D'Alençon himself has related the episode: "_Je lui fis observer que
c'était aller bien vite en besogne que d'attaquer si promptement: 'Soyez
sans crainte,' me dit-elle, 'l'heure est bonne quand il plaît à Dieu, il
faut besoigner quand s'est sa volonté: agissez, Dieu agira! Ah, gentil
duc,' me dit-elle quelques instants après, 'aurais-tu peur? Ne sait-tu
pas que j'ai promis à ta femme de te ramener sain et sauf?'_" Alas, for
the deterioration of character brought about in those troubled years of
foreign invasion and misrule; Jeanne's _gentil duc_ was later to plot
with the English and to be impeached.
At Chinon are specimens of Plantagenet Gothic (_Bulletin Monumental_,
1869). In the Loire-et-Cher department are some fourteen churches of the
school. The other Plantagenet monuments usually seen by the traveler
before his arrival in Angou are the eight-branch vaults at Vendôme, in
the transept of the Trinité; the vault under the northwest tower of
Tours Cathedral; and in Le Mans, the cathedral nave and the church of
the Couture. At Mouliherne (Seine-et-Loire) every type of the
Plantagenet development is present.
_Congrès Archéologique_, 1910, vol. 1, p. 130, "St. Florent-les-Saumur,"
André Rhein; vol. 2, "Les voûtes de l'église de Mouliherne," André
Rhein; p. 247, "Les influences angevines sur les églises gothiques du
Blésois et du Vendômois," F. Leseur.
[195] _Congres Archéologique_, 1910, p. 33, André Rhein, on Candes; Abbé
Bourassé, "Notice historique et archéologique sur l'église de Candes,"
in _Mémoires de la Soc. archéol. de Touraine_, 1845, p. 141; Suppligeon,
_Notices sur la ville et la collégiale de Candes_ (Tours, 1885).
[196] _Congrès Archéologique_, 1843, 1884, and 1903, "Poitiers," André
Rhein; H. L. de la Mauvinière, _Poitiers et Angoulême_ (Collection,
Villes d'art célèbres), (Paris, H. Laurens, 1908); Abbé Auber, _Histoire
de la cathédrale de Poitiers_ (Poitiers, 1849), 2 vols.; _ibid._,
_Histoire civile, relig. et littéraire du Poitou_ (Poitiers, 1856), 8
vols.; J. Berthelé, _Recherches pour servir à l'histoire des arts en
Poitou_; Alfred Richard, _Histoire des comtes du Poitou_, 788-1204
(Paris, Picard et fils, 1903), 2 vols.; Dreux-Duradier, _Histoire
littéraire du Poitou_; Alexis Forel, _Voyage au pays des sculpteurs
romans_ (Paris and Geneva, 1913), 2 vols.; Raynouard, _Choix des poésies
originales des troubadours_ (Paris, Didot, 1816), vol. 5, "Richard
Coeur-de-Lion"; R. P. Largent, _St. Hilaire de Poitiers_ (Collection,
Les Saints), (Paris, Lecoffre); J. Robuchon, _Paysages et monuments du
Poitou_ (Paris, 1890-1903), folio; (on Poitiers, Mgr. Barbier de
Montault); Benj. Fillon, _Poitou et Vendée_; A. J. de H. Bushnell,
_Storied Windows_ (New York, Macmillan Company, 1914); Boissonnade, _Le
Poitou_ (Collection, Les régions de la France), (Paris, Cerf, 1920).
[197] The _Vexilla regis prodeunt_ hymn is sung on Good Friday when the
Blessed Sacrament is carried from the Repository to the main altar, and
as a vesper hymn from the Saturday before Passion Sunday to Maundy
Thursday. It has also been incorporated in the Roman Breviary for feasts
of the Holy Cross. There have been a host of translations. In his
_Medieval Hymns and Sequences_, London, 1813, Dr. J. M. Neale thus
rendered the first quatrain:
"The royal banners forward go.
The cross shines forth with mystic glow,
Where He in flesh, our flesh Who made,
Our sentence bore, our ransom paid."
