Riat, G., 126.
Richard, Alfred, 316.
Rigault, G., 219, 234.
Rivières, B. Ed., 370.
Rivoira, G. T., 28, 30, 414, 428, 452, 476, 496.
Robertson, J. C., 433.
Robida, A., 557.
Robuchon, J., 316.
Rochias, Abbé G., 340.
Rodière et Guyencourt, 202.
Rodin, Auguste, 114, 172, 189, 196, 215, 250, 272, 278, 390, 472, 575.
Roschach, 356.
Rossi, J. B. de, 397.
Rostan, L., 400.
Rostand, Edmond, 391, 559.
Rousse, Joseph, 563.
Roux, J. Ch., 261, 288, 389, 391, 397.
Royer, L., 399.
Rule, Martin, 373.
Rupin, Ernest, 39, 289, 345, 361.
Ruprich-Robert, V., 38, 472, 476, 484, 531, 542, 544.
Ruskin, John, 1, 3, 15, 208, 209, 556.
S
Sainsaulieu, Max, 188.
Sainte-Beuve, Ch. A., 158, 451, 453.
Saint-Germain, S. de, 50.
Saint-Paul, Anthyme, 16, 31, 32, 38, 39, 47, 49, 53, 54, 67, 68, 84,
126, 188, 227, 228, 276, 285, 288, 345, 354, 356, 481, 490, 516, 539.
Saladin, H., 157.
Salembier, 405.
Sanoner, G., 142, 435.
Santayana, George, 169, 170.
Sarcey, Mme. Yvonne, 102.
Sarrazin, A., 521, 531.
Saunier, Ch., 350.
Sauvage, Abbé, 480, 494.
Sauvageot, 213.
Saveron, 331.
Savory, Isabelle, 382.
Schmidt, Ch. E., 379.
Séché, Léon, 556.
Segange, L. du Broc du, 266.
Sepet, Marius, 61, 447, 521.
Serbat, Louis, 39, 254, 291, 345, 378, 417, 449, 531.
Sertillanges, R. P., 152.
Sery, Abbé, 449.
Shakespeare, 54, 159, 162.
Sharp, 291.
Sicotière, De la, 542.
Simpson, F. M., 16, 517.
Smith, Marion Couthouy, 506.
Soleil, Félix, 565.
Sommerard, E. du, 149.
Sorel, Albert, 472.
Souvestre, Émile, 560.
Spiers, R. Phené, 288, 291.
Stein, Henri, 39, 66, 126, 145, 165, 331.
Steyert, André, 256.
Suppligeon, 315.
T
Taine, Henri, 53, 108, 420.
Tarbé, P., 245.
Tardieu, Ambrose, 331.
Taylor, I., 165.
Taylor et Nodier, 202, 331, 370, 410, 443, 472, 556.
Tennyson, Alfred, 433.
Thierry, A., 23, 435, 472, 480.
Thiollier, Noël et Félix, 39, 342, 344.
Thomas, Chanoine, 452.
Thompson, Francis, 197.
Tillemont, Le Nain de, 152.
Tillet, Jules, 445, 446.
Topin, Marius, 389.
Tougard, Abbé A., 492.
Tournouër, H., 542.
Tranchant, Ch., 321.
Trichaud, J. M., 399.
Triger, Robert, 39, 268.
Troche, 145.
Truchis, Vicomte Pierre de, 423, 428.
U
Urseau, Chanoine, 293, 302.
V
Vacandard, E., 364, 419, 461.
Vachon, Marius, 90.
Vallery-Radot, Jean, 428, 545.
Vallery-Radot, Robert, 426, 428.
Valois, Noël, 133.
Vasselot, J. M. de, 39, 231, 361.
Vasseur, Ch., 531.
Vaudin-Bataille, E., 90.
Verlaine, Paul, 74.
Verlaque, 405.
Verneilh, Félix de, 38, 43, 55, 288.
Viatte, J., 147.
Vic et Vaissette, 356, 389.
Vidal, Pierre, 382.
Villat, Louis, 343.
Ville, Cirot de la, 350.
Villefosse, Héron de, 190.
Villehardouin, 161, 231, 246.
Villetard, Abbé, 428.
Villon, François, 222, 565.
Vimont, E., 331.
Viollet-le-Duc, E., 32, 35, 38, 50, 90, 100, 123, 126, 128, 139, 162,
236, 291, 333, 346, 352, 363, 378, 389, 440, 441, 445, 446, 450, 460,
498, 534, 552.
Virey, Jean, 39, 414.
Viriville, Vallet de, 222, 521.
Vitet, Victor, 78.
Vitry, Paul, 39, 54, 188, 231, 255, 265, 279, 280, 342, 361, 423, 452,
507, 515, 563, 565.
Vöge, Wilhelm, 394.
Vögué, Melchior de, 37.
Voltaire, 36, 150, 338, 453, 530, 536.
Voragine, Jacques de, 9, 85, 97, 220, 400.
W
Waern, C., 555.
Wailly, Natalis de, 152, 245.
Wallon, H., 152, 521.
Westlake, M. H. J., 536.
Wismes, De, 269, 302.
Woillez, Eugène, 31, 38, 50, 224.
Wordsworth, 54, 65.
THE END
* * * * *
FOOTNOTES:
[1] Ruskin, _The Seven Lamps of Architecture_.
[2] Ruskin, _Sesame and Lilies_.
[3] Louis Gonse, _L'art gothique_ (Paris, Quantin, 1891); Camille
Enlart, _Manuel d'archéologie française_ (Paris, A. Picard et Fils,
1902), 2 vols., 8vo; _ibid._, _Monuments religieux de l'architecture
romane et de la transition dans la région picarde_ (Paris, A. Picard et
Fils, 1895), folio; E. Lefèvre-Pontalis, _L'architecture religieuse dans
l'ancien diocèse de Soissons au XIe et au XIIe siècle_ (Paris,
Plon, 1894-97), 2 vols., folio; Arthur Kingsley Porter, _Medieval
Architecture, Its Origins and Development_ (New York and London, 1909),
2 vols.; C. H. Moore, _Development and Character of Gothic Architecture_
(New York, Macmillan, 1904); Anthyme Saint-Paul, "La transition," in
_Revue de l'art chrétien_, 1895-96, vols. 44, 45, and 1912-13, pp. 206,
263; R. de Lasteyrie, _L'architecture religieux en France à l'époque
romane_ (Paris, 1912), chap. x; _ibid._, in _Revue de l'art chrétien_,
1902, vol. 45, p. 213, his answer to Mr. Bilson, and Mr. Bilson's reply;
Louis Régnier, "Les origines de l'architecture gothique," in _Mém. de la
Soc. hist. et archéol. de Pontoise_, vol. 16; John Bilson, "The
Beginnings of Gothic Architecture," in _Journal of the Royal Institute
of British Architects_, 3d series, 1898-99, vol. 6, pp. 289, 322, 345;
p. 259 (answer to M. de Lasteyrie); vol. 9, p. 350; Mr. Bilson's papers
were given in part in _Revue de l'art chrétien_, 1901, vol. 44, pp. 369,
462; F. M. Simpson, _A History of Architectural Development_ (London,
1909).
[4] "Gothic architecture did not arise from a reaction against the
principles of Romanesque: on the contrary, it is the natural development
of those principles, the logical consequence of the germ idea of the
Romanesque builders, which was to protect the naves of their churches by
vaults of stone."--R. DE LASTEYRIE.
[5] Any raised balcony, or gallery, in a church is called a tribune. The
term will be used here mainly for the deep gallery over side aisles. The
making of tribunes was brought about by the custom, in early
Christendom, of separating the ages and sexes; in primitive days the
kiss of peace used to be given among the congregation.
[6] Transept, or across inclosure, from _trans_, across, and _sepire_,
to inclose.
[7] Guillaume Durandus, _Rationale Divinorum Officiorum_, translated as
_The Symbolism of Churches and Church Ornaments_ by Neale and Webb of
the Camden Society (Leeds, T. W. Green, 1843).
[8] The barrel vault (a half cylinder) was known to the Egyptians and
Assyrians. Rome used it extensively, also the groin vault (made of two
intersecting half cylinders).
[9] "There are few things more interesting, more instructive, or more
beautiful in human history than the spectacle of those early cowled
builders struggling against all difficulties and disadvantages, and
laying the foundations of a new art which was, in the stronger hands of
their lay successors, to culminate in the marvels of Chartres and
Amiens."--CHARLES HERBERT MOORE, _Development and Character of Gothic
Architecture_ (New York, Macmillan, 1904).
[10] Let us run briefly over the French Romanesque schools to gain an
idea of the monk builder's activities.
_Normandy_ displayed a powerful regional genius, and carried through her
Romanesque churches with native thoroughness. Her school was formulated
early. By 1040 Jumièges abbey church was begun, and within thirty years
the two abbeys of Caen were building. Norman Romanesque used the
alternate system of piers, a central lantern tower, cubic capitals, and
a geometric sculpture. Their architects were inclined to be
overcautious; up to the advent of Gothic they often covered the middle
nave with a timber roof, though they vaulted the side aisles with stone.
_Burgundy's_ Romanesque school was bolder. Groin and barrel vaultings
covered side aisles and central vessel; and the transverse arches which
braced the vaulting were often pointed, since it was found that such an
arch exerted less side thrust. Some of Burgundy's monastic churches were
as lofty and spacious as the coming Gothic cathedrals. However, to
obtain proper lighting by clearstory windows she sacrificed stability,
and years later the Gothic builders had to add flying buttresses to
prevent the collapse of the Romanesque churches. In this region where
Gallo-Roman art had flourished, channeled pilasters were used. As was to
be expected of the province where Cluny's arts and crafts were centered,
Burgundy was a leader in monumental sculpture, and such portals as
Avallon, Autun, and Vézelay attest her skill.
_Auvergne_ produced a distinctive Romanesque school. Her art sprang
direct from the ancient Roman traditions in the province. More cautious
than her neighbor Burgundy, she soon gave up trying to light her upper
nave by clearstory windows, but obtained light indirectly from side
aisles and from a central tower. A precocious use of the ambulatory and
of apse chapels appeared in the region. The two most striking features
of her churches were the octagonal central tower set on a barlong base,
and the apse whose exterior walls were decorated by the volcanic
polychrome stones of the district.
_Poitou's_ Romanesque school also developed early, and it, too,
sacrificed spaciousness to solidity. The side aisles were made of almost
equal height as the central vessel, and one roof covered all. The church
interiors were often somber and cramped. The apse exterior was
ornamented, and the boast of the region is its richly sculptured façades
of which that of Notre-Dame-la-Grande at Poitiers is one of the best
examples.
_Languedoc_ built Romanesque churches of the first rank, such as St.
Sernin at Toulouse, but the school had no definite uniformity. Sometimes
it combined with the Romanesque of Poitou, sometimes with that of
Auvergne, or of Burgundy. Because of Cluny affiliations, the Midi school
was strong in sculpture--witness Beaulieu, Cahors, Moissac, and
Toulouse.
_Provence_ Romanesque covered a more limited area. Usually the churches
were aisleless, with a simple apse. A flat stone roof was laid directly
on the barrel vaulting, which had pointed transverse ribs like those of
Burgundy. Provence also used the fluted pilasters of antiquity. The many
remains of Gallo-Roman sculpture in the region served as models for the
notable imaged portals at St. Gilles and Arles.
_The Franco-Picard_ school had scarcely developed when it was supplanted
by the nascent Gothic art. Besides these regional schools, two unique
experiments in vaulting were essayed, though neither spread far afield.
At Tournus, in the abbey church of St. Philibert was built a series of
barrel vaults (carried on lintels) placed side by side transversely over
the central vessel. And in Aquitaine, in the region of Périgueux and
Angoulême, spreading in a line, north and south, arose a number of
churches, each bay of which was covered by a cupola. Both these
experiments were but partial solutions. While mediæval archæology was
obscure, the pointed arch was looked on as the _sine qua non_ of Gothic,
and it was puzzling to find it in certain Romanesque churches, like
those in Burgundy and Provence. The pointed arch was in use in Persia,
in the VI century, and the Arabs early brought the form to Egypt,
Sicily, and Spain. From the XI century it had appeared sporadically in
Christian Europe. Such arches were not the first step in a new
architecture, but were used either as a decorative feature or as an
expedient to lessen the side thrust of a vault. From outside of France
two schools of Romanesque art, the Lombard and the Rhenish, exerted
considerable influences on their neighbor, but the forces paramount in
each of the local French schools were the pre-Lombardic pre-Rhenish
inheritances from Rome, blended with indigenous traditions.
[11] Rome had used some brick lines under the surface of certain of her
groin vaults. They performed no separate function, but were embedded in
the vaults' concrete. The true Gothic vault has the ribs independent of
the infilling. In their elasticity is their strength.
[12] G. T. Rivoira, _Lombardic Architecture_ (London, Heinemann, 1910).
Translated from _Le origini dell' architettura lombarda_ (Milano, 1908);
Arthur Kingsley Porter, _Lombard Architecture_ (New Haven, Yale
University Press, 1917), 3 vols. and Atlas; _ibid._, _The Construction
of Lombard and Gothic Vaults_ (New Haven, Yale University Press, 1911).
[13] E. Viollet-le-Duc, _Dictionnaire raisonné de l'architecture
française du XIe au XVIe siècle_ (Paris, 1875), 11 vols.; Anthyme
Saint-Paul, _Viollet-le-Duc et son système archéologique_ (Tours, 1881).
The masterly technical knowledge of M. Viollet-le-Duc did much to remove
the stigma of caprice and extravagance which the neo-classic age had
fixed on Gothic art. It is a pity that the pioneer who struck good blows
for the rehabilitation of Gothic should have jeopardized the permanence
of his work by giving free rein to his personal prejudices.
[14] E. Lefèvre-Pontalis, "Le plan d'une monographie _d'église et le
vocabulaire archéologique_," in _Revue de l'art chrétien_, 1910, p. 379.
He has written on the same subject in _Bulletin Monumental_, 1906, vol.
70, p. 453, and 1907, vol. 71, pp. 136, 351, 535.
[15] Jules Quicherat, "La croisée d'ogives et son origine," in _Mélanges
d'archéologie et d'histoire_ (1850), vol. 2, p. 497.
[16] Camille Enlart, _Origines françaises de l'architecture gothique en
Italie_ (Paris, 1893); _ibid., Les origines de l'architecture gothique
en Espagne et en Portugal_ (Paris, 1894); _ibid., Notes archéologiques
sur les abbayes cisterciennes de Scandinavie_ (Paris, 1894); _ibid.,
Villard de Honnecourt et les Cisterciens_ (Paris, 1895); _ibid., L'art
gothique et de la Renaissance en Chypre_ (Paris, Leroux, 1899), 2 vols.;
Émile Bertaud, _L'art dans l'Italie méridionale_ (Paris, Fontemoing,
1904).
[17] Other publications of value to the student are the _Revue de l'art
chrétien_, _Gazette des Beaux-Arts_, _Moyen-Âge_, _l'Archéologie_,
_Bibliothèque de l'École des Chartes_, _Revue archéologique_, and the
Didron's _Annales archéologique_. There are H. Havard's _La France
artistique et monumental_, Viollet-le-Duc's _Dictionnaire de
l'architecture française_, Joanne's _Dictionnaire de la France_. The
regional and local monographs will be given here with each school of
Gothic and each cathedral as it is described.
[18] André Michel (Publiée sous la direction de), _Histoire de l'art
depuis les premiers temps chrétiens_ (Paris, A. Colin, 1906), 10 vols.
[19] Émile Mâle, _L'art religieux du XIIIe siècle en France_ (Paris,
Colin, 1908), 4to; _ibid., L'art religieux de la fin du moyen âge en
France_ (Paris, Colin, 1910), 4to.
[20] "Il en est parmi nous qui préfèrent la victoire de leur parti à la
victoire de la patrie. Écrire l'histoire de France était une façon de
travailler pour un parti et de combattre un adversaire. Pour beaucoup de
Français être patriote, c'est être ennemi de l'ancienne France. Cette
sorte de patriotisme au lieu de nous unier contre l'étranger nous pousse
tout droit à la guerre civile."--FUSTEL DE COULANGES.
[21] _Congrès Archéologique_, 1905, p. 39, on Bury (Oise), and p. 43, on
Cambronne (Oise).
[22] Arthur Kingsley Porter, _The Construction of Lombard and Gothic
Vaults_ (New Haven, Yale University Press, 1911).
[23] In each vault section of the ambulatory of St. Maclou, Pontoise,
was inserted a fifth rib, which sprang from the keystone to the middle
of each apse chapel's rear wall, and which consolidated both chapel and
procession path. The diagonals do not curve, as do those of Morienval.
St. Maclou was entirely finished in the XII century, but it was
reconstructed radically in the XV century: the present façade is
1450-70. Again in the XVI century the church was partly rebuilt, so that
the double-aisled nave of to-day appears a beautiful example of
Renaissance art. It was at Pontoise that St. Louis, in 1244, took the
vow to go crusading. (See, Lefèvre-Pontalis, _Monographie de l'église
St. Maclou de Pontoise_.)
[24] Arthur Kingsley Porter, _Medieval Architecture_ (New York and
London, 1909). In vol. 2, pp. 193-251, is a full list of monuments of
the transition.
[25] _Congrès Archéologique_, 1905, p. 154, on Morienval; _ibid._, 1908,
vol. 2, pp. 128, 476, on Morienval, E. Lefèvre-Pontalis, Brutails, and
John Bilson; E. Lefèvre-Pontalis, _L'architecture religieuse dans
l'ancien diocèse de Soissons au XIe et au XIIe siècle_ (Paris,
Plon, 1894-97), 2 vols., folio. Also, his discussion on the vaults of
Morienval in _Bulletin Monumental_, vol. 71, pp. 160, 335; 1908, vol.
