque romane (Paris, 1912); John Bilson, “The Beginnings of Gothic Architecture,” in the Journal of the Royal Institute of British Architects, Third series, 1898-99, vol. 6, pp. 289, 322, 345; 1901-02, vol. 9, p. 350; RenÉ Fage, “La dÉcoration gÉomÉtrique dans l’École romane de Normandie,” in CongrÈs ArchÉol., 1908, vol. 2, p. 614; Louis Engerand, “La sculpture romane en Normandie,” in Bulletin Monumental, 1904, vol. 68, p. 405; Arthur Kingsley Porter, Medieval Architecture, vol. 1, pp. 285 to 332, gives the chief Norman Romanesque monuments (New York and London, 1907); ibid., Lombard Architecture (New Haven, Yale University Press, 1917), 3 vols. and atlas.

[319] Normandy’s MillÉnaire of 1911 was celebrated fitly. Among the books it called forth are: Gabriel Monod, Le rÔle de la Normandie dans l’histoire de France (Paris, 1911); H. Prentout, Essai sur les origines et la fondation du duchÉ de Normandy (Paris, 1911); A. Albert, Petit histoire de Normandie (Paris, 1912). In 1915 appeared Charles Homer Haskins, The Normans in European History (Boston, Houghton Mifflin).

[320] E. LefÈvre-Pontalis, “Les influences normandes au XI^e et au XII^e siÈcle dans le nord de la France,” in Bulletin Monumental, 1906. vol. 70; Camille Enlart, L’influence extÉrieure de l’art normand au moyen Âge; F. Chalandon, Histoire de la domination normande en Italie et en Sicile (Paris, 1907); Ch. Diehl, Palerme et Syracuse (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1907); Émile Bertaud, L’art dans l’Italie mÉridionale.

[321] Roger Martin du Gard, L’abbaye de JumiÈges, Étude archÉol. des ruines (Montdidier, 1909); ibid., “JumiÈges,” in Bulletin Monumental, 1909, vol. 73, p. 34; John Bilson, on “JumiÈges,” in Revue de l’art chrÉtien, 1901, p. 454; F. Lot, Études critiques sur l’abbaye de Saint-Wandrille (Paris 1913); La Normandie monumentale et pittoresque. Seine-InfÉrieure, p. 219, “JumiÈges,” Alfred Darcel; p. 353, “St. Wandrille,” AbbÉ Sauvage (Le Havre, Lemale et Cie); AbbÉ Julien Loth, Histoire de l’abbaye royale de St. Pierre de JumiÈges (Rouen, 1882-85), 3 vols.; David, Les grandes abbayes de l’Occident (Lille, 1907); LefÈvre-Pontalis, Les influences normandes au XI^e et au XII^e siÈcle dans le nord de la France (1906), also in Bulletin Monumental, 1906, vol. 70.

[322] CongrÈs ArchÉologique, 1883 and 1908; H. Prentout, Caen et Bayeux (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1909); V. Ruprich-Robert, L’Église Ste. TrinitÉ et l’Église St. Étienne de Caen (Caen, 1864); E. de Beaurepaire, Caen illustrÉ, son histoire, ses monuments (Caen, 1896), folio; Bouet, Analyse architecturale de l’abbaye de St. Étienne de Caen (1868); La Normandie monumentale et pittoresque. Calvados, pp. 1, 49; Arcisse de Caumont, Statistique monumentale du Calvados (Caen, F. Le Blanc-Hardal, 1898), 6 vols.; Camille Enlart, Manuel d’archÉologie franÇaise (Paris, Picard, 1902), 2 vols.; John Bilson, “The Beginnings of Gothic Architecture,” in Journal of the Royal Institute of British Architects, Third series, 1898-99, vol. 6, pp. 289, 322, 345, and p. 259, his answer to M. de Lasteyrie. Reprinted in part in Revue de l’art chrÉtien, 1901, vol. 44, pp. 369, 462.

In the excellent public library of Caen are to be found the CongrÈs ArchÉologique, the Bulletin Monumental, and other archÆological publications. Also the Catalogue des ouvrages normande de la BibliothÈque municipale de Caen (Caen, 1910-12).

[323] Georges Lafenestre, Gloires et deuils de France (Paris, Hachette, 1918).

[324] An old chronicle related how the young widow of the lord of La Roche-Guyon “mieux aimer s’en aller denuÉe de tous bien, avec ses trois enfants, que de rendre hommage au roi d’outre mer et de se mettre Ès mains des anciens ennemies du royaume.” Anthyme Saint-Paul, L’architecture franÇaise et la Guerre de Cent Ans (Paris, 1910); SimÉon Luce, La France pendant la Guerre de Cent Ans (Paris, Hachette, 1893); H. DÉnifle, La dÉsolation des Églises, monastÈres, et hÔpitaux en France pendant la Guerre de Cent Ans (Paris, Picard, 1899); H. Martin, La guerre au XV^e siÈcle (Paris, H. Laurens); G. LefÈvre-Pontalis, “Épisodes de l’invasion anglaise. La guerre de partisans dans la Haute-Normandie” (1424-29), in BibliothÈque de l’École des chartes, 1893 to 1895, vols. 54, 55, 56.

[325] A. de Caumont, “Les tours d’Églises dans le Calvados,” in Bulletin Monumental, 1847, vol. 23, p. 362; E. LefÈvre-Pontalis, “Les clochers du Calvados,” in CongrÈs ArchÉologique, 1908, vol. 2, p. 652; G. Bouet, “Clochers du diocÈse de Bayeux,” in Bulletin Monumental, 1872, vol. 38, p. 517; AbbÉ Édeline, Norrey et son histoire; La Normandie monumentale et pittoresque. Calvados, p. 231, “Norrey,” G. Lavalley; p. 349, “Secqueville”; CongrÈs ArchÉologique, 1908, p. 193, “BerniÈres”; p. 338, “Norrey”; p. 349, “Secqueville.”

[326] In the abbatial of St. Pierre-sur-Dives there is XII-century work in the ambulatory walls, in the piers and side walls of the nave, and in the lower parts of the faÇade towers. To the XIII century belong most of the choir’s piers and the apsidal chapels, also the beautiful chapter house. The transept then was put into harmony with the nave, and its tower built, which latter now is braced by clumsy obstructions within the church. In the XIV century rose the west faÇade, and the north tower was rebuilt. The XV century rehandled the high vaulting and clearstory, where appear die-away moldings and flamelike tracery. The abbey was founded by Richard II (d. 1020) and his beautiful duchess, Judith of Brittany. Its Romanesque abbatial was dedicated in 1067 by Archbishop Maurille in the presence of the Conqueror and Matilda. In 1107 the abbatial was burned by Henry I of England, who accused the abbot of siding with his elder brother, with whom he was at war, but in atonement the king contributed toward the reconstruction of the church; CongrÈs ArchÉologique, 1861, 1862, and 1908, p. 278; J. PÉpin, Saint-Pierre-sur-Dives (Caen, 1879); AbbÉ Denis, Église de Saint-Pierre-sur-Dives en 1145 (Caen, 1869); BibliothÈque de l’École des chartes, vol. 21, p. 120, gives Abbot Haimon’s letter, which also was published in Rouen, 1851, by L. de Glanville.