[198] Montierneuf was founded in 1078 by Guillaume VIII (d. 1086). Only
eight of the nave's eleven bays remain. The chevet was rebuilt in the
XIV century. The abbey was sacked in 1562. St. Porchaire's tower is all
that remains of an XI-century church, a contemporary of Notre
Dame-la-Grande and Montierneuf. It was to be destroyed in 1843, but
luckily some visiting archæologists saved it. From St. Porchaire's
belfry rang the summonses of Poitiers University. De Cherge, "Mémoire
historique sur l'abbaye de Montierneuf de Poitiers," in _Mém. de la Soc.
des antiquaires de l'Ouest_, 1844; _Deux étudiants de l'Université de
Poitiers, Francis Bacon et René Descartes_, 1867, p. 65.
[199] St. Savin lies thirty miles from Poitiers. Its choir and transept
belong to the early part of the XII century, and its nave was erected
about thirty years after. Its donjonlike tower was crowned later by a
spire, the highest in southwest France with St. Michel's at Bordeaux.
Like Etruscan vase ornamentation are its unique frescoes giving Genesis,
Exodus, and the Apocalypse. On the route from Poitiers to St. Savin lies
Chauvigny, "the pearl of Poitou," with the ruins of several castles. Its
church of St. Pierre has a decorated apse and some eight-branch
Plantagenet vaults; its church of Notre Dame possesses some XV-century
frescoes.
Another of the chief Poitou-Romanesque churches is at St. Maixent,
thirty miles from Poitiers, _via_ Niort. The nave is XII century, the
choir, Angevin Gothic, and the tower, Flamboyant; its crypt capitals are
noticeable.
The abbey church at St. Jouin-de-Marnes, near Montcontour, has a good
façade, a fine Romanesque tower, a transept of the end of the XI
century, and a XII-century choir and nave, only three of whose vault
sections, however, are the primitive ones. In the XIII century the
present elaborate masonry roof was substituted. It belongs to the Third
Period of the Plantagenet school, with three lines of keystones.
Airvault abbey church, not far away, built a similar much-ramified
vault, the prototype for that of Toussaint, at Angers.
Parthenay can be included in the trip from Poitiers to St.
Jouin-de-Marnes. In its venerable church took place the scene when St.
Bernard rose in majesty at the altar and compelled the giant sinner
Guillaume X of Aquitaine to repent.
Three miles from Poitiers lies St. Benoit's Romanesque church, with a
XIII-century spire, and five miles away is Ligugé, where St. Martin,
under St. Hilary's guidance, founded the first monastery in Gaul. Dom
Prosper Guéranger restored Ligugé in 1864, and here J. K. Huysmans
lived, as he has described in _l'Oblat_. The XV-century church was
rebuilt by that prelate of the Renaissance, Geoffrey d'Estissac, whom
Rabelais came to visit.
_Congrès Archéologique_, 1910, St. Savin; p. 119, Airvault; p. 108, St.
Jouin-de-Marnes, and the latter also in the _Congrès_ of 1903; Prosper
Merimée, _Les peintures de St. Savin_ (Paris, 1845), folio; Ch.
Tranchant, _Guide pour la visite des monuments de Chauvigny en Poitou_
(Paris, 1901).
[200] Probably because of the magistral window at Poitiers, the
Byzantine tradition of the crucified Christ lingered long in the art of
midland France. Over an altar of the chapel of Bourgonnière, in the
parish of Bouzillé, in Angers diocese, is a remarkable XVI-century
polychrome image of the Saviour, unwounded, robed, and awake, with arms
wide outstretched against the Cross.
[201] In 1106 gathered another council at Poitiers, a holy-war rally,
but the war was to be waged on Christian Constantinople. The superb
Bohemund, the new prince of Antioch, came to organize the expedition; he
had gone on the First Crusade for booty, fierce as a Norman, astute as
an Italian, in person like a Greek god, tall beyond man's normal height,
broad-shouldered, and lithe--so the Greek princess at Constantinople saw
him. Philip I gave him his daughter, and on Tancred, his cousin, a true
hero of the holy wars, not a buccaneer, the king of France bestowed his
daughter by the fair Bertrada de Montfort.
[202] E. Lefèvre-Pontalis, _Étude archéologique de St. Hilaire de
Poitiers_ (Caen, 1904); also in the _Congrès Archéologique_ of 1903; De
Longuemar, "Essai historique sur l'église Saint Hilaire-le-grand de
Poitiers," in _Mémoires des antiquaires de l'Ouest_, 1856.