72, p. 477; and in _Correspondance historique et archéologique_, 1897,
pp. 193, 197; Anthyme Saint-Paul, "La transition," in _Revue de l'art
chrétien_, 1895, p. 13. Also, his studies of Morienval in _Mémoires de
la Soc. archéol. de Pontoise_ ..., 1894, vol. 16; _Mémoires du Comité
archéol. de Senlis_, 1892, vol. 7; _Correspondance historique et
archéologique_, 1897, pp. 129, 161; John Bilson, on Morienval, in
_Bulletin Monumental_, 1908, vol. 72, p. 498; and _Congrès
Archéologique_, 1905; L. Régnier, in _Mémoires de la Soc. archéol. de
Pontoise_ ..., 1895, p. 124.
[26] _Congrès Archéologique_, 1905, "St. Étienne, at Beauvais," pp. 15,
530; Viollet-le-Duc, _Dictionnaire_, vol. 3, pp. 254, 263; vol. 4, p.
289; vol. 7, p. 133; Stanislas de Saint-Germain, _Notice historique et
descriptive de l'église St. Étienne de Beauvais_; Victor Lhuillier, _St.
Étienne de Beauvais_; P. C. Barraud, "Les vitraux de St. Étienne de
Beauvais," in _Soc. Académique d'archéologie, department de l'Oise_,
vol. 2, p. 507; _Congrès Archéologique_, 1905, p. 81, "St. Germer," L.
Régnier; and p. 406, "St. Germer," A. Besnard; E. Lefèvre-Pontalis,
"L'église de St. Germer," in _l'Annuaire Normand_, 1903, p. 134; and
_Bibliothèque de l'École des chartes_, 1885 and 1889; also _Bulletin
Monumental_, 1886; A. Besnard, _L'église de St. Germer de Fly_ (Oise),
(Paris, E. Lechavalier, 1913); Paul des Forts, "Une excursion en
Beauvaisis," in _Bulletin de la Société d'émulation d'Abbeville_, 1903;
Eugène Woillez, _Archéologie des monuments religieux de l'ancien
Beauvoisis_.
[27] Maurice Barrès, _La grande pitié des églises de France_ (Paris,
Émile-Paul, frères, 1914).
[28] Anthyme Saint-Paul, "Poissy et Morienval," in _Mémoires de la
Société archéol. de Pontoise et du Vexin_, 1894, vol. 16; E.
Lefèvre-Pontalis, _L'Architecture religieuse dans l'ancien diocèse de
Soissons au XIe et au XIIe siècle_ (Paris, Plon, 1894), 2 vols.,
folio; F. de Verneilh, _Le premier des monuments gothic_ (Paris, 1864).
[29] Some naïve XVI-century lines are under the window of St. Louis'
chapel:
"Saint Louis fut un enfant de Poissy,
Et baptisé en la présente église;
Les fonts en sont gardés encore ici,
Et honorés comme rélique exquise."
[30] "King John," Act II.
[31] Vitry et Brière, _L'église abbatiale de St. Denis et ses tombeaux_
(Paris, Longuet, 1908); _ibid., Documents de sculpture française_
(Paris, 1913); Anthyme Saint-Paul. "Suger. L'église de St. Denis, et St.
Bernard," _Mémoire lu à la_ Sorbonne, inséré au _Bulletin
archéologique_, et tiré à part, 1890; F. de Verneilh, _Le premier des
monuments gothiques_ (Paris, 1864); Abbé Crosnier, "Vitrail de l'abbaye
de St. Denis expliqué," in _Revue archéologique_, 1847, vol. 7, p. 377;
Félicie d'Ayzac, _Histoire de l'abbaye de Saint Denis-en-France_ (Paris,
1861), 2 vols.; Ferdinand de Lasteyrie, _Histoire de la peinture sur
verre_ (Paris, Didot, 1852), 2 vols.; Bushnell, _Storied Windows_ (New
York, Macmillan, 1914); Émile Mâle, _L'art religieux de la fin du moyen
âge en France_ (Paris, A. Colin, 1910); _ibid._, "La part de Suger dans
la création de l'iconographie," in _Revue de l'art ancien et moderne_,
1914; L. Levillain, "L'église carolingienne de St. Denis," in _Bulletin
Monumental_, 1907, vol. 71, p. 211; L. Levillain et L. Maitre, "Crypt de
St. Denis," in _Congrès Archéologique_, 1903, p. 136; Suger, _OEuvres
complètes_, éd. Lecoy de la Marche (Paris, Renouard, 1867); _Histoire
littéraire de la France_. (Begun by the XVII-century Benedictines and
continued by the Institute of France.) Vol. 12, p. 361, on Suger,
published in 1764.
[32] Marius Sepet, _Le Drapeau de la France_.
[33] Henri Stein, _Les architectes des cathédrales gothiques_ (Paris, H.
Laurens, 1908); ibid., "Pierre de Montereau," in _Mémoires de la Société
des antiquaires de France_, 1900, vol. 61.
[34] A. de Montaiglon, "La famille des Juste en France," in _Bulletin
Monumental_, 1876, vol. 42, pp. 76, 768. Details of the tombs of St.
Denis are to be found in Palustre, _La Renaissance en France_ (1888);
Gonse, _La Sculpture française depuis le XIVe siècle_ (1895); Vitry,
_Michel Colombe et la sculpture française_ (1901); and in writings by A.
Saint-Paul and Louis Courajod.
[35] R. de Lasteyrie, "La déviation de l'axe des églises est-elle
symbolique?" in _Bulletin Monumental_, 1905, vol. 69, p. 422, also
published separately; A. Saint-Paul, "Les irrégularités de plan des
églises," in _Bulletin Monumental_, 1906, vol. 70, p. 129; John Bilson,
"Deviation of Axis in Medieval Churches," in _Journal of the Royal
Institute of British Architects_, December 25, 1905; W. H. Goodyear,
"Architectural Refinements in French Cathedrals," in _Architectural
Record_, vols. 16, 17, 1904-05, and _Journal of the Royal Institute of
British Architects_, 3d series, 1907, vol. 15, p. 17.
[36] During three days in August, 1793, and again in October of the same
year, the tombs at St. Denis were violated. Robespierre stood long
studying the chivalrous head of Henry IV, then plucked some hairs from
the king's white beard and put them in his portfolio; Henry IV had
abjured Calvinism in this very church of St. Denis in 1593. The corpse
of Louis XIV presented an air of serene majesty. When the coffin of
Louis XV was opened the air was infected insupportably. On that same day
in October, 1793, Marie Antoinette mounted the scaffold. Her remains and
those of Louis XVI are to-day laid in the inner core of St. Denis'
crypt.
[37] E. O'Reilly, _Les deux procès de condamnation_ ... _de Jeanne
d'Arc_, vol. 2, p. 134, the eighth interrogation, March 17, 1431 (Paris,
Plon, 1868), 2 vols.
[38] Charles Péguy, _OEuvres de_, "La tapisserie de Sainte-Geneviève
et de Jeanne d'Arc," vol. 6 (Paris, édition de la Nouvelle Revue
française, 1916-18).
[39] The following is a free rendering of Péguy's verses:
Since God but acts for pity of us here,
So Geneviève must see her France in shreds,
And Paris, her own godchild, swept by flames,
And ravaged by the most sinister hordes.
And hearts devoured by blackest base discords,
And even in their graves the dead pursued,
On gibbets many an innocent hung high
With tongue protruding, pecked by raven birds.
France all despair. Then saw she come the Sign,
A greater marvel never God had willed
In His Serenity and Grace and Force,
After nine hundred-twenty vigil years
Geneviève saw approach her ancient city
Her of Lorraine, emblem of God's pure pity--
Jeanne the Maid!--
Guarding her heart intact in dire adversity,
Masking beneath her visor her efficacity,
Living in deep mystery with sweet sagacity,
Dying in drear martyrdom with brave vivacity
Sweeping all an army to the feet of Prayer.
[40] Paul Verlaine, _Choix de Poésies_ (Paris, Charpentier, 1912).
[41] "The privileged land where the Seine, the Oise, and the Marne
approach their waters gave France its laws and political unity, its
literary language with its incomparable clarity, and its Gothic
art."--ERNEST LAVISSE, _Histoire de France_.
[42] _Congrès Archéologique_, 1905, p. 131, "Compiègne."
[43] The people of the Valois country cried "Noël!" as Jeanne passed.
And as she rode between the great Dunois and the archbishop of Rheims
she exclaimed, with emotion: "Here is a good people! Happy would I be,
when I come to die, to be laid here to rest." "Know you when you will
die, Jeanne?" said the archbishop. "I know not. I am in the hands of
God," she made answer. "I would it pleased God, my creator, that I could
go back now to serve under my father and my mother, and to keep their
sheep with my brothers, who would be right glad to see me home."--From
the testimony of the Comte de Dunois, in 1455, Jeanne's
companion-in-arms in 1429.
[44] _Congrès Archéologique_, 1905, p. 170; E. Lefèvre-Pontalis,
_Histoire de la cathédrale de Noyon_, (1901); Vitet et Ramée,
_Monographie de l'église Notre Dame de Noyon_ (Paris, 1845), 2 vols.,
4to and folio; _Brière, Précis descriptive et historique de la
cathédrale de Noyon_ (1899); Camille Enlart, _Hôtels de Villes et
beffrois du nord de la France_ (Paris, H. Laurens, 1919); Marcel Aubert,
_Noyon et ses environs_ (Paris, Longuet, 1919).
[45] Noyon was made a bishopric in the VI century, when St. Médard
translated the see from St. Quentin, before the advance of the Huns and
the Vandals. St. Médard gave the veil to Queen Radegund in the
Merovingian cathedral of Noyon. Two Carolingian cathedrals stood in
succession on the site: in the first, Charlemagne was consecrated king,
768, Noyon being his residence before Aix-la-Chapelle; in the second
church, which rose after a Norman sacking, Hugues Capet was elected king
shortly before 1000--the first monarch of the House of Capet, which was
to rule over France during seven hundred years. Since the Revolution the
sees of Noyon, Senlis, and Laon have been suppressed.
[46] The abbey church of Ourscamp is a ruin, but with the choir and
ambulatory of the end of the XIII century partly standing. Where once
were the piers of the nave have been planted two rows of poplars. Like
Longpont and Royaumont, it was a Cistercian church that paid no heed to
St. Bernard's strictures on lavish architecture. The former infirmary of
the monastery, now used as a factory, is one of the most graceful civic
halls of the age (c. 1240); Peigné-Delacour, _Histoire de l'abbaye de
Notre Dame d'Ourscamp_ (1876), in 4to; _Congrés Archéologique_, 1905, p.
165, on Ourscamp.
[47] Camille Enlart, _De l'influence germanique dans les premiers
monuments gothiques de la France_, 1902.
[48] Marcel Aubert, _Monographie de la cathédrale de Senlis_ (1907). He
has also described Senlis in the collection, _Petites monographies_
(1910); _Congrès Archéologique_, 1905, p. 89, E. Lefèvre-Pontalis;
_passim_, 1877, vol. 44, "L'architecture dans le Valois," Anthyme
Saint-Paul; E. Lefèvre-Pontalis, _À travers le Beauvaisis et le Valois_
(1907); Émile Lambin, "La Cathédrale de Senlis," in _Revue de l'art
chrétien_, 1898, vol. 47; Abbé Eugène Müller, _Senlis et ses environs_
(1897); André Hallays, _En flanant à travers la France_. _Autour de
Paris_ (Paris, 1910); G. Fleury, _Études sur les portails imagés du XII
siècle_ (Mamers, Fleury et Dangin, 1904); _Histoire littéraire de la
France_ (Paris, 1835), vol. 18, p. 33, "Guérin, évêque de Senlis."
[49] Emile Lambin, _La Flore des grandes cathédrales_ (Paris, 1897).
[50] Émile Mâle, _L'art religieux en France au XIIIe siècle_ (Paris,
A. Colin, 1908).
[51] Jacobus de Voragine, _The Golden Legend_. Translated into English
by Caxton and reprinted by William Morris, Kelmscott Press, 1872, 3
vols. Translated also in Temple Classics. One of the best recent French
editions is that of Théodor de Wyzewa (Paris, Perrie et Cie, 1909).
[52] The Church of the Victory, consecrated by the warrior-bishop in
1225, was ruined during the Hundred Years' War by the Duke of Bedford's
troops, who day after day were pricked on by Jeanne d'Arc's army to a
battle. In Flamboyant Gothic times the abbatial was rebuilt, but again
it was wrecked in the XVIII century. Only a few late-Gothic bays now
stand on the lawn before the country house of the Comte Boula de
Coulomier. Bishop Guérin also consecrated the church of Chaalis abbey,
where he was buried in 1228. Chaalis is now a picturesque ruin.
[53] E. Lefèvre-Pontalis, "Les clochers du XIIIe et du XVIe siècle
dans le Beauvaisis et la Valois," in _Congrès Archéologique_, 1905, p.
592.
[54] The corner stone of St. Frambourg was laid in 1177 by Louis VII. It
is a sort of forerunner of the Sainte-Chapelle type of edifice, without
aisles or transept. Its sober, pure lines show faultless constructive
skill, and a grievous pity is its present abandonment. Behind the
cathedral is the church of St. Pierre, built in six different epochs:
the lower stories of the tower, XI century; the choir and transept,
1260; the piers of the nave and the north tower's top story, XV century;
the rich façade, XVI century, a work of Pierre Chambiges; and the heavy,
cold south tower, of the XVII century. In Senlis are St. Vincent's
church with a choir built after 1136, a XII-century tower, contemporary
of the cathedral, and a groin roof of the XVIII century. St. Aignan's
belfry is of the end of the XI century, and served as model for the
towers of St. Vincent and St. Pierre, just as all three of them
contributed toward the inspiration of that sovereign thing of Senlis,
the cathedral tower.
[55] _Congrès Archéologique_, 1907, p. 205, Charles Porée; E.
Chartraire, _La cathédrale de Sens_ (Petites Monographies), (Paris, H.
Laurens, 1920); E. Bérard, "La cathédrale de Sens," in _L'Architecture_,
1902; E. Vaudin-Bataille, _La cathédrale de Sens_ (Paris, 1899);
Bouvier, _Histoire de l'église de l'ancien archdiocèse de Sens_ (Paris,
1906); A. de Montaiglon, _Antiquités de Sens_ (Paris, 1881); A. J. de H.
Bushnell, _Storied Windows_ (New York, Macmillan, 1914); A. F. Didot,
"Jean Cousin, peintre verrier," in _Bulletin Monumental_, 1873, vol. 39,
p. 75; Marius Vachon, _Une famille parisienne d'architectes
maistre-maçons: les Chambiges_; Crosnier, in _Congrès Archéologique_,
1847, "Iconographie des portails de Sens"; Viollet-le-Duc,
_Dictionnaire_, vol. 9, pp. 222, 506; vol. 8, p. 74 (on the synodal
hall); _Histoire littéraire de la France_, vol. 15, p. 324, "Michel de
Corbeil, archévêque de Sens"; p. 524, "Guillaume de Champagne, cardinal,
archevêque de Rheims" (Paris, 1820); vol. 17, p. 223, "Pierre de
Corbeil" (Paris, 1832); vol. 18, p. 270, "Gautier de Cornut, archévêque
de Sens" (Paris, 1835).
[56] Ralph Adams Cram, _Gold, Frankincense, and Myrrh_ (Boston, Marshall
Jones Company, 1919).
[57] At St.-Julien-du-Sault, fourteen miles from Sens, are over a dozen
good XIII-century windows, and some four of the XVI century. St. Louis
was a donor. In the window devoted to Ste. Geneviève are interesting
XVI-century costumes.
[58] _Congrès Archéologique_, 1911, Lucien Broche, p. 158, the
cathedral; p. 225, St. Martin's church; p. 239, the Templar's church;
Chanoine A. Bouxin, _La cathédrale Notre Dame de Laon. Histoire et
description_ (Laon, 1902); Jules Quicherat, "L'âge de la cathédrale de
Laon" in _Bibliothèque de l'École des chartes_, 1874, vol. 35, p. 249;
Lucien Broche, _Laon et ses environs_ (Caen, 1913); _ibid._, "L'évêche
de Laon," in _Bulletin Monumental_, 1902, vol. 66; De Florival et
Midoux, _Les vitraux de la cathédrale de Laon_ (Paris, Didron, 1882),
folio; E. Fleury, _Antiquités et monuments du département de l'Aisne_,
(1879), vol. 3, p. 153; Émile Lambin, _Les églises de l'Ile-de-France_
(Paris, 1906). His description of Laon is also in the _Revue de l'art
chrétien_, 1901-02, vols. 14, 15; E. Lefèvre-Pontalis, "Les influences
normandes au XIe et au XIIe siècle dans le nord de la France," in
_Bulletin Monumental_, 1906, vol. 70; _Histoire littéraire de la
France_, vol. 10, p. 171, "Anselm de Laon" (Paris, 1756); vol. 11, p.
243, "St. Norbert" (Paris, 1759); vol. 13, p. 511, "Gautier de Mortagne,
évêque de Laon" (Paris 1814); H. Havard, éd _La France artistique et
monumentale_, vol. 4, p. 81, Mgr. Dehaisnes, on Laon.
[59] For Coucy-le-Château (between Soissons and Laon) see M.
