As the archives of Coutances Cathedral were destroyed by the Huguenots,

documentary proof of its date is lacking. Midway in the XIX century even

serious students contended that this Apogee Gothic edifice was the

church dedicated in 1056 by a hero of Hastings' battle, Bishop Geoffrey

de Mowbray. Like Odo of Bayeux, the sword, not the crozier, should have

been his emblem. He was the holder of two hundred lordships. He it was

who, in Westminster Abbey, in 1066, mounting a tribune, asked the cowed

Anglo-Saxons if they would consent that Duke William of Normandy assume

the title, king of England, and the next day an enormous tax was imposed

on the conquered race as "joyous tribute" to their new rulers. Geoffrey

gave up residence in his Norman see to be castillan of Bristol, but,

taking part in Odo's intrigues, he was driven from the country with the

cry, "Gallows for the bishop!"

This ambitious baron-prelate obtained donations for his Romanesque

cathedral when he journeyed in southern Italy and the East, where ruled

his Norman kinsmen. When the archæologists Bouet, A. de Dion, and Abbé

Pigéon found parts of Geoffrey's church englobed in the present nave and

façade of Coutances, the heated controversy over the date of the

cathedral ceased. The core of each façade tower is Bishop Geoffrey's, as

are some of the piers in transept and nave, and the nave's upper wall

(re-dressed as Gothic about 1230). The tribune of the fighting bishop

lies unused behind the present triforium, whose wall arcades plainly

show a succession of transformations.

The Romanesque cathedral was injured by fire in 1218. Bishop Bivien de

Champagne planned a new church which his successor, Hugues de Morville

(1208-38), started. That prelate, and his two successors, built the

choir with its double aisles of different height, and the central tower

carried on triumphal piers of multiple molds. "What inspired idiot dared

fling those stones toward the sky!" exclaimed the great engineer,

Vauban, before the lantern of Coutances. The transfused gentle light

that falls from its windows tranquilizes the entire church. Even the

laie-haunted Viollet-le-Duc likened it to St. Christopher bearing the

Christ Child before an image of the Virgin, in her honor. Joinville

would have called it prayer in action.

The _Deus absconditus_ impression conveyed by the mystical choir of

Coutances is another of its ravishing qualities. As at Bourges and Le

Mans, the inner aisle is so high that it possesses its own triforium and

clearstory; however, it avoided the stunted aspect of Bourges' main

clearstory by omitting the triforium altogether in the central vessel.

The choir of Coutances has retained more of the warmth of atmosphere

that induces piety of soul than any other Norman cathedral, save that of

Rouen. Not mere brilliant talent, but genius and faith, built it. It is

almost triple-aisled, inasmuch as columns were planted in the outer

aisle slightly before the walls that divide the radiating chapels.

Throughout the church are these lesser arrangements that charm--such,

the opening of the nave's chapels, one on the other above the dividing

walls. The ends of the transept have tribunes like many Romanesque

churches of the duchy. There are the usual Norman characteristics of a

double-walled clearstory with different tracery in each wall, friezes of

sculptured foliage, balustrades, acutely pointed arches, pierced

ornament, and a generous multiplication of molds, each with its own

support.

Two architects designed the church; one made the nave and the

other--thought by M. Lefèvre-Pontalis to be the same Thomas Toustain who

planned the apse of Le Mans Cathedral--constructed the choir, lantern,

transept, and perhaps the spires of the western towers. Under Bishop

Jean d'Essay (1251-74) the cathedral was finished. Louis IX was the

guest of that prelate when he came to render thanks at the national

shrine of St. Michael for his safe return from Palestine.

The west façade of Coutances is very Norman: plain portals, no rose

window, and a staircase on a corner of each belfry. The lines of the

towers rise uncrossed by horizontal bar from ground to tapering point.

"Ponder them well," old Villard de Honnecourt would have said before the

faithful sentinel towers of Coutances, that seem planted "like the

spear of a man-at-arms." This severe church front was not meant for

romance like the façade of foreign-trading Rouen, or for royal pageants

like that of wine-growing Rheims. The basic forces that lead to

architectural character were different here. Northern men in an outpost

of France facing the dangers of the sea, built the façade of Coutances,

men who had won this province by the sword, who with the sword were

seekers for new conquests to the north, to the south. Taken with the

central tower, the belfries of Coutances compose an unequaled group. The

apse exterior is equally admirable; the flying buttresses, as at Notre

Dame, at Paris, clear both aisles of the choir by a single hardy leap.

The adventurers of Normandy who made the brilliant, if ephemeral,

kingdoms of Apulia, Sicily, and Antioch, were the sons and grandsons of

a Norman knight called Tancred de Hauteville,[370] whose manor lay not

far from Coutances. The people have chosen to call certain statues on

their cathedral's northern outer wall by the names of Roger and Robert

de Hauteville, and their descendants of the next generation--Bohemund,

who used the Holy Wars to push his own fortunes, and his cousin,

Tancred, the idealist of the First Crusade. Probably the "Tancred"

statues--which now are restorations--were intended by the XIII-century

sculptors for Hebrew kings. In the southern kingdoms founded by the

stalwart offshoots of a simple knight of Normandy, the local

architectural traits predominated, but such Norman influences appear as

the central lantern and intercrossing arches (at Monreale), acutely

pointed arches, and lobed rosettes cut in the spandrels (in the hospital

at Palermo), west towers with corner staircases in turrets, an aisle

preceding the chapels that open on the east wall of the transept (the

cathedral of Cefalu, c. 1145). There are Norman traits in the cathedrals

of Bari and Barletta, the latter having false tribunes like those of Eu

and Rouen.[371]

At Coutances the XIV century added side chapels to the cathedral. During

a siege in 1356, English stone bullets damaged the church; Charles V had

it restored and fortified. Bishop Silvester de Cervelle (1371-86) built

the Lady chapel, some lateral chapels, and added to the façade its only

ornamentation--the colonnade connecting the towers. When Jeanne d'Arc's

good name was to be vindicated, a bishop of Coutances was named by Rome

as one of the three judges in the process of rehabilitation. "Would to

God," exclaimed the pope, "that I had bishops of Coutances. The Church

would be well governed." Olivier de Longueil, _vir gravis_, _vir bonus_,

_vir mutis_ (like his own cathedral), was endowed with the ideal

qualities for a judge--independence and firmness. His boyhood friends

were the Estouteville brothers, one the defender of the Mount, and the

other the most active agent in the clearing of the Maid's name.

The cathedral of Coutances suffered much in the religious wars. So

devastated was it in 1562, when from end to end of Normandy, as at a

given signal, priests were slaughtered at the altar, tombs violated,

church windows broken, and images shattered, that it lay long unused.

The collapse of some vault sections made a thorough restoration

necessary.

To the south of Coutances, at Avranches,[372] once stood another

cathedral of Normandy, begun in 1109, dedicated in 1120, and later

changed to Gothic. It was exceptional in having no transept. An

inscription in the street marks the spot where, before its northern

portal, Henry II of England did public penance in 1172, and received

absolution from the papal legate for his guilt in the murder of St.

Thomas Becket. Alas! like the cathedrals of Cambrai and Arras, the

Revolution brought about the ruin of Avranches. "_L'égalité s'était

faite dans les ruines_," says one of its biographers. After the sacking

of 1794 the historic church collapsed. Ruskin has nobly lamented its

loss: "Did the cathedral of Avranches belong to the mob who destroyed it

any more than it did to us who walk in sorrow to and fro over its

foundations?"

THE GOTHIC ART OF BRITTANY[373]

Chez les Bretons un double courant: l'esprit de liberté, l'esprit

de tradition; et pour les concilier, les pousser tous deux vers un

même but et vers un but supérieur, la flamme, la passion de

l'idéal, si ardente chez nos bardes et nos saints, si vivante, si

puissante toujours dans l'âme bretonne, et qui l'a jetée tout

entière dans la religion de l'idéal par excellence: la foi du

Christ. Liberté, tradition, idéal: voilà le triple facteur de la

vie intime et de la vie publique, de la vie nationale des

Bretons.--LÉON SÉCHÉ.

Brittany was a late comer in the national art and much is it to be

regretted, for had her building energies been aroused during the

Romanesque epoch, her storm-worn granite rock would have then best

expressed her regional character. Among the few Romanesque works of

Brittany are the crypt of Nantes Cathedral; the nave of St. Aubin's

church within the corselet of stone at Guérande; a stalwart central

tower over monastic Redon--cradle of Breton history-making, St. Gildas

de Rhuys, which M. Lefèvre-Pontalis places in the first quarter of the

XI century; the church of the Holy Cross, at Quimperlé, radically remade

after the fall of its tower in 1862 (the Gothic-rib masonry roof beneath

that tower dating before 1150); a Templar's church at Loctudy; the

Bréléverez church beside Lannion. Equally rare are Brittany's Gothic

monuments of the first part of the XIII century, Dol Cathedral being one

of the few. As the era of Apogee Gothic drew to a close the cathedrals

at Quimper, St. Pol-de-Léon, and Tréguier were rising. So was that rude

mass of granite, the cathedral at St. Brieuc, and the churches of

Rosporden and Guingamp.

In the XIV century was built the Kreisker tower, parent of a generous

progeny. Sea-going people are lovers of high towers, and Brittany is

dotted with them. Over the flat, bleak land of Léon the _clochers à

jour_ are a glory. With passion the Breton admired his landmarks. As he

sailed home from long months in the northern fisheries, they were the

first signals of welcome. To express his affection, he sometimes

inscribed the Canticle of Canticles on his tower: "Who is this that

cometh up from the desert flowing with delights?" No village felt itself

too humble to attempt an imitation of the Kreisker at St. Pol-de-Léon.

By far the greater number of Breton churches belong to the Flamboyant

Gothic day, and at that time the most energetic builder was Finistère,

the far-western stronghold called Armorica before the Celts from Britain

fled in the V and VI centuries from invading Saxons to the inviolate

refuge of these other dwellers by the sea. St. Jean-du-Doigt was built

from 1440 to 1513, and when almost completed, Anne, duchess of Brittany

and twice queen of France, visited it to pray for a cure. Her daughter,

Claude, also queen of France, was equally generous to the shrine. St.

Jean's Pardon of the Fire, in the latter days of June, is one of the

five big Pardons of Brittany.

Anne of Brittany's device, the ermine, is carved on many a façade of

France. Both her husbands were notable art patrons. For her Charles VIII

rebuilt the château at Amboise, and for her Louis XII began the château

at Blois, and at Loches made an oratory that bears her name. The _Book

of Hours_ of Anne of Brittany has never been surpassed. It was for her a

liberal education to live in contact with her second husband's minister

of state, Cardinal Georges I d'Amboise, who is said to have employed

practically every Flamboyant and Renaissance architect and sculptor of

the time on his château at Gaillon, and whose tomb in Rouen Cathedral

retains much of the truly French spirit of Michel Colombe's school.

Brittany benefited artistically by the royal marriages of her last

duchess: Anne gave the Breton Colombe the opportunity to make his

_chef-d'oeuvre_--the splendid ducal tomb in Nantes Cathedral.

The ermine of Anne of Brittany adorns the lintel of Folgoët, to which

she added a tower, after her visit in 1505. That stately late-Gothic

collegiate church, standing in a little Breton village above Landerneau,

possesses an apostle porch--a feature popular in Brittany--a richly

sculptured _jubé_ of three arcades, and altars of green Kersanton

granite. On one of its altars the corporation of masons carved compass,

rule, and hammer. And in like manner, as emblems of patriotic service,

might be inscribed the names of the twelve villagers who, at personal

sacrifice, when their church was to be demolished in 1808, bought it as

a gift for their commune. On many a shrine can modern Finistère inscribe

the names of those of her sons who fought for their country in the World

War. Just as it was given Breton sailors of the XV century to raise the

siege of Mont-Saint-Michel, so at Dixmude, in the autumn of 1914, they

checked the drive toward Calais of other invaders of French soil.

Brittany, with her profound cult of the dead, will consecrate one of her

noblest Calvaries to the memory of Dixmude's heroes:

Que ces noms soient sur l'église!

Qu'on les lise

Sur le granit des piliers ...

Que, sur la roche sévère

D'un Calvaire,

Solitairement inscrit,

A travers la pastorale

Vespérale

Le nom du mort pousse un cri![374]

Other Flamboyant Gothic monuments of the ancient duchy are the choir of

the cathedral of St. Pol-de-Léon; the cloister, porch, and central tower

of Tréguier Cathedral; the chapel of Notre Dame-des-Portes at

Châteauneuf-du-Faou; Notre Dame in the little city of Vitré, that claims

to be, with Avignon, the most entirely mediæval walled town in France;

St. Jean and Notre Dame at Lamballe, which latter XIII-century church,

with foundations hewn out of the solid rock, was rebuilt and fitted with

XVI-century windows; St. Mélaine, at Morlaix, rebuilt, 1482, and

possessing a towering baptismal font of carved wood; and Notre Dame at

Kernascleden, between Le Faouët and Guéméné, the work of two brothers

named Bail.

The making of stained glass flourished in the later Middle Ages at

Quimper, Tréguier, and Vannes. Good windows are to be found at Dol,

Quimper, Guérande, Ploërmel (where the church has a rich Flamboyant

façade pignon), at Kergoat, Moncontour, Les Iff (where the donors were

the Laval-Montmorency family), at Plélan, Plogonnec, and at Penmarc'h,

whose Pardon of the Rosary occurs on the first Sunday of October.

