1Since these words were written that country has seen another harvest time; the fields have been ploughed with the trenches of armies and harrowed by the bomb and bullet: Street’s record of what men saw fifty years ago has grown precious for us who shall never see it more.

2Your man of genius has run ahead of fashion by forty years. This description reads like the account of a house finished last week somewhere up the River or on the Main Line.

3Note from the sketch-book: Tournus has a fine Romanesque church with one complete and one unfinished steeple at the west end and another complete steeple on the north side in about the position (I think) of a transept. These two steeples have two arcaded stages of about equal height above the roof and are finished with square tiled spires in a very characteristic manner. (These square spires seem to be of very frequent occurrence in this district.) Just in front of the church are two round towers which seem to form a gateway and the space between the western steeples of the church is finished horizontally with a crenelated parapet on a machicoulis—the battlements pierced with openings of this kind ?—the whole looks as though done with a view to defence.

4General de Boigne, d. 1830.—G.G.K.

5These must be those now given to Cavallini and his school; and Street’s taste comes out right where knowledge was a-wanting.—G.G.K.

6If Street did not know the name, how should the editor?—G.G.K.

7This will be Messer Cino—of Dante and Mr. Hewlett.—G.G.K.

8Eastern? queries Street in pencil.

9Attributed to Jacopo della Quercia; it is not hard to divine why, when Donatello had failed to satisfy, Jacopo should offend.—G.G.K.

10Qy.: S. Vincent?—G.G.K.

11The same ornamentation appears in the doorways opening out of the Great Cloister at Las Huelgas (province of Burgos, Spain).—G.G.K.

12The plan of six-foot cubicles, open above, with separate windows but a single lofty roof, carried on immense stone arches spanning the vast hall, is that of the great dormitory at the Cistercian abbey of Poblet, in CataluÑa.—G.G.K.

13Our ancient sculpture is therefore of inexpressible value to us; and it is to be hoped that we shall hear less and less of that destructive and dangerous process called “restoration” in connection with it. The Guardian lately contained a paragraph stating that a London carver is employed on the restoration of the ancient figure-sculpture at Lincoln. I shudder to think of the havoc which (if I may judge of him by the former performances of his class) he must be making. If the Dean and Chapter of Lincoln possessed a picture by an old master, would they employ a painter to touch up the noses and put in new heads where the old painting was defective? Assuredly not. And can they not feel that any sculpture is just as much a work of art, owing all its interest to the genius of the artist, as any painting can be, and as far beyond restoration therefore?

14I am, of course, aware that some of these churches are not locally situated within the Île de France, and one of them—Rouen Cathedral—might have been expected to be purely Norman in its character. To my mind, however, it represents a fusion between the Norman and the real French style, affected, moreover, at first to some extent by Italian influences. And Rouen, as well as most of these churches, was comprised within the Domaine Royale before the death of Philip Augustus.

15The plan of an aisle or “procession-path” without chapels is, in execution, the only form of apse, the effect of which is decidedly inferior to our English square ends. It is on the exterior that its deformity is most conspicuous.

16The chapels round the apse of Senlis Cathedral form an intermediate link between the two plans at S. Leu. They form exactly half a circle on plan, and have only two bays, one of which is lighted with a window. Externally they have stone roofs, finishing under the triforium windows. These two churches should be studied and compared together.

17No one who visits S. Leu should omit to go also to Senlis. He will find a tower and spire of unusual—if not unique—beauty and elegance. There are two fine desecrated churches, and other remains which, with the charming cathedral, make a tout ensemble not easily forgotten. It is a walk of about six miles only from S. Leu—passing by Chantilly.

18I copied the following from the “Tariff” of the seats in S. Étienne:—

“Une stalle haute par annÉe, 8 fr.
Une stalle basse par annÉe, 5 fr.
Les deux premiers bancs À chaque cÔtÉ du choeur, 8 fr.
Les deux centres bancs derriÈre l’autel, 7 fr. 50 c.”

19See the Illustration of a Wheel of Fortune in Les Arts Somptuaires, Vol. II., taken from a MS. in the Bibl. Imp., No. 6877.

20This work recalls to mind the work of the same character at Glastonbury.

21It is sometimes called also the “Sainte Chapelle” of S. Germer: I know not, however, on what grounds. M. Viollet-le-Duc does not mention it in his list of S. Chapelles.