[327] CongrÈs ArchÉologique, 1908; A. Besnard, Monographie de l’Église et de l’abbaye Saint Georges de Boscherville (Paris, Lechevailier, 1899); J. A. Deville, Essai historique et descriptive sur l’Église et l’abbaye de St. Georges de Boscherville (Rouen, 1827); La Normandie monumentale et pittoresque. Seine-InfÉrieure, p. 235, AbbÉ A. Tougard.

[328] CongrÈs ArchÉologique, 1908; Doctor Coutan, La TrinitÉ de FÉcamp (Caen, 1907). He also describes the TrinitÉ in La Normandie monumentale et pittoresque. Seine-InfÉrieure, p. 465; the churches at Dieppe, p. 279; the church of Harfleur, p. 393; Le Havre, p. 381; Carville, p. 177, and Notre Dame at Caudebec-en-Caux, of which AbbÉ Sauvage has published a separate monograph (1876); A. Leport, Description de l’Église de la TrinitÉ de FÉcamp (FÉcamp, 1879); Leroux de Lincy, Essai historique sur l’abbaye de FÉcamp; Histoire littÉraire de la France, vol. 7, p. 318, “Le bienheureux Guillaume, abbÉ de St. BÉnigne de Dijon” (Paris, 1746); vol. 10, p. 265, “Herbert Lozinga, ÉvÊque de Norwich” (Paris, 1756).

[329] The abbatial of Bernay (Eure), to-day a corn exchange on the market place, shows in its transept the earliest instance of an arcaded wall passage, the feature that, when placed at the clearstory level, became one of the most frequent characteristics of Anglo-Norman architecture, both Romanesque and Gothic. Bernay was founded between 1013 and 1019 by Richard II and Judith of Brittany, the same who invited to their duchy the Lombard, William of Volpiano. William is known to have worked on the Bernay abbatial, which shows resemblances to Burgundian churches at Auxerre and Nevers, and he may have brought to Normandy the Lombard trait of absidal chapels projecting from the eastern wall of the transept. Bernay, however, did not use the Lombard alternance of ground supports. Mr. Bilson thinks that the tall attached stripes were intended for a vaulted, not for a timber roof. The nave’s side walls and piers are of Abbot William’s time; two bays of the choir belong to later years of the XI century. William the Conqueror is said to have finished the church. It was grievously sacked during the religious wars. The church of Ste. Croix in Bernay, begun, 1373, enlarged 1497, contains tombs from Bec, of former abbots there. CongrÈs ArchÉologique, 1908, vol. 2, p. 588, Chanoine PorÉe; Bulletin Monumental, 1911, vol. 75, p. 396, Chanoine PorÉe, and p. 403, John Bilson; G.T. Rivoira, Lombardic Architecture, translated by G. Mc. N. Rushford (London and New York, 1910); Chanoine PorÉe, Bernay (Caen, H. Delesques, 1912).

[330] CongrÈs ArchÉologique, 1895; AbbÉ A. Legris, L’Église d’Eu (1913); DesirÉ Le Beuf, La ville d’Eu (1884); Doctor Coutan, in La Normandie monumentale et pittoresque. Seine-InfÉrieure, vol. 1, p. 333; Viollet-le-Duc, Dictionnaire de l’architecture, vol. 1, p. 198; vol. 2, p. 364; vol. 5, p. 359; Gonse, L’art gothique, p. 210 (Paris, Quantin, 1891).

[331] Paul Gout, Le Mont-Saint-Michel (Paris, Colin, 1910), 2 vols.; Ch. H. Besnard, Mont-Saint-Michel (Collection, Petites Monographies), (Paris, H. Laurens, 1911); Ch. de Beaurepaire, Curieuses recherches sur le Mont-Saint-Michel (Rouen, 1873); Ed. Corroyer, Description de l’abbaye du Mont-Saint-Michel et de ses abords (Paris, 1877); Dubouchet, L’abbaye de Mont-Saint-Michel (Paris, 1895); Sir Theodore Andreas Cook, Twenty-five Great Houses of France (London and New York, 1916), chap. 1; Henry Adams, Chartres and Mont-Saint-Michel (Boston, Houghton Mifflin Company, 1913); LÉopold Delisle, Éd., Cronique de Robert de Torigni (Paris, Soc. de l’histoire de Normandie, 1872-75), 2 vols. On Robert de Torigny see Histoire littÉraire de la France, vol. 14, p. 362 (Paris, 1817); SimÉon Luce, Éd., Cronique de Mont-Saint-Michel: la dÉfence nationale (1879-86); O. de Poli, Les dÉfenseurs du Mont-Saint-Michel, 1417-50, (Paris, 1895); Huynes, Histoire gÉnÉrale de Mont-Saint-Michel (Rouen, 1872); Brin, St. Michel et le Mont-Saint-Michel dans l’histoire et la littÉrature (Paris, 1880).

[332] From the Chanson de Roland, Édition LÉon Gautier (Tours, MÂme et fils, 1895).

[334] “Il y a des provinces qui ont le doit de se dire franÇaises par excellence.... La Normandie et la Picardie sont de celles-lÀ.... Elles ont apportÉs, dans le cours des siÈcles, À la vieille Ile-de-France, leur aÎnÉe, le concours loyal de leur bras, de leur courage, de leur gÉnie.”—Gabriel Hanotaux, “La Normandie dans l’unitÉ franÇaise,” in SociÉtÉ normande de gÉographie, 1900, vol 22.

[335] The court at Rouen asked Jeanne at the fourth interrogation, February 27, 1431: “Whose was the first voice you heard when you were about thirteen?” Jeanne replied: “It was St. Michael’s. I saw him before my eyes; he was not alone, but was encircled by angels of heaven. I saw him with my bodily eyes as clearly as I see you. When they left me, I wept; right gladly would I have gone with them, that is—my soul.” At the seventh interrogation, March 15, 1431, when asked how she knew it was St. Michael, Jeanne replied: “Par le parler et le langage des anges.... He told me I was a good child and that God would aid me, and to come to the aid of the king of France. He related to me the grand pitiÉ qui Était au royaume de France.”—E. O’Reilly, Les deux procÈs de condamnation et la sentence de rÉhabilitation, de Jeanne d’Arc (Paris, Plon, 1808), 2 vols.