Because the popular gatherings called pardons are among the basic forces

that have helped to mold the architecture of the ancient duchy, they are

important for the student of the builder's art.

The late-Gothic churches that cover Brittany are rich in ecclesiastical

furniture, carved baptismal temples, and panels sculptured with the

quaint usages of burial and marriage, or with agricultural scenes, such

as those at St. Goueznon (1615), at Bannalec (1605), at La Roche-Maurice

near Brest, and at Notre Dame-la-Grâce, near Guingamp, the latter two

churches possessing some "storied windows richly dight." At Kerdévot is

a wooden reredos, at Roscoff a very beautiful alabaster one of the XV

century; at Lambadec a _jubé_ dated 1480; at St. Fiacre-du-Faouët (whose

pardon comes on the first Sunday of July) a rood-loft of richly carved

wood, unfortunately painted in crude colors; at Quimperlé, in the church

of Ste. Croix, that is fashioned in memory of the sepulcher shrine at

Jerusalem, is a _jubé_ almost wholly of the Renaissance.

Because of her pardons, Brittany's religious ceremonies took place

largely in the open air, even as each of her tribes, each _plou_, in

prehistoric times had gathered around her solemn menhirs and dolmens.

Hence the Breton made much of churchyards, placing in them his

Calvaries, profound expressions of a people's emotions carved

primitively in the regional coarse granite. The Lord's Passion had

vivified the Celtic soul ever since Christianity took possession of it.

As granite is unyielding to sculpture, many a Breton turned to wood to

express his verve, carving his church beams like the prow ends of ships.

Morlaix[375] is a good center from which to visit many of the notable

revered places. Close by, in the village of Plougonven, is the oldest

Calvary extant (1554). A few miles away is that of St. Thégonnec (1610),

a shrine invoked for the cure of beasts, where beneath a statue of Our

Lady is inscribed: "We beg you, _Madame Vièrge_, to accept our first

bull." Near the church is one of the isolated chapels called ossuaries

in which were gathered the bones of the past generations when they had

had their turn in the churchyard's consecrated ground. The chapel bears

an inscription from Maccabees: "It is therefore a holy and wholesome

thought to pray for the dead, that they may be loosed from their sins."

Bedrock in the Breton is his instinct to join his progenitors and his

descendants in a permanence of spiritual emotion.[376] No other people

of the earth risk life more freely than these frequenters of the

deep-sea fisheries; nowhere is the cult of the dead more tenacious,

because it is considered that they who have fallen asleep with Godliness

have great grace laid up for them.

Near St. Thégonnec, at Guimiliau, is another Calvary (1581), and another

ossuary and triumphal arch. The capacious church porch is lined with

statues of the apostles. At Carhaix, Pleyben (1650), Cronan, and

Penmarc'h, are Calvaries, and that at Lampaul is united in the same

composition with the graveyard's triumphal arch. Brittany's most

imposing _Calvaire_, and the most wonderful wayside shrine ever made,

comprising over two hundred images in all, is at Plougastel-Daoulas, a

memorial of the epidemic of 1598. The greenish Kersanton granite of

which it is made is quarried close by in the harbor of Brest, and

acquires with time the endurance and appearance of bronze. Breton

peasants are represented playing on Breton pipes in the

Entry-into-Jerusalem scene. Late comers these rough-hewn sculptures may

be in the national art, but in so far as character goes they might

easily belong to the XII or XIII century.

The theorist may say that the racial exclusiveness of Brittany is one

of the reasons why it has not excelled in architecture and the kindred

arts. That may be so. The chief concern of the Celt has ever been to

save his soul. The architectural purist is prone to carp at Breton

Gothic, and some even dare say that the Kreisker itself errs, in that

its shaft is not sufficiently welded with its spire. Without a doubt the

absence of symmetry in many churches of the ancient province is at first

disturbing, but soon one comprehends that one travels in Brittany not

for its architecture, but for the unconquerable soul of a people who,

while devoted to tradition, have ever stood up uncowed, unswerving in

their antagonism to despotism. The sensitive traveler--that is, the man

with kindly, plain loyalties--will let himself grow attached to the

mediocre, irregular churches of this individual land.

Some of those irregularities are startling enough. The pilgrimage church

of Guingamp has a curious two-storied triforium, and flying buttresses

inside the choir over the aisles. Its nave is an amalgam, one wall

Gothic and its vis-à-vis a fluted-pilastered Renaissance affair. The

sculptor gave his initiative full scope in the apostle's porch--a

revered spot on the days of Guingamp's famous pardon, that precedes the

first Sunday of July. At Dinan, in the church of St. Sauveur--in whose

transept is treasured the heart of Duguesclin, born not far away--a

Romanesque wall faces a Flamboyant Gothic one. In the corsair stronghold

of St. Malo,[377] breeder of strong men, the cathedral's walls make no

pretense to be parallel.

The Breton has been too engrossed in keeping warm in his churches the

spirit of devotion to bother about such details as symmetry. Eagerly he

added chapel to chapel, aisle to aisle, regardless how difficult it

might be for a stranger to orient himself on entering. The wise traveler

will accept Brittany as she is, for if he does not, Brittany, like

Spain, will exasperate him by her tranquil indifference to his

criticisms. On a mediæval tower of the castle at St. Malo was inscribed:

Grumble who will.

So shall it be

As pleases me.[378]

THE CATHEDRAL AT DOL-EN-BRETAGNE[379]

Bretagne, ô mon pays, garde ta foi naïve,

Car Dieu se plaît surtout dans la simplicité;

C'est comme le miroir d'une source d'eau vive,

Où vient se réfléchir, l'astre de vérité.

--JOSEPH ROUSSE, _Poésies bretonnes_.

Brittany may be a land of shrines more than of churches; nevertheless,

some five of its former nine bishoprics are of interest in the Gothic

story--Dol, Nantes, Quimper, St. Pol-de-Léon, and Tréguier.

The hardy outpost of Dol, in the north, has stood many a siege, fought

many a battle, and its church walls are crenelated where they face the

city ramparts. The tutelary of the _ci-devant_ cathedral is St. Samson,

whose name keeps alive the memory of the arrival of the harassed Celts

of Britain who poured "like a torrent" into Armorica during the dark

centuries of the Middle Ages when the migrations of the Barbarians had

wiped out Rome's civilization in England. In Dol's great eastern window,

St. Samson and some monk companions are shown crossing the Channel.

The cathedral of Dol--which Stendhal admired beyond others in France--is

a melancholy severe granite edifice, though probably the best Gothic of

the province. Characteristics both of Normandy and the Ile-de-France

appear in it. Two of the wholly detached colonnettes of each pier are

now clamped with metal bands, and the wide arches of the triforium would

be better suited to open on a gallery than as they are at present--set

close to a blank wall; a few doors in the wall give on the lean-to roof

over the aisles. The structure of the church demonstrates that, as the

works rose, extra supports were added for stability.

The cathedral was begun by its nave soon after a conflagration of the

town, in 1203, caused by the troops of John Lackland. Vestiges only of

the wrecked church were retained. The façade's southern tower is late

work, despite its Romanesque character, and its fellow belfry to the

north is in larger part of the XVI century. Out of the nave's southern

flank opens a graceful XIII-century porch. The choir, which ends in a

flat eastern wall, was finished by 1265, when was installed its splendid

big window of eight medallion panels that set forth the Last Judgment.

In the XIV century was opened the arch leading to the Lady chapel of

that same date, wherein were used various supplementary ribs, around

windows and in corners, to obviate the difficulty of vaulting a

square-ended edifice. To the XIV century, too, belong the side chapels

of the choir, and the big porch of St. Magloire before the transept's

southern door.

Against the blank wall that closes the north arm of the transept stands

the much-discussed Renaissance tomb of Bishop Thomas James. It is an

initial work of the Juste brothers of Tours, the ablest among the

Italians who brought the new art standards across the Alps. The bishop's

recumbent image has disappeared. From 1482 to 1504 he held the see of

Dol, though only in residence after 1486, as he lived in Rome, the papal

guardian of the castle of St. Angelo. In his testament he requested a

simple burial, but his nephews--whose profiles adorn the tomb--chose to

erect this elaborate monument, whose cream-colored fine-grained stone,

delicately arabesqued, contrasts happily with the dark granite walls.

One of the nephews had known the Juste, or Betti brothers, in Florence,

and through him those artists came to France. In his prime Jean Juste

made the tomb of Louis XII and Anne of Brittany for the Royal Abbey at

St. Denis.

THE CATHEDRAL AT NANTES[380]

Très crestien, franc royaume de France,

Dieu a les braz ouvers pour t'acoler,

Prest d'oublier ta vie pécheresse:

Requier pardon, bien te vendra aidier

Nostre Dame, la très puissante princesse,

Qui est ton cry et que tiens pour maistresse.

Les saints aussy te viendront secourir,

Desquelz les corps font en toy demourance.

Ne vueilles plus en ton péchié dormir

Très crestien, franc royaume de France!

--CHARLES D'ORLÉANS (1391-1465).

The cathedral of St. Peter, at Nantes, the third on the site, is a

late-Gothic structure, not overvirile, somewhat artificial, but

ingenious and elegant, even as is the contemporary verse of Charles

d'Orléans, who was taken prisoner at Agincourt and passed half a

lifetime in exile. M. Gaston Paris has drawn attention to the similarity

between XV-century architecture and XV-century poetry. Is not that bijou

of artistry, the chapel of St. Hubert, which Anne of Brittany's first

husband set on the cliff edge at Amboise, of the same quality as a

rondel of the poet-duke's? Is not Villon's ironic, tragically-true note

reflected in the Dance of Death painted on church walls during those

years of pest and internecine strife? Brittany has retained one of the

only two surviving _danses macabres_, in the hamlet of Kermaria,[381]

the house of Mary, that lies between the villages of Plehedel and

Plouha. In Auvergne, at La Chaise Dieu, is the other.

In 1431 Jean V, of the third ducal line of Brittany, the de Montforts,

decided to remake the cathedral of the outpost city wherein stood his

castle. Nantes never was _Bretagne bretonnante_, being differentiated

from Finistère amid its rocky seacoast, by its position on the Loire of

commerce and art. That wonderful river, in an eight-hundred-mile course

from Languedoc to Brittany, passes some of the fairest monuments of

France: Le Puy, Nevers, La Charité, St. Satur, St. Benoît, Orléans,

Blois, Chaumont, Amboise, Tours, Langeais--where Anne of Brittany wedded

Charles VIII--Saumur, St. Florent, Gennes, Cunault, and the castle and

cathedral of Nantes.

Under ducal patronage the nave of Nantes Cathedral rose apace; the

capitals of its north side have deeply undercut curly-tipped foliage,

but on the nave's south side the piers lack capitals altogether. The

interior of the church is of glacial aspect; light floods it pitilessly.

Its eastern end is modern. In 1886 was unearthed a Romanesque crypt

which Abélard must have known, for he was born in a manor close by

Nantes, and returned to live here in 1136.

Guillaume Dammartin, of the notable family of Flamboyant Gothic

architects, is mentioned as working on Nantes Cathedral, and M. Arthur

de la Borderic, Brittany's historian, has discovered that an artist of

Tours, Mathelin Rodier, was master-of-works when the western portals

were sculptured (1470-80), and while the stately inner-court façade of

the duke's château was rising. In that castle Anne of Brittany was born

in 1477, became a reigning duchess at twelve years of age, and in its

chapel was married, in 1499, to Louis XII. On her deathbed she willed

her heart to her native city. She completed the castle of Nantes by what

is called the Horseshoe Tower overlooking the river.

Anne must have known the master, Mathelin Rodier, who made the portals

of the cathedral, decorating them with the same undercut leaf foliation,

the same lavish splayed ornaments as adorn the contemporary western

doors of Tours Cathedral, a hundred and thirty miles to the east. The

larger statues at Nantes' entrances have been destroyed, but in the

voussures are many small groups, sometimes with four or five personages

in a scene, chiseled with natural attitudes and expressive faces. One of

the portals commemorates St. Peter (observe the _Quo Vadis_ episode),

another, St. Paul, while the place of honor is given to the Saviour.

Within the church, under the organ, are XV-century statues, one of which

represents the duke patron who began the cathedral, the grandfather of

Anne of Brittany.

Through the filial piety of Anne, her birthplace possesses the _canto

cygni_ of Gothic sculpture, "the most unscathed monument of the Middle

Ages," intact because it was taken apart and buried during the

Revolution. The tomb of Anne's parents, Francis II, the last duke of

Brittany, and his duchess, is the work of a Breton, for an authentic

manuscript has proved that Michel Colombe was born in Finistère, within

sight of the Kreisker. His genius was fortified by long years passed in

the art atmosphere of Tours, and strengthened, too, by the Flemish

realism which had come into France by way of the Dijon school that led

the first half of the XV century, even as the school of Tours, whose

chief master was Colombe, led its latter half. Nor did this Breton,

fecundated by Touraine and sturdy Burgundy, ignore the incoming Italian

culture, as is shown by his preference for ideal beauty over absolute

realism: Celt, Teuton, and Latin--all were needed for the making of the

last of the great Gothic masters, one who held loyally to the spiritual

essence of the Middle Ages in a day when Renaissance pomp was fast

rising to supremacy.