[203] De la Croix, _Étude du baptistère de St. Jean de Poitiers_
(Poitiers, 1903); E. Lefèvre-Pontalis, "Les fouilles du R. P. de la
Croix au baptistère de St. Jean à Poitiers," in _Bulletin Monumental_,
1902, vol. 66, p. 529; Mgr. X. Barbier de Montault, _OEuvres
complètes_ (various studies on the monuments of Poitiers and its
region), (Poitiers, Blais et Roy, 1899).
[204] Like other Greek works of the period the Minerva at Poitiers shows
the influence of Egyptian art in its stiff, regal attitude. The proud,
full chin is uplifted. The shapely back is molded by a leopard's skin.
The right arm is missing, but the left arm is honey-hued and as delicate
as flesh in appearance. She bears the olive branch of peace, this wise
Minerva.
[205] Lucien Magne, _Le Palais de Justice de Poitiers_.
[206] _Congrès Archéologique_, 1850 and 1895; Abbé Ph. Gobillot, _La
cathédrale de Clermont_ (Clermont-Ferrand, F. L. Bellet, 1912); H. du
Ranquet, _La cathédrale de Clermont-Ferrand_ (Collection, Petites
Monographies), (Paris, H. Laurens); _ibid._, "Les architectes de la
cathédrale de Clermont-Ferrand," in _Bulletin Monumental_, 1912, vol.
76, p. 7; G. Desdevises du Dézert et L. Bréhier, _Clermont-Ferrand,
Royat et le Puy-de-Dôme_ (Collection, Villes d'art célèbres), (Paris, H.
Laurens, 1910); Louis Bréhier, _L'Auvergne_ (Collection, Les provinces
françaises), (Paris, H. Laurens, 1910); _ibid._, in _Revue de l'art
chrétien_, 1912, on the capitals of Notre Dame-du-Port; G. Fraipont,
_L'Auvergne_ (Collection, Montagnes de France), (Paris, H. Laurens); E.
Vimont, _Les deux principales églises de Clermont_; R. de Lasteyrie,
_L'architecture religieuse en France à l'époque romane_ (Paris, 1912);
H. Stein, _Les architectes des cathédrales gothiques_ (Paris, 1912);
Prosper Mérimée, _Notes d'un voyage en Auvergne_ (Paris, 1838); Alexis
Forel, _Voyage au pays des sculpteurs romans_ (Paris and Geneva, 1913),
2 vols.; Saveron, _Les origines de la ville de Clermont_; Ambrose
Tardieu, _Histoire de la ville de Clermont_; G. Desdevises du Dézert,
_Bibliographie du centenaire des croisades à Clermont-Ferrand_
(Clermont-Ferrand, 1895); D. Branche, _Auvergne au moyen âge_
(Clermont-Ferrand, 1842); Paul Allard, _St. Sidoine Apolinaire_
(Collection, Les Saints), (Paris, Lecoffre); Taylor et Nodier, _Voyage
pittoresque dans l'ancienne France_. _Auvergne_ (Paris, Didot, 1829-33),
3 vols.
[207] "Il est peu de constructions ogivales qui se présentent d'un façon
plus dégagée et plus pittoresque. La sombre masse se détache de la ville
aux rues tortueuses comme une haute statue de son piédestal. Les deux
flèches hardies s'encadrent dans la cirque majestueux de montagnes
volcaniques. Il semble que la cathédrale soit le Mont-Saint-Michel de
cette baie aux lumières mouvantes. Tantôt silhouettée par de vigoureux
éclairages, tantôt estompée par les vapeurs qui planent dans la vallée,
et quelquefois, aux heures matinales émergeant de leur nappe grise,
comme une haute mâture au-dessus de la mer tranquille, elle reste
toujours fière, imposante, poétique."--LOUIS GONSE, _L'art gothique_
(Paris, 1891).