22There is some reason for believing that the Lady-chapel of S. Germain-des-PrÉs was groined with sexpartite vaulting: if so, it differed from the other chapels in this respect.

23P. 365.

24These groined triforia are called tribunes by the French antiquaries. At Montierender, where both occur, the upper stage is more than usually similar to our English triforia; and in all these cases it would perhaps be best to accept the French terminology as being substantially correct. The tribune is, in fact, a second stage of the aisle.

25The abbey church of Longpont was dedicated in A.D. 1227, in the presence of S. Louis. Its value as a dated example is therefore considerable, independent of its high architectural interest.

26Dictionnaire, Vol. II. p. 309.

27The arrangement of these gables recalls to mind the very similar arrangement at Salisbury and Lincoln.

28The autumn of 1860. The original paper, which has undergone considerable revision since it was read on 7th January, 1861, will be found in the First Series of Transactions, 1860–61, pp. 97–119.—A.E.S.

29I give an extract from “La Estoire de Seint Edward le Rei,” MS. Bibl., Publ. Cambridge. Ee iii. 59:

This is the rubric descriptive of the illustration, whilst in the poem itself is the following passage:

30L’Auvergne au Moyen Age, by M. Dominique Branche. Clermont-Ferrand, 1842.

31The steps are arranged in successive groups of eleven, with platforms between them.

32As evidence of the popularity of Notre Dame du Puy this may suffice:—in Amiens cathedral, until A.D. 1820, there existed a series of pictures given by the “ConfrÈrie de Notre Dame du Puy.” A similar confrÈrie existed at Limoges.—G.E.S. There is an image and a devotion of N.D. du Puy at Estella in Navarre, carried thither by French pilgrims.—G.G.K.

33The passage to the right is evidently modern, that to the left looks as though it were ancient, but a protest against the removal of some ancient work, in the course of constructing it, which I have found in the Bulletin Monumental [A. de Caumont], seems to show that it is not so.

34S. Martin d’Ainay, at Lyon, is a parallel triapsidal church, with a central dome, and a western tower of unusual and picturesque outline, adorned largely with inlaid tiles and bricks.

35At present the exterior of the lantern is covered with a domical roof; but an illustration that I have seen shows it finished with a low-pitched tile roof, and without any of the inlaid mosaic which is now upon it.

36The division of the building into work done at various epochs is beyond question, though there may be some question as to the date I assign.

37MÉrimÉe, Notes d’un Voyage en Auvergne, p. 226.

38See Viollet-le-Duc (Dictionnaire, art. “Clocher,” pp. 312–18) for a reference to this influence of the Rhine churches.

39M. Viollet-le-Duc considers the earliest part of the cloister to date from the tenth century; M. MÉrimÉe thinks the eleventh century more likely.

40The MaÎtrise was, I believe, the school attached to the cathedral.

41MÉrimÉe, Notes d’un Voyage en Auvergne, p. 232.

42It is very difficult to understand precisely where these hangings were found. M. Aymard, a distinguished antiquary at Le Puy, in the Album Photographique d’ArchÉologie Religieuse, speaks of the painting on the wall of the Salle des États, and then, in another place, says that the tapestries given by Jean de Bourbon served to decorate the Salle des États of Velay, and after the regrettable destruction of that hall the remains of them were preserved part in the cathedral and part in the museum. Possibly he refers to the removal of the floor below the Salle des États, for the hall itself has not been destroyed.

43M. Mallay, of Clermont, says that the mosaic work of the church of Notre-Dame-du-Port, Clermont, was all set in red mortar originally.

44See further observations on this subject, page 223.

45The predecessor in the See, Stephen II., uncle of Bishop Peter I., was buried at Lavoulte-Chilhac.

46A diploma of A.D. 1146 is dated from the “Ville d’Anis” (i.e. Le Puy) and fixes the date at which this “citÉ” received the name of “ville.”

47See M. Aymard’s Album Photographique d’ArchÉologie Religieuse, and a communication from the same gentleman in the Bulletin ArchÉol. vol. ii. p. 645. M. Aymard mentions one other example, a diptych, figured in Montfaucon (L’AntiquitÉ ExpliquÉe) vol. iii. p. 89, which dates from about A.D. 900. The hand at Le Puy is larger than life, and has a double nimbus round it, the inner yellow, the outer dark red; the hand is white and the ground within the nimbus dark blue. The Secretary of the ComitÉ Historique des Arts et Monuments considers that this representation of the Greek mode of giving the benediction makes it certain that the work at Le Puy is Byzantine in its origin. But one may, I think, be allowed to doubt whether this conclusion is to be absolutely depended on.