Michel Colombe was seventy years of age when Anne of Brittany, on a

visit to Tours shortly after her second marriage, commissioned him to

make a mausoleum for her parents, for which she had imported white

marble from Genoa, and black from Liège. From 1502 to 1507 Colombe

worked on the larger images, in his studio at Tours. His are the

recumbent figures of the duke and duchess, and the entrancing little

angels who support their headcushion, ministering with the same loving

willingness as the XII-century angels of Senlis' lintel. From Colombe's

master hand are the four allegorical figures at the corners of the tomb,

robust and graceful women, of the local type to be seen in central

France to-day. They typify qualities of the defunct, Fortitude,

Temperance, Prudence, and Justice--this last image said to be a study

from Duchess Anne herself.

Centuries later a similar arrangement of symbolic figures was used by

Paul Dubois for his noble tomb of General de Lamoricière (a son of

Nantes), which balances, in the north arm of the transept, the ducal

tomb to the south. Valor, Faith, Charity, and History, are the four

corner statues that commemorate the pioneer of civilization in French

Africa, who was so loved by the natives that he went freely among them

unarmed, a modern hero who proved himself a true Breton by assuming the

leadership of a lost cause.

Lesser masters of the school of Tours worked on the noted ducal tomb of

Nantes; Guillaume Regnault made the small images and Jerome of Fiesole

the arabesques, the same two masters who composed the tomb of the

children of Anne of Brittany and Charles VIII, now in the cathedral at

Tours. And when Michel Colombe had finished his statues, Anne had the

Lyons master, Jean Perréal, one of the most active agents in

popularizing in France the new art standards of Italy, visit Nantes to

supervise the erection of the mausoleum whose ordinance he had designed.

THE CATHEDRAL OF QUIMPER[382]

Ce qui me charme en toi, Quimper de Cornouailles,

C'est ton coeur paysan sous tes airs de cité.

--ANATOLE LE BRAZ.

Like the chief church at St. Pol-de-Léon, and that of Tréguier, St.

Corentin at Quimper is "widowed of its bishop." Admirably situated, it

stands with all the dignity of a cathedral above the pleasant little

"river city of gables and fables," which etches itself on the memory. It

is a well-cared-for shrine, full of warm Breton piety, seen at its

richest during the pardon gatherings of August 15th.

Bishop Rainaud laid the first stone of Quimper Cathedral in 1239. Its

ambulatory copied a disposition first used in Soissons Cathedral, but

repeated only here and at Bayonne, though across the Rhine it became

popular. The vault ribs of each chapel meet in the same keystone as the

ribs of that section of the procession path on which the chapel opens.

About 1280 a little shrine, which had stood in the rear of the

cathedral, separated from it by a lane, was joined to the ambulatory of

the new Gothic choir by means of a canted bay. This improvised Lady

chapel increased the irregular alignment of the church. The deviation of

Quimper's axis is extraordinary. Standing in its central aisle, at the

rear of the nave, you cannot see the first of the three bays that

usually are apparent at the apse curve, and such is the bend of the

choir that its southern aisle possesses one more bay than does the aisle

to the north. When the time came to replace the Romanesque nave by the

actual one, that new Gothic edifice might have straightened somewhat the

axial line by following the false orientation of the choir. But

apparently the proximity of the episcopal quarters prevented this being

done.

The choir of St. Corentin retains the canopy-image windows of Jamin

Sohier (1417), and the nave, those of the Jamin Sohier of a second

generation; a western window is dated 1496. The shield and helmet of one

of Brittany's dukes of the Montfort line, Anne's immediate forebear,

adorn the gable of the main façade. The cathedral works ceased during

the first part of the Hundred Years' War; the choir was not roofed in

stone till the first quarter of the XV century. In 1424 the nave was

begun and the foundations of the west towers laid. Quimper's towers

derive directly from the famous one of St. Pierre at Caen. There are the

same deep, elongated twin-window recesses serving as buttresses. After

another period of inactivity, the cathedral's nave was vaulted. In the

latter part of the XIX century the west towers received their crowning

of crocketed spires, paid for by a popular collection called "the penny

of St. Corentin."

How these dwellers by the sea love their obsolete local saints! How

certain they are that to forget them is to lose infinitely precious

links with the past. The solidarity of ancestors with descendants is no

dead letter in Finistère, that lives not by bread alone. One knows that

the white-coiffed women of Quimper--and their daily gathering in their

mediæval church makes a brave showing--would not love this shrine of St.

Corentin so well had it a name common to western Christendom. But St.

Corentin, St. Tugdual, St. Huec, St. Iltud, St. Budoc, St. Jacut, St.

Jubel, St. Gulstan, St. Comery--ah, those are the potent ones before the

heavenly throne when a true Breton needs assistance!

THE CATHEDRAL OF ST. POL-DE-LÉON[383]

O Dieu qui nous créas ou guerriers ou poètes,

Sur la côte marins, et pâtres dans les champs,

Sous les vils intérêts ne courbe pas nos têtes;

Ne fais pas des Bretons un peuple de marchands.

J'ai vu, par l'avarice ennuyés et vieillis,

Des barbares sans foi, sans coeur, sans espérance,

Et, l'amour m'inspirait, j'ai chanté mon pays.

--A. BRIZEUX, _L'élégie de la Bretagne_.

The most complete Gothic monument of Brittany is the whilom cathedral of

St. Pol-de-Léon, one of the few important churches of the Middle Ages to

be entirely carried out, with spired towers, and porches for the

different needs of soul and body, one for catechumens, another for

lepers. Its choir and nave differ strikingly in color and quality of

stone. The nave of yellow sandstone was built first, and is decidedly

the most artistic portion of the edifice. The florid Gothic choir is of

gray granite.

As the XIII century closed the nave was begun, continuing building up to

the dire times of the Hundred Years' War. It has the Norman traits of

sculptured bands of academic design below triforium and clearstory,

trefoils cut in the spandrels of arches, multiple arch molds, each with

its own support, and a circulation passage beneath the upper windows.

The triforium was begun elaborately, with much foliate decoration, but

economy soon forced the architect to adopt a simpler plan. The nave's

south aisle is double beyond the fourth bay where a porch opens, and the

stones show that the outer aisle was originally a separate chamber,

converted during the XV century into a passageway.

The Flamboyant Gothic choir, that lacks the harmony and elegance of the

nave, was built from 1439 to 1472. Chapel has been added to chapel,

aisle to aisle, with the profusion loved by the Breton, who would press

into God's service every foot of free land around his presbytery. The

transept of the XII and XIII centuries was radically reconstructed

during the late-Gothic day, retaining vestiges only of its Romanesque

and early-Gothic work. It is doubtless to such repeated modelings that

some of the buttresses fail to correspond to columns and vault shafts.

During a siege of St. Pol-de-Léon by the English, the church called the

Kreisker, "center of the city," was injured. When rebuilt, from 1345 to

1399, there was erected, between its nave and choir, carried merely on

open arches, a grandiose tower modeled on Caen's belfry of St. Pierre,

as had been the twin towers of St. Pol's cathedral, lesser in height

than "the Kreisker." The deeply recessed lancet openings in each face of

the giant beacon serve the practical purpose of buttresses. Few cities

can show three such brave towers as this little Breton town. "The

Kreisker," mantled in golden lichen, is the pride of every Breton. So

sure is its poise, so supple and strong, that for centuries all the wild

storms of the ocean have swept unheeded through its open stonework

spire. The popular songs love to extol it:

Je suis natif du Finistère,

A Saint-Pol j'ai reçu le jour,

Mon clocher est l'plus beau d'la terre,

Mon pays l'plus beau d'alentour;

Rendez-moi ma bruyère et mon clocher à jour!

St. Pol received its name from another exile of Britain, and the good

man's little bell is rung on the days of Pardon, over the heads of the

people, who believe it can cure maladies of the mind. The Revolution

tried to change the town's name to Port Pol, but the traditionalists and

the independents that are the Bretons soon reverted to their St.

Pol-de-Léon.

THE CATHEDRAL OF TRÉGUIER[384]

Une, deux génerations peuvent oublier la Loi, se rendre coupable de

tous les abandons, de toutes les ingratitudes. Mais il faut bien, à

l'heure marquée que la chaine soit reprise et que la petite lampe

vacillante brille de nouveau dans la maison.

--ERNEST PSICHARI (1883-1914).

The cathedral of St. Tugdual obtained its name from the founder of a

local monastery, a nephew of St. Brieux, who had crossed from Britain

with the returning missionary, St. Germain of Auxerre, and in Armorica

had established a religious house which eventually gave its name to a

Breton city. No church of the region demonstrates more clearly how

difficult it is to obtain full Gothic effect with granite. Lacking

sculpture, the art is necessarily abortive.

The interior of Tréguier is dark and forbidding. The capitals of the

graceless octagonal piers are merely uncut bands. There are Norman

balustrades and a Norman interior passage below the clearstory lights.

The name of the architect, Goneder, was recently unearthed by M. de la

Borderie. From the previous Romanesque cathedral was retained the Tour

Hastings which now terminates the northern arm of the transept. Toward

the western end of the church the molds of the archivolts die off in the

piers.

The nave rose from 1296 to 1333; then came the pause of the Hundred

Years' War. Building was resumed--always on the original Rayonnant

lines--by Bishop Jean de Coëtquis (1450-61), whose relative, of the same

name, was finishing the nave of Tours Cathedral. The charming Flamboyant

cloisters of Tréguier were made from 1461 to 1468, and with the Tour

Hastings they compose one of the oft-sketched architectural groups of

the country. St. Tugdual has suffered by wars and revolutions, being

damaged by the English in 1347, by the Spaniards in 1592, the Liguers in

1594, and the Revolution's cyclone passing here as elsewhere.

In the nave of Tréguier Cathedral stands a sumptuous Gothic monument to

honor Brittany's patron saint, Yves de Helori, born in 1253, a mile from

the town in the manor of Kernartin--modern Minihy. On the nineteenth of

every May Tréguier marches in procession to Minihy to commemorate the

good man who cleared the region of evil-doers, built a hospital beside

his home that he might himself wait on the stricken, rose at midnight to

chant matins, preached sometimes five sermons a day, and was the poor

man's lawyer, so a popular hymn relates: "An advocate and not a thief, a

thing almost beyond belief." The pardon of St. Yves, the Pardon of the

Poor, is one of the five chief ones of Brittany. For centuries those who

had pending law cases repaired to his primitive tomb. Thus Henry VII,

Tudor, crossed from England the year before he won his kingship, to

petition the favor of the Breton saint who had supported only just

causes in law. Universities selected him as their patron.

St. Yves was the son of a knight who went crusading with St. Louis. When

sent, at fourteen, to Paris University, he sat with other young scholars

on the rush-strewn floors to listen to the scholastics; even in his

student days he visited the sick poor in the hospitals. Before thirty he

entered the episcopal magistry, and henceforth his abilities were

devoted to the relief of orphans and widows. This good man, after whom

myriads of the sons of Brittany have been named, worked assiduously, it

is said, to collect funds for the building of the Gothic cathedral of

Tréguier.

In a street near the cloisters of St. Tugdual, Ernest Renan was born in

1828, his name deriving from an Irish anchorite of VI-century Armorica.

From his Breton father he derived his gravity, respect, faith, and

imagination; from his mother's Gascon stock his irony, gayety, and

serenity in skepticism, the result being, as he himself said, a tissue

of contradictions. Brittany took his _Vie de Jésus_ as a personal

affront. That a son of hers, once destined for the priesthood, should

call her dear Christ of Calvary a "sorcerer," a "demi-impostor," a

"_géant sombre_," "_un fin et joyeux moralist_," pierced her to the

soul. When, beside the cathedral of Tréguier, partisan politics raised a

Renan statue (singularly inartistic), whose inscription was taken as an

affront by every believing Christian, two million Bretons donated toward

the erection of a monumental protest. The Calvary of Reparation stands

at the entrance to Tréguier, voicing the cry attributed to the dying

Julian the Apostate, "Thou hast conquered, Galilæan!"

The son of Renan's daughter was that chosen soul, Ernest Psichari, who

fell defending Belgium in August, 1914, a death considered by mystic

Brittany to be an atonement. He has told of his spiritual anguish,

"without defense against evil, without protection against sophistry,

wandering without conviction in the poisoned gardens of vice, sick to

the soul and ever pursued by obscure remorse, weighed down by the bitter

derision of a life ruled by disordered sentiments and thoughts." In his

_Appel des Armes_ and his _Voyage du Centurion_ he has traced his

pilgrimage from materialism to Christian belief, taking "_contre son

père le parti de ses pères_." His grandfather, of Tréguier, in Armorica,

had written many years earlier: "The characteristic trait of the Breton

race is idealism--the disinterested pursuit of a moral or intellectual

aim. The Celt craves the Infinite. He thirsts for it, seeking it beyond

all the prizes of the world."

A SUMMING UP

All our France is in our cathedrals.... Initiation into the beauty

of Gothic is initiation into the truth of our race, of our sky, of

our landscape.... Gothic art is the sensible, tangible soul of

France; it is the religion of the French atmosphere. We are not

incredulous; we are merely unfaithful. We have lost at the same

time the sense of our race and of our religion. To regain force we

must live again in the past, revert to first principles. Taste

reigned of yore in our country: we must become French again.

--RODIN, _Les cathédrales de France_.