[208] The Chaise Dieu monastery, founded by St. Robert in 1043, was
later affiliated with Cluny. The present church was begun in 1344 by
Clement VI, who built the choir and four bays of the nave. The abbatial
was completed, after 1370, by his nephew, Gregory XI. Clement had
Avignon artists prepare his funeral monument, which originally possessed
over forty statuettes representing his relatives, for he came of the
great lines of Beaufort and Turenne. The Casa Dei abbatial, though
possessed of grandeur, is dull and heavy. The aisles are as high as the
principal span. The octagonal piers with uncut capitals lack elegance
and lightness, the windows are the narrowest lancets, and there are no
flying buttresses. Molds die away in the piers above the capitals--an
early appearance of Flamboyant Gothic. The cloister (1378-1417) is
frankly late-Gothic. The denuded church once was filled with the tombs
of local magnates, among them those of the Lafayette family, precious
pages of French history obliterated in 1562 and 1793. As if to shut out
the funereal, humid aisles, the choir has been lined with tapestries
(begun in 1492) unsurpassed in France. They reproduce the _Mirror of
Perfection_ and the _Bible of the Poor_, two books popular in the XIII
and XIV centuries. Each episode of the Saviour's life is accompanied by
scenes of the Old Testament, prefiguring it. On the outer wall of the
choir screen is a sketch, a Dance of Death, with the grim skeleton
stalking in and out, touching with his chill finger pope, baron,
burgher, page, field laborer, and little child. No XIII-century church
had allowed so gruesome a theme on its walls. This lugubrious allegory
came into vogue after the Black Death of 1348, when a third of Europe's
population perished. _Congrès Archéologique_, 1904, pp. 54, 402; E.
Durand, _La Chaise Dieu_ (1903); Maurice Fançon, _L'église abbatiale de
la Chaise Dieu en Auvergne_; Émile Mâle, _L'art religieux de la fin du
moyen âge_ (Paris, Colin, 1910).
[209] "Quiconque en a senti une fois la beauté forte et simple de ce
vigoureux style roman-auvergnat, dont l'origine demeure mystérieuse,
n'oublie plus ces églises, solides, trapues, ramassées, dont
l'ordonnance extérieure, au lieu d'être un décor plaqué, reproduit en
relief l'ordonnance intérieure. Vue du chevet surtout, avec l'hémicycle
de leurs chapelles serrées, accolées contre la masse de l'édifice, elles
donnent une saisissante impression d'aplomb et d'unité."--PAUL BOURGET,
_Le demon du midi_ (Paris, Plon-Nourrit et Cie, 1913).
The feast of Notre Dame-du-Port falls on May 15th, and the city is
illuminated with myriads of little lamps.
[210] Polychrome decoration is to be found everywhere in Auvergne:
Royat, Riom, Mozac, Saint-Saturnin, Orcival, Saint-Nectaire (where are
some of the best carved capitals in the region), Issoire (observe _La
cène_ sculptured on one of its capitals), Le Puy, and Brioude. This
latter is one of the most beautiful of XII-century churches, showing
Burgundian traits as well as those of Auvergne and the Velay. The
influence of the Romanesque school of Auvergne spread to Parthenay,
Saintes, Nevers, Toulouse, Santiago, and Avila. _Congrès Archéologique_,
1904, p. 542, E. Lefèvre-Pontalis, on Brioude; _Congrès Archéologique_,
1895, pp. 96, 238, 292, on Saint-Nectaire; and p. 177, "École romane
d'Auvergne," H. du Ranquet; _Bulletin Monumental_, 1909, vol. 73, p.
213, "Saint-Nectaire," Abbé G. Rochias.
[211] Those who visit Riom (which lies close to Clermont) should go to
Aigueperse, eight miles away, to see Mantegna's St. Sebastian and a
Nativity by a brother of Ghirlandajo. As the lord of the region, a
Bourbon-Montpensier--who died in 1496, had married the sister of the
Gonzaga ruler of Mantua, these treasures probably came through that
source. _Congrès Archéologique_, 1895; and 1913, p. 124, Mozac, Abbé
Luzuy; p. 144, Riom, P. Gauchery; Paul Mantz, "Une tournée en Auvergne,"
in _Gazette des Beaux-Arts_, 1886; Abbé R. Crégut, _La vierge du
Mathuret_ (_Clermont-Ferrand_, 1902); _ibid._, _Les vitraux de la
Sainte-Chapelle de Riom_ (1906); E. Clouard, _Les gens d'autrefois aux
XVe et XVIe siècles_. (The controversy on the Madonna of the Bird
is here summed up); Gondalon, _Riom et ses environs_ (Riom, Jouvet,
1904); A. de Champeaux et P. Gauchery, _Les travaux d'art exécutés pour
Jean, duc de Berry_ (Paris, II. Champion, 1891); Camille Eulart, _Le
musée de sculpture comparée du palais du Trocadéro_ (on the _vierge à
l'oiseau_), (Paris, H. Laurens, 1913).