[336] Le procÈs Jeanne d’Arc, eighth interrogation, March 17, 1431. When asked by her judges if God hated the English, Jeanne replied: “Of the love or the hate which God has for the English, or of what He will do with their souls, I know nothing. But this I know: that they one and all will be driven out of France, except those who here die, and that God will send victory to the French against the English.”

[337] Marion Couthouy Smith, “Sainte Jeanne of France,” in The Nation (London, 1915.)

[338] CongrÈs ArchÉologique, 1859 and 1868; AbbÉ Loisel et Jean Lafond. La cathÉdrale de Rouen (Collection, Petites Monographies), (Paris, H. Laurens, 1913): Loisel et Alline, La cathÉdrale de Rouen avant l’incendie de 1200 (Rouen, Lecerf fils, 1904); Louise Pillion, Les portails lateraux de la cathÉdrale de Rouen (Paris, Picard et fils, 1907); A. Deville, Tombeaux de la cathÉdrale de Rouen (Paris, Levy, 1881), folio; Camille Enlart, Rouen (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1904); Émile Lambin, “La cathÉdrale de Rouen,” in Revue de l’art chrÉtien, 1900; AbbÉ Julien Loth, La cathÉdrale de Rouen (1879).

Other descriptions of Rouen’s monuments can be found in the general works of Henri Havard, AndrÉ Michel, Louis Gonse, Émile MÂle, Paul Vitry.

Cheruel, Histoire de Rouen sous la domination anglaise au XV^e siÈcle (Rouen, 1840); A. Fallue, Histoire de l’Église mÉtropolitaine et du diocÈse de Rouen (Rouen, 1850), 4 vols.; Ch. de Beaurepaire, Notes historiques et archÉol. concernaut le dÉpartement de la Seine-InfÉrieure (Rouen, Cagniard, 1883); ibid., DerniÈres mÉlanges historiques et archÉol. Seine-InfÉrieure (Rouen, 1909); Cook, The Story of Rouen (London, 1899); Perkins, The Churches of Rouen (London, 1900).

[339] St. Ouen derived its name from the bishop who succeeded St. Romanus and governed Rouen for forty years in the VII century, aiding the founders of JumiÈges, FÉcamp, and St. Wandrille. He had been blessed as a child in his father’s castle near Braine by a passing guest, the Irish missionary, St. Columbanus, and he loved to trace thence his vocation. So rich grew the abbey of St. Ouen that it ruled half the city as temporal lord. In the XV century the English expelled Abbot Jean Richard, a builder of the present nave, to substitute a prelate docile to themselves who sat as judge at Jeanne’s trial. But the pope restored Jean Richard in 1434, and he lived to entertain Charles VII in his monastery when that king came as victor to Rouen in 1449. Vacandard, Vie de St. Ouen (Paris, 1902).

[340] To a Romanesque abbatial of St. Ouen, burned in 1136, belonged the two-storied chapel called the Chambre-aux-Clercs, now set against the northern limb of the transept. In 1318 Abbot Jean Roussel, called Marc d’Argent, began the present abbatial, making its choir and transept in twenty years, as well as one bay of the nave. After a pause, two more bays were finished by 1390. Another cessation of work came during the Hundred Years’ War. Alexander Berneval set up the transept’s south rose (1439), made the pretty southern portal (1441) called after the marmosets decorating it; his son put up the north rose. Both architects repose in the same tomb in the church. Many hold the central lantern (c. 1490) to be a prime success of Flamboyant art. Flame tracery appeared in the XV-century windows, but the Rayonnant first plan was adhered to for the chief lines, so that the church, whose building extended over two centuries, is homogeneous. The abbatial was finished under Abbot Bohier (1491-1515). The Huguenots stripped it of its tombs, and lighted bonfires in the church. In the XIX century was added the mediocre west faÇade.

La Normandie monumentale et pittoresque. Seine-InfÉrieure, p. 105, “St. Ouen”; p. 129, “St. Maclou”; H. Havard, Éd., La France artistique et monumentale, vol. 2, p. 79, “St. Ouen,” L. de Foucaud; p. 85, “St. Maclou”; Dom. Pommeraye, Histoire de l’abbaye royale de St. Ouen (Rouen, 1662), folio; Jules Quicherat, “Documents inÉdits sur la construction de St. Ouen de Rouen,” in Biblio. de l’École des chartes, 1852, vol. 3, p. 454; H. de la BunodiÈre, Notice sur l’Église St. Ouen de Rouen (Paris, 1895); Camille Enlart, “L’architecture gothique au XIV siÈcle,” in Histoire de l’Art (Éd., AndrÉ Michel), vol. 2, partie 2 (Paris, Colin, 1914).

[341] Henry II, the first Plantagenet, made for his own residence the chapel of St. Julien in a faubourg of Rouen, Petit-Quevilly. Simultaneously Romanesque and Gothic, the small edifice is one of the most elegant specimens of Normandy’s XII-century architecture. Only the choir bay has retained the polychrome decoration which once covered the interior. St. Julien’s sexpartite vault has been replaced by a wooden roof.

Doctor Contan, Monographie de St. Julien, Petit-Quevilly, and his account, p. 239, in La Normandie monumentale et pittoresque. Seine-InfÉrieure; Duchemin, Le Petit-Querilly et le prieurÉ de Saint Julien.

[342] The church of St. Sauveur in Petit-Andely, begun in 1215, finished in 1245, contains excellent XIII-century glass. Of the same date are the faÇade, nave, and square-ended choir of Notre Dame at Grand-Andely. Its central tower is of the XV century; the transept is a gem of Flamboyant Gothic. The most brilliant of its windows date from 1540 to 1616. Above the smaller Andely stands ChÂteau Gaillard, the “Saucy Castle,” which Richard the Lion-hearted built in a year. Its capture in 1204 by Philippe-Auguste ended the English resistance in Normandy at that period. Five miles away are the remains of the magnificent chÂteau of Gaillon, where every master of the Renaissance in France was employed. Begun in 1454 by Cardinal d’Estouteville, it was carried forward by Cardinal George I d’Amboise and Cardinal de Bourbon. Its bas-relief of St. George and the dragon is one of the three authenticated works of Michel Colombe. A faÇade of Gaillon is now in the courtyard of the Beaux-Arts at Paris. AbbÉ PorÉe, Guide historique et descriptive aux Andelys; CongrÈs ArchÉologique, 1853; La Normandie monumentale et pittoresque. Eure 1, pp. 147, 163 (Le Havre, 1895); E. A. Didron, “Les vitraux du Grand-Andely,” in Annales ArchÉol., vol. 22.

[343] Opposite the tomb of the d’Amboise cardinals (1513-25), predominantly Gothic in character, is the purely Renaissance monument of Louis de BrÉzÉ (1536-44), seneschal of Normandy, son of the daughter of Charles VII and Agnes Sorel. The kneeling figure on the tomb is the notorious Diane de Poitiers, his widow. The critics say that if the De BrÉzÉ mausoleum is not the work of Jean Goujon, Diane’s favorite sculptor, then there must have been living here an unknown XVI-century master of the first order. Jean Goujon was in Rouen, making the wooden doors of St. Maclou, at that time.