With many a gap, with many a lapse, we have followed the earlier stages

of Gothic art in the land where it was born. We have seen how, from the

efforts of the monks to cover their Romanesque naves with a permanent

stone roof, was evolved the intersecting rib vault which was the basis

of Gothic architecture, how for a short time churches used the

Romanesque and Gothic systems simultaneously as in Morienval and Poissy,

and for another short period the churches were Gothic in essentials

while retaining a few traits of the earlier phase. By many the

imperishable hour that produced Soissons' transept, the choir of St.

Remi, Notre Dame at Laon, and Notre Dame at Paris, is beyond all others.

When the national art expanded into its full flowering in the XIII

century--an era as great in men and the making of history as in

art--Gothic science, though ever seeking, ever reaching out, remained

disciplined, even as the scholastic builders themselves were

disciplined.

While eighty cathedrals in France were rising, and in the same hour some

hundreds of lesser churches, the rulers of the nation were capable

warriors, compilers of laws, and administrators, the builders were

monarchs, crusading bishops, troubadour counts, cloistral ascetics, and

arduous sinners. Serf, artisan, burgher, baron, and king built the

cathedrals; field laborer, minstrel, maiden, and chatelaine were

harnessed to the same cart to drag in the great stones. Little children

cleared the church pavement of sand and cement in preparation for the

"Day of Benediction" for their city, as the solemn blessing of their

church was held to be by those God-fearing generations.

The new school of mediæval archæology, that during three generations has

been interpreting the Gothic churches of France, is teaching us to read

the stones with sympathy. "Symbol of Faith, the cathedral was also a

symbol of Love," says M. Émile Mâle. "All men labored there. The

peasants offered their all, the work of their strong arms. They pulled

carts and carried stones on their shoulders with the brave good will of

the giant-saint, Christopher. The burgess gave his money, the baron his

land, the artist his genius. During more than two centuries every vital

force in France collaborated on the cathedrals. From that comes the

puissant life emanating from these eternal monuments. The dead, too,

were associated with the living, for the cathedral was paved with

tombstones, and the earlier generations, with hands joined in prayer,

continued to worship in their ancient church. Past and present were

united in the same feeling of love. The cathedral was the very

conscience, the very soul of the city."[385]

After five generations had reared so many and such magnificent churches,

their energy, because it was human, passed from plenitude into decline.

The death of St. Louis, in 1270, may be taken as the beginning of the

change, though even before had been used various cut-and-dried Rayonnant

features. Genius flagged when structural perfection was achieved. The

divinely restless reaching out of art was stultified by geometric rule.

Graceful and stately as is many a XIV-century church, never in them do

we find the unexpected entrancing touches of Apogee Gothic. Gothic was

fast becoming an art made tongue-tied by authority.

As time went on profiles deteriorated, sharp prismatic molds succeeding

to the virile torus, or molds fluid and vague. By the XV century

capitals were omitted altogether. The sane marking of the horizontal

line had become an offense to the eye. Without capitals the molds died

away weakly in the piers. Flamboyant Gothic architecture exhibited all

these traits, and, moreover, gave capricious rein to many a redundant

detail, yet it was none the less a phase of art far more vigorous and

satisfactory than the Rayonnant geometric period, its predecessor. The

verve and abundance of Flamboyant Gothic was a rebirth. The inspiration

of St. Jeanne d'Arc, the restored political unity, the increase of

trade, the love of pageantry, all aided the art renaissance which was in

progress before the advent of Italian ideas. No one can say that Gothic

architecture ended in decrepitude who knows such masterpieces as the

façades of Rouen and Beauvais, the towers at Bordeaux, Rodez, and

Chartres, the baldaquin and choir screen of Albi, or statuary as ample

in its simplicity as Riom's Virgin of the Bird and "the Saints" at

Solesmes. And from end to end of France, as the XVI century opened, such

work was in progress.

What, then, killed Gothic art? For it was slain with all this warm blood

in its veins. Some say the return to pagan ideals dealt the death blow,

the deserting of the celestial man-humble ideal for the terrestrial

self-intoxicated pride of the Italian Renaissance: "The Renaissance is

man seeking knowledge, happiness, and love, outside of Christianity." A

Christian had knelt in prayer on a Gothic tomb, or reposed with serene

confidence, awaiting the trumpet call of the archangel, a Book of Hours

in his hand. On a Renaissance tomb the deceased reclined like a pagan at

a feast. The Italian wars diverted from its natural channels the genius

of the northern Latins (who were so strongly Celt and Frank), and in

many cases the imported neo-classicism was not that of Italy's supreme

masters, but of the lesser artists, their successors.

Others have contended that the printing press and the Protestant

Reformation--with its spirit of hostile criticism--proved fatal to the

national art, since the very life of Gothic was legend, poetry, and

dreams, and symbolism its inspiration. Doubt quickly drained the sources

of life. "Its charm had been to retain the candor of childhood, the

limpid book of young saints. It was an art whose faith discussed not--it

sang."[386] It was an art happy and bold and free of restraint, save the

restraint which its own right instinct for discipline

imposed--co-ordinating the multitudinous into a symmetrical unity--an

art unfettered in its truth telling, daring to sculpture king or bishop

marching to Hell, yet giving no offense to authority by so doing.

Alas, one must acknowledge that the Church, so long the guardian of

Gothic art, dealt a deadly blow at the sweet naïve gayety of the Middle

Ages. To reform Catholic Christendom there gathered at Trent a

much-needed Council, impregnated with the critical spirit which Luther

had unloosed. Pious churchmen had come to look askance on legends. They

were ashamed of the simplicities which the XIII-century man was so

certain pleased Our Lady, who accepted them with a friendly smile of

comprehension of her fellow creatures. The good fathers at Trent

regarded prudishly the spiritual passion of the Canticle of Canticles

flaming in cathedral windows; they thought it forwardness to carve

mechanics' tools on altar stones. Such manifestations were excessive.

What would our critics of Wittemberg and Geneva say? The mystery plays,

source of inspiration for the late-Gothic sculptors, now became suspect.

Deprived of popular life, the religious themes grew cold. When censured,

the creative instinct withered. In 1563 (a year after the iconoclastic

outrages in France) the Council of Trent, at its last session,

complained that Gothic artists scandalized the faithful by their

childish superstitions. The Middle Ages were ended.

Cathedrals are not raised by critics or doubters. When France built her

great churches, her faith was humble, her love a mounting flame. Her

cathedrals were symbols of the Kingdom of God in her midst, the _pons

sæculorum_ whereby man passed beyond the bourne of his narrow life. They

were solaces in his hours of misery, in his delinquencies; they stood

for justice alike to serf and baron; they were the Sermon on the Mount

made visible, the _Biblia pauperum_ wherein lettered and unlettered read

the same lessons; they were the _Credo_ chanted by men who believed in

Christ, Son of the Living God and Son of the Immaculate Virgin.

Nor should it be forgotten that the generations who raised the great

cathedrals believed profoundly in themselves as God's specially loved

instruments, his own selected knights-errant. "We are a race that exists

to advance in the world the affairs of God," said the old Gallic

patrician to Clovis the Frank, and soon a Frankish parchment ran,

"_Vivat Christus qui diligit Francos_." When men feel like that they are

compelled to express it grandly. When as pagans they feel it, the

expression is a cataclysmic war of conquest. When they feel it as

Christians, they build cathedrals. The generations whom St. Bernard

purified, whom Suger trained, whom St. Louis inspired, founded their

church on a firm rock, a living rock, lighted it unto a precious stone,

prepared it as a bride adorned for her husband, and ever since sanctity

has abided therein; kings have brought hither their honors and glory,

and the glory and honor of the people have adorned the walls.

FRANCE

Because for once the sword broke in her hand,

The words she spoke seemed perished for a space;

All wrong was brazen, and in every land

The tyrants walked abroad with naked face.

The waters turned to blood, as rose the Star

Of evil fate, denying all release.

The rulers smote the feeble, crying, "War!"

The usurers robbed the naked, crying, "Peace!"

And her own feet were caught in nets of gold,

And her own soul profaned by sects that squirm,

And little men climbed her high seats and sold

Her honor to the vulture and the worm.

And she seemed broken and they thought her dead,

The Over-Man, so brave against the weak.

Has your last word of sophistry been said,

O cult of slaves? Then it is hers to speak.

Clear the slow mists from her half-darkened eyes,

As slow mists parted over Valmy fell,

And once again her hands in high surprise

Take hold upon the battlements of Hell.

--CECIL CHESTERTON (who died a soldier of the World War).

Regretfully one turns to other interests after spending years in trying

to draw closer to the spirit of the Middle Ages--years that have

coincided with the apocalyptic struggle that has desolated the classic

region of the national art, laying low, one after another, the churches

of the first fugitive hour. And watching the giant battle, it has grown

clearer how indissoluble is the solidarity of modern Frenchmen with

their achieving grandfathers. A nation's bulwark is the unbroken

solidarity of Past with Present. And only when _la race lumineuse_,

compounded of Celt, Gaul, Latin, and Frank, denies that solidarity will

it be conquered.

The peasant-soldier of 1914, starting for the front, who replied with

grave dignity to his well-wisher, "Whichever way it turns, I am

ready,"[387] would have met death like a paladin at Roncevaux, in 778,

holding up his gauntlet to God, his suzerain, certain of the justice of

Him who from the grave raised Blessed Lazarus, and Daniel saved from

lions.

The young tradesman of 1915 who wrote from the trenches to one who

loved him: "I look on this struggle less as a war against an enemy than

as a crusade to reinstate God in his place in France," was true to his

_race apostolique_ that sets the church bells ringing. At Clermont, in

1095, he pressed forward with the cry: "The cross! The cross! God wills

it!" The priest-soldier offering sacrifice at an improvised altar within

hearing of the guns, his spurs fretting his sacerdotal gown, is Turpin,

guarding well the Cross and France.

The stricken lad, flung back, diseased from the prisons beyond the

Rhine, weak, broken, in tatters, who cried with vibrant voice, as he and

his comrades crossed the Swiss frontier, and friendly strangers gathered

round: "_La tête haute! C'est nous la France!_" conquered Jerusalem with

Godfrey de Bouillon in the olden days, and related his prowess in a

legend-medallion window at Chartres.

Above all, lives the soul of the Past in the generalissimo to whom a

righteous destiny granted the freeing of his land from invaders. In

churches shattered by shell fire he knelt daily--the weightiest fruit

bending lowest--and he begged that the children of Christendom lift up

their little white hands to heaven to petition for his endurance. In

1249, with flashing sword and the cry, "_Montjoie-St.-Denis_," he sprang

into the surf beside his saint-king, following the oriflamme as it

touched African soil. We have seen them alive again, the cathedral

builders, the commune winners, the crusaders, dying with the farewell

sigh, "_Ha! doulce France!_"

And thank God the flame is unquenchable, thank God that in the French

race is the underlying sentiment for the Infinite, that peasant,

artisan, student, priest, and chief feel the same humility and the same

proper pride as those who built Soissons, the lovely stricken virgin;

and Laon the intrepid, braving the hammer of Odin and Thor; Amiens the

perfect, menaced and shaken but spared to us; and tragic, immortal

Rheims, symbol of a people's resurrection. To herald the dawn is the

mission of France, to look on her deeds as _Gesta Dei per Francos_.

"Hers is the hand that scatters the seed."

Index

NOTE.--The heavy figures appearing here and there in the index indicate

the pages in which a complete description of the subject is given. The

other figures indicate additional references to the subject.

A

Abadie, Paul, 151, 290, 292, 354, 355.

Abbeville (Somme), 210, 226.

Abélard, Pierre, 41, 91, 104, 130, 133, 138, 174, 175, 414, 419, 467, 566.

Abraham, 182, 218, 219.

Achery, Dom Luc d', 149.

Acy-en-Multien (Oise), 45, 48.

Adams, Henry, 165, 170, 231, 299, 477, 499.

Adrian IV (Nicolas Breakspear), Pope, 134.

Agincourt, =1415= (Pas-de-Calais), battle of, 71, 483, 490, 565.

Agnes of Meran, 54, 95, 280.

Aicard, Jean, 378, 384.

Aigueperse (Puy-de-Dôme), 341.

Aigues-Mortes (Bouches-du-Rhône), 11, 66, 157, 377, =389=, =390=, 400.

Airaines (Somme), 45.

Airvault (Deux-Sèvres), 321.

Aix-en-Provence, 40, 330, 401, =403=, =404=.

Albi (Tarn), Cathedral of, 11, 13, 14, 279, 329, 330, =370-375=, 466;

choir screen, 373, 577;

vault frescoes, 374, 519.

Albigensian Crusade, 11, 189, 330, 353, 357, 358, 362, 363, 364, 365-370, 371, 376, 383, 385, 386, 392, 394, 405.

Alcobaça, Cistercian abbatial of, 465.

Alcuin, 4, 10, 149, 249.

Aldégrevier (vitrine artist), 541.

Alençon (Orne), 542.

Alençon, the Duke d', 315, 515, 527.

Aleth, Blessed, 458, 463.

Alexander II, Pope, 487.

Alexander III, Pope, 91, 136, 149, 250, 388, 433.

Aliénor of Aquitaine, 10, 60, 137, 138, 153, 174, 254, 274, 293, 296, 297, 298, 317, 318, 319, 320, 321, 326, 351, 353, 439, 440, 465, 502, 531, 543.