Lefèvre-Pontalis' study (1909) in the _Petites Monographies_ series; or
the _Congrès Archéologique_, 1911, p. 239. The XIII-century donjon was
the most massive conception of the Middle Ages. Coucy's lord ruled a
hundred towns and was one of the big figures in feudal France. His proud
device read: "_Roi ne suis, ne prince, ne duc, ne comte aussi--Je suis
le sire de Coucy_." The superb pile has been demolished in the World
War. Madame Yvonne Sarcey visited Coucy in April, 1917. Of the imposing
mediæval castle, hanging like a bourg to the flank of the hill, there
remain two gaping porticos. "_C'est tout!... C'est tout!_" she lamented.
"_Ce paysage adorable de l'Ile-de-France portera sa croix._" The Germans
blew up the castle before their strategic retirement, in 1917.
[60] _Congrès Archéologique_, 1911, E. Lefèvre-Pontalis, p. 315, the
cathedral; p. 337, St. Médard; p. 343, St. Léger; p. 348, St.
Jean-des-Vignes; Étienne Moreau-Nélaton, "Soissons avant la guerre," in
_Les cités ravagées_ (Collection, Images historiques), (Paris, H.
Laurens, 1919); _ibid., Les églises de chez nous: Soissons_ (Paris, H.
Laurens); Abbé Poquet, _Notice historique et archéologique de la
cathédrale de Soissons_ (Soissons, 1848); Émile Lambin, "La cathédrale
de Soissons" in _Revue de l'art chrétien_, 1898, vol. 47; Émile Mâle,
_L'art allemand et l'art français du moyen âge_ (Paris, 1917); Bouet,
"Excursion à Noyon, à Laon et à Soissons," in _Bulletin Monumental_,
1868, vol. 34, p. 430; E. Lefèvre-Pontalis, _L'architecture religieuse
dans l'ancien diocèse de Soissons au XIe et au XIIe, siècle_
(Paris, Plon, 1894-98), 2 vols., folio.
[61] _Congrès Archéologique_, 1911, p. 410, Longpont abbatial; Abbé
Poquet, _Monographie de l'abbaye de Longpont_ (1869). Longpont, where
the bishops of Soissons were buried, was founded by Gerard de Chérisy,
who had married Lady Agnes of Longpont. St. Bernard sent twelve
Cistercian monks to start the new house in 1131. The splendid Gothic
church, which departed from Cîteaux's rule of church simplicity, was
consecrated in 1227 before the queen regent and Louis IX, by the bishop
of Soissons, Jacques de Bazoches, who had just anointed Louis as king,
at Rheims. Longpont was sacked by the Huguenots in 1567, and wrecked by
the Revolution. The picturesque ruins were acquired by the de
Montesquieu family in 1850.
[62] The monastery church of St. Jean-des-Vignes was in size a
cathedral, and the maker of the great façade at Rheims, Bernard de
Soissons, is said to have designed it. The cloisters, once the most
sumptuous in the kingdom, were begun by an abbot who died in 1224, after
he had built an aqueduct for the city which still is in use. St. Jean's
big west rose had been, since 1870, an empty circle. Little more than
its façade and western towers stood before 1914. Sacked by the
Revolution, its real demolition was under the Empire, when to repair the
cathedral the deserted monastery was sold for a paltry sum, and stone by
stone removed. The congregation of good men in this abbey did parish
work for many centuries. In such good repute with the citizens were they
that, when the Revolution suppressed the house, Soissons' municipality
protested, saying that the abbey had "always claimed with zeal its share
of public duties." Taine in his _L'Ancien Régime_ quotes the protest:
"In calamities this abbey opens its doors to the destitute citizens and
feeds them. It alone has borne the expense of the citizens' meetings,
preparatory to the election of deputies for the National Assembly. It
now is lodging a company of soldiers. Always when there are sacrifices
to be made it is on hand." However, the revolutionary authorities paid
no heed to the citizens' desire to retain their historic house.
[63] For the churches of Notre Dame and St. Martins, at Étampes, see
_Bulletin Monumental_, 1905, vol. 69, and _Annales de la Société hist.
et archéol. du gatinais_, 1907, Lefèvre-Pontalis; also the _Congrès
Archéologique_, 1901, p. 71. Notre Dame was begun about 1160. Its
strongly Romanesque south portal is of the same type as Chartres'
western doors. The crypt and piers of the nave are XI century, and the
transept and choir were rebuilt about 1170 as early Gothic. The
Romanesque tower is one of the best of its epoch; its base is
approximately 1050; the next two stories about 1075; the fourth story,
1125; and the spire, 1130. The church is full of irregularities from
rebuildings. St. Martin's church is XII and XIII century; its much
discussed ambulatory of the Champagne type is about 1165. The number of
supports for the vault was doubled in the outer wall, thus making the
space to be covered a series of square compartments alternating with
triangles.
[64] Auguste Rodin, _Les cathédrales de France_ (Paris, A. Colin, 1914),
4to.
[65] _Congrès Archéologique_, 1911, St. Remi (Rheims), p. 57, and Notre
Dame (Châlons), p. 473, Louis Demaison; Louis Demaison, _Les églises de
Châlons-sur-Marne_ (Caen, 1913); E. M. de Barthélemy, "Notre
Dame-en-Vaux à Châlons-sur-Marne," in _Revue de l'art chrétien_, vol.
15, p. 97; A. de Dion, "Notre Dame-en-Vaux à Châlons-sur-Marne," in
_Bulletin Monumental_, 1886, vol. 52, p. 547, and 1887, vol. 53, p. 439,
Louis Grignon; L. Grignon, _Description et l'histoire de Notre Dame de
Châlons-sur-Marne_ (Châlons-sur-Marne, 1884), 2 vols.; Abbé Poussin,
_Monographie de l'abbaye et de l'église de St. Remi de Rheims_ (Rheims,
1857); Alfonse Gosset, _La basilique de St. Remi à Rheims_ (Paris,
1900); L. Barbat, _Histoire de la ville de Châlons-sur-Marne_; R. de
Lasteyrie, _L'architecture religieuse en France à l'époque romane_
(Paris, 1912), p. 158, St. Remi.
[66] "Il est digne de remarque, que de toutes ces règles monastiques les
plus rigides ont été les mieux observées: les Chartreux ont donné au
monde l'unique exemple d'une congrégation qui a existé sept cents ans
sans avoir besoin de réforme."--CHATEAUBRIAND, _Génie du Christianisme_.
In April, 1903, two squadrons of dragoons expelled the last monks from
La Grande Chartreuse. An economic loss for the entire region has
resulted.
[67] _Congrès Archéologique_, 1902; Morel-Payen, _Troyes et Provins_
(Collection, Villes d'art célèbres), (Paris, H. Laurens, 1910); Félix
Bourquelot, _Histoire de Provins_ (Paris, Techener, 1840), 2 vols.;
Gabriel Fleury, "Le portail de St. Ayoul de Provins," in _Congrès
Archéologique_, 1902, p. 458, or in _Études sur les portails imagés du
XIIe siècle_ (Mamers, Fleury et Dangin, 1904).
[68] The transept of St. Ayoul is good Romanesque. After a fire in 1160
the nave was rebuilt as XIII-century Gothic; the choir is XVI century.
At St. Loup-de-Naud there is a central lantern on squinches (XII
century).
[69] _Congrès Archéologique_, 1911, p. 428, E. Lefèvre-Pontalis; S.
Prioux, _Monographie de l'ancienne abbaye royale St. Yved de Braine_
(1859), folio; _Bulletin Monumental_, 1908, vol. 72, p. 455, A. Boinet.
[70] _Congrès Archéologique_, 1905, p. 121, E. Lefèvre-Pontalis; E.
Lefèvre-Pontalis, _À travers le Beauvaisis et le Valois_ (Paris, 1907);
Émile Lambin, "L'eglise de St. Leu d'Esserent," in _Gazette des
beaux-arts_, 1901, tome 25, p. 305; Viollet-le-Duc, _Dictionnaire_, vol.
2, p. 504; vol. 4, pp. 83, 230; vol. 7, p. 384; vol. 9, p. 280; Abbé
Eugène Müller, _Senlis et ses environs_ (1897).
[71] Marcel Aubert, _La cathédrale de Notre Dame de Paris_ (Paris,
Longuet, 1909); Lassus et Viollet-le-Duc, _Monographie de Notre Dame de
Paris_ (Paris), folio; V. Mortet, _Étude historique et archéologique sur
la cathédrale et le palais épiscopal de Paris_ (Paris, 1888); Queyron,
_Histoire et description de l'église de Notre Dame_ (Paris, Plon,
Nourret et Cie); De Guilhermy, _Description de Notre Dame de Paris_
(1856); _ibid., Itinéraire archéologique de Paris_ (1855); S. François,
_La façade de Notre Dame de Paris_ (Brussels, Imprimerie Goosens, 1907),
4to; E. Lefèvre-Pontalis, "Les origines des gables," in _Bulletin
Monumental_, 1907, vol. 71, p. 92; Camille Enlart, _Le musée de
sculpture comparée du Trocadéro_ (Collection, Les grandes institutions
de France), (Paris, H. Laurens, 1911); H. Bazin, _Les monuments de
Paris_ (Paris, 1904); G. Riat, _Paris_ (Collection, Villes d'art
célèbres), (Paris, H. Laurens); Amédée Boinet and Jean Bayet, _Les
édifices religieux de Paris_ (Collection, Les richesses d'art de la
ville de Paris), (Paris, H. Laurens), 3 vols.; L. Barron, _La Seine_
(Collection, Fleuves de France), (Paris, H. Laurens); Émile Lambin, _La
flore des grandes cathédrales de France_, (Paris, 1897); _ibid., Les
églises des environs de Paris étudiées au point de vue de la flore
ornamentale_ (Paris, 1896), folio; _ibid., Les églises de
l'Ile-de-France_ (Paris, 1906); Anthyme Saint-Paul, "Notices sur les
églises des environs de Paris," in _Bulletin Monumental_, vol. 34, p.
861, and vol. 35, p. 709; Alexis Martin, _Excursions dans les environs
de Paris_ (Paris, 1900); Henri Stein, _Les architectes des cathédrales
gothiques_ (Paris, 1908); Émile Mâle, _L'art religieux du XIIIe
siècle en France_ (Paris, Colin, 1908), 4to.
[72] "Les ardentes prières, les sanglots désespérés du moyen âge avaient
à jamais imprégné ces piliers et tanné ces murs."--J. K. HUYSMANS.
[73] "Il me sembla que tout le passé de mon pays se dressait devant moi.
Tout ce qu'elles ont vu, ces pierres!... Tout ce qu'elles ont entendu,
ces voûtes!"
--PIERRE L'ERMITE (Abbé Loutil)
[74] "The first of the great Gothic façades in point of dignity is
undoubtedly that of Paris, a design of which no words can express the
exalted beauty. Grandeur of composition, nobility of silhouette,
perfection of proportion, wealth of detail, infinitely varied play of
light and shade combine to raise this composition, so majestic, so
serene, to the place it has ever occupied in the heart of everyone
endowed with the slightest feeling for the beautiful."--ARTHUR KINGSLEY
PORTER.
[75] The problem of Universals remains still a real one for the
thinker--how our intellectual concepts correspond to things existing
outside our intellect.
[76] In his _Summa totius theologiæ_ St. Thomas held that the existence
of God was to be known by reason. He took his stand on a palpable
fact--the existence of creatures. He began with the fecund idea of
motion, the stars in their orbits, man engendering man. If there is
movement there must be a First Motor. If there ever had been an instant
when nothing was, nothing ever would have been. Effects must have a
cause. Either nothing is, which is an absurdity, or there must be One
Being eternally immutable.
That the movement is ordered, such as night and day, season following
season, shows a supreme power directing. That creatures are more or less
perfect supposes a perfect being. One by one Aquinas laid his foundation
stones till a solid lower wall was built, on which he reared his
majestic structure. In the Roman Breviary, he is thus recorded: "Thou
hast written well of me, Thomas, what recompense do you ask of me?"
"None but yourself, Lord!" ("_Non aliam, Domine, nisi te ipsum!_").
[77] The father of St. Thomas was the Count of Aquin, nephew of the
Emperor Frederick Barbarossa. His mother came of the line of the Norman
rulers in Sicily; the same stocks produced that undisciplined,
undecipherable genius of the XIII century, Frederick II.
[78] L. Liard, _L'Université de Paris_ (Collection, Les grandes
institutions de France), (Paris, H. Laurens); L. Maître, _Les écoles
épiscopales et monastiques de l'occident depuis Charlemagne jusqu'à
Philippe-Auguste_ (Paris, 1866); Tarsot, _Les écoles et les écoliers à
travers les âges_ (Paris, H. Laurens); H. Rashdall, _The Universities of
the Middle Ages_ (Oxford, Clarendon Press, 1895), 2 vols.; Bonnard,
_Histoire de l'abbaye royale de St. Victor de Paris_ (1907); V. Cousin,
éd., _OEuvres de Pierre Abélard_ (Paris, 1849-59), 2 vols.; B.
Hauréau, éd., _Les oeuvres de Hugues de St. Victor_ (Paris, 1887); B.
Hauréau, _Histoire de la philosophie scholastique_ (Paris, 1872), 3
vols.; A. Mignon, _Hugues de St. Victor_ (Paris, 1895); Léon Gautier,
éd., _OEuvres poétiques d'Adam de St. Victor_ (Paris, 1858), 2 vols.;
Léon Gautier, _Histoire de la poésie religieuse dans les cloîtres des
Xe et XIe siècle_ (Paris, 1887); Noël Valois, _Guillaume
d'Auvergne_ (Paris, 1880); E. Berger, _La Bible française au moyen âge_
(Paris, 1884); Lecoy de la Marche, _La chaire française au moyen âge_
(Paris, 1886); _Histoire littéraire de la France_. (Begun by the
XVII-century Benedictines, continued by the Institute of France.) Vol.
9, p. 1, "L'État des lettres en France, XIIe siècle" (Paris, 1750);
vol. 10, p. 309, "Guillaume de Champeaux" (Paris, 1759); vol. 12, p. 1,
"Hugues de St. Victor"; p. 86, "Abélard"; p. 585, "Pierre Lombard"; p.
629, "Héloïse" (Paris, 1764); vol. 13, p. 472, "Richard de St. Victor"
(Paris, 1814); vol. 15, p. 40, "Adam de St. Victor"; p. 149. "Maurice de
Sully" (Paris, 1820); vol. 16, p. 1, "L'état des lettres en France au
XIIIe siècle" p. 574, "Eudes de Sully" (Paris, 1824); vol. 18, p.
357, "Guillaume d'Auvergne" p. 449, "Vincent de Beauvais" (Paris, 1835);
vol. 19, p. 38, "Hugues de Saint-Cher"; p. 143, "St. Louis"; p. 238,
"St. Thomas d'Aquin"; p. 266, "St. Bonaventure"; p. 291, "Robert de
Sorbon"; p. 621, "Les trouvères," (Paris, 1838).
[79] The last vestige of St. Victor's monastery, foyer of sanctity for
the XII century, was wiped out by order of a stupid municipality of
Paris, in 1842.
[80] Petit de Julleville, éd., _Histoire de la langue et de la
littérature française_ (Paris, Colin, 1900), 8 vols. In vols. 1 and 2
the Middle Ages are treated by Gaston Paris, Léon Gautier, and Joseph
Bédier; Gaston Paris, _La littérature du XIIe siècle_ (Paris,
Hachette, 1895). He places the classic epoch of the literature of the
Middle Ages between 1108 (opening of Louis VI's reign) and 1223 (end of
Philippe-Auguste's rule); Joseph Bédier, _Les légendes épiques_ (Paris,
H. Champion, 1908-13), 4 vols.; Remy de Gourmont, _Le Latin mystique_.
[81] _Paradiso_, xxxiii: 4-6.
[82] Some of the modern archbishops of Paris have added to the prestige
of their see. Monseigneur Affre was shot on the barricades, in 1848,
when he went forth bearing a message of peace. Monseigneur Darboy was
shot in prison by the Commune of 1871. Both are commemorated in side
chapels of the cathedral's choir.
[83] G. Sanoner, "La Bible racontée par les artistes du moyen âge," in
_Revue de l'art chrétien_, 1907-13; _ibid._, "La vie de Jésus-Christ
racontée par les imagiers du moyen âge sur les portes d'églises," in
_Revue de l'art chrétien_, 1905-08.
[84] Once the Paris churches were filled with late-Gothic windows,
though the troubled history of the city has left but few. Some
XVI-century glass is still to be found in St. Merri and St.
Germain-l'Auxerrois, for which churches see Huysman's _Trois églises et
trois primitifs_ (1908). St Étienne-du-Mont has in a chapel an Engrand
Le Prince window, a symbolic wine press with portraits of Pope Paul II,
Charles V, Francis I, and Henry VIII; and reset in the passage leading
to the catechism chapel is the masterpiece of Pinaigrier, twelve panels
that are veritable enameling on glass. In St. Gervais, where on Good
Friday, 1918, a projectile from the long-distance German gun crashed
through the masonry roof, killing many, are two windows, Solomon's
judgment (1531), and St. Laurence (1551), said to be by Jean Cousin,
also some Pinaigrier glass. To Jean Cousin are attributed the five
splendid windows of the Apocalypse in the chapel at Vincennes, whose
design derives from Dürer's woodcuts, published in 1498. They have deep
shadows and are strong in color and plan. M. Mâle says that Dürer's
German has here been translated into graceful Renaissance Italian.
Vincennes' chapel had been begun by Charles V in 1378. Then came the
pause of a century, and the works were finished by Henry II, still on
the Gothic plan, however. Henry donated the windows and he had Diana of
Poitiers pictured among the righteous souls in the fifth seal of the
Apocalypse. Francis I is represented at the base of the second window.