Paul Vitry, Jean Goujon (Collection, Les Grandes Artistes), (Paris, H. Laurens, 1908); Louis Gonse, La sculpture franÇaise depuis le XIV^e siÈcle (Paris, 1895); LÉon Palustre, La Renaissance en France, vol. 1 (Paris, Quantin, 1888), 3 vols.

[344] Camille Enlart, on the origin of Flamboyant Gothic, in the ArchÆological Journal, 1886, and in Histoire de l’Art (Éd. A. Michel), vol. 3, 1^Ère partie (Paris, Colin, 1914); Bulletin Monumental, 1906, vol. 70, pp. 38, 483, 511, the controversy between M. Saint-Paul and M. Enlart, on the origin of Flamboyant Gothic; Anthyme Saint-Paul, L’architecture franÇaise et la Guerre de Cent Ans (1910); ibid., Les origines du gothique flamboyant en France (Caen, 1907).

[345] Charles d’OrlÉans, PoÉsies, Éd. Ch. d’HÉricault (Paris), 2 vols.

[346] St. Maclou, says Mr. F. M. Simpson, expresses the joie de vivre, even as the stiff angular lines of a contemporary style—the English Perpendicular—show the gloom that prevailed in England after the War of the Roses. Cardinal Guillaume d’Estouteville contributed toward St. Maclou, which was dedicated only in 1521, by Cardinal Georges II d’Amboise. Jean Goujon probably made the richly chiseled doors. St. Maclou has XV-century windows; its rose windows are of the XVI century. There is Le Prince glass in the late-Gothic church of St. Vincent, and other XVI-century windows in St. Patrice. AbbÉ Ouin-Lacroix. Histoire de l’Église et de la paroisse de St. Maclou de Rouen (1846); Edmond Renaud, L’Église St. Vincent de Rouen (1885); Arthur Kingsley Porter, Medieval Architecture, vol. 2, pp. 389 to 416, “Flamboyant Gothic Monuments.”

[347] Notre Dame at Caudebec-en-Caud, called by Henry IV “the most beautiful chapel of my kingdom of France,” has its “tiara” united to its shaft by flying buttresses. Other Flamboyant Gothic monuments in Normandy are Louviers’ lacelike portal (1493); churches at Dieppe; the transept of Évreux Cathedral; St. Jacques at Lisieux; St. Pierre at Coutances; Les Andelys, Elbeuf, Gisors, and the joyous festival of stone of Notre Dame at AlenÇon, where the shady north side of the nave is adorned with Old Testament scenes, and the sun-lit southern wall opened by spacious Flamboyant traceries that frame the New Testament; its Jesse tree is unusual. Notre Dame at St. LÔ (which has a Becket window) shows Perpendicular traits. Its west portals are strangely dissimilar, as are its monumental towers. Near FÉcamp, the Estouteville family founded Valmont abbatial (1116) now unroofed save its Lady chapel, in which are splendid tombs, a reredos of the Annunciation that is a gem of XVI-century realism, and a window that inspired EugÈne Delacroix’s palette.

[348] Sir Theodore Andreas Cook, Twenty-five Great Houses of France, chap. 12 (New York and London, 1916).

[349] Flaubert, born in Rouen, 1821, died near the city, at Croisset, in his ancient house that formerly belonged to the monks of St. Ouen. The increased river activities during the World War have encroached on his property. His pupil, Guy de Maupassant, born near Dieppe, was associated with his mother’s city, Rouen, where stands his statue (1853-93). The house of the great Corneille (1636-1709) is near Rouen’s Old Market. Other sons of Rouen were La Salle, the explorer (d. 1687), and the painter GÉricault (1791-1824). Nicholas Poussin (1594-1665) was born at Les Andelys; Jean-FranÇois Millet, near Cherbourg (1814-74); Auber, the composer (1782-1871), at Caen, as was the poet Malherbes (1555-1628). MÉzerai, whose history is considered the best account of the XVI-century religious struggle in France, and his brother, Jean Eudes, founder of the Eudists, were born near Caen. The great seamen, Tourville (1642-1701) and Du Quesne (1610-88), were Normans; so were Laplace, the mathematician (1749-1827), Alexis de Tocqueville (1805-59), Bernardin de Saint-Pierre (1736-1814), Octave Feuillet (1821-90), LÉon Gautier (1832-97), Barbey d’Aurevilly (1808-89), and savants such as Simeon Luce (d. 1892), Gabriel Monod (d. 1912), Albert Sorel, Paul Allard, Leopold Delisle (d. 1910). The latter was led to decipher ancient manuscripts by C. de Gerville, who, with that other Norman, Arcisse de Caumont, was a pioneer in mediÆval archeology.

[350] Jules Quicherat, the archÆologist, was the first to place before the public the records of Jeanne d’Arc’s two trials. He printed (1841-49) five volumes in Latin for the SociÉtÉ de l’histoire de France. Accounts of Jeanne have been written by Wallon (Paris, 1877); Marius Sepet (Tours, 1885); Ayroles, S. J. (Paris, 1902), who dwells much on the nefarious part played by Paris University in her condemnation: SimÉon Luce; G. Hanotaux (Paris, 1911); Petit de Julleville (Les Saints Collection, Paris, Lecoffre, 1907); Andrew Lang (London, 1908): Mrs. Oliphant (Leaders of the Nation Series, New York); D. Lynch, S. J. (New York, 1919); Sarrazin, Jeanne d’Arc et la Normandie au XV^e siÈcle (Rouen, 1896); F. Poulaine, Jeanne d’Arc À Rouen (Paris, 1899); Ch. Lemire, Jeanne d’Arc en Picardie et en Normandie (Paris, 1903); Le P. Denifle et Chatelain, Le procÈs Jeanne d’Arc et l’universitÉ de Paris (Paris); U. Chevalier, L’abjuration de Jeanne d’Arc; C. de Maleissye, “La prÉtendue abjuration de St. Ouen,” in Revue des Deux Mondes, February, 1911, p. 610. The study of Anatole France on Jeanne d’Arc is written from the rationalist standpoint that considers hers a case of hysteria fitted for medical science. No book on Jeanne equals the contemporary records. The report of her two trials in Rouen, and the testimony gathered from end to end of France to vindicate her memory in 1456, have been marshaled and clarified in a skilled legal manner by a magistrate of Rouen: E. O’Reilly, Les deux procÈs de condamnation ... et la sentence de rÉhabilitation de Jeanne d’Arc (Paris, Pion, 1868), 2 vols. This masterly work should be translated into English. It is an example of the right way to write history. For Charles VII see Thomas Basin and Vallet de Viriville.