Alternate system, the, 80, 81, 93, 100, 127, 164, 478, 481, 482, 486.

Amboise (Indre-et-Loire), 254, 304, 558, 565.

Amboise, Cardinal Georges d' (of Rouen), 373, 492, 513, 519, 558.

Amboise, Bishop Jacques d' (of Clermont), 97, 335, 373, 421.

Amboise, Bishop Louis d' (of Albi), 373, 374.

Ambulatory, 19, 24, 45, 48, 51, 54, 58, 64, 65, 92, 109, 124, 129, 150, 216,

278, 292, 307, 337, 353, 398, 432, 569.

America, United States of, 57, 367, 394, 429.

Amiens (Somme), Cathedral of, 12, 31, 34, 39, 46, 55, 181, 197, 201, =202-210=, 214, 224, 225, 329, 331, 333, 351, 380, 425, 475, 539, 581.

Amyot, Bishop Jacques, 451.

Angers (Maine-et-Loire), 10, 13, 39, 255, 286, 303, 309, 310;

Cathedral of, 59, 113, 146, 273, =302-309=, 351, 550;

Fortress of, 309, 310;

St. Jean's Hospital, 310, 311;

St. Martin, 295, 305;

St. Nicolas-du-Ronceray, 294, 295, 305;

St. Serge, 302, 311, 312;

Toussaint, 310, 321;

Trinité, 300, 305.

Angoulême (Charente), Cathedral of, 287, =290-293=, 295, 352.

Anjou, counts and dukes of, 173, 220, 269, 271, 273, 274, 280, 408.

Anjou, Charles I d', 154, 156, 280, 295, 299, 307, 309, 427, 465;

Charles II d', 280, 309, 401, 402;

St. Louis d', 402;

Louis II d', 280, 308, 309, 396.

Anjou, King René. _See_ René.

Anne, St., 138, 181.

Anne of Brittany, 67, 89, 256, 344, 373, 557, 558, 565, =566=, =567=, 569.

Annunzio, Gabriele, d', 107, 121.

Anselm, St., 4, 34, 133, 173, 250, 260, 271, 417, 473, =474=, =475=, 485.

Anselm de Laon. _See_ Laon.

Anthony of Padua, St., 5, 350, 359.

Antioch, 157, 208, 323, 345, 390, 554.

Apocalypse, the, 20, 98, 99, 144, 204, 217, 219, 239, 309, 320, 347.

Apostles in art, the, 146, 182, 207, 208, 262, 278, 321, 349, 352, 377, 389, 438, 561.

Apses, notable, 65, 80, 93, 105, 115, 116, 122, 129, 216, 232, 251, 275, 276,

421, 486, 489, 536, 547, 554.

Aquinas, St. Thomas, 2, 4, 41, 126, 130, =131=, =132=, 133, 134, 175, 238, 267, 334, 359, 465, 475.

Aquitaine, dukes of, 10, 298, 318, 327, 347, 351, 384.

Arbrissel, Robert d' (founder of Fontevrault), =294=, 323.

Archæology of the Middle Ages, 2, 13, 40, 92, 552.

Archæology, modern French school of, 32, =37-48=, 415, 428, 576.

Architects, mediæval, 5, 34, 35, 39, 57, 66, 82, 93, 94, 96, 141, 146, 150,

152, 163, 167, 177, 179, 190, 191, 204, 237, 276, 284, 251, 264, 271, 284,

299, 303, 334, 360, 380, 390, 406, 411, 457, 513, 517, 518, 553, 559, 564.

Architecture, 1, 4, 5, 7, 12, 15, 27, 56;

X century, 20, 21, 148, 411;

XI century, 17, 19, 20, 21, 22, 23, 24, 34, 48, 117, 254, 270, 305, 314, 343, 349, 384, 397, 481, 546, 554;

XII century, 12, 22, 31, 34, 41, 57, 58, 92, 104, 105, 108, 109, 115, 116, 119, 120, 124, 136, 137, 147, 253, 270, 275, 287, 289, 291, 295, 300, 303, 313, 314, 320, 344, 381, 392, 403, 406, 423, 428, 435, 446, 532, 537, 546, 552, 554;

XIII century, 12, 41, 65, 66, 105, 110, 111, 139, 141, 146, 166, 177, 190, 204, 237, 330, 436, 446, 489, 503, 504, 538, 575, 576;

XIV century, 12, 13, 65, 105, 130, 164, 187, 207, 232, 265, 330, 346, 377, 378, 381, 382, 386, 407, 408, 447, 449, =489=, =490=, 509, 513, 514, 515, 538, 555, 564, 576;

for the XV and XVI centuries _see_ Flamboyant Gothic;

XVII century, 243, 561.

Arcis-sur-Aube, 239.

Arezzo (Tuscany), 171, 374.

Aristotle, =344=, =434=.

Argentan (Orne), 542.

Arles (Bouches-du-Rhône), 11, 24, 397, 399;

St. Trophime, 330, 336, =398=, =399=, 400.

Arnold, Matthew, 264, 265.

Arnoul, Bishop (of Lisieux), 250, 531, 532, 534.

Arras (Pas-de-Calais), 2, 556.

Arthur of Brittany, 297, 308, 511.

Artois, Robert d', 96, 156.

Asnières (Maine-et-Loire), 314.

Attila the Hun, 201, 231, 243.

_Aucassin et Nicolette_, 396.

Auch (Gers), Cathedral of, 358, 374.

Augustine, St., 132, 158, 364, 449, 508.

Augustus, 239-243, 257, 259, 424.

Aulnay (Charente-Inférieure), 291.

Autun (Saône-et-Loire), Cathedral of, 24, 181, 416, 419, =423-426=, 429.

Autun, Honoré d', 262, 424.

Auvergne, 11, 38, 39, 249, 330, 331, 336, 337, 381;

Romanesque school of, 11, 24, 38, 151, 254, 329, 331, 333, 337, 339, 340,

343, 344, 360, 449.

Auvergne, Guillaume d' (Bishop of Paris), 133, 139, 140, 141, 469.

Auxerre (Yonne), 224, 428, 445;

Cathedral of, 7, 33, 115, 226, 242, 316, 429, =446-451=, 460;

glass of, 449, 450, 451;

sculpture of, 447;

St. Germain, 410, 445, 446, 572;

St. Eusèbe, 448.

Avallon (Yonne), 24, =428=, 435, 441.

Avignon (Vaucluse), 209, 381, 388, =405-409=;

the Avignon popes, 330, 335, 347, 353, 359, 368, 381, 386, 387, 388, 405,

406, 407, 408, 409.

Avila, 242, 264, 340, 465.

Avranches (Manche), Cathedral of, 2, 474, 556.

B

Bacon, Francis, 276.

Bacon, Roger, 134.

Balmes, J. C., 41.

Balzac, Honoré de, 119, 247, 249, 312.

Bamburg, Cathedral of, 2, 77, 193.

Bannalec (Finistère), 560.

Barbarian invasions in France, 4, 18, 20, 28, 29, 36, 78, 107, 142, 172, 261,

325, 336, 337, 361, 411, 414, 472, 479, 483, 495, 510, 563.

Bari, Cathedral of, 555.

Barre, Chevalier de la, 151.

Barrès, Maurice, 389, 398, 435.

Bar-sur-Aube, 239.

Bar-sur-Seine, 239.

_Barzas-Breiz_, 400, 556.

Basly (Calvados), 491.

Bassac (Charente), 291.

Bayard, Chevalier, 342.

Bayeux (Calvados), Cathedral of, 488, 508, =545-551=.

Bayonne (Basses-Pyrénées), Cathedral of, 354, 569.

Bazin, René, 259, 302, 415, 410, 580.

Beaucaire (Gard), 396.

Beauce, Jehan Texier, called de, 179, 180.

Beaulieu (Corrèze), 24, 288.

Beaumont, Raoul de, 306, 308;

family of, 308, 550.

Beaumont-le-Roger (Eure), 536, 541.

Beaune (Côte-d'Or), hospital and collegiate of, 419, =426=, =427=.

Beauneveu, André (sculptor), 67, 299, 327.

Beauvais (Oise), 3, 96, 100, 125, 127, 379, 380, 425, 533, 534, 539;

Cathedral of, =224-230=, 404, 577;

St. Étienne, 45, 46, =50-53=, 224, 228.

Beauvais, Vincent de, 9, 133, 134.

Bec (Eure), Abbey of, 125, 173, =473-476=, 485, 487, 496, 502, 512.

Becket, St. Thomas, 11, 41, 91, 93, 94, 95, 97, 134, 136, 176, 184, 250, 261,

311, 340, 432, 433, 446, 518, 527, 531, 532, 550, 556;

windows of, 97, 184, 518, 550.

Bedford, John Plantagenet, Duke of, 87, 143, 489, 490, 523, 525, 527, 530, 535.

Bellefontaine (Oise), 45.

Belloc, Hilaire, 375, 548.

Benedict, St., 4, 23, 411, 483.

Benedict XII, Pope (Avignon), 407.

Benedictines, 7, 34, 54, 114, 117, 123, 124, 133, 148-151, 190, 278, 411, 476, 501, 548, 554.

Berengaria of Navarre, 279, 296, 538.

Berengar of Tours, 250, 487.

Berland, Pierre (Archbishop of Bordeaux), 354, 355.

Bernard, St., 14, 34, 40, 63, 64, 91, 92, 93, 107, 133, 135, 152, 243, 246,

271, 273, 298, 319, 321, 361, 362, 364, 367, 371, 412, 414, 418, 423, 430,

431, 434, 439, 440, 441, 442, 453, =461-471=, 503, 541, 579.

Bernay (Eure), Abbatial of, 473, 481, =495=, 496, 541.

Bernières-sur-mer (Calvados), 491.

Berry, Jean, Duke de, 214, 220, 221, 222, 232, 309, 320, 327, 329, 341, 342, 349, 353, 539.

Berzy-le-Sec (Aisne), 45.

Béthisy-St. Pierre (Oise), 45.

Bèze, Théodore de, 218, 441.

Béziers (Hérault), Cathedral and sack of, 330, 367, 369, =383=, 405, 539.

Bible, in the Middle Ages, the, 9, 11, 58, 133, 142, 145, 208, 217, 233, 253,

273, 327, 358, 395, 418, 432, 434, 437, 470, 557.

_Biblia pauperum_ windows and sculpture, 97, 184, 219, 233, 418, 437, 451, 462, 520, 579.

Bilson, John, archæologist. _See_ Bibliography.

Bishop-builders of French cathedrals, 5, 32, 79, 80, 86, 92, 93, 94, 95, 96, 105, 136, 137, 138, 139, 140, 150, 172, 173, 174, 189, 202, 215, 229, 231, 243, 250, 251, 261, 263, 267, 270, 272, 275, 291, 299, 306, 334, 335, 344, 353, 354, 371, 373, 377, 381, 447, 513, 538, 542, 546, 592.

Black Prince, the, 347, 355, 368, 378.

Blanche of Castile, 54, 86, 106, 107, 153, 154, 185, 225, 232, 234, 253, 299,

313, 362, 398, 435, 508, 538.

Blois (Loir-et-Cher), 121, 254, 558.

Bobbio (Province of Pavia), monastery of, 411, 483.

Bohemund of Taranto, 323, 337, 555.

Bologna, 134, 327, 364, 374, 446.

Bonaventure, St., 5, 41, 133, 134, 267, 268.

Boniface VIII, Pope, 385.

Bonneuil-en-Valois, 45, 49.

Bordeaux (Gironde), 350-356;

Cathedral of, 13, 31, 226, 298, 318, 330, =350-356=, 577;

Ste. Croix, 318, 351, 355;

St. Michel, 320;

St. Seurin, 318, 351, 352, 355, 356.

Born, Bertran de, 345, 348, 349.

Boscherville. _See_ St. Georges de.

Bosham, Herbert of, 93.

Bossuet, 121, 163, 167, 247, 252, 253.

Boston, U. S. A., 353, 394.

Botrel, Théodor, 201.

Bouilhet, Louis, 78.

Bourbon art patrons, 185, 253, 259, 264, 265, 266, 295, 341, 357, 364, 406,

421, 456, 513, 539.

Bourdaloue, 212.

Bourges (Cher), Cathedral of, 8, 11, 14, 211, =212-224=, 226, 255, 275, 276, 320, 322, 328, 454.

Bourget, Paul, 339, 531.

Bourgonnière chapel in Bouzilly (Maine-et-Loire), 322.

Bouvines, =1214= (Nord), battle of, 12, 32, 70, 86, 122, 195, 453.

Boyle (Co. Roscommon), Abbey of, 464.

Braine (Aisne), St. Yved at, 99, 113, 116, =121-125=, 185, 284.

Brest (Finistère), 560, 561.

Bridges, mediæval, 267, 289, 350, 371, 405, 407.

Brienne (Aube), 239.

Brienne, Jean de, 4, 70, 189.

Brioude (Haute-Loire), 340.

Brittany, 11, 400, =556-575=;

Calvaries of, 400, 559, 560, =561=, 574;

cult of the dead in, 559, 561;

dukes of, 297, 308, 566, 567, 569;

glass of, 559, 560, 563, 569;

Gothic of, 12, 557, 558, 559, 562, 563, 570, 571;

Romanesque of, 557, 562;

the Renaissance in, 559, 560, 561, 562, 563, 564, 568.