Excursions can be made from Paris to places within easy distance that
posses Gothic-Renaissance glass. At Écouen, nine miles from Paris, in
the church of St. Acceul, are sixteen windows due to De Montmorency
patronage. Originally in Écouen's guard hall were the forty-four panels
(made for the constable, Anne de Montmorency) now in the long gallery of
Chantilly, the château bequeathed to the Institute of France in 1897 by
the Duc d'Aumale. The story of Cupid and Psyche is told in that camaïeu
glass so suited for domestic decoration, a species of iron-red
grisaille, whose only other hue is yellow stain. Chantilly's panels were
painted in the Raphaelesque style by the Flemish master, Coexyen,
trained in Van Orley's school. At Montmorency, ten miles from Paris, in
St. Martin's church, the history of France seems written in the windows,
with the portraits of Francis I, Henry II, Adrian VI, and members of the
houses of Montmorency, Pot, and Coligny. Three of the lights are by
Engrand Le Prince. More portrait work appears in the many windows at
Montfort l'Amaury, twenty-nine miles from Paris (1544-78), work not
equal to the earlier XVI-century glass.
H. Havard, éd., _La France artistique et monumentale_, vol. 4, Écouen;
vol. 5, Chantilly, Vincennes, Pierrefonds; F. de Fossa, _Le château de
Vincennes_ (Collection, Petites Monographies), (Paris, H. Laurens); E.
Macon, _Chantilly et le musée Condé_ (Paris, H. Laurens).
[85] Henri Stein, _La Sainte-Chapelle de Paris_ (Paris, 1912); F. de
Guilhermy, _Description de la Sainte-Chapelle_ (Paris, 1899), 12me;
Troche, _Notice historique et descriptive sur la Sainte-Chapelle_;
Morand, _Histoire de la Sainte-Chapelle_ (Paris, 1790); Louis Courajod,
_La polychromie dans le statuaire du moyen âge et de la Renaissance_
(Paris, 1888); Abbé A. Bouillet, _Les églises paroissiales de Paris_,
vol. 5, _La Sainte-Chapelle_ (Paris, 1900); F. de Mély, "La sainte
couronne d'épines," in _Revue de l'art chrétien_, 1899, vol. 42.
[86] Armand le Brun, _L'église St. Julien-le-Pauvre_ (Paris, 1889); J.
Viatte, _L'église de St. Julien-le-Pauvre de Paris_ (Châteaudun,
Prudhomme, 1899).
[87] Jules Quicherat, "St. Germain-des-Prés," in _Bibli. de l'École des
chartes_, 1865, vol. I, p. 513; and _Mémoires de la Soc. des Antiquaires
de France_, 1864, vol. 28, p. 156; Jacques Bouillart, _Histoire de
l'abbaye royale de St. Germain-des-Prés_ (Paris, 1724); Auger, _Les
dépendances de St. Germain-des-Prés_ (Paris, 1909), 3 vols.; E.
Lefèvre-Pontalis, "Étude sur le choeur de l'église de St.
Martin-des-Champs à Paris," in _Bibliothèque de l'École des chartes_,
1886, vol. 47; F. Deshoulières, _St. Pierre de Montmartre_ (Caen, H.
Delesque, 1913); also in _Bulletin Monumental_, 1913, vol. 77, p. 4; H.
Havard, éd., _La France artistique et monumentale_, vol. 6, p. 66, "Le
conservatoire des arts et métiers" (St. Martin-des-Champs); A. Lenoir,
_Statistique monumentale de la ville de Paris_ (Paris, Imprimerie
Impériale, 1867), 3 vols., folio (valuable drawings of the Parisian
abbeys); Em. de Broglie, _Mabillon et la société de l'abbaye de St.
Germain-des-Prés_ (Paris, 1881).
[88] The Hôtel Cluny, which became a national museum in 1848, was built
as the town house for the abbot of Burgundian Cluny, by those two art
patrons, Jean de Bourbon (1456-81) and Jacques d'Amboise (1481-1514). It
is one of the best works of Gothic civic architecture in France. It
stands on the site of Roman baths, alleged to be those of Julian the
Apostate, above which had later risen a residence of the Merovingian
kings. In the time of the Carolings, Alcuin taught on this spot. The
Palais des Termes was purchased for Cluny by Abbot Pierre de Chastellux
(1322-43). H. Havard, éd., _La France artistique et monumentale_, vol.
1, p. 161, A. Darcel, on Musée Cluny; E. du Sommerard, _Le palais des
thermes et l'Hôtel de Cluny_; Ch. Normand, _l'Hôtel de Cluny_ (Paris,
1888).
[89] Paul Abadie, who over-restored the cathedrals of Angoulême and
Périgieux, won the competition for the national memorial basilica of the
Sacré-Coeur, and began his strange Romano-Byzantine monument in 1873.
He united Auvergne's Romanesque ambulatory with the cupola church of
Aquitaine. There is not sufficient contrast between his elongated dome
and the tower. Nevertheless, the immense pile of white stone standing
over the capital presents exotic and superb effects in sun and mist, and
no one can deny that a profound religious spirit breathes in this new
shrine of France, as if the prayers and sufferings of generations had
already hallowed its walls. Below the basilica stands a statue of the
young Chevalier de la Barre, a victim of the personal intrigue of a
corrupt magistrate of Abbeville and the lax law courts of Louis XV's
time, not in any way the object of clerical hate, as the inscription on
his statue would indicate. His abbess aunt was his warm defender, as was
the bishop of Amiens, and on the day of his execution he received the
sacraments piously. See Cruppi, _Révue des Deux Mondes_, March, 1895. As
this mythical hero meets one in many a French city, it were well to know
his real story.
[90] Some of the later manifestations of Gothic art in the capital are
the porch and façade of St. Germain l'Auxerrois (1431-39), one of the
first signs of renewed energy after Jeanne d'Arc's mission; the tower of
St. Jacques (1508-22), attributed to the late-Gothic master, Martin
Chambiges, and formerly part of a Flamboyant church destroyed by the
Revolution; and the church of St. Merri (1520-1612), still Gothic in
spirit. Th e Renaissance appears in St. Étienne-du-Mont (1517-63), whose
interior is alluringly graceful, though it cannot boast of purity of
style. St. Eustache (1532-1642), begun slightly after St. Merri, has a
Gothic skeleton, "dressed in Renaissance robes sewed together like the
pieces of a harlequin's garment, bizarre and contradictory, satisfactory
to neither taste nor reason." The old church of St. Séverin used to be
employed by M. Jules Quicherat as an object lesson for his pupils, since
four different epochs are traceable in it; the three westernmost bays of
the nave are early XIII century; and there is much Flamboyant Gothic
with disappearing moldings. Abbé A. Bouillet, _Les églises paroissiales
de Paris_ (1903); H. Escoffier, _Les dernières églises gothiques au
diocèse de Paris_ (Thèse, École des chartes, 1900).
[91] Le Nain de Tillemont, _Vie de St. Louis_ (Paris, 1848-51 éd.,
Gauble), 6 vols.; Sertillanges, _St. Louis_ (Collection, L'art et les
saints), (Paris, H. Laurens, 1918); H. Wallon, _St. Louis et son temps_
(Tours, 1865), 2 vols.; A. Beugnot, _Essai sur les institutions de St.
Louis_ (Paris, 1821); Jean, sire de Joinville, texte original accompagné
d'une traduction, Natalis de Wailly, éd., Paris, 1867. Translated into
English, Bohn's Antiquarian Library, London; Gaston Paris, "Jean de
Joinville," in _Hist. littéraire de la France_, 1848, vol. 32, p. 291;
also Delaborde's biography; Lecoy de la Marche, _La France sous St.
Louis et sous Philippe le Hardi_ (Paris, 1894); A. Molinier, _Les
sources de l'histoire de France_ (Paris, 1901-06); U. Chevalier,
Répertoire _des sources hist. du moyen âge_ (Montbéliard, 1903).
[92] Philippe Lauer, "Royaumont," in _Congrès Archéologique_, 1908, vol.
2, p. 215.
[93] One sister of St. Louis' queen married Henry III of England, under
whom was built Westminster Abbey (1217-54). The second was the wife of
King Henry's brother, Richard of Cornwall, who was titular emperor of
Germany. The youngest sister inherited Provence and wedded St. Louis'
brother, Charles d'Anjou, king of the Two Sicilies. E. Boutarie,
_Marguerite de Provence, femme de St. Louis_ (Paris, 1869); E. Berger,
_Blanche de Castille_ (Paris, 1900).
[94] Joinville, in Syria, went to the Krak, the great Christian fortress
beyond the Jordan, to obtain, as a relic for his church at Joinville,
the shield of his crusading ancestor whom Richard Coeur-de-Lion had
admired. His "_beau chastel_" on the Marne was wrecked by the
Revolution. His line had ended in an heiress who married into the ruling
house of Lorraine, so that the XVI-century Duke of Guise, whose personal
charm made him the idol of the French people, was fifth, by female
descent, from the irresistible seneschal. A brother of Joinville's,
Geoffrey, married Mahaut de Lacy, heiress of Meath, and became Lord
Chief Justice of Ireland in 1273. Under Henry III and Edward I he played
a role, and went crusading in 1270. He left nine children. On his wife's
death he entered the Dominican convent of Tuam, where he died in 1314.
[95] Often did Louis IX sigh over his youngest brother. "Charles
d'Anjou! Charles d'Anjou!" he would say, sadly. As king of the Two
Sicilies, Charles won the title of the Merciless, and his harshness was
punished by the Sicilian Vespers, 1282. Dante abominated the house of
Anjou in Italy. Of Charles he wrote in the _Paradiso_ (viii: 73-75),
"His evil rule, which ever cuts into the heart of subject people, caused
Palermo to shriek out: 'Die! Die!'" St. Louis loved especially his
brother Robert d'Artois, whose overhardy courage caused the defeat of
the crusaders at Mansourah. When word was brought to the king of his
brother's death in that battle, tears warm and full fell from his eyes,
though he said, "God must be thanked for all he sends." The other
brother of Louis IX was Alphonse of Poitiers, who married the heiress of
Toulouse and took guidance of the king in his administration of the
Midi.
[96] In 1841 Louis-Philippe built a chapel on the site where St. Louis
had died in Tunis, 1270. In the _Ville d'Art Célèbres_ series (H.
Laurens, Paris), see H. Saladin, _Tunis et Kairouan_, and R. Cagnat,
_Carthage, Tingad, Tébessa_.
[97] Shakespeare, "Richard II." iv: 1.
[98] _Congrès Archéologique_, 1905; Léon Gautier, _La France sous
Philippe-Auguste_ (Tours, Mâme et fils, 1869); A. Luchaire, _La société
française au temps de Philippe-Auguste_ (Paris, Hachette, 1909); W. H.
Hutton, _Philip-Augustus_ (London and New York, Macmillan Company,
1896); Viollet-le-Duc, _Dictionnaire de l'architecture_; see articles on
cathedral, rose, triforium.
[99] Two miles from Mantes, across the river, is Gassicourt
(Seine-et-Oise), once a Cluniac priory. Its earliest diagonals were
built about 1125. The nave and tower are XII century; the choir and
transept are Rayonnant Gothic. Some of the windows donated by Blanche of
Castile remain. Bossuet long held the living of Gassicourt. See
Lefèvre-Pontalis, "Monographie des églises Gassicourt, Meulan," etc., in
_Bul. de la Commission des antiquités et des arts de Seine-et-Oise_,
1885-88, vols. 5 to 8.
[100] J. Formigé, _La cathédrale de Meaux_ (Pontoise, 1917); Amédée
Boinet, "La cathédrale de Meaux," in _Revue de l'art chrétien_, 1912; I.
Taylor, _La cathédrale de Meaux_ (Paris, Didot, 1858), folio; Emile
Lambin, "La cathédrale de Meaux," in _Revue de l'art chrétien_, 1900;
Henri Stein, _La cathédrale de Meaux et l'architecte Nicolas de Chaumes_
(Arcis-sur-Aube, 1890); Du Carro, _Histoire de Meaux et du pays meldois_
(Meaux, 1865); Monseigneur Allon, _Chronique des évêques de Meaux_; also
his _Notice hist. et descript. de la cathédrale de Meaux_ (1871); O.
Join-Lambert, _Le diocèse de Meaux_ (Thèse, École des chartes, 1894).
[101] Lionel Johnson, _Poetical Works_ (New York and London, Macmillan
Company), p. 252.
[102] Péguy pierced to the very soul of the Maid in his _Mystère de la
charité de Jeanne d'Arc_. Jeanne, in Domrémy, seeing the evil round her
caused by war, says: "Je pourrais passer ma vie entière à la maudire, et
les villes n'en seront pas moins efforcées, et les hommes d'armes n'en
feront pas moins chevaucher leurs chevaux dans les blés vénérables ...
blés sacrés, blés qui faites le pain ... sacrés blés qui devîntes le
corps de Jésus-Christ."
[103] Another who fell in battle in that same summer of 1914, Ernest
Psichari, divined this pregnant region: "Diocèse de Meaux, cryptes de
Jouarre, cloches des petites communes ... l'harmonie délicate, la grâce
parfaite, le bon goût de ces paysages modérés. Ici la race est d'accord
avec le paysage, sérieuse comme lui, ardente sans frivolité, sans
élégances inutiles. Certains soirs, on pense à Pascal, si français,
quand il écrivait: 'Certitude.... Pleurs de joie.' "--_L'Appel des
Armes_ (Paris, G. Oudin et Cie, 1913).
[104] _Paradiso_, xxxiii: 15-16.
[105] _Congrès Archéologique_, 1900; René Merlet, _La cathédrale de
Chartres_ (Collection, Petites Monographies), (Paris, H. Laurens, 1909);
_ibid._, "Les architectes de la cathédrale de Chartres et la
construction de la chapelle Saint Piat au XIVe siècle," in _Bulletin
Monumental_, 1906, vol. 70, p. 218; E. Lefèvre-Pontalis, _Les
architectes et la construction des cathédrales de Chartres_ (Paris,
1905); _ibid._, _Les façades successives de la cathédrale de Chartres au
XIe et au XIIe siècle_ (Caen, 1902); Abbé Bulteau, _Monographie de
la cathédrale de Chartres_ (1891), 3 vols.; E. Lefèvre-Pontalis, "Le
portail sud de la cathédrale de Chartres," in _Revue de l'art chrétien_,
1907, p. 100; F. de Mély, _Études iconographiques sur les vitraux du
XIIIe siècle de la cathédrale de Chartres_ (Lille, 1888), 4to; J. K.
Huysmans, _La Cathédrale_ (Paris, 1898; tr. London, Paul, Trench &
Trübner); Henry Adams, _Mont Saint-Michel and Chartres_ (Boston,
Houghton Mifflin Company, 1913); De Lasteyrie, _Études sur la sculpture
française au moyen âge_ (Paris, 1902); Cherval, _Chartres, sa
cathédrale, ses monuments_ (Chartres, 1905); _ibid._, _Les écoles de
Chartres au moyen âge_ (1895); Lucien Merlet, tr. _Lettres de St. Ives,
évêque de Chartres_ (Chartres, Petrot-Garnier, 1885); A. J. de H.
Bushnell, _Storied Windows_ (New York, Macmillan Company, 1914);
Crosnier, _Iconographie chrétienne_ (Tours, Mâme, 1876); Gabriel Fleury,
_Études sur les portails imagés du XIIe siècle_ (Mamers, Fleury et
Dangin, 1904); _Histoire littéraire de la France_, vol. 7, p. 1, "État
des lettres en France, XIe siècle"; p. 261, "St. Fulbert" (Paris,
1746); vol. 10, p. 102, "St. Ives" (Paris, 1756); vol. 13, p. 82,
"Geofroi de Lèves" (Paris, 1814); vol. 14, p. 89, "Jean de Sarisbéry";
p. 236, "Pierre de Celle, évêque de Chartres" (Paris, 1817).
[106] George Santayana, _Interpretations of Poetry and Religion_ (New
York, Scribner's, 1905).
[107] Bishop Fulbert was buried in 1029 in the church of St.
Pierre-en-Vallée. St. Pierre's choir is Romanesque and early Gothic; its
sanctuary is a gem of XIV-century Rayonnant; its nave is in larger part
of the XIII century, but later than the cathedral of Chartres; its west
tower is of the XI century. At present it possesses a treasure of enamel
work, the plaques of the apostles, by Léonard Limosin, which Francis I
had made in 1545, and which Henry II gave to Diana de Poitiers for the
château of Anet. There is much grisaille glass in St. Pierre; each
window of the nave is divided perpendicularly into three panels--a
colored one in the center and grisailles on either side. In the choir is
some XII-century glass; the brilliant apse windows are XIV century, as
are a few in the nave. P. Lavedan, _Léonard Limosin el les émailleurs
français_ (Collection, Les grands artistes), (Paris, H. Laurens);
Alleaume et Duplessis, _Les douze apôtres; émaux de Léonard Limosin_
(Paris, 1865).
[108] "Chartres est sage avec une passion intense.... Palais de la paix
et du silence!... C'est du paix héroique qu'il s'agit ici."--RODIN, _Les
Cathédrales de France_ (Paris, Colin, 1914).
[109] "I am Beauceron, Chartres is my cathedral," said Charles Péguy,
who walked in pilgrimage a hundred miles to pray in the cathedral when
his little son lay dying with diphtheria. No one has celebrated it
better than that XX-century maker of mystery plays, true artisan-artist
of the _moyen âge_:
"Voici le lourd pilier et la montante voûte;
Et l'oubli pour hier, et l'oubli pour demain;
Et l'inutilité de tout calcul humain;
Et plus que le péché, la sagesse en déroute.
"Voici le lieu du monde où tout devient facile,
Le regret, le départ, même l'événement,
Et l'adieu temporaire et le détournement,
Le seul coin de la terre où tout devient docile....
"Voici le lieu du monde où tout rentre et se tait,
Et le silence et l'ombre et la charnelle absence.