48M. Aymard. See footnote on preceding page.

49The spire-lights in the cathedral steeple are very similar, and the same form is seen in the steeple of the church of S. Marie des Chases, in Auvergne.

50Also the octagonal church, surrounded by an octagonal cloister, of the Templars at Eunate in Navarre, and the church of Vera Cruz at Segovia.—G.G.K.

51The elevation of one bay of the nave of this church is almost exactly the same as that of S. Petronio, Bologna, though of course on a very reduced scale. The plan is Italian also, the nave groining-compartments being square, whilst those of the aisles are very oblong; the contrary arrangement is, as I need hardly say, almost invariable in northern Gothic plans.

52The cathedral of Clermont-Ferrand, a fine fourteenth-century church, is said to have been originally on the same plan as Notre-Dame-du-Port; excavations have proved this to have been the case. The present cathedral is almost precisely similar in plan to those of Narbonne and Limoges (see Viollet-le-Duc, Dictionnaire), and is said to have been commenced in A.D. 1248 by Bishop Hugues de la Tour.

53I give a list of some of the churches which either belong to or illustrate the Auvergnat type, with their dates, as nearly as I can ascertain them:—Conques, completed by A.D. 1060. S. Étienne, Nevers, commenced A.D. 1063, consecrated A.D. 1097. S. Eutrope, Saintes, consecrated in A.D. 1096. S. GenÉs, A.D. 1016-A.D. 1120. S. Front, PÉrigueux, A.D. 984 to A.D. 1047. AngoulÊme, A.D. 1109–1136. Fontevrault, A.D. 1100. S. Hilaire, Poitiers, A.D. 1049; Moustier-neuf, ditto, A.D. 1069–1096; S. Radegonde, ditto, A.D. 1099. Riom (S. Amable), A.D. 1077–1120. S. Sernin, Toulouse, circa A.D. 1150. Cluny, commenced A.D. 1089; consecrated A.D. 1131. Dorat (Hte. Vienne) and BÉnÉvent (Creuse), circa A.D. 1150–1200. S. Germain-des-PrÉs, Paris, consecrated A.D. 1163. Le-MoÛtier (suburb of Thiers), A.D. 1016. S. Saturnin, Volvic, Issoire, S. Nectaire, N.-D.-du-Port, Clermont, circa A.D. 1080–1160. Brioude, circa A.D. 1200. Orcival.

54St. Gregory of Tours (Hist. Francorum) says that in A.D. 440 a church was erected in Clermont by the Bishop Namacius, 150 feet in length, 60 feet wide, 50 feet high from the seat of the bishop to the vault; a circular gallery surrounded the choir, and on each side were two aisles elegantly constructed. The church was in the form of a cross, had 42 windows, 70 columns, and 8 doors.—L’Auvergne au Moyen Age.

55S. Hilaire at Poitiers and AngoulÊme cathedral have only four chapels.

56At Mozat is a magnificent shrine of copper, enamelled, and at S. Nectaire a variety of precious relics, crosses, reliquaries, and the like, of which M. MÉrimÉe has given a list.

57See M. Mallay’s Essai sur les Églises Romanes et Romano-Byzantines du dÉpartement du Puy-de-DÔme. Moulins, 1838.

58St. Mark’s, Venice, was commenced in A.D. 977.

59Plans (to a uniform scale) of S. Mark’s Venice, and of S. Front, PÉrigueux, are given in Transactions, Vol. IV. n.s. Illustn. xxviii., pp. 172–173.

60Mr. Fergusson gives a section of a church at Granson on the Lake of NeufchÂtel, in which the aisles and nave are roofed in the same way as at Conques and in the Auvergne churches. He says that the date of this church is the end of the eighth or beginning of the ninth century, but I do not know what his authority for this very early date is.

61The Abbaye-aux-Hommes, Caen, has its aisles roofed with transverse barrel-vaults.

62I ought to mention that this dome and the western part of S. Julien at Brioude are much older than the choir, to which I have before referred in speaking of the date of the church.