[212] _Congrès Archéologique_, 1904, pp. 1, 403; Noël Thiollier et Félix
Thiollier, _L'architecture romane du diocèse du Puy_ (Le Puy, 1900);
Félix Thiollier, _Le Forez pittoresque et monumental_; Mallay et Noël
Thiollier, _Monographie de la cathédrale du Puy_ (Le Puy, 1904); Prosper
Merimée, _Notes d'un voyage en Auvergne_ (Paris, 1838), p. 242; Alexis
Forel, _Voyage au pays des sculpteurs romans_ (Paris and Geneva, 1913),
2 vols.; Paul Mantz, "Une tournée en Auvergne," in _Gazette des
Beaux-Arts_, 1887, vols. 35, 36; Louis Villat, _Le Velay_ (Collection,
Les régions de la France), (Paris, L. Cerf); Mandet, _Histoire de Velay_
(Le Puy, 1860), 6 vols.; De la Mure, _Histoire des ducs de Bourbon et
des comtes de Forez_; Michel, _Auvergne et le Velay_ (Moulins), 3 vols.
and atlas; _Histoire littéraire de la France_, vol. 8, p. 467, "Adhémar
de Monteil"; p. 514, "Urbain II" (Paris, 1747).
[213] Marcel Reymound et Ch. Girard, "La chapelle de St. Laurent à
Grenoble," in _Bulletin Archéologique_, 1914-16, vol. 56, p. 176.
[214] Emile Mâle, "L'art du moyen âge et les pèlerinages" in _Revue de
Paris_, Oct. 1919, Feb. 1920.
[215] René Fage, _La cathédrale de Limoges_ (Collection, Petites
Monographies), (Paris, H. Laurens, 1913); Abbé Arbellot, _Monographie de
la cathédrale de Limoges_ (Limoges, 1853); A. Petit, "Les six statues du
jubé de la cathédrale de Limoges," in _Bulletin Monumental_, 1912, vol.
62, p. 144. MM. Émile Mâle, André Michel, and Louis Gonse have written
on the _jubé_; René Fage, "Le clocher limousin à l'époque romane," in
_Bulletin Monumental_, 1907, vol. 71, p. 262; Anthyme Saint-Paul,
"Archéologie limousin," in _L'Almanac limousin_, 1885; Charles de
Lasteyrie, _L'abbaye de St. Martial de Limoges_ (Paris, Picard, 1901);
A. Leroux, _L'abbaye de St. Martial de Limoges_ (Toulouse, 1901);
_ibid._, _Géographie et histoire du Limousin_ (Limoges, 1892); Ernest
Rupin, _L'oeuvre de Limoges_ (Paris, 1890); A. Meyer, _L'art de
l'émail de Limoges_ (Paris, 1896); P. Lavedan, _Léonard Limosin et les
émailleurs français_ (Collection, Les Grands Artistes), (Paris, H.
Laurens). (The meeting for the _Congrès Archéologique_, 1921, is to be
held at Limoges.)
[216] Rendered in modern French by J. Demogeot.
[217] _Inferno_, xxviii:112-142.
[218] _Congrès Archéologique_, 1861; Charles Saunier, _Bordeaux_
(Collection, Villes d'art célèbres), (Paris, H. Laurens); J. A.
Brutails, _Les vieilles églises de la Gironde_ (Bordeaux, Feret et fils,
1912); _ibid._, "La cathédrale de Bordeaux," in _Le moyen âge_,
1899-1901, vols. 12-14; H. Havard, éd., _La France artistique et
monumentale_ "Bordeaux," L. de Foucaud, vol. 5, p. 105; Cirot de la
Ville, _Origines chrétiennes de Bordeaux, ou hist. et descript. de
l'église de St. Seurin_ (Bordeaux, 1867); P. J. O'Reilly, _Histoire de
Bordeaux_ (Paris and Bordeaux, 1857), 6 vols.; C. Jullian, _Histoire de
Bordeaux_ (Bordeaux, 1895); L. Barron, _La Gascogne_ (Collection,
Régions de la France), (Paris, L. Cerf); _ibid._, _La Garonne_
(Collection, Fleuves de France), (Paris, H. Laurens); P. Courteault,
_Histoire de Gascogne_ (Collection, Les vieilles provinces de France),
(Paris, Boivin et Cie).
[219] In the nave of the cathedral is the neo-classic tomb of Cardinal
de Cheverus, who died, archbishop of Bordeaux, in 1836. Driven out of
France at the time of the Revolution, he founded the see of Boston,
Massachusetts, in the United States of America.