Et le commencement d'éternelle présence,
Le seul réduit où l'âme est tout ce qu'elle était."
--"Prières dans la cathédrale de Chartres," _OEuvres de Charles
Péguy_, vol. 6, p. 383, éd., _Nouvelle Reçue française_, 1916-18.
[110] Émile Mâle, _L'art religieux du XIIIe siècle en France_ (Paris,
A. Colin, 1908); _ibid._, _L'art religieux de la fin du moyen âge en
France_ (Paris, A. Colin, 1910).
[111] Émile Mâle, _L'Art allemand et l'art français du moyen âge_
(Paris, A. Colin, 1917).
[112] "Lovelier color the hand of man has not produced. There are times
when human art seems to be something more than mortal; when it rises to
heights infinitely above the ordinary achievements of men. French glass
of the XII century is such an art. It is impossible to stand in the
presence of these translucent mosaics without experiencing a depth of
æsthetic emotion that at once disarms the critical faculty. Such
sensuous beauty of tone, such richness of color, has been equaled by no
painter of the Renaissance, by no Byzantine worker in mosaics. Yet it is
not only for their absolute beauty, but also for their perfectly
architectural character that these windows claim unqualified
admiration."--ARTHUR KINGSLEY PORTER, _Medieval Architecture_ (New York
and London, 1907), vol. 2, p. 108.
[113] _Congrès Archéologique_, 1911, Rheims, p. 19, the cathedral; p.
57, St. Remi, L. Demaison; Louis Demaison, _Album de la cathédrale de
Rheims_ (Paris, 1902), 2 vols., folio; _ibid._, _La cathédrale de
Rheims_ (Collection, Petites Monographies), (Paris, H. Laurens, 1910);
Abbé Cerf, _Histoire et description de Notre Dame de Rheims_ (Rheims,
Dubois, 1861), 2 vols., 8vo; Alphonse Gosset, _La cathédrale de Rheims_
(Paris and Rheims, 1894), folio; _ibid._, _Rheims monumental_ (Rheims,
1880), 12mo; Anthyme Saint-Paul, "La cathédrale de Rheims, au XIIIe
siècle," in _Bulletin Monumental_, 1906, vol. 70, p. 288; E.
Moreau-Nélaton, _La cathédrale de Rheims_ (Paris, 1915); Monseigneur
Landrieux, _La cathédrale de Rheims_ (Paris, H. Laurens, 1917); Louis
Bréhier, _La cathédrale de Rheims_ (Paris, H. Laurens, 1919); Max
Sainsaulieu, _Rheims avant la guerre_ (Paris, H. Laurens); Vitry, _La
cathédrale de Rheims, architecture et sculpture_ (Paris, Longuet, 1913);
Ch. Loriquet, _Les tapisseries de Notre Dame de Rheims_; H. Bazin, _Une
vieille cité de France, Rheims_; _monuments et histoire_ (Rheims,
Michaud, 1900), 4to; Louise Pillion, _Les sculpteurs français du
XIIIe siècle_ (Collection, Les maîtres de l'art), (Paris); Émile
Lambin, _Flore des grandes cathédrales_ (Paris, 1897); Vitry et Brière,
_Documents de sculpture française au moyen âge_ (Paris, Longuet, 1900).
[114] Auguste Rodin, _Les cathédrales de France_ (Paris, Colin, 1914).
[115] The Benedictines' church at Orbais (Marne), between Rheims and
Châlons, contains some exceptionally good XII-century windows. Its nave
has been destroyed, but the transept and the choir, with its radiating
chapels (c. 1200), survive. The World War swept over Orbais, but the
abbatial is unharmed. Héron de Villefosse, _Abbaye d'Orbais_ (Paris,
1892).
[116] It has been suggested that about 1260 a façade then rising was
dismounted and moved forward, to allow for the insertion of several more
bays in the nave, but the idea remains a hypothesis.
[117] E. O'Reilly, _Les deux procès de condamnation ... de Jeanne
d'Arc_, eighth interrogation, March 17, 1431. "Il avait été à la peine,
c'était bien raison qu'il fût à l'honneur." (Paris, Plon, 1868), 2 vols.
[118] During this summer of 1020 excavations made under Rheims Cathedral
have brought to light vestiges of the cathedral of the Virgin, founded
by St. Nicaise in 401. Three Roman arches in good condition support the
venerable nave, in a corner of whose floor was found buried sacred
images of ivory most beautifully carved. Evidently they had been hidden
to save them from the invading Vandals.
[119]
"Et les Français disent: Quel grand courage!
Avec Turpin la croix est bien gardée!"
Roland addressed the dead archbishop on the field of Roncevaux:
"Eh! Chevalier de bonne aire, homme noble,
Nul ne sut mieux, depuis les saints apôtres
La foi garder et convertir les hommes:
Du paradis lui soit la porte ouverte!"
--_La Chanson de Roland_ (Edition, A. d'Avril).
[120] Along the lower walls of the side aisles of Rheims hung splendid
tapestries, "color of incense, silver-gray dashed with blue, with red."
They related Our Lady's life and were given in 1530 by the saintly
archbishop, Robert de Lenoncourt, the same who presented to St. Remi's
monastery church other sumptuous embroideries, and who remade as
Flamboyant Gothic St. Remi's south façade. The tapestries of Rheims were
saved from the wrecked city and exhibited in Paris during the World War
for the benefit of the refugees. It is said that a certain number of the
stained-glass windows of the cathedral were dismounted in time to escape
annihilation.
[121] Sung in the French trenches:
"... Attila II s'en veng et brûle
Le baptistère de nos rois.
Un siécle d'art à chaque bombe
Se craquèle, s'effrite et tombe
Avec un râle, et tout d'un coup!
... Mais dans la ville ruinée,
Par l'incendie illuminée,
_Jeanne d'Arc est encor debout!_"
--(THÉODOR BOTREL, _Refrains de guerre_ (Paris, Payot, 1915)).
[122] Georges Durand, _Monographie de l'église Notre Dame, cathédrale
d'Amiens_ (Paris, Picard et fils, 1903), 2 vols., folio; _ibid.,
Description abrégée de la cathédrale d'Amiens_ (Amiens, Yvert et
Tellier, 1904); _ibid._, "La peinture sur verre au XIIIe siècle et
les vitraux de la cathédrale d'Amiens," in _Mémoires de la Société des
antiquaires de Picardie_ 1891, 4e série, tome I, p. 389; Jourdain et
Duval, "Le grand portail de la cathédrale d'Amiens," in _Bulletin
Monumental_, vols. 11, 12, _passim_; _ibid., Cathédrale d'Amiens, les
stalles et clôtures du choeur_ (Amiens, 1867), 8vo; T. Perkins, _The
Cathedral Church of Amiens_ (London, Bell, 1902); Rodière et Guyencourt,
_La Picardie historique et monumentale_ (Paris, Picard, 1906), 4to;
Camille Enlart, _Monuments religieux de l'architecture romane et de
transition dans la région Picarde_ (Amiens, Yvert et Tellier, 1895);
Taylor et Nodier, _Voyages pittoresques ... dans l'ancienne France.
Picardie_, (Paris, Didron, 1835-45), 3 vols.; Émile Mâle, _L'art
religieux de la fin du moyen âge en France_ (Paris, Colin, 1910); A. de
Colonne, _Histoire de la ville d'Amiens_ (Paris, 1900); Demogeon, La
Picardie (Collection, Les régions de la France), (Paris, L. Cerf).
[123] Emile Lambin, _La flore des grandes cathédrales_ (Paris, 1897).
[124] L. Reau, _Cologne_ (Collection, Villes d'art célèbres), (Paris, H.
Laurens); L. Leger, _Prague_ (Collection, Villes d'art célèbres),
(Paris, H. Laurens); Henry Hymans, _Bruges et Ipres_ (Paris, H.
Laurens).
[125] Apocalypse xxi:17.
[126] Emile Mâle, _L'art religieux de XIIIe siècle en France_ (Paris,
Colin, 1908).
[127] Psalm xc:13.
[128] Eph. ii:20-21.
[129] John Ruskin, _The Bible of Amiens_, vol. 33, Complete Works
(London, Cook & Wedderburn, 1908). Illustrated; chap. iv,
"Interpretations."
[130] Abbeville, close by, also had its Puy, in whose competitions
figured Froissart, the historian, as laureate. The magnificent portal
decorations (1548) of the Flamboyant Gothic collegiate church of St.
Wulfran were contributed in this way.
Émile Deliguières, _L'église Saint-Vulfran à Abbeville_ (Abbeville,
Paillart, 1898); _Congrès Archéologique_, 1893.
[131] _Congrès Archéologique_, 1849 and 1898; Amédée Boinet, _La
cathédrale de Bourges_ (Collection, Petites Monographies), (Paris, H.
Laurens, 1911); _ibid_., "Les sculpteurs de la cathédrale de Bourges,"
in _Revue de l'art chrétien_, 1912; also published by Champion (Paris,
1912); Gaston Congny, _Bourges et Nevers_; Buhot de Kersers, "Les
chapelles absidioles de la cathédrale de Bourges," in _Bulletin
Monumental_, vol. 40, p. 417; _ibid., Histoire et statistique
monumentale du département du Cher_ (Bourges, 1875-98), 8 vols., 4to;
Girardot et Durant, _La cathédrale de Bourges_ (Moulins, 1849); G. Hardy
et A. Gandillon, _Bourges et les abbayes et châteaux de Berry_
(Collection, Villes d'art célèbres), (Paris, H. Laurens, 1912); Cahier
et Martin (P. P.), _Monographie de la cathédrale de Bourges; vitraux du
XIIIe siècle_; Des Méloizes, _Les vitraux de Bourges postérieurs au
XIIIe siècle_ (Lille, 1897), folio; _ibid., Les vitraux de Bourges_,
1901; _ibid._, "Note sur un très ancien vitrail de la cathédrale de
Bourges," in _Mémoires de la Soc. des Antiquaires du Centre_, 1873, vol.
4, p. 193; Champeaux et Gauchery, _Les travaux d'art exécutés pour Jean
de France, duc de Berry_ (Paris, Champion, 1894), folio; Buhot de
Kersers, "Caractères de l'architecture religieuse en Berry à l'époque
romane," in _Bul. archéol. du Comité des Travaux hist. et
scientifiques_, 1890, p. 25; F. Deshoulières, "Les églises romanes du
Berry," in _Bulletin Monumental_, 1909, p. 463; Raynal, _Histoire de
Berry_; Vacher, _Le Berry_ (Collection, Les régions de la France),
(Paris, L. Cerf); Sauvageot, _Palais, châteaux, hôtels et maisons de
France_; Sir Theodore Andreas Cook, _Twenty-five Great Houses of France_
(London and New York, 1916).
[132] _Rationale Divinorum officiorum_, tr. by Neale and Webb of the
Camden Society (Leeds, Green, 1843).
[133] Rodin should have placed his "Thinker" here: "Le Penseur aurait
été au diapason dans cette crypt; cette ombre immense l'aurait
fortifié!"
--RODIN, _Les cathédrales de France_.
[134] "There is a charming detail in this section. Beside the angel, on
the left, where the wicked are the prey of demons, stands a little
female figure, that of a child, who, with hands meekly folded and head
gently raised, waits for the stern angel to decide upon her fate. In
this fate, however, a dreadful big devil also takes a keen interest; he
seems on the point of appropriating the tender creature; he has a face
like a goat and an enormous hooked nose. But the angel gently lays a
hand upon the shoulder of the little girl--the movement is full of
dignity--as if to say, 'No; she belongs to the other side.' The frieze
below represents the general Resurrection, with the good and the wicked
emerging from their sepulchers. Nothing can be more quaint and charming
than the difference shown in their way of responding to the final trump.
The good get out of their tombs with a certain modest gayety, an
alacrity tempered by respect; one of them kneels to pray as soon as he
has disinterred himself. You may know the wicked, on the other hand, by
their extreme shyness; they crawl out slowly and fearfully; they hang
back."--HENRY JAMES, _A Little Tour in France_ (Boston, Houghton Mifflin
Company, 1900), p. 105.
[135] The chief piers of Orléans Cathedral were mined by Théodore de
Bèze and blown up on the night of March 23, 1567. The portal, part of
the choir, and the apse chapel escaped. The XII-century nave had double
aisles with tribunes; the frontispiece also was XII century. The choir,
begun in 1287, was finished by 1297, and a new Gothic nave was in
progress at the time of the civil wars of religion. Henry IV undertook
to rebuild Orléans Cathedral, and with his bride, Marie de Medici, laid
the first stone in 1601. But a bastard-Gothic edifice is not
compensation for earlier work. H. Havard, éd., _La France artistique et
monumentale_, vol. 6, p. 122, "Orléans," G. Lefenestre; _Congrès
Archéologique_, 1854 and 1892; G. Rigault, _Orléans et le val de Loire_
(Collection, Villes d'art célèbres), (Paris, H. Laurens); E.
Lèfevre-Pontalis et Eugène Garry, on Orléans Cathedral, in _Bulletin
Monumental_, 1904, vol. 68, p. 309.
[136] _Nouvelle Alliance_ windows are to be found at Chartres (sixth
window in the nave's north aisle), at Le Mans (the east window of the
long Lady chapel), at Tours (in the axis chapel), in the transept of
Sens Cathedral (in five lights below the north rose), and in the apse
curve of Lyons Cathedral.
[137] The happy chance of travel led the writer, in May of 1914, to the
ceremony of the unveiling of a statue of Jeanne d'Arc in the cathedral
of this city, that has not known invasion--the military arsenal of
France. As the preaching bishop exhorted modern France to remake her
soul else she would perish, over that spellbound congregation seemed to
pass a premonition of portentous events looming ahead. Within three
months the World War opened, _forte et aspre guerre_, as they said in
Jeanne's day, war the chastiser, war the purifier: "_Il y a des guerres
qui avilissent les nations, et les avilissent pour des siècles; d'autres
les exaltent, les perfectionnent de toutes manières_," wrote Joseph de
Maistre.
[138] Carved on Jacques Coeur's house in Bourges are mottoes such as,
"_A vaillans coeurs rien impossible_," or "_Dire, faire, taire, de ma
joie_," or "_En bouche close, n'entre mousche_." Vallet de Viriville,
_Jacques Coeur_; Pierre Clément, _Jacques Coeur et Charles VII_.
[139] _Congrès Archéologique_, 1905, "Beauvais," Chanoine Barsaux; P.
Dubois, _La cathédrale de Beauvais_ (Collection, Petites Monographies),
(Paris, H. Laurens, 1911); Abbé P. C. Barraud, "Beauvais et ses
monuments," in _Bulletin Monumental_, vol. 27, _passim_. He gives
studies on the Le Prince and other windows in the cathedral and St.
Étienne, in _Mémoires de la Soc. Académique de l'Oise_, 1851-53, vol. 1,
p. 225; vol. 2, p. 537; vol. 3, pp. 150, 277; Louise Pillion, on St.
Étienne's glass, in _Revue de l'art chrétien_, 1910, p. 367; Eug. J.
Woillez, _Archéologie des monuments religieux de l'ancien Beauvoisis
pendant la métamorphose romane_ (Paris, 1839-49), folio; Graves, _Notice
archéologique sur le département de l'Oise_ (Beauvais, 1856); Gustave
Desgardins, _Histoire de la cathédrale de Beauvais_ (1875); Abbé L.
Pihan, _Beauvais, sa cathédrale, ses monuments_ (1905); _ibid., Esquisse
descriptive des monuments historiques dans l'Oise_; see Gonse and
Palustre on the portals of the cathedral; Monseigneur Barbier de
Montault, "Iconographie des Sibylles," in _Rev. de l'art chrétiens_,
1874.
[140] Carolingian work aboveground is rare; besides this
_Basse-OEuvre_ at Beauvais, there is St. Philibert de Grandlieu
(Loire-Inférieure), part of the small church under the flank of
Jumièges' ruined abbatial, portions of St. Jouin-de-Marnes
(Deux-Sèvres), and vestiges in the walls of La Couture at Le Mans. There
are Carolingian crypts at St. Quentin, Amiens, Chartres, Orléans,
Auxerre, Flavigny. More exceptional still are Merovingian remains, such
as the crypt of Jouarre, the small tri-lobed church of St. Laurent at
Grenoble, the crypt of St. Léger at St. Maixent (Deux-Sèvres), a crypt
at Lyons, in St. Martin d'Ainay, and apsidal chapels in St. Jean's
baptistry at Poitiers. A list of the Romanesque monuments of the
Ile-de-France and bordering districts is to be found in Arthur Kingsley
Porter's _Medieval Architecture_, 1909, vol. 2, pp. 13-49.
[141] Among the Flamboyant monuments of France are St. Wulfran's
frontispiece at Abbeville, begun in 1481, overcharged with ornament but
with portals of great beauty; St. Riquier near by, also overcharged; the
churches of Rue and Mézières; façades of cathedrals at Sens, Senlis,
Auxerre, Troyes, Tours, and Limoges; Vendôme's frontispiece, and Albi's
porch; towers at Bordeaux, Rodez, Saintes, Chartres, Auxerre, Bourges,
Rouen, and many other cities in Normandy; the cathedrals of Toul and
Metz; St. Maurice at Lille, a well-restrained Flamboyant monument; the
magnificent church of St. Nicholas-du-Port near Nancy; the choir of
Moulins; St. Antoine at Compiègne and a number of civic halls such as
Compiègne's and St. Quentin's. The beautiful Flamboyant Gothic church at
Péronne (1509-25) has been wiped out in the World War. Artois and
Flanders were especially rich in late-Gothic edifices. Normandy was a
Mecca of Flamboyant work--from Rouen, to that gem of the final phase,
the choir of Mont Saint-Michel. Monseigneur Dehaisnes, _Histoire de
l'art dans la Flandre, l'Artois et le Hainaut_ (Lille, 1886), 3 vols.