_See_ Anne of Brittany.

Brizeux, A., 570.

Brou (in Bourg-en-Bresse), the church of, 264, 265.

Brunetière, F., 148.

Bruno, St., 4, 117, 118, 194.

Bruyère (Aisne), 45.

Burgos, Cistercian abbatial of Las Huelgas, 2, 264, 399, 465, 502.

Burgundy, 21, 23, 39, 229, =410-470=;

dukes of, 143, 154, 226, 261, 410, 425, 452, 453, 454;

Franco-Flamand school of sculpture, 240, 255, 256, 281, 452, 455, 456, 567;

Gothic of, 242, 410, 412, 413, 415, 427, 436, 440, 443, 446, 447, 448, 464,

465;

Apogee Gothic, sculpture of, 410-413, 444, 447, 449;

Romanesque school of, 23, 254, 340, 344, 360, 394, 422, 423, 428, 437, 438,

439;

Romanesque, sculpture of, 418, 422, 423, 424, 437, 457.

Bury (Oise), 44, 45, 150.

Buttresses, 25, 26, 27, 229, 352, 378, 412, 413, 451, 481, 504;

flying buttresses, 26, 27, 46, 52, 117, 124, 129, 163, 179, 181, 187, 196, 225, 237, 260, 276, 292, 360, 413, 437, 443, 486, 554.

Byzantine influences in French art, 17, 18, 43, 59, 101, 120, 123, 137, 138, 180, 181, 196, 234, 248, 249, 262, 287, 291, 292, 306, 322, 349, 398, 438, 486, 547.

C

Caen (Calvados), 10, 13, 30, 163, 478, =484-491=, 519, 520;

Abbaye-aux-Dames (Ste. Trinité), 164, 482, =484=, 485;

Abbaye-aux-Hommes (St. Étienne), 415, 482, =484=, =486=, =487=, 488, 512,

532, 547, 554;

St. Nicholas, =484=, 493;

St. Pierre, 488, 489, 490, 523, 570, 571;

Vaucelle's tower, 491.

Cahors (Lot), Cathedral of, 24, =288=, =289=, 292, 407.

Calixtus II, Pope, 151, 200, 250, 261, 288, 291, 295, 360, 393, 417, 423, 453.

Calixtus III, Pope, 529.

Calvaries. _See_ Brittany.

Cambrai (Nord), 2, 81, 264, 556.

Cambrai, Jean de (sculptor), 221, 266.

Cambridge, England, 407, 457.

Cambronne (Oise), 44, 45.

Candes (Maine-et-Loire), =314=, =316=, 319.

Canterbury, archbishops of, 173, 260, 410, 432, 433, 434, 474, 475, 550;

Cathedral of, 3, 30, 93, 94, 173, 474, 475, 487, 532;

pilgrims, 94, 551.

Captives, redeeming of Christian, 6, 38, 42, 139, 369, 386, 404, 405.

Carcassonne (Aude), 11, 330, 339, =375-378=;

Cathedral of St. Nazaire, 349, 376, 377, 539.

Carentan (Manche), 539, 541, 554.

Carhaix (Finistère), 561.

Carnac (Morbihan), 400.

Carolingian vestiges and times, 20, 56, 57, 77, 78, 84, 149, 171, 173, 224,

225, 249, 250, 278, 283, 284, 305, 311, 324, 333, 337, 411, 470, 471, 478,

480, 482.

Cartharist heresy, 174, 362, 365, 366, 466.

Carthusian Order, 4, 117, 118, 194, 408;

the Grande-Chartreuse, 118, 408.

Carville (Seine-Inférieure), 492, 494.

Casamari (Province of Rome), Cistercian abbatial of, 465.

Castanets, Bernard de (Bishop of Albi), 371, 372.

Catalonia, 357, 380.

_See_ Gerona, Poblet, Tarragona.

Cathedrals of France, 9, 42, 74, 193, 202, 268, 575, 576, 578, 579;

Religious fervor of the builders, 5, 8, 9, 23, 32, 33, 35, 36, 42, 57, 115,

174, 175, 275, 338, 350, 472, 491, 512, 553, 578, 579, 580, 581.

Catherine of Siena, St., 307, 388.

Cauchon, Bishop Pierre, 225, 328, 523, 524, 525, 529, 530, 531, 533, 534, 535, 536.

Caudebec-en-Caud (Seine-Inférieure), 474, 494, =518=, 541.

Cécile, Abbess (Trinité, Caen), 485, 486.

Cecilia, St., 14, 370-375, 485, 486.

Cefalu (Palermo province), Cathedral of, 555.

Ceffonds (Aube), 239.

Celle, Pierre de (Bishop of Chartres), 114, 116, 170, 176, 190, 469.

Celtic element in France, 4, 11, 12, 21, 91, 135, 174, 177, 245, 336, 378, 384, 388, 411, 483, 556, 558, 562, 563, 567, 572, 574, 575, 577, 580.

Cerisy-la-Forêt (Manche), 473, 554, 573.

Cervantes, 405.

Chaalis (Oise), ruins of abbatial, 87, 215.

Chaise Dieu (Haute-Loire), abbatial of La, 330, 332, =335=, 408, 566.

Châlons-sur-Marne, 424;

Cathedral of, 7, =241-244=;

Notre Dame, 33, 74, 90, =114-116=, 415;

St. Alpin, 243.

Chambiges, Martin (architect), 97, 152, 226, 235;

Pierre (architect), 89, 235.

Champagne, 6, 7, 39, 66, 121, 162;

counts of, 94, 119, 120, 137, 157, 231, 232, 234, 236, 244, 245, 246, 432, 464, 538;

fairs of, 6, 235, 244, 245;

glass of, 98, 118, 150, 219, 233, 234, 235, 237, 238, 239, 240, 241, 243;

Gothic art of, =114-120=, =188-197=, 211, 213, =230-247=;

Gothic influence of, 109, 115, 116, 190, 191, 193, 202, =242=, 244, 245, 246, 247, 448;

literature of, 119, 245, 246;

sculpture of, 113, 116, 117, 194, 195, 196.

Champeaux, Guillaume de (Bishop of Châlons), 41, 86, 104, 133, 176, 194, 243,

466, 469, 474.

Champigny-sur-Veude (Indre-et-Loire), 254, 266.

_Chansons de geste_, 42, 106, 135, 239, 245, 246, 299, 343, 376, 384, 436, 500, 501, 549, 580, 581.

Chantilly (Oise), 144, 328.

Charité-sur-Loire, abbatial of, 254, 566.

Charlemagne, 9, 10, 20, 22, 57, 78, 86, 105, 153, 184, 249, 344, 355, 356, 379, 501, 545.

Charles V, Emperor, 144, 264.

Charles V of France, 67, 144, 164, 209, 309, 353, 454, 520, 534, 539.

Charles VI, 221, 327.

Charles VII, 118, 223, 233, 247, 255, 278, 299, 483, 526, 527, 528, 529, 530,

540.

Charles VIII, 247, 256, 264, 558, 566.

Charles le Téméraire, Duke of Burgundy, 226, 264, 266, 452.

Charles Martel, 317, 388, 389, 436.

Charles the Bad, Count of Évreux, 164, 538, 539.

Chartier, Alain, 143, 546.

Chartres, Cathedral of, 8, 14, 22, 33, 36, 39, 111, 113, 115, 122, 139, =170-187=, 197, 204, 207, 211, 212, 219, 220, 224, 226, 234, 272, 279, 306, 318, 413, 475, 490, 511, 512, 519, 541, 550, 581;

school of glass, 59, 101, 183, 184, 262, 519;

sculpture of, 175, 180, 181, 182, 288, 394;

St. Pierre, 172, 349, 539.

Chartres, St. Ives of, 337.

Chastellux, Jean de, 429.

Chateaubriand, 70, 118, 410, 443, 562.

Châteauneuf-du-Faou (Finistère), 559.

Chaucer, 372, 551.

Chaumes, Nicolas de (architect), 96, 167.

Chaumont-sur-Loire, 373, 566.

Chauvanges (Aube), 239.

Chauvigny (Vienne), 320, 321.

Chelles (Oise), 45.

Chelles, Jean and Pierre de (architects), 141, 146.

Cherbourg (Manche), 554.

Chérisy, Nivelon de (Bishop of Soissons), 6, 41, 86, 108, 109, 110.

Chesterton, Cecil, 579, 580.

Chevalier, Étienne, 241, 342.

Cheverus, Cardinal de, 352.

Chiaravalle (Milan province), 464, 465.

Chichester, St. Richard of, 434, 435.

Chinon (Indre-et-Loire), 254, 296, 315, 526.

Christian persecutions, the, 9, 56, 215, 248, 252, 256, 257, 258, 259, 260,

263, 436, 439.

Christopher, St., 553, 576.

Cicero, 344, 411.

Cistercian Order and architecture, 4, 7, 34, 93, 104, 105, 106, 107, 215, 278, 361, 412, 417, 430, 431, =461-465=, 554;

influence of Cistercian Gothic, 461, 464, 465, 470, 471.

Cîteaux (Côte-d'Or), 34, 410, 412, 418, 425, 431, 444, 462, 469.

Civray (Vienne), 291.

Clairvaux (Yonne), 245, 430, 464, 467.

Claudianus Mamertus (Bishop of Vienne), 261.

Clearstory, 24, 92, 111, 115, 116, 124, 128, 141, 183, 185, 205, 214, 242, 251, 276, 353, 412, 413, 430, 478, 486, 500, 553.

Clement IV, Pope (Guy Fulcodi), 236, 381, 392, 393.

Clement V, Pope (Bertrand de Got), 261, 264, 320, 326, 327, 353, 354, 406, 515.

Clement VI, Pope, 335, 407, 408, 409, 497.

Clermont-Ferrand (Puy-de-Dôme), 334, 336, 373;

Cathedral of, 10, 146, 203, 205, 213, 330, =331-339=, 346, 380, 381, 519;

Council of, 173, =337=, =338=, 344, 581;

Notre Dame-du-Port, 330, 339, 340.

Cloisters, sculptured, 82, 149, 254, 354, 360, 361, 383, 398, 399, 503, 504, 573.

Clouet, Jean and François, 256.

Clovis and Clotilda, 107, 118, 194, 317, 411, 446, 508.

Cluny (Saône-et-Loire), 2, 14, =22=, 23, 24, 34, 104, 149, 150, 163, 259, 266, 270, 318, 335, 360, 361, 373, 393, 410, 411, 412, 413, =414-421=, 425, 438, 444, 457, 465, 471, 473, 477, 512, 519.

Coeur, Jacques, 11, =222=, 223, 528, 529, 541.

Cognac (Charente), 291.

Coliseum, 377.

Cologne, Cathedral of, 132, 203, 225, 333;

St. Gereon, 112, 122.

Colombe, Michel (sculptor), 67, 254, 255, 256, 264, 279, 280, 281, 342, 513, 519, 558, 563, =567-568=.

Columbanus, St., 4, 122, 410, =411=, =412=, 457, 464, 483, 509.

Commendatory abbots, 420, 483, 507.

Communes, mediæval, 7, 8, 12, 32, 74, 62, 79, 102, 103, 262, 416, 435, 437,

439.

Como, Church of S. Abondio, 29, 338.

Compiègne (Oise), 47, 77, 143, 226, 534.

Comtat-Venaissin, the, 405, 408, 409.

Conches (Eure), Church of Ste. Foi, 536, 541.

_Congrès Archéologique de France_, 38, 50, 78, 84, 92, etc.

Conques (Aveyron), Abbatial of Ste. Foi, 250, 360, 415.

Constantine, Emperor, 215, 398, 507.

Constantinople, 6, 41, 204, 234, 261, 268, 270, 289, 298, 317, 345, 420, 427,

436.

Corbeil, Pierre de (Archbishop of Sens), 95, 234.

Cordova, 379.

_Corpus Christi_ feast, 238, 243, 427.

Cosmati, the (artists), 29, 387.

Coucy-le-Château (Aisne), =102=, 313.

Coulanges, Fustel de, 42.

Councils of the Church, 91, 117, 189, 206, 246, 250, 261, 263, 267, 268, 323,

337, 338, 344, 370, 534, 540.

Cousin, Jean (vitrine artist), 94, 98, 144.

Cousin, Victor, 133, 211.

Coutances (Manche), Cathedral of, 10, 276, 488, 538, 539, 547, 550, =551-556=.

Coysevox (sculptor), 259.

Cram, Ralph Adams, 91.

Crawford, F. Marion, 439.

Crécy, =1346=, battle of, 327, 487, 491.

Crestien de Troyes (trouvère), 245.

Creuil (Oise), 45, 46.

Crouy-sur-Ourcq (Seine-et-Marne), 45, 48, 405.

Crown of Thorns, the, 145, 159, 345.

Crucifixion windows. _See_ Glass.

Crusades, 11, 31, 32, 299, 338, 365, 366, 440, 581;

First Crusade, 22, 118, 173, 194, 246, 250, 270, 294, 305, 323, =337-339=, 344, 345, 360, 449;

Second Crusade, 62, 70, 79, 274, 298, 339, 429, 439, 466, 531;

Third Crusade, 70, 94, 136, 143, 367, 440, 514, 538;

Fourth Crusade, 41, 110, 161, 231, 233, 246, 369;

Fifth Crusade, 70, 159;

Sixth Crusade, 154, 155, 159, 390, 400, 553, 581;

Seventh Crusade, 120, 157, 158, 162, 262, 390, 391, 514.