[351] Boisguillaume, second clerk of the Rouen court in 1431, Manchon’s assistant, testified before the three inquests for Jeanne’s rehabilitation. He drew attention to the fact that all who had been culpable of the Maid’s death had come to a swift or shameful end. Estivet was found dead in a gutter at the gates of Rouen; Loyseleur, the false confessor, was struck down suddenly; Cauchon expired ignominiously. “I call you to judgment before God for what you have done,” rang out Jeanne’s words to these unworthy churchmen on her last day. Nicolas Midi, of the Paris Parliament, who drew up the odious twelve accusations, and who sermonized Jeanne in the Old Market, was stricken with leprosy. A year after the execution died the young Duchess of Bedford, who had inflicted a gross outrage on Jeanne, and her death detached from the English cause her brother, the Duke of Burgundy. Her husband, John of Lancaster, regent-duke, brother of Henry V, died in full youth, three years later, and was buried in Rouen Cathedral. His nephew, Henry VI, was dispossessed of his English crown, imprisoned, and murdered.

[352] “‘Si j’y suis, Dieu m’y tienne; si je n’y suis, Dieu m’y veuille mettre: j’aimerais mieux mourir que de ne pas avoir l’amour de Dieu!’ A cette rÉponse, les juges restÈrent stupÉfaits et rompirent sur-le-champ.”—Testimony of the second clerk of the court, Boisguillaume, in 1450, before the inquest for the rehabilitation.

[353] The Norman, SimÉon Luce, has written of Jeanne: “La Pucelle n’est pas seulement le type le plus achevÉ du patriotisme, elle est encore l’incarnation de notre pays dans ce qu’il a de meilleur. Il y a dans la physionomie de l’hÉroÏne du XV^e siÈcle, des traits qui la rattachent À la France de tous les temps, l’entrain belliqueux, la grÂce lÉgÈre, la gaietÉ prisesantiÈre, l’esprit mordant, l’ironie mÉprisante en face de la force, la pitiÉ pour les petits, les faibles, les malheureux, la tendresse pour les vaincus. De tels dons appartiennent À notre tradition nationale, et la libÉratrice d’OrlÉans les a possÉdÉs À un si haut degrÉ que cette face de son gÉnie a frappÉ tous ses admirateurs.”

[354] The Duke d’AlenÇon testified, in 1455, concerning Jeanne: “I have heard captains who took part in the siege of OrlÉans declare that what passed there touched on the miraculous, that it was no human work. Apart from things of war Jeanne was a simple young girl; but for things of war, wielding the lance, massing the army, preparing the battle, arranging the artillery, she was remarkably skilled. All marveled that she should show the ability and foresight of a captain who had warred for thirty years. Especially in her control of artillery was she admirable.”

Equally convincing is the testimony, in 1455, of the bastard of OrlÉans, the great Dunois: “I believe that Jeanne was sent of God and that her conduct in war was more a divine than a human act.... I heard the seneschal of Beaucaire, whom the king had appointed to watch over Jeanne in the wars, say that he believed there never was a woman more chaste. I heard Jeanne say to the king one day: ‘When I am distressed that credence is not given that it is Heaven has sent me to your aid, I withdraw to a quiet place and I pray and complain to God, and, my prayer finished, I hear a voice saying, “Fille DÈ, va, va, va! Je serai À ton ayde, va!” ‘And in repeating what the voice said, Jeanne was—an extraordinary thing—in a marvelous ravishment, in a sort of ecstasy, her eyes lifted to heaven.” E. O’Reilly, Les deux procÈs de condamnation et la sentence de rÉhabilitation de Jeanne d’Arc (Paris, Plon, 1868), vol. 1, pp. 153, 156, 200, 214, 2 vols.

[355] Testimony of Isambeau de la Pierre, in 1450, before the inquest for the rehabilitation: “Je la vis ÉplorÉe, son visage plein de larmes, dÉfigurÉe et outragÉe en telle sorte que j’en eus pitiÉ et compassion.”

[356] CongrÈs ArchÉologique, 1858, 1870, and 1908, p. 300, Louis Serbat; AbbÉ V. Hardy, La cathÉdrale St. Pierre de Lisieux (Paris, Impri. Fazier-Saye, 1917); La Normandie monumentale et pittoresque. Calvados, pp. 91, 103, “Lisieux,” AbbÉ Marie (Le Havre, Lemale et Cie, 1875); Ch. Vasseur, Études historiques et archÉologiques sur la cathÉdrale de Lisieux (Caen, 1891); Émile Lambin, “La cathÉdrale de Lisieux,” in Revue de l’art chrÉtien, 1898, vol. 45, p. 448; A. de Caumont, Statistique monumentale du Calvados (Caen, 1867), vol. 5, p. 200; V. Ruprich-Robert, L’architecture normande au XI^e et XII^e siÈcles (Paris, 1897), 2 vols.; H. de Formeville, Histoire de l’ancien ÉvÊche-comtÉ de Lisieux (Lisieux, 1873), 2 vols.; Histoire littÉraire de la France, vol. 14, p. 304, “Arnoul, ÉvÊque de Lisieux” (Paris, 1817); A. Sarrazin, Pierre Cauchon, juge de Jeanne d’Arc (Paris, 1901). Other studies of the judges of Jeanne d’Arc, by Fabre (Paris, 1915), and Ch. Engelhard (Le Havre, 1905).

[357] The murdered Duke of OrlÉans, a son of the art-loving Valois king, Charles V, built the chÂteaux of La FertÉ-Milon, on the Oureq, and Pierrefonds, in the forest of CompiÈgne, in the courtyard of which latter stands his equestrian statue. His sons were the poet-duke, Charles d’OrlÉans, and Dunois, his acknowledged bastard, the chief instrument in ridding France of her invaders. Two grandsons of the builder of Pierrefonds ascended the French throne, Louis XII and Francis I, and those who undertake an architectural journey over France will soon become familiar with the porcupine of the one and the salamander of the other. Sir Theodore Andreas Cook, Twenty-five Great Houses of France (New York and London, 1916); Viollet-le-Duc, Dictionnaire de l’architecture, on Pierrefonds.

[358] A professor in a Norman college, Joseph Lotte, who fell on the field of honor at Arras, in December, 1914, thus apostrophized the “Little Flower” of Lisieux: “EnrÔlez-nous, petite soeur cÉleste! EnrÔlez-nous sous vos banniÈres. Nous avons battu bien des pays, couru bien des aventures, dissipÉ bien des dons: il nous reste la fidÉlitÉ. Nous serons derriÈre vous les vieux routiers qui escortaient Jeanne d’Arc. Notre France ne veut pas mourir. Apprenez-nous À aimer. Il faut qu’un tel amour monte de nous À Dieu qu’il tourne À nouveau sa face vers notre terre de France et, retrouvant son peuple, dÉcide de le sauver. Mais ne l’a-t-il pas dÉjÀ dÉcidÉ, puisqu’il vous a envoyÉe?” P. Pacary, Un compagnon de PÉguy, Joseph Lotte; pages choisies (Paris, J. Gabalda, 1916).