[220] The beautiful cloister of St. Bertrand-de-Comminges belongs to the
XII century. In 1536 the Renaissance art prelate, Jean de Mauléon,
presented the carved choir stalls. _Congrès Archéologique_, 1874, p.
249, J. de Laurière; and 1906, p. 79, Louis Serbat; Morel, _Essai hist.
sur St. Bertrand-de-Comminges_; d'Agos, _Description de l'église
cathédrale de Comminges_.
[221] The cathedral of Bayonne was begun about 1135 under Aliénor of
Aquitaine's father. The choir is of that century; the nave was finished
about 1335, and some of its sculptures, showing the national crest with
the arms of both England and France, recall the short sovereignty in
France of Henry V and Henry VI. The cloister of Bayonne ranks with those
of Elne and Arles. A transept is indicated merely by the spacing of
bays. The XII-century tower was rebuilt from 1501 to 1544. The interior
of the cathedral is more firm than it is graceful, owing to the piers
being six feet square and to an excessive sobriety in ornamentation.
_Congrès Archéologique_, 1888.
[222] Léon Gautier, éd., _Chanson de Roland_ (Tours, Mâme, 1895),
section 297, l. 3684.
[223] _Congrès Archéologique_, 1874 and 1906; H. Graillot, _Toulouse et
Carcassonne_ (Collection, Villes d'art célèbres), (Paris, H. Laurens);
Jules de Lahondès, _Toulouse chrétienne; l'église de St. Étienne,
cathédrale de Toulouse_; _ibid._, "Les chapiteaux de St. Sernin de
Toulouse," in _Mém. de la Soc. archéol. du Midi de la France_, 1897;
Anthyme Saint-Paul, "St. Sernin," in _Album des monuments du Midi de la
France_, 1897; in _Bulletin Monumental_, 1899; and in _Revue de l'art
chrétien_, 1905, vol. 48, p. 145; Abbé Lestrade, _Histoire de l'art à
Toulouse_ (Toulouse, 1907); H. L. Gillet, _Histoire artistique des
ordres mendiants_ (Paris, 1912); A. Marignan, _Histoire de la sculpture
en Languedoc des XIe et XIIIe siècles_ (Paris, Bouillon, 1902);
Alexis Forel, _Voyage au pays des sculpteurs romans_ (Paris and Geneva,
1913), 2 vols.; Roschach, _Le musée de Toulouse_, "Inventoire des
richesses d'art de la France: ministère de l'instruction publique" (vol.
8), (Paris, 1908), 4to; Martin, _L'art roman en France_ (Paris, 1910);
H. Revoil, _L'architecture romane du Midi de la France_ (Paris,
1873-90), 3 vols.; R. de Lasteyrie, _L'architecture religieuse en France
à l'époque romane_ (Paris, 1912); Vie et Vaissette, supplemented by Du
Mège, Molinier, and Roschach, _Nouvelle histoire de Languedoc_
(Toulouse, Privat, 1872-92), 15 vols.
[224] Frédéric Mistral, _Poèmes_ (Paris, Charpentier-Fasquelle, 1912).
[225] "Wisdom hath built herself a house, she hath hewn her out seven
pillars."--Prov. ix:1.
[226] From the Chapelle de Rieux at the Cordeliers came some curious
statues which are now in the Museum of Toulouse. Their date is certain,
1324 to 1348, yet their realism is of the XV century. Again Languedoc
proved precocious in sculpture. In the Museum is a XIV-century statue of
Bishop Guillaume Durandus, author of _Rationale_.
[227] When Moissac was affiliated with Cluny and reformed, its church
was rebuilt by Abbot Durand, whose image adorns a pier of the cloister's
east gallery. The walls of the nave belong to the edifice consecrated in
1063. That church of three aisles was remade with cupolas and blessed in
1180, and of the same date are the fortified narthex and its tower.
Owing to those defenses the celebrated portal is in the south wall of
the porch, not in the church axis. The Gothic ribs beneath the tower are
rectangular and three feet wide. In the XIV century the cupolas were
replaced by diagonals. The cloisters were begun about 1100 under Abbot
Ansquitil, who made the pier images, also the marble parts of the
portal, its trumeau, and the Visitation. Abbot Roger (1115-31) finished
the cloisters, inscribing the carved Scripture scenes of the capitals.