[142] André Michel, éd., _Histoire de l'Art_, vol. 3, 1^{ère} partie,
"Le style flamboyant," Camille Enlart (Paris, A. Colin), 1914, 10 vols.;
Camille Enlart, "Origine anglaise du style flamboyant," in _Bulletin
Monumental_, 1886, 1906, p. 38; A. Saint-Paul, "L'architecture
religieuse en France pendant la Guerre de Cent Ans," in _Bulletin
Monumental_, 1908, p. 5; _ibid., Les origines du gothique flamboyant en
France_ (Caen, 1907); Arthur Kingsley Porter, _Medieval Architecture_,
vol. 2 (New York and London, 1907), 2 vols.
[143] _Congrès Archéologique_, 1902; V. C. de Courcel, _La cathédrale de
Troyes_, (1910); L. Morel-Payen, _Troyes et Provins_ (Collection, Villes
d'art célèbres), (Paris, H. Laurens, 1910); F. Arnaud, _Description
historique de l'église cathédrale de Troyes_; J. B. Coffinet, "Les
peintres-verriers de Troyes," in _Annales Archéologiques_, vol. 18, pp.
125, 212; A. J. de H. Bushnell, _Storied Windows_, chapters 32 and 33,
on Troyes (New York, Macmillan Company, 1914); Ch. Fichot, _Statistique
monumentale du département de l'Aube_, vol. 1, _Arrondissement de
Troyes_ (Troyes, 1884), 4to; R. Koechlin and J.M. de Vasselot, _La
sculpture à Troyes et dans la Champagne méridionale au XVIe siècle_
(Paris, A. Colin, 1900); Raymond Koechlin, "La sculpture du XIVe et
du XVe siècle dans la région de Troyes," in _Congrès Archéologique_,
1908; Paul Vitry, _Michel Colombe et la sculpture française de son
temps_ (Paris, 1901); Louis Gonse, _La sculpture française depuis le
XIVe siècle_ (Paris, Quantin, 1895), folio; D'Arbois de Jubainville,
_Histoire des ducs et des comtes de Champagne_, 1859, 7 vols.; Bontier,
_Histoire de Troyes et de la Champagne méridionale_ (Troyes, 1880), 4
vols.; Amédée Aufauvre, _Troyes et ses environs_.
[144] Translation from XIII-century French by Henry Adams.
[145] Generation after generation, the Lyénin, Macadré, Verrat, and
Gontier families produced noted artists. Assier, _Les arts dans
l'ancienne capitale de la Champagne_.
[146] The same feat can be seen in St. Nizier at Troyes, rebuilt in 1528
and literally filled with XVI-century glass. Its best window is in the
transept (1552), and shows the beasts of heresy trampled upon, for that
day was nothing if not controversial. In a central window of the choir,
the Descent of the Holy Ghost, the artist made the hands of a figure in
one panel appear in the neighboring panel, regardless of the stone
mullions. In 1901 an anarchist bomb exploded in St. Nizier, and in 1910
a terrible storm wrecked more of its windows. The church possesses a
_Saint Sépulcre_ and a _Christ de Pité_ in which the Gothic spirit
lingers. Its reredos, now in the Museum, was from the Juliot _atelier_.
Her international fairs early accustomed Troyes to foreign influences.
Flemish realism had fortified her sculptors and vitrine artists, and
during the first third of the XVI century (when the trade of the city
tripled itself) the new Italian ideas found favor. For a generation the
just and loyal measure of Champagne's own Gothic tradition held the
leadership, but finally the Italian Renaissance conquered. When abstract
types were substituted for types precisely observed, imagery became
cold, declamatory, and pretentious. In several of the churches of Troyes
will be found the Education of the Virgin by her mother, St. Anne, a
theme for which this city had a partiality.
[147] Abbé O. F. Jossier, _Monographie des vitraux de St. Urbain de
Troyes_ (Troyes, 1912); E. Lefèvre-Pontalis, "Jean Langlois, architecte
de St. Urbain de Troyes," in _Bulletin Monumental_, 1904, vol. 64, p.
93; Albert Barbeau, _St. Urbain de Troyes_ (Troyes, Dufour-Bonquot,
1891), 8vo; Viollet-le-Duc, _Dictionnaire de l'architecture_, vol. 4,
pp. 182-192; Abbé Lahore, _L'église Saint-Urbain_ (1891).
[148] Within walking distance of Troyes are Ste. Maure, with a Jesse
tree by Linard Gontier; Les Noès, with good sculpture and a Jesse-tree
window of 1521; St. André-lès-Troyes, with a lovely St. Catherine
statue; St. Parre-les-Tertres, with a Vision of Augustus in _camaïeu_
like a magnificent enamel on white glass, and another grisaille-like
Vision of Augustus at St. Léger-lès-Troyes (1558); Chapelle St. Luc,
with a triptych on wood, sculpture of the Three Maries, and good glass;
Torvilliers, Pont-Ste.-Marie, and Montgueux, with other _objets d'art_.
Eight miles away, at Verrières, is the best portal of the region and
more late-Gothic glass. There are storied windows at St. Loup, St.
Ponanges, Rosnay, Brienne, Rouilly (with a good Virgin image), Pouvres,
Chavanges, Bar-sur-Seine, Bar-sur-Aube (with a statue of St. Barbara),
Mussy-sur-Seine, Montier-en-Der, Arcis-sur-Aube, and Ceffonds, whose
windows were the gift of Étienne Chévalier (1528). Some thirty miles
away lies St. Florentin (six miles from Pontigny), where are twenty
splendid Renaissance lights, among them a Creation window (1525), with
God the Father wearing the tiara, one of 1528 telling St. Nicolas' life
in quatrains describing each scene, and a 1529 window devoted to the
Apocalypse. Between Troyes and St. Florentin lies Ervy, where is a
Crucifixion window (1570), showing the Saviour nailed to a Tree of
Knowledge Cross with apples and leaves on its top, and Adam and Eve
standing below. There are also the noted windows of the Sibyls (1515),
representing twelve instead of ten prophetesses, each accompanied by the
event of the New Law which she is said to have foretold, and the window
called the Triumph of Petrarch (1502).
[149] Of the same appealing type as St. Martha at Troyes are the Virgin
and Madeleine of the Holy Sepulcher group at Villeneuve l'Archevêque
(Yonne), where are also some beautiful portal images of the XIII
century. M. Ch. Fichot has brought forward testimony that would indicate
the image called St. Martha in the church of the Madeleine is really one
of St. Mary Magdelene herself. However, the majority of those who have
written on the sculpture of Champagne continue to call it a St. Martha.
[150] _Congrès Archéologique_, 1855, 1875, and 1911, p. 447, the
cathedral of Châlons; p. 473, Notre-Dame-en-Vaux; p. 496, St. Alpin; p.
512, Notre-Dame-de-l'Épine; E. Lefèvre-Pontalis, "L'architecture dans la
Champagne méridionale au XIIIe et au XVIe siècle," in _Congrès
Archéologique_, 1902, p. 273; _ibid._, "Les caractères distinctifs des
écoles gothiques de la Champagne et de la Bourgogne," in _Congrès
Archéologique_, 1907, p. 546; Louis Demaison, _Les églises de
Châlons-sur-Marne_ (Caen, 1913); E. de Barthélemy, _Diocèse ancien de
Châlons-sur-Marne_. _Histoire et monuments_ (Paris, 1861), 2 vols.; E.
Hurault, _La cathédrale de Châlons-sur-Marne et sa clergé au XIIIe
siècle_; A. J. de H. Bushnell, _Storied Windows_, chapter 34, on the
windows of Châlons (New York, Macmillan Company, 1914); Abbé E. Musset,
_Notre Dame-de-l'Épine près Châlons-sur-Marne. La légende, l'histoire,
le monument et le pèlerinage_ (Paris, Champion, 1902); Chanoine Marsaux,
"La prédiction de la sibylle et la vision d'Auguste," in _Bulletin
Monumental_, 1908, p. 235.
[151] _Congrès Archéologique_, 1890, Toul. In the series of _Villes
d'art célèbres_, published by H. Laurens (Paris), are studies on
Tournai, Ipres, and Avila: Henri Guerlin, _Ségovie, Avila, Salamanque_;
Henri Hymans, _Gand et Tournai_ and _Bruges et Ypres_.
[152] L. Petit de Julleville, _Histoire de la langue et de la
littérature française_, dirigée par (Paris, Colin et Cie, 1841-1901), 8
vols. In vols. 1 and 2 the Middle Ages are treated by Léon Gautier,
Gaston Paris, and Joseph Bédier; Gaston Paris, _La littérature française
au moyen âge_ (Paris, Hachette, 1890); _ibid._, _Les origines de la
poésie lyrique, en France au moyen âge_ (Paris, 1892); Léon Gautier,
_Origines et histoire des épopées françaises_ (Paris, V. Palme,
1878-94), 4 vols.; Joseph Bédier, _Les légends épiques_ (Paris, H.
Champion, 1908-13), 4 vols.; P. Tarbé, _Les chansonniers de Champagne_
(1851); Delaborde, _Notice historique sur le château de Joinville_.
_Haute-Marne_ (Joinville, 1891); Natalis de Wailly, éd., _Jean, sire de
Joinville, texte original accompagné d'une traduction_. Translated into
English, Bohns' Antiquarian Library, VI, London; Bouchet, éd.,
_Villehardouin_ (Paris, 1891). English translation by Sir F. T. Marzial
(London, Everyman's Library, 1908).
[153] Chanoine Boissonnot, _La cathédrale de Tours_ (Tours, 1904); Paul
Vitry, _Tours et les châteaux de Touraine_ (Collection, Villes d'art
célèbres), (Paris, H. Laurens, 1905); _ibid._, _Michel Colombe et la
sculpture française de son temps_ (Paris, 1901); Marchand et Bourassé,
_Verrières du choeur de l'église metropolitaine de Tours_ (Paris,
1849), folio; A. J. de H. Bushnell, _Storied Windows_, chapter 22, on
Tours (New York and London, 1914); Charles de Grandmaison, _Tours
archéologique_ (Paris, 1879); Abbé Bosseboeuf, _Tours et ses
monuments_; Monseigneur Chevalier, _Promenades pittoresques en Touraine_
(Tours, 1869); Abbé J. J. Bourassé, _Recherches hist. et archéol. sur
les églises romanes en Touraine_ (1869); L. Courajod, _La sculpture
française avant la Renaissance classique_ (Paris, 1891); Louis Gonse,
_La sculpture française depuis le XIVe siècle_ (Paris, 1895), folio;
Giraudet, _Histoire de la ville de Tours_ (Tours, 1873), 2 vols.;
Chalmel, _Histoire de Touraine_ (1841), 4 vols.; Henri Guerlin, _La
Touraine_ (Collection, Provinces françaises), (Paris, H. Laurens); L.
Barron, _La Loire_ (Fleuves de France), (Paris, H. Laurens); C. H.
Petit-Dutaillis, _Charles VII, Louis XI et les premières années de
Charles VIII_ (Paris, Hachette, 1902).
[154] Behind the choir of Tours Cathedral, in the Place Grégoire de
Tours, a veritable nook of the Middle Ages, are XII-century vestiges of
the Episcopal Palace, a mansion of the XV century, and near by is the
rue de la Psalette, in which Balzac set the scene of his _Curé de
Tours_. Why has not Tours named her chief square and residential street
for Balzac, her own son, instead of for Emile Zola? Balzac's sister has
told of the profound impression made on him by the cathedral of Tours,
especially by its marvels of stained glass, so that all through the
novelist's life the mere name "St. Gatien" had the power to rouse him to
the dreams and aspirations of his youth.
[155] R. de Lasteyrie, _L'église St. Martin de Tours_ (Paris, 1891);
Monsuyer, _Histoire de l'abbaye de St. Martin_; Henri Martin,
_Saint-Martin_ (Collection, _L'art et les saints_), (Paris, H. Laurens);
Ed. Chévalier, _Histoire de l'abbaye de Marmoutier_ (Tours, 1871), 2
vols. There are papers on the church of St. Julien de Tours in the
_Mémoires de la Soc. archéol. de Touraine_, 1909, p. 13, and on St.
Martin de Tours, 1907; also in the _Bulletin Monumental_, 1873, p. 830,
on St. Symphorien de Tours. The abbatial of St. Julien, a contemporary
of Tours Cathedral, is exceptionally pure Gothic. Its tower is
Romanesque and in part dates before 1000.
[156] Many a Council has been held in Tours. In 1055 came Gregory VII,
the reformer. In 1095 Urban II preached the First Crusade, and dedicated
a Romanesque abbatial at Marmoutier. In 1107 Pope Paschal II came, in
1119 Calixtus II, in 1134 Innocent II, and Alexander III in 1163. At the
Council of 1163 the new archbishop of Canterbury, Thomas Becket, pleaded
for St. Anselm's canonization, and the builder of Lisieux Cathedral, the
politic Arnoul, delivered an address that urged the unity and liberty of
the Church; yet later he upheld Henry II in his dispute with St. Thomas
Becket. Tours can even boast a pope, for Martin IV (d. 1285) had long
been a canon in St. Martin's abbey.
[157] Such is the architectural wealth within reach of Tours that one
can draw but a few monuments to the traveler's attention. At Amboise is
St. Hubert's marvelously sculptured little chapel (c. 1491) and the
church of St. Florentin (c. 1445). At Loches is Anne of Brittany's
oratory, a Virgin statue of Michel Colombe's school of Tours, and the
tomb of Agnes Sorel, attributed to the master who made Souvigny's ducal
tomb, Jacques Morel. The collegiate church of St. Ours is of exceptional
interest to archæologists; its narthex (now the first bay), covered by a
tower, was built by Fulk II of Anjou; the porch, also with a tower over
it, was added in the XII century. To that date belong the two bays of
the church covered by hollow pyramids, said by Mr. A. Kingsley Porter to
be an attempt to make a stone roof without wooden centering. At
Beaulieu-lès-Loches, founded by Fulk Nerra, the choir is late-Gothic
(1440-1540). At St. Catherine de Fierbois, where Jeanne d'Arc found her
sword, is a charming Flamboyant Gothic church. There are Plantagenet
Gothic vaults at Chinon. Nine miles from Chinon, at Champigny-sur-Veude,
is a rich mass of Renaissance glass attributed to Pinagrier, with
Bourbon-Montpensier portraits.
Some twenty miles from Blois is the Romanesque church of Fleury Abbey at
St. Benoît-sur-Loire, with a superb XI-century narthex of three bays,
surmounted by a tower. In 1562 the Huguenots wrecked the church. Also,
between Orléans and Nevers, beside Sancerre, is the abbey church of St.
Satur, a forerunner of Flamboyant Gothic, as early as 1361. The
Benedictine church of La Charité-sur-Loire derives chiefly from the
Burgundian Romanesque school, influenced by Berry and Auvergne. Its
central and west towers, its nave, and chevet belong to the second half
of the XII century, the transept is earlier; there was a reconstruction
of the nave after 1559.
Louis Serbat, "La Charité-sur-Loire," in _Congrès Archéologique_, 1913,
p. 374; Abbe Bosseboeuf, _Amboise_. For Loches, see _Congrès
Archéol_., 1869, 1910; G. Rigault, _Orléans et le val de Loire_
(Collection, Villes d'art célèbres); F. Bournon, _Blois, Chambord et les
châteaux du Blésois_ (Collection, Villes d'art célèbres); A. Marignan,
"Une visite à l'abbaye de Fleury à St. Benoît-sur-Loire," in _Revue de
l'art chrétien_, 1901-02, p. 291; L. Cloquet et J. Casier, "Excursion de
la Gilde de St. Thomas et de St. Luc dans la Maine, la Touraine, et
l'Anjou," in _Revue de l'art chrétien_, 1889-90, vols. 42, 43; _La
Touraine artistique et monumental; Amboise_ (Tours, Pericet, 1899); Sir
Theodore Andreas Cook, _Twenty-five Great Houses of France_ (New York
and London, 1916).
[158] Lucien Bégule et C. Guigue, _Monographic de la cathédrale de Lyon_
(Lyon, 1880); Lucien Bégule, _La cathédrale de Lyon_ (Collection,
Petites Monographies), (Paris, H. Laurens); _ibid._, _Les vitraux du
moyen âge et de la Renaissance dans la région lyonnaise_ (Lyon, A. Rey
et Cie, 1911); _ibid_., _Les incrustations décoratives des cathédrales
de Lyon et de Vienne_ (Lyon, 1905); H. Havard, éd., _La France
artistique et monumentale_, vol. 3, p. 80, C. Guigue; Émile Màle, _L'art
religieux du XIIIe siècle_, pp. 52-59, on the glass of Lyons
Cathedral; _Congrès Archéologique_, 1907, p. 527, on St. Martin d'Ainay;
Abbé Martin, _Histoire des églises et chapelles de Lyon_ (1909); André
Steyert, _Nouvelle histoire de Lyon_ ... (Lyon, Bernoux et Gamin, 1895),
3 vols.; Meynis, _Grands souvenirs de l'église de Lyon_ (Lyon, 1886);
Charletz, _Histoire de Lyon_ (Lyon, 1902); Hefele, _History of the
Christian Councils_, 12 vols.; H. d'Hennezel, _Lyon_ (Collection, Villes
d'art célèbres), (Paris, H. Laurens); Léon Maitre, "Les premières
basiliques de Lyon et leurs cryptes," in _Revue de l'art chrétien_,
1900, p. 445; Henri Foeillon, _Le Musée de Lyon_ (Paris, H. Laurens); L.