[359] CongrÈs ArchÉologique, 1864, 1889, and 1908; AbbÉ Jules Fossey, Monographie de la cathÉdrale d’Évreux (Évreux, 1898); AbbÉ ForÉe, Les clÔtures des chapelles de la cathÉdrale d’Évreux (Évreux, HÉrissey, 1890); A. J. de H. Bushnell, Storied Windows (New York, Macmillan, 1914); N. H. J. Westlake, A History of Design in Painted Glass (London, Parker & Co., 1881); La Normandie monumentale et pittoresque. Eure, vol. 1, p. 1, Évreux; p. 31, Conches; p. 61, Verneuil; p. 89, TilliÈres; p. 93, Nonancourt; p. 119, Vernon; p. 147, Les Andelys; p. 191, Gisors; vol. 2, p. 1, Louviers; p. 23, Gaillon; p. 97, Pont-Audemer; p. 63, Pont-de-l’Arche: p. 183, Bernay; p. 221, Bec-Hellouin; p. 245, Beaumont-le-Roger. In most of these churches the colored windows are remarkable.

[360] The son of that union was the trouvÈre poet, Thibaut IV of Champagne and I of Navarre, of which latter domain he was chosen king in 1234, on the death of his mother’s brother, Sancho, the chief victor of Las Navas de Toloso. His niece, Jeanne, inheriting both Champagne and Navarre, united them with the royal domain by her marriage to Philippe le Bel. Three of her sons ruled successively as kings of France, and then the Valois branch—sprung from a brother of Philippe le Bel—came to the throne. Whereupon the Navarrese elected, as their ruler, the Count of Évreux, who had married a daughter of Jeanne’s. His son was Charles the Wicked (1319-87), Count of Évreux, king of Navarre, who in turn was succeeded by his son, Charles the Noble (1387-1425). One and all of them were linked with the architectural story of France: at Troyes, Provins, Meaux, Mantes, and Évreux Cathedral.

[361] In Normandy, glass of the XIV century is to be found in the cathedrals of SÉez and Coutances, at Carentan, Pont-de-l’Arche, Nesle-St.-Saire, and in Rouen’s big abbatial. Elsewhere in France there are XIV-century windows at Mantes, Beauvais, Amiens, Dol, Limoges, Toulouse, Bordeaux, Narbonne, BÉziers, Carcassonne (in St. Nazaire), Chartres (in St. Pierre), and Poitiers (in Ste. RadÉgonde). In St. Urbain’s at Troyes is some of the earliest glass of this century.

[362] Normandy’s XV-century glass, besides that of Évreux’ Lady chapel, can be studied at Rouen, in the cathedral, and the churches of St. Ouen and St. Maclou, at Caudebec, Bernay, Vereuil, Beaumont-le-Roger, St. LÔ, Carentan, Falaise, Pont-Audemer, Bayeux, and Coutances. Elsewhere in France glass of this period can be seen in Amiens Cathedral, in the VendÔme chapel of Chartres, in the choir of Moulins, in the north transept of Le Mans, and the windows presented to Bourges Cathedral by the Duke of Berry and Jacques Coeur. There is also XV-century glass at Clermont-Ferrand, Eymoutiers, Riom, in some of the churches of Paris, such as St. SÉvÉrin, and in Brittany, at Dinan, PlÉlan, Les Iffs, and in Quimper Cathedral. Windows of the XVI century abound in Normandy. The most imposing array is near Évreux, at Conches, whose church of Ste. Foi is on no account to be missed. AldÉgrevier, a pupil of Albert DÜrer, designed the seven tall apse windows, about 1520. There are eighteen other lights (1540-53), very Raphaelesque in type; the Pressoir window and the apotheosis of the Virgin are typical of that heated hour of controversy. Andre Michel, Éd., Histoire de l’art, vol. 4, 2{Ème} partie, “Le vitrail franÇais au XV{e} et au XVI{e} siÈcle,” Émile MÂle; A. Bouillet, L’Église Ste. Foi de Couches (Eure) et ses vitraux (Caen, H. Delesque, 1889).

[363] V. Ruprich-Robert, La cathÉdrale de SÉez (Paris, Morel, 1885); AbbÉ L. V. Dumaine, La cathÉdrale de SÉez, son histoire et ses beautÉs (SÉez, 1894); H. TournouËr, “La cathÉdrale de SÉez,” in Bulletin de la Soc. hist. et archÉol. de l’Orne, 1897; Marais et Beaudouin, Essai hist. sur le cathÉdrale et le chapitre de SÉez (AlenÇon, 1878); Robert Triger, “La cathÉdrale de SÉez,” in Revue hist. et archÉol. du Maine, 1900, vol. 47, p. 287; De la SicotiÈre et Poulet-Malassis, Le dÉpartement de l’Orne, archÉol. et pittoresque (Laigle, Beuzelin, 1845), folio; La Normandie monumentale et pittoresque. Orne, p. 101, on SÉez, AbbÉ Barret; p. 1, St. Germain at Argentan, with a central lantern and elaborate late-Gothic porch; p. 41, Notre Dame at AlenÇon; p. 77, St. Évroult-de-Montfort, a late-XI century abbatial; p. 245, the monastery of La Trappe, in SÉez diocese, established in 1122, and reformed in 1662 by the noted AbbÉ de Rancy.

[364] St. Gervais, at Falaise, has a good Romanesque tower consecrated in the presence of Henry I of England. The nave’s southern pier arcade is Romanesque, but the arches on the north side were reconstructed as Gothic at the same time that the vaults were redone during the XIII century. See CongrÈs ArchÉologique, 1848, 1864, and 1908, p. 367; Louis RÉgnier, “Falaise et la vallÉe d’Auge,” in Annuaire normand, 1892; Langevin, Recherches historiques sur Falaise; Meriel, Hist. de Falaise (1889); Black, Normandy and Picardy, Their Castles, Churches, and Footprints of William the Conqueror.