Crusading-bishops, 6, 41, 79, 81, 82, 86, 97, 110, 111, 139, 189, 190, 206,

231, 233, 248, 334, 344, 345, 514, 531, 538, 547, 549.

Crypts of France, noted, 19, 22, 65, 168, 172, 215, 224, 225, 259, 283, 287, 339, 399, 401, 429, 446, 457, 486, 547, 566.

Cunault (Maine-et-Loire), 314.

Cupola churches, 18, 24, 151, 227, 285, 286, =287-295=, 300, 303, 324, 344,

403.

Cyprus, 38, 154, 237, 381, 436, 538.

D

Dagobert, 51, 57, 67, 80.

Dammartin, Guy de, 221, 277, 327, 341, 387, 454;

André de, 221, 232, 277, 341, 454;

Jean de, 221, 255, 277;

Guillaume de, 566.

Dance of Death frescoes, 335, 565, 566.

Daniel, 233, 580.

Dante, 9, 133, 137, 141, 147, 148, 150, 153, 156, 245, 253, 349, 357, 363, 441, 462, 465, 474.

Daudet, Alphonse, 259, 396.

David, 9, 437, 447.

Da Vinci, Leonardo, 193.

Delorme, Philibert, 259.

Deschamps, Jean and Pierre (architects), 334, 346.

Deviation of axis, 68, 69, 136, 320, 569.

Dieppe (Seine-Inférieure), 494, 518.

_Dies iræ_, 128, 217, 317.

Dijon (Côte-d'Or), 11, 13, 40, 255, 314, =452-461=;

Cathedral of St. Bénigne, 22, 410, 415, 452, 453, =456-459=;

Franco-Flemish school of sculpture, 255, 256, 281, 327, 373, =454=, =455=, =456=, 567;

Notre Dame, 413, 443, 452, 453, =459-461=;

Fontaine-lès-Dijon, 463.

Dinan (Côtes-du-Nord), 541, 562.

Dol (Ille-et-Vilaine), 539, 557, 559, =563=, =564=.

Domenico Florentino (sculptor), 67, 240, 241.

Dominic, St., 5, 41, 128, 363, 364, 376.

Dominican Order, 134, 327, 330, 358, 364, 369, 373, 402, 420, 524, 528.

Doué, Normand de (Bishop of Le Mans), 306, 308.

Drayton, Michael, 490.

Dreux, family of, 122, 185, 190.

Dubois, Paul, 201, 568.

Dugueselin, Bertrand de, 67, 266, 327, 342, 557, 562.

Dunois, bâtard d'Orléans, 77, 355, 527, 529, 534.

Durandus, Guillaume (author of _Rationale_), 19, 69, 214, 267, 359, 387, 400,

401.

Dürer, Albert, 144, 347, 541.

Durham, Cathedral of, 30, 31, 492, 493, 532, 545.

E

École des Chartes, 25, 37, 38, 50, 545.

Écouen (Seine-et-Oise), 144.

Edmund Rich, St. (Archbishop of Canterbury), 4, 41, 434, 435.

Edward I of England, 390, 485.

Elbeuf (Seine-Inférieure), 518.

Elizabeth of Hungary, St., 53, 54, 112, 122, 280, 313.

Elne (Pyrénées-Orientales), 382, 383.

Eloi, St. (Bishop of Noyon), 80, 83, 240, 249, 349.

Ely, Cathedral of, 3, 482, 487, 516.

Enamel, Limoges, 172, 273, 314, 341, 349.

England, 11, 105, 351, 416, 426, 430, 478, 482, 487, 502, 516, 517, 518, 520,

549, 550, 552, 563.

_See_ Henry I, Henry II, Henry III, the Black Prince, St. Thomas Becket, St. Stephen Harding, John of Salisbury, etc.

English architecture, 30, 93, 94, 99, 227, 296, 299, 301, 354, 407, 412, 432,

487, 495, 497, 516, 520, 523, 524, 533, 547.

_See_ Canterbury, Durham, Ely, etc.

Enlart, Camille, archæologist. _See_ Bibliography.

Entombments (Holy Sepulcher groups), 225, 239, 280, 281, 282, 497.

Ervy (Yonne), 239, 322.

Escorial, the, 283.

Espine, Jean de l' (architect), 308, 311.

Estonteville family, the d', 497, 518, 555;

Cardinal Guillaume d', 506, 513, 517, 529;

Louis d', 505, 529.

Étampes (Seine-et-Oise), 112, 511.

Eu (Seine-Inférieure), Abbatial of St. Laurent, 473, =498=, =499=, 513, 532, 555.

Eu, Geoffrey d' (Bishop of Amiens), 206, 499.

Eugene III, Pope, 152, 243, 430, 458, 464, 466.

Eustace, St., 91, 152.

Évreux (Eure), Cathedral of, 518, 529, =536-541=;

XIV-century glass of, 539, 540.

Exeter, Cathedral of, 407.

Eymoutiers (Haute-Vienne), 350, 541.

F

Fabian, Pope, 330, 399.

Façades, noted church, 51, 89, 97, 105, 129, 191, 192, 207, 217, 226, 235, 254, 271, 291, 292, 307, 323, 343, 347, 353, 406, 460, 514, 518, 548, 553.

Falaise (Calvados), 489, =544=.

Fécamp (Seine-Inférieure), Abbatial of, 478, 482, =494-498=, 502, 532, 554.

Fénelon, 36, 288.

Fenestration, development of Gothic, 25, 26, 51, 55, 111, 128, 146, 164, 183,

205, 213, 214, 227, 228, 234, 235, 237, 251, 262, 276, 292, 322, 333, 340,

377, 380, 406, 413, 431, 441, 450, 459, 478, 486, 488, 506, 519, 539, 548,

553, 554.

Ferdinand of Spain, St., 299.

Ferrero, Guglielmo, 329.

Feudal system, the, 11, 31, 61, 63, 92, 102, 104, 105, 151, 156, 160, 195, 225, 262, 271, 296, 299, 304, 305, 310, 313, 337, 349, 351, 362, 369, 370, 376, 383, 390, 394, 439, 455, 487, 531, 545, 550, 555.

Fiesole, Jerome of, 256, 568;

Mino da, 497.

Flamboyant Gothic, 13, 89, 118, 146, 152, 167, 207, 217, 222, =226=, =227=,

228, 232, 233, 237, 239, 244, 252, 254, 265, 271, 277, 301, 309, 314, 327,

335, 347, 354, 372, 380, 387, 403, 415, 425, 447, 473, 506, 513, 516, 517,

518, 521, 529, 530, 539, 541, 542, 558, 559, 565, 569, 571, 573.

Flandrin, H., 259.

Flaubert, Gustave, 519.

Flavigny (Côte-d'Or), 224, 410, 428, =429=.

Fléac (Charente), 291.

Flemish influences in French art, 6, 44, 67, 209, 240, 263, 264, 309, 373, =404=, 426, 427, 454, 455, 456, 567.

Flodoard (chronicler), 20.

Florence, Cathedral of, 3, 30, =406=.

Foch, General, 106, 375, =581=.

Folgoët (Finistère), Collegiate at, 558, 559.

Fontenay (Yonne), 7, 410, 428, =430=, 431.

Fontevrault (Maine-et-Loire), Abbatial of, 10, 274, 286, 291, 294, 313, 315, 318, 328.

_See_ Plantagenet tombs.

Fontfroide (Aude), Cistercian abbatial of, =380=, =381=, 407.

Fortified churches in the Midi, 332, 359, 368, 382, 383.

Fortunatus Venantius (Bishop of Poitiers); 10, 316, 317, 318, 322, 324.

Fossanuova (province of Rome), Cistercian Burgundian church, 132, 465.

Fouilloy, Evrard de (Bishop of Amiens): 206.

Fountains Abbey (Yorkshire), 3, =464=.

Fouquet, Jean, 254, 256, 342.

Francis of Assisi, St., 4, 101, 131, 465.

Francis I, 67, 89, 172, 344, 518, 534.

Francis II, Duke of Brittany, tomb of 558, 567, 568.

Franciscan Order, 218, 268, 317, 330, 359, 364, 420.

Frederick II, Emperor, 132, 267.

Freeman, E. H., 412, 490.

Frescoes in French churches, 288, 314, 320, 321, 335, 344, 349, 374, 375, 405, 407, =408=, =409=, 511.

Froissart, 210, 327, 347, 349, 368, 408, 455.

Fulbert, of Chartres, Bishop, 22, 41, =170=, =171=, =172=, 173, 174, 176, 194.

Fulk III, Nerra, Count of Anjou, 254, 274, 296, 302, 304, 305, 310, 314, 315,

550.

Fulk IV, Count of Anjou, 295, 304.

Fulk V, Count of Anjou, 173, 272, 295, 304.

Furness Abbey (Lancashire), 464.

G

Gaillon (Eure), Château of, 373, 513, 558.

Gallo-Roman bishops and times, 21, 86, 117, 118, 148, 164, 193, 194, 208, 231, 243, 248, 325, 331, 336, 337, 340, 349, 394, 396, 398, 399, 429, 433, 515, 579.

Gargoyles, 8, 139, 142, 239, 358, 372, 461.

Gassicourt (Seine-et-Oise), 163.

Gautier, Léon, 133, 135, 162, 245, 356, 500, =501=, 520, 542.

Gelasius II, Pope, 388, 417.

_Genesis_, 145, 253.

Geneviève, St., 71, 72, 73, 98, 133, =445=.

Gennes (Marne-et-Loire), 314.

Genoa, 466, 497, 511.

Gensac (Charente), 291.

Gentil, François (sculptor), 241.

Geoffrey the Handsome, Count of Anjou, 271, 272, 273, 274, 295, 304.

Geoffrey, Abbot (of Vendôme), 271, 272, 337, =436=.

Gerard, Bishop (of Angoulême), 291 292.

Gerbert (Sylvester II), 171, 194.

Germanic influences on French architecture, 21, 48, 81, 84, 109, 124, 142, 164, 243, 336, 347, 449, 567, 580, 588.

Germany, architecture in, 27, 77, 81, 99, 223, 288, 307, 464, 569.

_See_ Rhenish school.

Gerona (Catalonia), 380, 386.

Gerson, Chancellor Jean, =143=, 242, 247, 264, 534.

Giotto, 29, 267, 402.

Glaber, Raoul (chronicler), 22, 414, 458.

Glass, stained: XII-century, 10, 55, =58-60=, 97, 98, 118, 144, 183, 184, 219, 244, 272, 279, 307, 308, 321;

XIII-century, =10=, 59, 97, 98, 101, 118, 143, 145, 146, 172, 180, 184, 185, 186, 219, 234, 252, 262, 278, 321, 449, 450, 511, 519, 539;

XIV-century, =98=, 172, 220, 234, 237, 244, 252, 325, 341, 377, 382, 444,

=539=, 543;

XV-century, 118, 185, 222, 223, 240, 244, 253, 265, 277, 350, 520, 540, 541, 569;

XVI-century, 51, 98, 144, 220, 223, 228, 233, 234, 235, 238, 239, 240, 244,

254, 264, 307, 374, 451, 513, 535, 539, 541;

XVII-century, 224, 234, 240;

grisaille glass, 172, 237, 431, 450, 540, 543;

_camaïeu_ glass, 144, 239, 243;

abrasion, 540;

quarries, 540;

Creation windows, 239, 240, 451;

Crucifixion windows, 10, 32, 243, 39, 237, 322, 520;

New Alliance windows, 97, 185, 219, 220, 253, 260, 262, 424;

Jesse Tree windows, 59, 183, 228, 234, 238, 240, 253, 278, 517, 541;

_Pressoir_ windows, 238, 240, 541;

Renaissance glass, 98, 115, 144, 223, 224, 233, 234, 240, 241, 243, 449, 451, 513, 539, 541.

Glennes (Aisne), 45.

Gloucester, Cathedral of, 482, 487, 519.

_Golden Legend (Legenda Aurea)_, 9, 85, 97, 220, 400.

Gontier, Linard (vitrine artist), 234, 238, 240, 241.

Gothic architecture, 3, 17, 25, 26, 27, 29, 36, 113, 123, 202, 246, 426, 459,

575, 576, 578;

birth of, 42-52, 55, 123;

definition of, 16, 17, 22, 26, 31, 36;

first Gothic vaults, 27, 31, 39, 44, 45, 46, 287, 478, 479, 481;

sporadic examples of early Gothic vaults, 31, 48, 351, 355, 361, 384, 387, 389, 437;

Gothic schools in France, 211;

structural development of Gothic, 43, 44, 45, 46, 48, 50, 52, 55, 56, 81,

82, 100, 110, 115, 116, 124, 127, 131, 138, 150, 229, 237, 377, 479, 514;

ending of Gothic art, 576, 577, 578;

neo-classic contempt for Gothic, 36, 114, 130, 187, 308, 424, 450.

Goujon, Jean (sculptor), 515, 517.

Grandlieu (Loire-Inférieure), 224.

Gregory the Great, Pope, 181, 426.

Gregory VII, Pope, 22, 34, 250, 364, 412, 415, 416, 422, 508, 545, 546.

Gregory X, Pope, 267, 268.