Barron, _Le Rhone_ (Collection, Fleuves de France), (Paris, H. Laurens).
[159] Paul Allard, _Histoire des persécutions_ (Paris, 1892), 5 vols.;
_Histoire littéraire de la France_, vol. 1, pp. 290, 324, on St. Irenæus
and the churches of Lyons and Vienne (Paris, 1733).
[160] The church of St. Nizier also possessed a _manécanterie_ in which
Alphonse Daudet, as _Le Petit Chose_, spent some happy years. Another
romance based on reality whose scene is Lyons is René Bazin's
_l'Isolée_. An ancient crypt under St. Nizier, shaped like a Greek
cross, dedicated to St. Pothin since the IV century, has been ruined by
restorations; the actual church is Rayonnant and Flamboyant Gothic, with
a portal of the Renaissance by a son of Lyons, Philibert Delorme (d.
1570). Jean Perréal was also born here, as was Coysevox, who made the
Virgin of St. Nizier (1676). Eminence in religious or idealistic mural
painting has been attained by two sons of Lyons, Puvis de Chavannes
(1824-98), who decorated the Museum with _Le Bois Sacré_, and Flandrin
(1809-64), who frescoed the walls of St. Martin d'Ainay. Meissonier (d.
1891) was born here; so was Ampère, scientist and Christian believer (d.
1836). In the hospital of fifteen thousand free beds which opened its
doors in the VI century and has never since closed them, worked a loved
physician who was father of Frédéric Ozanam, the founder of the Society
of St. Vincent de Paul. St. Vincent's heart is treasured in a chapel of
the cathedral. Another of the leaders of the Catholic reform, St.
Francis de Sales, died in Lyons in 1622.
[161] The see of Vienne was founded A.D. 160. The cathedral of St.
Maurice, well set on the Rhone, contains vestiges of the church
consecrated in 1106 by Paschal II, and which had been aided by that
archbishop of Vienne, of the first line of Burgundy's Capetian dukes,
who became Pope Calixtus II in 1119. The present edifice is due to
Bishop Jean de Bernin (1218-66), and was consecrated by Innocent IV in
1251. Only in 1533 were its façade and the four bays behind it finished.
There is no transept. The XV century made the northern entrance, and the
XVI century that to the south. The red incrustations form friezes, in
the choir, below both triforium and clearstory.
A V-century bishop of Vienne was Claudianus Mamertus, who upheld Latin
culture against the Barbarians, like his friend and fellow poet, Bishop
Apollinaris Sidonius at Clermont. To Vienne's bishop is attributed the
noted hymn _Pange lingua gloriosi proclium certamini_, and the
institution of the Rogation days of penance and procession before the
Ascension, in that hour when earthquakes and volcanic eruptions had
terrorized central France. In 1312 Vienne was the scene of a general
Council of the Church at which the Templars were suppressed by a pope
cowed into obedience by the king of France, who arrived at the Council
with an escort of the size of an army. The majority of the bishops
present held that to abolish the Order was not a legal act, since the
charges against them were unproven. Therefore, Clement V was forced to
fall back on the expedient plea of solicitude for the public good.
_Congrès Archéologique_, 1879; J. Ch. Roux, _Vienne_ (Paris, Bloud et
Cie, 1909); M. Reymond, _Grenoble, Vienne_ (Collection, Villes d'art
célèbres), (Paris, II. Laurens); Lucien Bégule, _L'ancienne cathédrale
de Vienne-en-Dauphiné_ (Paris, II. Laurens, 1914); Paul Berret, _Le
Dauphiné_ (Collection, Provinces françaises), (Paris, II. Laurens).
[162] About thirty miles to the north of Lyons lies Bourg-en-Bresse, in
whose suburbs is the church of Brou. The eighteen windows of the school
of Lyons were installed when the church was finished in 1536. Marguerite
of Austria built it in fulfillment of a vow of her mother-in-law, a
Bourbon princess, Marguerite herself being daughter of Mary of Burgundy,
a line, like the Bourbous, that gloried in sumptuous mausoleums. She
intrusted the work to the Lyons master, Jean Perréal, who called on his
aged friend, Michel Colombe, for the imagery of the tombs. Colombe
designed Duke Philibert's _gisant_ and the six winged genii, executed
later, with liberties, by Conrad Meyt, and his brother (artists trained
at Lyons), and some Italians. Disagreements rose, and Perréal was
superseded by Loys van Boghem, who erected a bastard Gothic church of
the same heavy Flemish type popular then at Toledo and Burgos. The three
rich overcharged tombs are in the choir. Marguerite almost became the
wife of Charles VIII, late-Gothic builder, and for a short time was
married to the only son of Isabelle and Ferdinand, whose tomb is a boast
of Avila. When the early death of the Duke of Savoy left her a widow she
governed the Netherlands for her nephew, the Emperor Charles V. Her
father's tomb at Innsbruck is one of the noted ones of the world, and
the heraldic tombs of her mother and her grandfather (Charles le
Téméraire of Burgundy) are in Bruges.
If the traveler hopes to find flat, suburban Brou as described by
Matthew Arnold, "mid the Savoy mountain valleys, far from town or haunt
of man," he will be disappointed. Moreover, no reflections fall from
ancient glass, owing to the patina or coating added by time to its
exterior surface. Poetic license is allowed, and "The Church of Brou"
adds to this heavy votive monument the charm it needs:
"... So sleep, forever sleep, O marble Pair!
Or, if ye wake, let it be then, when fair
On the carved western front a flood of light
Streams from the setting sun, and colors bright,
Prophets, transfigured saints, and martyrs brave,
In the vast western windows of the nave;
And on the pavement round the Tomb there glints
A checkerwork of glowing sapphire tints,
And amethyst, and ruby--then unclose
Your eyelids on the stone where ye repose,
... And looking down on the warm rosy tints
Which checker, at your feet, the illumined flints,
Say: 'What is this? We are in bliss--forgiven.
Behold the pavement of the courts of Heaven.'"
V. Nodet, _L'église de Brou_ (Collection, Petites Monographics), (Paris,
H. Laurens); C.J. Dufay, _L'église de Brou et ses tombeaux_ (Lyon,
1879); Paul Vitry, _Michel Colombe et la sculpteur française de son
temps_ (Paris, 1901), p. 365; Dupasquier et Didron, _Monographie de
Notre Dame de Brou_ (Paris, 1842), in 4º et atlas in fol.
[163] In the XV century the dukes of Bourbon filled their capital of
Moulins with art treasures, and Souvigny's abbatial, close by, was their
necropolis. The present choir of Moulins Cathedral, originally the
chapel of their palace, was begun by Agnes of Burgundy, daughter of Jean
sans Peur, and finished by her sons, Jean II de Bourbon and Pierre II
sire de Beaujeu, who in 1475 wedded the daughter of Louis XI and
governed France with his wife during the minority of Charles VIII.
Jeanne of France and her husband are portrayed on the folding doors of
the splendid triptych (1488-1503), by some unknown French _primitif_ now
in the sacristy of Moulins Cathedral, and again in one of the three
windows--warm in color and with fine, clear portrait work--in the square
east wall of the chevet, glass that belongs to the transition from
Gothic to Renaissance as the XV century merged in the XVI.
Fifteenth-century windows are comparatively rare, so the twelve
possessed by Moulins' chief church are precious. Cardinal Charles de
Bourbon, who beautified Lyons Cathedral, also appears in the Bourbon
dukes' window with his two brothers. The nave of Moulins Cathedral, in
black-and-white Volvic stone, is a modern rendering by Lassus and Millet
of the Primary Gothic of the region.
Souvigny was a Cluniac priory, in which died the two great Cluny abbots,
St. Majolus (d. 994), who brought to France the noted William of
Volpiano, the organizer of the Romanesque renaissance of architecture,
and St. Odilo (d. 1049). In 1095 Urban II stayed in Souvigny, and so did
Paschal II in 1106. The XII-century church was largely reconstructed in
the late-Gothic day when the prior Dom Geoffrey Chollet wished to house
fittingly the splendid new Bourbon tombs. That of Louis II (comrade in
arms of Dugueselin) has been attributed without proof to Jean de
Cambrai, who made the Berry tomb at Bourges. M. Guigue has ably assigned
to Jacques Morel the tomb of Charles I and Agnes of Burgundy. The
Bourbon line, direct in descent from St. Louis, mounted the French
throne with Henry IV.
_Congrès Archéologique_, 1913, p. 1, Chanoine Joseph Clémat; p. 182,
Doshoulières; J. Locquin, _Nevers et Moulins_ (Collection, Villes d'art
célèbres), (Paris, II. Laurens); H. Aucouturier, _Moulins_ (1914); R. de
Quirielle, _Guide archéologique dans Moulins_ (1893); Abbé Requin,
"Jacques Morel et son neveu Antoine le Moiturier," in _Revue des Soc.
des Beaux-Arts des Départements_ (Paris, 1890); L. Courajod, "Jacques
Morel, sculpteur bourguignon," in _Gazelle archéol_, 1885, p. 236; A. J.
de H. Bushnell, _Storied Windows_ (New York, 1914); L. du Broe de
Segange, _Hist. et description de la cathédrale de Moulins_ (Paris,
1885), vol. 2, Inventaire des richesses d'art de la France; L.
Desrosiers, _La cathédrale de Moulins, ancienne collégiale_ (Moulins,
1871); H. Faure, _Histoire de Moulins_ (Moulins, 1900), 2 vols.; G.
Depeyre, _Les ducs de Bourbon_ (Toulouse, Privat, 1897).
[164] _Congrès Archéologique_, 1860, 1863, 1871, 1878, and 1910, p. 267,
on the cathedral; p. 280, on Le Mans' two Benedictine churches; Abbé A.
Ledru et G. Fleury, _La cathédrale St. Julien du Mans_ (Mamers, Fleury
et Dangin, 1900), folio; Gabriel Fleury, _La cathédrale du Mans_
(Collection, Petites Monographies), (Paris, H. Laurens); E.
Lefèvre-Pontalis, _Étude historique et archéol. sur la nef de la
cathédrale du Mans_ (1889); Abbé A. Ledru, _Histoire des églises du
Mans_ (Paris, Plon-Nourrit, 1905-07); R. Triger, _Le Mans à travers les
âges_ (Le Mans, 1898); E. Hucher, _Vitraux peints de la cathédrale du
Mans_ (Paris, Didron, 1865), folio and supplement claques; A. Echivard,
_Les vitraux de la cathédrale du Mans_ (Mamers, 1913): _Bulletin
Monumental_, studies on Le Mans, in vol. 7, p. 359; vol. 14, p. 348
(Hueher); vol. 26, on the Geoffrey Plantagenet enamel; also vol. 31, p.
789; vol. 37, p. 704; vol. 39, p. 483 (Dion); vol. 44, p. 373; vol. 45,
p. 63 (Esnault); and vol. 72, 1908, p. 155 (Pascal V. Lefèvre-Pontalis);
De Wismes, _Le Maine et l'Anjou, historique, archéologique et
pittoresque_ (Paris, A. Bry), 2 vols., folio; Guénet, _Le Maine
illustré_ (Le Mans, 1902); Abbé R. Charles, _Guide illustré du Mans et
dans la Sarthe_ (Le Mans, 1886); Kate Norgate, _England Under the
Angevin Kings_ (London, 1887), 2 vols.; Mrs. J. R. Green, _Henry II_
(London, 1888); see also Davis (London, 1905); Robert Latouche,
_Histoire du comté du Maine pendant le Xe et XIe siècle_ (Paris,
H. Champion, 1910); H. Prentout, _Le Maine_ (Collection, Les régions de
la France), (Paris, L. Cerf); _Histoire littéraire de la France_, vol.
11, p. 250, "Hildebert de Lavardin"; p. 177, "Geoffrey, abbé de Vendôme"
(Paris, 1759); on Hildebert, see A. Dieudonne (1898) and P.
Déservellers.
[165] The abbey church of the Trinité has in its transept walls parts of
the edifice dedicated in 1040. At the beginning of the XIII century that
transept was vaulted in the eight-rib Plantagenet way, the keystones
being well carved. The ambulatory and radiating chapels are
early-Gothic; the choir is late XIII century; the easternmost bays of
the nave are of the XIV, and its westernmost bays of the XV century. The
façade is a gem of Flamboyant Gothic. There are also windows of the XIII
and XV centuries, and some well-known carved choir stalls. The Merveille
of Vendôme, its tower of 1140, prototype for the Primary Gothic ones at
Chartres and Rouen, stands free of the church. From the earlier abbatial
was saved a famous XII-century window of the St. Denis school, a
Byzantinesque Madonna.
_Congrès Archéologique_, 1872; Abbé Plat, _Notes pour servir à
l'histoire monumental de la Trinité_ (Vendôme, 1907); La Martellière,
_Guide dans le Vendômois_ (Vendôme, 1883).
[166] W. H. Goodyear, "Architectural Refinements in French Cathedrals,"
in _Architectural Record_, 1904-05, vols. 16, 17; _ibid._,
"Architectural Refinements, a reply to Mr. Bilson," in _Journal of the
Royal Institute of British Architects_, 3d series, 1907, vol. 15, p. 17;
Anthyme Saint-Paul, "Les irrégularités de plan dans les églises," in
_Bulletin Monumental_, 1906, p. 135.
Professor Goodyear's theory of intentional asymmetry in mediæval
buildings--such irregularities as curves of alignment, vertical curves,
want of parallelism in walls and piers, deflection of axis--has not
found favor with various French and English archæologists, but much of
what he has noted may some day be accepted as self-evident.
[167] In Le Mans are two Benedictine churches of archæological interest.
_De Cultura Dei_ is now Notre-Dame-de-la-Couture. When the church was
rebuilt after a fire in 1180, big Plantagenet Gothic vaults, each
section with eight ribs, were flung over the wide nave, which originally
had possessed side aisles. Vestiges of a Carolingian church, built a
decade before 1000, are in the crypt and the lower walls of choir and
transept, where alternance of stone and brick work appears. The chevet
is the oldest example now extant of an ambulatory and radiating chapel.
In the XII century the upper choir was rebuilt, and again it was
retouched during the XIII and XV centuries. The façade and the
well-sculptured portal are late XIII century. A charming XVI-century
Virgin, by Germain Pilon, on a pier opposite the pulpit, is to be
classed with the prolongation of the Region-of-the-Loire school of
sculpture whose center was Tours. Across the Sarthe lies the other
Benedictine church, the former St. Julien-du-Pré, a Romanesque edifice
of the XI and XII centuries, revaulted in the Flamboyant Gothic day.
[168] "O noble peuple d'artisans! Si grands, que les artistes
d'aujourd'hui n'existent pas auprès de vous!"--RODIN, _Les cathédrales
de France_.
[169] De la Tremblay, Dom Coutil, _L'église abbatiale de Solesmes_
(Solesmes, Imprimerie St. Pierre, 1892), folio; Paul Vitry, _Michel
Colombe et la sculpture française de son temps_ (Paris, 1901); Dom
Guépin, _Description des deux églises abbatiales de Solesmes_, and also
his _Solesmes et Dom Guéranger_ (Le Mans, 1876); Dom Guéranger, _l'Année
Liturgique_ (Paris, 1888), 12 vols., tr. Worcester, England, _The
Liturgical Year_, and also his _Études historiques de l'abbaye de
Solesmes_; Cagni et Mocquereau, _Plain chant and Solesmes_ (tr. London,
1902).
Among those who have taken part in the discussion as to who made the
sculptural groups at Solesmes are L. Palustre, Girardet, Charles and
Louis de Grandmaison, Benj. Fillon, Célestin Port, Lambin de Lignin, E.
Cartier, A. Salmon, and Abbé Bosseboeuf.
[170] The church of St. Elizabeth, in Marburg, is one of the earliest
Gothic monuments in Germany, 1235-83. The saint was linked with the new
system of building. For the king of Hungary, Villard de Honnecourt built
Kassovic church. Her aunt was the gentle Agnes of Méran, married to
Philippe-Auguste. Her half sister, Yolande, wedded that other builder of
churches, Jaime el Conquistador, from whom sprang Yolande of Aragon,
King René's mother, also a builder. St. Elizabeth's niece, daughter of
the king of Hungary, married Charles II d'Anjou, who began the best
Gothic church in Provence, at St. Maximin.
[171] Amédée Boinet, _Verdun et St. Mihiel_ (Collection, Petites
Monographies), (Paris, H. Laurens).
[172] Amédée Boinet, _St. Quentin_ (Paris, H. Laurens); Ch. Gomart,
"Notice sur l'église de St. Quentin," in _Bulletin Monumental_, 1856, p.
226; and 1870, p. 201; Pierre Bénard, _Monographie de l'église de St.
Quentin_ (Paris, 1867), 8vo; also his studies in the publication of the
_Société Académique ... de Soissons_, 1864, p. 260; and 1874, p. 300;
Lecocq, _Histoire de la ville de St. Quentin_ (St. Quentin, 1875); J. B.
A. Lassus, éd., _L'album de Villard de Honacort_ (Paris, 1858; and
London, tr. by Willis, 1859); Jules Quicheral, _Mélanges d'archéologie
et d'histoire_ (1886), vol. 2, on Villard de Honnecourt's album; Camille
Enlart, _Hôtels de ville et beffrois du nord de la France_ (Paris, H.
Laurens, 1919); _ibid_. on Villard de Honnecourt, in _Bibli. de l'École
des chartes_, 1895.
[173] Alfred Noyes, _Collected Poems_ (London, Methuen; New York, Fred.