63This qualification is necessary, for the curious evidence which M. Verneilh has given of the existence in the tenth century of a Venetian colony at Limoges would be enough to make it probable that, though S. Front is the earliest complete example extant of a French domed church, others may have been built before it and that some of those which M. Verneilh supposes to have been derived from S. Front may really have been derived more directly from the East.

64There is no end to the diversity of the countries in which they are found. In the cathedral at Worms there are squinches formed by semi-domes. In S. Nicodime at Athens they are identical with those of S. Étienne at Nevers, and the same form is repeated in the domical vault of the steeple at Auxerre cathedral. At Notre-Dame-du-Port, Clermont, the dome is circular, but the squinches below are octagonal in plan, and the circle (which is not, however, a true circle) is set upon the octagon.

65This statement must of course be made with caution, inasmuch as the invariable whitewashing of the interior makes it very difficult to say what was the exact nature of the decorations with which they were adorned.

66The subject of this paper, the probable identity of the architect of S. Mary’s with that of Westminster, interested Street greatly, and he refers to it often. The careful description of conscientious restoration has an interest for us as well. I have therefore reprinted the greater part of it without troubling the reader by indicating the trifling omissions.

67Will of John Bokeland, p. 10.

68One of these windows is still left in the south wall of the chancel.

69It appears from a note by Mr. Heathcote, a former Rector, in the parish book, that the church and chancel were ceiled in the year 1777. This is the only note in these books which refers to the building, if I except an entry in regard to the erection of a western gallery, which has been removed in the course of restoring the church. The old parish books are all destroyed, and no record exists earlier than the end of the last century.

70“Less usual,” but not unique. The church at East Barnet afforded another example of the same mode of spending money in the palmy days of ample church-rates and irresponsible church-wardens.

71John Bokeland, in his will, talks of the chancel door: I believe he means the door in the Rood-screen, from the nave into the chancel.

72The central shaft and part of the internal tracery of this window are destroyed, and we have been unable yet to restore them.

73I see no evidence of the existence of a clerestory; and the columns are so delicate that I think it is impossible that it can ever have been intended to erect one.

74I cannot express my vexation at finding that in spite of my earnest injunctions to the workmen to be careful, this painted cross was destroyed. It is often absolutely impossible for an architect to stop wilful destruction of this kind. I have sometimes thought that it might be a good plan to draw up a contract for church restorations, inflicting a heavy fine on the contractor for any such destruction of any old feature.

75See particularly papers by me on Some Churches in Kent, Surrey, and Sussex, in the Ecclesiologist of 1850, and On the Middle-Pointed Churches of Cornwall, in the Transactions of the Exeter Architectural Society, vol. iv.

76There are one or two points which appear to me to make it possible that the sculpture of foliage was not done at Stone, but wrought elsewhere and sent there to be fixed. The northernmost spandrel in the east wall should be examined with a view to this point.

77I need not say, to those who know the north of Germany, that the arrangement of this church is, after all, only an exaggeration of a not uncommon plan. The cathedrals at Hildesheim and Naumburg, the Liebfrauen-Kirche at Halberstadt, and many others, have crypts, whose floor is but little lower than the floor of the church, whilst the floors of their choirs are raised immensely, and so shut in with solid stone screens and parcloses, that little can be seen of them from the naves. The crypt at Wimborne Minster is a rare instance of the same kind of thing in England; but this is a middle-pointed contrivance for creating a crypt in a first-pointed church, which was never intended to have anything of the kind.

78It is owing to this arrangement of the nave, and the consequent uselessness of the aisles, that several of the old altars still remain, one in each bay, against the north aisle wall, and one or two against the south aisle wall.

79I have given a drawing of these candlesticks for the Instrumenta Ecclesiastica. They are not movable candlesticks, but regular fixtures to the pavement, and made in some kind of white metal.

80I have given a drawing of this vat in the Instrumenta Ecclesiastica.

81It must be understood that these are not the original curtains; but that the Lutherans have here preserved an old arrangement is very evident.

82On the south side of this steeple still hang the iron cages in which John of Leyden and his confrÈres were suspended before their execution.

83This paper was read before the Oxford Architectural Society, in 1857.—G.G.K.

84Street was not yet familiar with the Spanish churches, in which it is the dominant native form. Cf. Gothic Architecture in Spain, new edition, I, 58.—G.G.K.