[365] CongrÈs ArchÉologique, 1853 and 1908, vol. 1, p. 145; Henri Prentout, Caen et Bayeux (Collection. Villes d’art cÉlÈbres), (Paris, H. Laurens); AbbÉ Lelieve, Bayeux, la cathÉdrale, les Églises (Bayeux, Deslandes, 1907); Jean Vallery-Radot, La cathÉdrale de Bayeux, ThÈse: École des chartes (1911); De Dion et Lesvignes, La cathÉdrale de Bayeux (Paris, A. Morel et Cie, 1861); Rev. R. S. Mylne, The Cathedral of Bayeux (London, 1904); Chigonesnel, Histoire de Bayeux (1867); Paul de Farcy, Abbayes du diocÈse de Bayeux (Laval, 1886-88), 3 vols, (on Cerisy-la-ForÊt, etc.); Arcisse de Caumont, Statistique monumentale du Calvados (Caen, F. Le Blanc-Hardel, 1898); G. Bouet, “Clochers du diocÈse de Bayeux,” in Bulletin Monumental, vol. 17, p. 196; vol. 23, p. 362; vol. 25, 1859, p. 165; vol. 49, p. 465; Engerand, “La sculpture romane en Normandie,” in Bulletin Monumental, 1904; Histoire littÉraire de la France, vol. 13, p. 518, “Robert Wace, chanoine de Bayeux, historien-poÈte”; V. Bourrienne, in Revue catholique de Normandie, on the bishops Odo de Conteville and Philippe d’Harcourt, vii to x, xviii to xxiii.

[366] The term Romanesque was put into usage by the archaeologist, Arcisse de Caumont (1802-73), to whom Bayeux has erected a statue. He also originated the useful term “Flamboyant.” His Norman Society of Antiquarians was a pioneer in the study of mediÆval monuments. Another son of Bayeux, honored by a statue, is the poet, Alain Chartier (1386-1449), who lived to see his master, Charles VII, the conqueror of Normandy.

[367] A. LevÉ, La tapisserie de Bayeux (Paris, H. Laurens, 1919); Hilaire Belloc, The Bayeux Tapestry (London and New York, 1914); J. R. Fowke, The Bayeux Tapestry (London, G. Bell, 1898); Lefebvre des Mouettes, in Bulletin Monumental, 1912, p. 213; 1903, p. 84.

[368] Chaucer, Canterbury Tales, “Prologue.”

[369] CongrÈs ArchÉologique, 1883; and 1908, p. 247, “La cathÉdrale de Coutances,” E. LefÈvre-Pontalis, also published separately by H. Delesques, Caen, 1910; AbbÉ E. H. PigÉon, Histoire de la cathÉdrale de Coutances (Coutances, Salette fils, 1876); Alfred RamÉe, “CathÉdrale de Coutances,” in Revue des Soc. Savantes, 1880, p. 94; A. de Dion, in Bulletin Monumental, 1884, vol. 50, p. 620; 1865, p. 509, G. Bouet; 1872, p. 19, Regnault; Gabriel Fleury, in Revue ... archÉol. du Maine, 1909, on the architect, Thomas Toustain; Regnault, Revue monumentale et historique de l’arrondissement de Coutances (St. LÔ, 1860); C. de Gerville, “Recherches sur les abbayes de la Manche,” in MÉm. de la Soc. des Antiquaires de Normandie, vol. 2, p. 77; ibid., Études gÉographiques et historiques sur le dÉpartement de la Manche (Cherbourg, 1854).

[370] Near Hauteville-sur-mer are the ruins of Hambye Abbey, whose destruction was an irreparable loss for art, since its church was Primary Gothic. On the road from Coutances to Cherbourg is the abbatial of Lessay (a contemporary of St. Étienne at Caen), said by M. Arcisse de Caumont to be one of the purest models of Norman Romanesque, an austere monument of the XI-century type. Differences in the pier’s profiles show where, in the nave, the XII century resumed work. In this latter period Gothic ribs were prepared for from the planting of the piers, but the actual diagonals of the nave were built in the XIII century. Mr. John Bilson claims that the Gothic ribs of the two sections preceding the apse are of the XI century, which again brings up the controversy of priority in the use of diagonals.

The Cistercian church of La Blanche at Mortain was another abbatial of the Manche, dedicated in 1206. At Cerisy-la-ForÊt the abbey church was begun (c. 1130) by the FÉcamp school of William of Volpiano, continued by Duke Robert the Magnificent, and finished by his son William the Conqueror. The nave was built from west to east in the last quarter of the XI century, the apse slightly after 1100, the actual vaulting a century later. The religious wars and the Revolution sacked the abbatial; in 1811 its demolition was still going on.

CongrÈs ArchÉologique, 1908, p. 242, “Lessay,” LefÈvre-Pontalis; p. 553, “Cerisy-la-ForÊt,” AndrÉ Rhein; CongrÈs ArchÉologique, 1860, on Cherbourg; La Normandie monumentale et pittoresque. Manche, p. 173, “Lessay”; p. 1, “St. LÔ”; p. 51, “Carentan”; p. 73, “Cerisy-la-ForÊt”; p. 153, “Hambye”; R. Le Conte, Études hist. et archÉol. sur les abbayes bÉnÉdictines en gÉnÉral, et sur celle de Hambye en particulier (Bernay, 1890).

[371] Camille Enlart, L’influence extÉrieure de l’art normand au moyen Âge; ibid., Origines franÇaises de l’architecture gothique en Italie (Paris, Thorin, 1894); Ch. Diehl, Palerme et Syracuse (Collection, Villes d’art cÉlÈbres), (Paris, H. Laurens, 1907); Miss C. Waern, Medieval Sicily (London, 1910); Émile Bertaud, L’art dans l’Italie mÉridionale; F. Chalandon, Histoire de la domination normande en Italie et en Sicile (Paris, 1907); E. Curtis, Roger of Sicily (New York, 1912).

[372] Doctor Coutan, La cathÉdrale d’Avranches (Rouen, Cagniard, 1902); La Normandie monumentale et pittoresque. Manche, vol. 2, p. 65, “Avranches.”

[373] Anatole Le Braz, La Bretagne (Collection, Les provinces franÇaises), (Paris, H. Laurens); ibid., Histoire de Bretagne (Collection, Les vieilles provinces de France), (Paris, Bouvin); ibid., Au pays des pardons (translated, London, Methuen, 1906); AbbÉ J. M. Abgrall, Architecture bretonne; Études des monuments du diocÈse de Quimper (Quimper, 1904); ibid., Paysages et monuments des CÔtes-du-Nord; Gautier du Mottay, RÉpertoire archÉol. des CÔtes-du-Nord; H. du Cleuziou, Bretagne artistique et pittoresque (Paris, 1886); Bulletin de la Soc. archÉol. du FinistÈre, 1901, vol. 28, p. 264, “Le vieux Morlaix”; and 1902, vol. 30, p. 24, “Le vieux QuimperlÉ”; A. de Lorme, “L’art breton du XIII^e au XVII^e siÈcle,” in Bulletin de la Soc. archÉol. du FinistÈre, 1901, vol. 28, p. 264; Taylor et Nodier, Voyages pittoresque ... dans l’ancienne France, La Bretagne (Paris, Didron, 1845-46), 2 vols.; AndrÉ, La verrerie et les vitraux peint dans l’ancienne province de Bretagne (1878); LÉon Palustre, La Renaissance en France, vol. 2, “La Bretagne” (Paris, Quantin, 1885), 3 vols., folio; De la Borderie, Histoire de Bretagne, vol. 3, from 995 to 1364, and vol. 4, from 1364 to 1522 (Rennes, 1896-1900); ibid., MosaÏque bretonne (Rennes, Plihon et HervÉ); De la VillemarquÉ, Éd., Barzas-Breiz; chants populaires de la Bretagne, ninth edition (1892), 2 vols.; F. M. Luzel, Gwerziou Briez-Izel (epics) and Soniou (lyrics), (Lorient, 1868-74), 3 vols.; SimÉon Luce, Histoire de Bertrand Duguesclin et de son Épogue (1883); Leroux de Lincy, Vie de la reine Anne de Bretagne (1860); A. Robida, La veille France, Bretagne (Paris, 1891).