A. Stokes Co.).
[174] J. Berthelé, "L'architecture plantagenet," in _Congrès
Archéologique_, 1903, p. 234; E. Lefèvre-Pontalis, "L'architecture
plantagenet," in _Congrès Archéologique_, 1910; Prosper Merimée, _Notes
d'un voyage dans l'Ouest de la France_ (1836); Choyer, "L'architecture
des Plantagenets," in _Congrès Archéologique_, 1871, p. 257; Célestin
Port, _Dictionnaire de Maine-et-Loire_, 3 vols.; Abbé Bosseboeuf,
_L'architecture plantagenet_(Angers, Lachène, 1897).
[175] Saintes lies on the Charente, some fifty miles from Angoulême. In
the venerable XII-century church of St. Eutrope cropped out one of the
early sporadic uses of diagonals. Its crypt, which is one of the largest
in France, is braced on heavy, semicircular arches. The exterior of the
apse is decorated. Nothing is left of the original nave; the present one
is transitional work. The choir and part of the transept are of the XV
century. The superb tower, with corner-turret effects that rise from
base to summit, was finished with a spire by 1480. It is said that John
XXII, who promulgated the Angelus by his bull of 1318, had learned its
usage from a custom of St. Eutrope. The church of St. Pierre, at
Saintes, rebuilt in 1117, and again in 1450, has another Flamboyant
Gothic tower of good design, which is now much wasted by decay. See
_Congrès Archéologique_, 1894; 1912, pp. 195, 309; also _Bulletin
Monumental_, 1907, vol. 71; J. Laferrière et G. Musset, _L'art en
Saintonge et en Aunis_; Ch. Dangibeaud, _L'école de sculpture romane
saintongeaise_ (Paris, 1910).
[176] _Congrès Archéologique_, 1858, 1901, and 1910; Chanoine Roux,
_Monographie de St. Front de Périgueux_ (Périgueux, 1920); J. A.
Brutails, "La question de St. Front," in _Bulletin Monumental_, 1895, p.
125; 1906, p. 87; 1907, p. 517; Anthyme Saint-Paul, on St. Front, in
_Bulletin Monumental_, 1888, p. 163; 1891, p. 321; 1906, p. 5; Félix de
Verneilh, _L'architecture byzantine en France_, 1851; R. Michel-Dansac,
_De l'emploi des coupoles sur la nef dans le sud-ouest Aquitain_;
Corroyer, _L'architecture romane_, 1888; _ibid._, _L'architecture
gothique_, 1899; Ch. H. Besnard, "Étude sur les coupoles et voûtes
domicales du sud-ouest de la France," in _Congrès Archéologique_, 1912,
vol. 2, p. 118; Abbé Pécout, _Périgueux_; R. Phené Spiers, "St. Front de
Périgueux et les assises à coupoles," in _Bulletin Monumental_, 1897;
1907, p. 175.
[177] The cathedral of Cahors was damaged by earthquake in 1303, after
which its apse was rebuilt as Gothic, but not too much out of harmony
with the rest of the church. The ancient frescoes are full of interest.
At the north end of the transept is a now unused portal, whose sculpture
belongs to the same Midi school as Moissac, but later and calmer work.
The Christ of its tympanum is classed with Vézelay, Chartres, and
Beaulieu--the supreme Christ images of Romanesque art. M. Forel praises
the angels' magnificent gesture of adoration. The XIV-century west front
resembles those of the Brunswick churches whose façade and towers
comprise one massive up to the roof. John XXII (1316-33), the second
Avignon pope, was born in Cahors, where he founded the university,
contributed toward the cathedral, and built a bridge over the Lot which
is considered the handsomest of the Middle Ages. In the diocese of
Cahors is Rocamadour, the most picturesque pilgrim shrine of Our Lady in
France, visited by St. Louis. E. Rey, _La cathédrale St. Étienne de
Cahors_ (Cahors, J. Girma, 1911); _Congrès Archéologique_, 1907, p. 413;
Alexis Forel, _l'Voyage au pays des sculpteurs romans_, vol. 2, p. 52;
"Le cloître de la cathédrale de Cahors," in _Bulletin Monumental_, 1883,
p. 110; E. Rupin, _Roc-amadour_ (Paris, Baranger, 1904).
[178] _Congrès Archéologique_, 1847, 1903, and 1912; Biais, _La
cathédrale d'Angoulême_ (Paris, H. Laurens); H. de la Mauvinière,
_Poitiers et Angoulême_ (Collection, Villes d'art célèbres), (Paris, H.
Laurens, 1908); J. George, _La cathédrale d'Angoulême_ (Angoulême, Cha
1901-04); Michon, _Histoire de l'Angoumois_, 1846; _ibid._, _Statistique
monumentale de la Charente_, 1844; Viollet-le-Duc, _Dictionnaire de
l'architecture_ (see article _coupole_); Sharpe, _A Visit to the Domed
Churches of Charente_ (London, 1876); J. A. Brutails and Spiers, "Les
coupoles du Périgord et de l'Angoumois," in _Bulletin Monumental_, 1895,
1897, 1906, and 1907.
[179] Four miles from Angoulême is the curious octagonal church of St.
Michel d'Entraignes (1137), built up to its big dome, as it were. Close
to it is Fléae, whose three cupolas have no separate bases, but are
pierced directly by the big arcades, which is more the Byzantine way of
making a cupola than the French. Six miles from Angoulême are the ruins
of La Couronne abbatial, where once was a Plantagenet Gothic choir; and
ten miles away, at Roullet, is a remarkable sculptured façade. Aulnay's
fine church has a decorated front, well-cut capitals, and a ribbed
cupola, without distinct pedestal. Pont l'Abbé possesses one of the best
Romanesque façades in France. At Ruffec and at Civray are others. There
is a church at Charroux with the curious plan of three aisles round a
central octagon. Cupola churches are to be found at Plazzac, Bassac,
Gensae, Cognac, Souillae, and Solignac, six miles from Limoges. Studies
of these churches by E. Lefèvre-Pontalis, L. Serbat, and André Rhein are
to be found in the _Congrès Archéologique_, 1912.
[181] _Congrès Archéologique_, 1862 and 1910; L. Magne, "L'ancienne
abbaye de Fontevrault," in _L'architecte_, 1910, p. 60; A. de Caumont,
"Fontevrault," in _Bulletin Monumental_, 1867, p. 73; Bernard Palustre,
"Les coupoles de Fontevrault," in _Bulletin Monumental_, 1898, vol. 63,
p. 500; Honorat Nicquet, _Histoire de l'ordre de Fontevraud_, 1642; G.
Malifaud, _L'abbaye de Fontevrault, notices historiques et
archéologiques_ (Angers, 1866); Abbé Bosseboeuf, _Fontevrault, son
histoire et ses monuments_ (Tours, 1867); Édouard, _Fontevrault et ses
monuments_ (Paris, 1874), 2 vols.; Joseph Joubert, "Les mausolées des
Plantagenets à Fontevrault," in _Mém. de la Soc. d'arts d'Angers_, 1903;
and 1906, p. 61, Chanoine Urseau; Vietor Pavie, "Westminster et
Fontevrault," in _Mém. de la Soc. d'arts d'Angers_, 1866, p. 229;
_Histoire littéraire de la France_ (Paris, 1756), vol. 10, p. 153,
"Robert d'Arbrissel."
[182] Louis Corroyer, _L'architecture gothique_ (Paris, 1899), p. 1. "La
coupole, sous sa forme symbolique, est l'oeuf d'où est sorti un
système architectonique qui a causé une révolution des plus fécondes
dans le domaine de l'art."
[183] "_Dans ces choses-là on eu dit plus qu'il n'y en a, mais aussi il
y a souvent plus qu'on eu dit_," says the discreet historian Mézerai.
[184] _Congrès Archéologique_, 1910, the cathedral of Angers; p. 161,
Chanoine Urseau; p. 182, St. Serge; p. 228, the château; p. 232,
l'évêché; Louis de Farcy, _Monographie de la cathédrale d'Angers_
(1910), 3 vols. and album; _ibid._, _Les vitraux de la nef de la
cathédrale d'Angers_ (1912); J. Denais, _Monographie de la cathédrale
d'Angers_ (Paris, 1899); John Bilson, "Angers Cathedral, the Vaults of
the Nave," in _Journal of the Royal Institute of British Architects_,
1911-12, p. 727; also in the _Congrès Archéologique_, 1910, vol. 2, p.
203; V. Godard-Faultrier, _Répertoire archéologique de l'Anjou_ (1865);
L. Halphen, _Le comté d'Anjou au XIe siècle_ (Paris, Picard, 1906);
Léon Palustre, _La Renaissance en France_ (3 vols.), vol. 3, Anjou et
Poitou (Paris, Quantin); H. Jouin, _Les musées d'Angers_ (Paris, Plon,
1885), 4to; Péan de la Tuilerie, _Le Maine et l'Anjou_; Wismes, _Le
Maine et l'Anjou, historiques, archéol. e pittoresque_ (Paris), 2 vols.,
folio; E. Lelong, "Histoire et mon. d'Angers," in _Angers et l'Anjou_
(1903); Lecoy de la Marche, _Le roy René, sa vie, son administration_
(Paris, 1875), 2 vols.; Kate Norgate, _England Under the Angevin Kings_
(London, 1887), 2 vols.; De Solies, _Foulques Nerra_; Célestin Port,
_Dictionnaire historique, géographique, et biographique de
Maine-et-Loire_ (Paris and Angers, 1874-78), 3 vols. also his _Notes et
notices angevins_ (Angers, 1879); A. J. de H. Bushnell, _Storied
Windows_ (New York, Macmillan Company, 1914); Sir J. H. Ramsay, _The
Angevin Empire_, (London, 1903).
[185] Ch. H. Besnard, "La coupole nervée de la Tour St. Aubin d'Angers,"
in _Congrès Archéologique_, 1910, vol. 2, p. 196; L. de Farcy, "Tour St.
Aubin," in _Bulletin Monumental_, 1906, p. 558.
[186] Beginning with a Breton woodsman, five counts of Anjou ruled
before Fulk III the Black (989-1040). He held Vendôme, Amboise, and
Loches, where he founded Beaulieu Abbey, and he won Chinon, and Saumur,
where he established St. Florent-les-Saumur. His grandfather, Fulk II
the Good, a canon in St. Martin's at Tours, and a poet, had said, "_Rex
illiteratus est asinus coronatus_," which Henry I of England was fond of
repeating. The son of Fulk Nerra was Geoffrey Martel (d. 1060), who won
Tours and Le Mans, but later lost the overlordship of the latter to
William the Conqueror. He founded the Trinité at Vendôme. Geoffrey and
Fulk, his two nephews, succeeded in turn, but Geoffrey was kept
imprisoned in Chinon for almost thirty years by his unnatural brother
Fulk Rechin, or the Quarreler, who had all the greed, subtlety, and
turbulance of his line, without its genius for statesmanship. He is
counted as the first historian of the Middle Ages. (See _Hist. littér.
de la France_ (Paris, 1750), vol. 9, p. 391.) Fulk Rechin's son by the
beautiful Bertrada de Montfort (who deserted him for the king of France)
was Fulk V, who wedded the heiress of Maine. When later Fulk V won a
second heiress in the East, he left Anjou and Maine to his son Geoffrey
the Handsome, and reigned as king of Jerusalem (d. 1143). Geoffrey (d.
1151), nicknamed Plantagenet, married to the heiress of Normandy and
England, always preferred Le Mans to Angers. His son became Henry II of
England and a leader in Europe because of his territorial possessions on
the Continent and his ability as a statesman.
[187] The abbatial of St. Nicolas-du-Ronceray is in a lamentable state;
its nave serves as a hall for the Arts and Crafts school, the transept's
north arm is a laundry, and its south arm a roofless ruin. The dome at
its crossing is without distinct pedestal. The nuns of this house
erected at the side of their own sanctuary, the Trinité church for
parish use. The present admirable Trinité was built after a fire in
1062. Its chevet and transept are the oldest parts, and then rose the
nave, covered with First-Period Angevin vaults (c. 1170). Chapel-like
niches are lost in the thickness of the walls.
Angers' abbatial of St. Martin contains Gallo-Roman, Merovingian, and
Carolingian vestiges, and parts of the XI, XII, and XV centuries. Fulk
Nerra rebuilt it on returning from one of his pilgrimages. Over its
transept-crossing is a dome modeled on the one at Fontevrault, without
separate pedestal. The church possesses one of the earliest eight-branch
Gothic vaults extant; King René added the Flamboyant parts. Chanoine
Pinier at his own expense is restoring the choir and transept.
_Congrès Archéologique_, 1910, vol. 1, p. 211, "St. Martin," Chanoine
Pinier; and vol. 2, p. 12, "St. Nicolas-du-Ronceray," E.
Lefèvre-Pontalis.
[188] Bishop Ulger carried forward, too, the episcopal palace which
stood on V-century walls over the Roman citadel and is connected with
the cathedral's transept. Its ancient façade is the finest civic
monument in Angers (1101-49). The ground floor was used as a stable;
over it rose Bishop Ulger's synodal hall, and under the rafters was made
a library in the XV century. Angers is exceptionally rich in late-Gothic
and Renaissance mansions. G. d'Espinay, _Angers et l'Anjou_ (Angers,
1903); _ibid._, _Notices archéol., Les monuments d'Angers, Saumur et ses
environs_ (Angers, 1875), 2 vols.
[189] The first line of Anjou's counts came to an end when John Lackland
did away with his nephew, Arthur of Brittany. The region of the Loire
became then most willingly a part of Phillipe-Auguste's royal domain.
Anjou was given as an appanage to St. Louis' brother Charles d'Anjou,
whose first wife brought him Provence, and who by invitation and
conquest became king of the Two Sicilies. His son, Charles II, built the
church of St. Maximin in Provence. He left only one daughter, who
married the Count of Valois, like herself of St. Louis' direct line. The
son of that union mounted the French throne as Philip VI. It was his
son, Jean le Bon, who again detached Anjou from the French crown for his
son Louis, who began the short-lived third line of Angevin princes.
[190] That a portion of Angers' palace walls dates from Gallo-Roman
times is indicated by the courses of brick in the small stones. When
such brick courses alternate with big material, the work was done after
1000. Of the red flint-stone castle built by Fulk Nerra only fragments
remain. A fire in 1132 and later disasters wiped out the counts'
residence, to which Henry Plantagenet had added. L. de Farcy, "La
chapelle du château d'Angers," in _Revue de l'art chrétien_, 1902; Henri
René, _Le château d'Angers_ (Angers, 1908); H. Havard, éd., _La France
artistique et monumental_, vol. 2, "Angers," H. Jouin.
[191] The nave of St. Serge is a mediocre XV-century structure. In its
transept walls are vestiges of earlier churches; the cordons of brick in
the stonework date from Carolingian times. _Congrès Archéologique_, 1871
and 1910; V. Godard-Faultier, "Le coeur de St. Serge à Angers," in
_Bulletin Monumental_, 1866, vol. 32; J. Denais, "Histoire et
description de l'église St. Serge à Angers," in _L'inventaire des
richesses d'art de la France_, vol. 4, p. 20, Province, monuments
religieux (Paris, Plon).
[192] _Congrès Archéologique_, 1862 and 1910; Prosper Merimée, _Notes
d'un voyage dans l'Ouest de la France_ (Paris, 1836), pp. 345-358; G.
d'Espinay, _Notices archéologiques. Les monuments d'Angers, Saumur et
ses environs_ (Angers, 1875), 2 vols.; Célestin Port, "Les stalles et
les tapisseries de St. Pierre de Saumur," in _Revue des Sociétés
savantes_, 1868, p. 278; _ibid._, _Dictionnaire historique,
géographique, et biographique de Maine-et-Loire_ (Paris and Angers,
1874-78), 3 vols.; V. Godard-Faultrier, _Monuments antiques de l'Anjou,
arrondissement de Saumur_ (Angers, 1863); Jules Juiffrey, "Tapisserie du
XVe siécle à l'église Notre Dame-de-Nantilly à Saumur," in _Revue de
l'art ancien et moderne_, 1897, vol. 4, p. 75; Eugène Müntz, Jules
Juiffrey, Alex. Pinchart, _Histoire générale de la tapisserie_ (Paris,
1879-84), 3 vols.
[193] From Saumur, eight miles down the Loire, can be visited the
magnificent Romanesque church at Cunault, XI and XII centuries. It has
noticeable capitals, mural paintings, and Plantagenet vaults with
sculptured keystones and figurines. Two miles below it lies Gennes,
whose church has Angevin vaults of the First Period. To be reached,
_via_ Doué-la-Fontaine, are both Puy-Notre-Dame and Asnières, the latter
called "the most beautiful ruin in Anjou." Its square-ended XIII-century
choir resembles St. Serge's. Slender pillars divide that wide chevet
into three aisles of equal height, composing one of the most graceful
specimens of the school's Third Period. One arm of the transept has
heavy diagonals of the first phase, and over the other are the
eight-branch type. The Huguenots wrecked Asnières in 1569. The present
nave is a restitution. A society of artists saved the choir and transept
from demolition.
The abbatial of Puy-Notre-Dame is very beautiful. Heavy diagonals of the
First Period cover the transept's south arm; eight-branch vaults cover
the nave and the transept's north limb; over the choir, which resembles
St. Jean's chevet at Saumur, is a much-ramified Plantagenet vault. The
lofty side aisles and clustered piers make this interior one of the best
of XIII-century Angevin works extant. At St. Germain-sur-Vienne
(Indre-et-Loire), two miles from Candes, the choir has the complicated
multiple-ribbed vault of the Third Period, with three lines of
keystones.
_Congrès Archéologique_, 1910, p. 128, Cunault and Gennes; p. 65,
Puy-Notre-Dame and Asnières; E. de Lorière, "Asnières-sur-Vègre," in
_Revue hist. et archéol. du Maine_, 1904, p. 95.