Gregory XI, Pope, 335, 387, 388.

Gregory of Tours, Bishop, 248, 249, 304, 331, 332, 336, 399.

Grenoble (Izère), Church of St. Laurent, 225, 343.

Grosseteste, Robert (Bishop of Lincoln), 134, 263.

Guéranger, Dom Prosper, 280, 281, 321.

Guérin, Bishop (of Senlis), 86, 87.

Guildsmen donors and artisan artists, mediæval, 6, 7, 8, 25, 34, 55, 57, 58, 62, 79, 98, 102, 103, 141, 143, 184, 186, 210, 219, 220, 222, 228, 233, 234, 235, 239, 240, 241, 244, 253, 275, 278, 284, 415, 422, 430, 435, 439, 464, 478, 503, 514, 540, 550, 558, 578, 580, 581.

Guillaume of the White Hands, Archbishop (of Rheims), 94, 118, 176, 194.

Guillaume VIII, Duke of Aquitaine, 318, 351;

Guillaume IX, 291, 298, 318, 323, 351;

Guillaume X, 292, 298, 319, 321, 354.

Guimiliau (Finistère), 561.

Guingamp (Côtes-du-Nord), 557, 559, 560, 562.

Guizot, 36, 103, 296, 297, 536.

H

Haimon, Abbot, 174, 491, 492.

Halberstadt, Cathedral of, 3, 77.

Hambye Abbey (Manche), ruins of, 473, 554.

Hanoteau, Gabriel, 400, 503, 521.

Harcourt family, 529, 540, 546, 548.

Harding, Abbot Stephen (of Cîteaux), 4, 41, 431, 462, =463=, 464.

Harfleur (Seine-Inférieure), 492, 494, 529.

Harold II, king of England, 549, 550.

Haslin, Nicolas (sculptor), 240.

Hastings, =1066=, battle of, 545, 549, 552.

Héloïse, 133, 419.

Henry I, of England, 234, 295, 304, 485, 492, 494, 537, 546.

Henry II, Plantagenet, 5, 10, 67, 68, 91, 93, 94, 153, 250, 269, 271, 273, 274, 275, 290, 293, 295, 296, 298, 304, 312, 317, 319, 320, 321, 326, 348, 351, 433, 434, 495, 498, 502, 511, 531, 532, 550, 556.

Henry III of England, 154, 293, 352, 434, 485.

Henry V of England, 476, 483, 490, 505, 529, 534.

Henry VI of England, 143, 265, 266.

Henry VII, Tudor, 573.

Henry VIII, 416, 435, 518.

Henry II of France, 67, 144, 172.

Henry IV of France, 69, 147, 185, 219, 241, 255, 265, 266, 425.

Herlouin, Abbot (of Bec), 373.

Hilary, St. (Bishop of Portiers), 10, 317, 318, 321, 323, 324, 344, 364.

_Histoire Littéraire de la France_, 41, 55, 150, etc.

_See_ Bibliography.

Hoël, Bishop (of Le Mans), 269, 270, 278, 280, 337.

Holbein, 221.

Holycross Abbey (Co. Tipperary), 3.

Honnecourt, Villard de, 34, 38, 101, 102, 122, 190, 280, =282=, =284=, 553.

Hospitals, mediæval, 80, 86, 96, 298, 310, 311, 323, 426, 427.

Hugh, St. (Bishop of Lincoln), 194, 263.

Huguenots. _See_ Sixteenth-century religious wars.

Hugues, St. (Abbot of Cluny), 22, 34, 270, 337, 414, 416, 417, 421, 440.

Hugues de St. Victor. _See_ Paris, Abbey of St. Victor.

Humbert, Albéric de, 6, 41, 139, =189=, 370, 371.

Hundred Years' War, 52, 69, 71, 72, 73, 97, 108, 165, 221, 225, 227, 228, 252, 327, 347, 368, 371, 378, 447, 455, =489=, =490=, 499, 503, 505, 506, 507, 509, 538, 570, 571, 573.

Hungary, 280, 284.

Huysmans, J. K., 100, 128, 144, 170, 280, 284, 321, 415, 460.

Hymns, mediæval, 128, 130, 135, 238, 261, 317, 345, 468.

I

Ile-de-France, 12, 24, 30, 31, 44, 45, 46, 49, 78, 113, 114, 141, 211, 225,

242, 269, 275, 276, 285, 337, 478, 479, 482, 494, 495, 514, 543, 547, 564.

_Imitation of Christ_, 143, 263, 470, 503, 535.

Ingeborg of Denmark, 80, 94.

Innocent II, Pope, 79, 291, 417, 423, 437.

Innocent III, Pope, 41, 95, 110, 134, 135, 138, 139, 206, 234, 299, 364, 369,

370, 385, 392, 394, 404, 465.

Innocent IV, Pope, 264, 278, 327, 419.

Innocent VI, Pope (Avignon), 267, 278, 335, 374, 408.

Innsbruck, tomb of Maximilian I in, 264.

Inquisition, the, 364, 368, 371.

Ipres, 2, 110, 193, 242.

Ireland, 5, 153, 155, 404, 411, 463, 464, 498.

Irenæus, St. (Bishop of Lyons), 5, 257, 258.

Irish missionaries, 4, 22, 410, 411, 449, 463, 480, 498, 560, 574.

Isabeau of Bavaria, 233, 327.

Isabelle of Angoulême, 193, 293, 297, 313, 326.

_Isaias_, 9, 234.

Issoire (Puy-de-Dôme), 340.

Italian influences in France, 67, 144, 239, 240, 241, 243, 255, 279, 324, 361, 373, 374, 375, 384, 456, 466, 474, 478, 479, 493, 497, 555, 564.

Italy, Gothic in, 10, 23, 28, 29, 38, 61, 185, 261, 345, 381, 411, 431, 464, =465=, 479, 554, 555.

J

Jacquemart-André, Mme., 89.

Jaime el Conquistador, 267, 280, 334, 385, 386.

James, St., 185, 222, 250, 451.

James, Henry, 218.

Jarenton, Abbot (of St. Bénigne, Dijon), 337, 414, 458.

Jean le Bon, king of France, 308, 309, 327, 454.

Jean sans Peur, Duke of Burgundy, 143, 264, 265, 452, 523, 534.

Jeanne d'Arc, St., 13, 70, 71, 72, 73, 77, 87, 143, 152, 162, 166, 167, 168, 191, 192, 197, 201, 221, 222, 223, 225, 226, 233, 247, 254, 255, 296, 298, 315, 328, 338, 355, 356, 447, 448, 455, 476, 483, 497, 504, 505, 506, 508, 509, 520, =521-531=, 533, 534, 535, 536, 544, 548, 555, 577.

Jeanne of Navarre and Champagne, 119, 120, 162, 166, 167, 232, 246, 247, 538.

Jeannin, Président, 423, 425.

Jerome, St., 9, 182, 444.

Jerusalem, 119, 142, 145, 154, 157, 274, 304, 311, 410, 485, 500, 508, 560,

561, 581.

Jesse Tree windows. _See_ Glass, stained.

Jesus Christ, iconography of, 98, 120, 137, 142, 180, 183, 195, 199, 207, 208, 239, 240, 241, 288, 292, 317, 321, 322, 361, 373, 423, 438, 450, 520, 540, 560, 561, 574.

Jews in the Middle Ages, 12, 247, 336, 379, 408, 463, 468, 490.

_Job, Book of_, 217, 233.

Joffre, General, 198, 375.

John the Baptist, St., 146, 182, 210, 259, 347, 366, 408, 438, 441.

John the Evangelist, St., 9, 68, 204, 217, 219, 257, 259, 262, 281, 294, 310,

361, 396, 438, 441.

John Lackland, king of England, 275, 293, 297, 298, 299, 308, 313, 487, 503, 511, 537, 564.

John XXII, Pope, 264, 288, 289, 387, 407.

Johnson, Lionel, 165.

Johnson, Dr. Samuel, 294, 431.

Joinville, Jean, Sire de, 41, 70, 111, 119, 120, 138, 140, =152-162=, 166, 190, 206, 219, 244, 245, 246, 247, 306, 312, 313, 326, 342, 399, 553.

Jouarre (Seine-et-Marne), crypt of, 168, 225, 411.

Joubert, J., 290.

_Jubé_, or rood screen, 239, 244, 247, 347, 373, 558, 560.

Judith of Brittany, Duchess of Normandy, 501.

Juliot, the (sculptors of Troyes), 235, 240, 241.

Jumièges (Seine-Inférieure), ruins of, 23, 116, 224, 411, 415, =480-483=, 496, 509.

Juste, the (sculptors), 67, 564, 565.

K

Kensington Museum, 353.

Kernascleden (Morbihan), 559.

Keystones of Gothic vaults, 37, 48, 104, 150, 166, 301, 314, 444, 513.

Koran, the, 419.

Kreisker Tower, the. _See_ St. Pol-de-Léon.

L

Lacordaire, J. B. H. D., 128, 430, 453, 462.

Lady chapel, 52, 203, 498, 515, 533, 540, 555, 569.

Lafayette family, burial place of, 335.

Lafenestre, George, 484.

La Ferté-Milon (Seine-et-Marne), 534.

Laffaux (Aisne), 45.

La Fontaine, 242.

Laic theory, the, 32, 100.

Lamartine, Alphonse de, 445.

Lamballe (Côtes-du-Nord), 559.

Lambin, Émile. _See_ Bibliography.

Lamoricière, General de, 568.

Lampaul (Finistère).

Landrieux, Monseigneur, 188, 199.

Langeais (Indre-et-Loire), 566.

Langlois, Jean (architect), 237.

Langres (Haute-Marne), 424, 526.

Langrune (Calvados), 526.

Langton, Archbishop Stephen, 11, 41, 134, 432.

Languedoc, 11, 23, 24, 42, 356, 357, 361, 362, 365, 368, 370, 380, 384, 387;

Romanesque school of, 24, 28, 360, 361;

Romanesque sculpture of, 360, 361.

Lannion (Côtes-du-Nord), 557.

Laon (Aisne), 102, 103, 104, 106, 531;

Cathedral of, 7, 12, 32, 40, 74, 75, 76, 77, =99-106=, 575, 581;

its glass and sculpture, 101;

its façade, 105;

St. Martin, 105, 106;

Templar's church, 99, 106.

Laon, Anselm de, 104, 474, 512.

La Roche-Maurice (Finistère), 560.

Lasteyrie, Comte Robert de. _See_ Bibliography.

Last Judgment, representation of, 147, 181, 195, 199, 217, 218, 375, 423, 426, 564.

Lateran, Church of the, 387;

4th Council of, 189, 206, 370.

Latin influences and vestiges in French art, 4, 9, 11, 18, 19, 21, 28, 30, 61, 193, 249, 257, 263, 270, 318, 336, 353, 384, 388, 389, 394, 398, 399, 400, 401, 403, 416, 418, 422, 424, 479, 507, 577, 579, 580.

La Trappe (Orne), Souligny, 418, 542.

Laurana, Francisco (sculptor), 279, 406.

Laurence, St., 224, 283.

Lavardin, Hildebert de, 41, 250, 269, 270, 271, 272, 275, 279.

Lavisse, Ernest, 76.

Lay-Ecclesiastic Controversy, the, 91, 94, 154, 173, 260, 267, 271, 282, 340,

432, 433, 434, 441, 475, 532, 556.

Lazarus, 395, 396, 424, 428, 436, 501, 580.

Le Braz, Anatole, 556, 568.

Lecuyer, Jean (vitrine artist), 223, 224.

Lefèvre-Pontalis, Eugène. _See_ Bibliography.

Le Mans (Sarthe), 10, 274, 279, 349, 406, 454, 541;

Cathedral of, 13, 59, 125, 211, 212, 255, =268-279=, 304, 315, 321, 351, 553;

glass of, 59, 220, 276, 277, 278;

St. Julien du Pré and the Couture church, 278, 280;

Henry II of England in Le Mans, 274.

Lenoncourt, Robert de (Archbishop of Rheims), 118, 198, 255.

Leo IX, Pope, 117, 542.

Leo XIII, Pope, 130, 385, 422, 521.

Leon, Cathedral of, 3, 242.

Le Pot, Nicolas, 51, 228.

Le Prince, Engrand (and sons, vitrine artists), 51, 144, 228, 517.

Le Puy (Haute-Loire), 342, 371, 566;

Cathedral of, =343=, =344=, 345;

St. Michel d'Aiguille, 343.

Lerens, Island of, 411.

Le Roux, Rouland (architect), 307, 498, 518, 519.

Les Andelys (Seine-Inférieure), 512, =513=, 520.

Les Iff (Ille-et-Vilaine), 541, 559.

Les Noès (Aube), 238.

Les Saintes-Mariés (Bouches-du-Rhône), 239, =395=, 396, 397.

Lessay (Manche), 473, 493, 512, 554.

Lèves, Geoffrey de (Bishop of Chartres), 60, =170=, =173=, =174=, 181, 319,

361, 362, 469.

Liebnitz, 414.

Ligugé (Vienne), 321.

Lille (Nord), 226.

Limoges (Haute-Vienne), Cathedral of, 203, 334, =345-348=, 380, 407, 408, 539;

St. Martial, 336, 345, 346, 348;

enamels of, 172, 341, 345, 349.

Lincoln, Cathedral of, 31, 134, 194, 298, 449, 516, 532.