[374] Edmond Rostand, “Le nom sur la maison,” in Le vol de la Marseillaise (Paris, Charpentier et Fasquelle, 1919).

[375] A son of Morlaix, Émile Souvestre (1806-54), has written lovingly of Brittany: “Il y a quelque chose de bien supÉrieure À la louange; la conscience que l’on a ÉtÉ compris et que l’on est aimÉ pour son oeuvre. AimÉ pour son oeuvre! Je sais mieux que personne ce qui manque À ce que j’Écris. Il faut quelque chose d’ondoyant. J’appartiens À cette terre Celtique oÙ les monuments sont des pierres non taillÉes.”

[376] “Campagnes bretonnes, qu’on dirait toujours recueillies dans le passÉ ... grandes pierres qui couvrent les lichens gris ... plaines oÙ le granit affleure le sol antique.... Ce sont des impressions de tranquillitÉ, d’apaisement, que m’apporte ce pays; c’est aussi une aspiration vers un repos plus complet sous la mousse.”

—Pierre Loti, Mon frÈre Yves.

[377] The men of St. Malo have been pioneers under one aspect or another, sea rovers, like Duguay-Trouin, Surcouf, or Jacques Cartier, who, in 1535, knelt in the cathedral, where an inscription marks the pavement, to receive episcopal blessing before he sailed to discover Canada. Other sons of St. Malo have been the astronomer, Maupertius (1698-1756); Lamennais (1782-1854); and Chateaubriand (1768-1848), who chose for his burial the barren island of Grand BÉ, offshore.

[378] “Quiqu’en grogne, Ainsi sera: C’est mon plaisir.”

[379] AndrÉ Rhein, “La cathÉdrale de Dol,” in Bulletin Monumental, 1910, vol. 74, p. 367; A. RamÉ, “La cathÉdrale de Dol; tombeau de l’ÉvÊque Thomas James,” in MÉlanges d’archÉologie bretonne, 1858, vol. 2, p. 10; T. Gautier, La cathÉdrale de Dol; Ch. Robert, Guide de tourist archÉologique À Dol (Dol-de-Bretagne, 1892); LÉon Palustre, La Renaissance en France, vol. 2, “La Bretagne,” p. 87, on Dol (Paris, Quantin, 1885); Paul Vitry, Michel Colombe et la sculpture franÇaise de son temps (Paris, 1901); A. de Montaiglon, “La sculpture franÇaise À la Renaissance: la famille des Juste en France,” in Gazette des Beaux-Arts, 1875, vol. 12, p. 394.

[380] CongrÈs ArchÉologique, 1856 and 1886; Guilhermy, “Monuments des bords de la Loire; Nantes,” in Annales archÉol., 1845, vol. 2, p. 87; J. Montfort, “La crypte de la cathÉdrale de Nantes,” in Bulletin Monumental, 1884, vol. 50, pp. 368, 449; Paul Vitry, Michel Colombe et la sculpture franÇaise de son temps (Paris, 1901); Lambin de Lignum, Recherches historiques sur l’origine et des ouvrages de Michel Colombe; Benj. Fillon, Poitou et VendÉe (1846); Travers, Histoire ... du comtÉ de Nantes, 3 vols.

[381] FÉlix Soleil, La danse-macabre de Kermaria-an-Isquit (St. Brieuc, 1882); Émile MÂle, L’art religieux de la fin du moyen Âge en France, chap. 2, “La danse macabre” (Paris, Colin, 1910); Lucien BÉgule, La chapelle de Kermaria Nisquit et la danse des morts (Paris, 1911); AbbÉ J. M. Abgrall, Le mobilier artistique des Églises bretonnes (Quimper, Cotonnec, 1898).

[382] R. F. Le Men, Monographie de la cathÉdrale de Quimper (Quimper, 1877); AbbÉ J. M. Abgrall, “Autour du vieux Quimper,” in Bulletin de la Soc. archÉol. du FinistÈre, 1901, vol. 28, p. 79; ibid., L’architecture bretonne, Étude des monuments du diocÈse de Quimper (1882); Thomas, La cathÉdrale de Quimper (1892); P. Peyron, “Les Églises et chapelles du diocÈse de Quimper,” in Bulletin de la Soc. archÉol. du FinistÈre, vol. 20, pp. 129, 451; vol. 31, pp. 18, 216, 304; vol. 32, p. 183.

[384] CongrÈs ArchÉologique, 1883, on TrÉguier; Ch. de la Ronsiere, Saint Yves (Collection, Les Saints), (Paris, Lecoffre, 1901); Ernest Renan, Souvenirs d’enfance (1883).

[385] Émile MÂle, L’art religieux au XIII^e siÈcle en France, p. 442 (Paris, Colin, 1908). (Trans. by Dora Mussey, London, Dent & Sons, New York, Dutton, 1913).

[386] “Un tel art ne pouvait Être effleurÉ par le doute. L’art et la poÉsie qui Émeuvent sortent du coeur et d’une rÉgion obscure oÙ la raison n’a pas accÈs. L’artiste qui examine, juge, critique, doute, concilie, a dÉjÀ perdu la moitiÉ de la force crÉatrice.”—Émile MÂle, L’art religieux de la fin du moyen Âge en France (Paris, Colin, 1910).

“Art addresses not pure sense, still less the pure intellect, but the imaginative reason through the senses.”—Walter Pater.

[387] “Hier, pendant son congÉ de vingt-quatre heures, j’ai rencontrÉ le fils d’une pauvre femme de la campagne, un ouvrier que j’aime bien depuis longtemps. Quand je l’ai quittÉ, et que je lui ai dit: ‘Bonne chance, Marcel,’ il m’a regardÉ de ses yeux sans reproche, et il m’a rÉpondu: ‘D’un cÔtÉ ou de l’autre, je ne crains rien.’ Et cela voulait dire: la vie la mort? Qu’importe! je suis prÊt. Qu’est ce que tout cela. C’est la chanson de geste qui continue: c’est la croisade qui n’est point finie, c’est Dieu transparaissant À travers la France purifiÉe.”—An episode to the World War, 1914: RenÉ Bazin, Les Preux.