During the first quarter of the XII century Moissac's imagery passed
from the squat, coarsely executed figures of the cloister piers to the
appealing, etherealized types--"_fluides créations du Languedoc_"--the
Annunciation group. Mr. A. Kingsley Porter thinks that door-jamb-figure
sculpture was first used by Guglielmo at Modena Cathedral (c. 1100), and
from Italy passed into southern France. The current of art flowed in the
opposite direction, too, for the coupled colonnettes, typical of the
Romanesque cloisters of Provence, Languedoc, and Spain, soon found their
way across the Alps, where early examples are to be seen at Verona and
Aosta, and at the cathedral door of Verona are Languedoc's elongated
figures with crossed feet. The _Portico de la gloria_ at Santiago sets
forth the vision of John the Beloved at Patmos quite as Moissac's
tympanum presents it. _Congrès Archéologique_, 1901, vol. 2, pp. 43,
303; E. Rupin, _Abbaye et les cloîtres de Moissac_ (Paris, Picard,
1897); André Michel, "Sculpture romane de Moissac," in _Bull. de la Soc.
Archéol. du Midi de la France_, 1899 to 1901; Roger Peyre, _Padoue et
Vérone_ (Collection, Villes d'art célèbres), (Paris, H. Laurens).
[228] The master of French iconography, M. Émile Mâle, is on the eve of
publishing a work on XII-century imagery, of which he says, "The art of
Languedoc undulates like a flame in the wind, that of Provence seems
cast in bronze."
[229] _Paradiso_, xii:70-73.
"Dominico fu detto; ed io ne parlo
sì come dell'agricola, che Cristo
elesse all'orto suo per aiutarlo.
Ben parve messo e famigliar di Cristo."
("Dominic was he named; and I speak of him as of the husbandman whom
Christ chose for his orchard to bring aid to it. Well did he show
himself a messenger and a familiar of Christ.")
[230] Douais, _L'Inquisition, ses origines, sa procédure_ (Paris, 1906);
A. Molinier, _L'Inquisition dans le Midi de la France au XIIIe et au
XIVe siècles_ (Paris, 1880); Vacandard, _L'Inquisition; étude
historique et critique sur le pouvoir coercitif de l'église_ (Paris,
1907), (tr. London and New York, Longmans, Green & Co., 1908); Jean
Guiraud, _Histoire patiale, histoire vraie_ (Paris, 1911); _ibid._,
_Questions d'histoire et d'archéologie chrétienne_ (Paris, 1906);
_ibid._, _St. Dominique_ (Collection, Les Saints), (Paris, Lecoffre,
1909), (tr. London, Washburne, 1913); C. M. Antony, _In St. Dominic's
Country_ (London, Longmans, Green & Co., 1912); Mortier, _Histoire des
maîtres généraux de l'Ordre des Frères Prêcheurs_ (Paris, 1903), 5 vols.
[231] Jean Guiraud, _Cartulaire de Notre Dame-de-Prouille_ (Paris,
Picard, 1907), 2 vols. Vol. 1 is the ablest exposition of the
Albigensian tenets; A. Molinier, "L'Albigeisme languedocien au XIIe
et XIIIe siècles," in _Histoire de Languedoc_, vol. 1 (Toulouse,
Privat, 1872-92), 15 vols.; C. Douais, _Les Albigeois; action de
l'église au XIIIe siècle_ (Paris, 1889); A. Luchaire, _Innocent III;
la croisade des Albigeois_ (Paris, Hachette, 1905).
[232] "Les vainqueurs mettent à sac toutes les maisons au nombre de
7000.... Si trouvèrent en la ville grant avoir; si en prisent donquel
qu'ils veurent et le remanant ils ardirent. Là eut grant persécution
d'hommes, de femmes et d'enfans, dont ce fut pitié."--FROISSART, book I,
chap. lxxvi.
[233] Paul Fournier, _St. Raymond de Pennafort_ (Collection, Les
Saints), (Paris, Lecoffre). St. Raymond's life, from 1175 to 1275,
covers one of the most vital centuries in history. He helped St. Peter
Nolasco found the Order of Mercy to redeem Christian captives from
Islam; he founded chairs for the study of Oriental languages; he
reformed morals by his preaching. A voluntary teacher of philosophy at
twenty, then a trained lawyer, it was not till he was touching the
half-century limit that he entered the Dominican Order, of which he
became the head. For fifty more years he gave himself up to works for
humanity's advancement.
[234] _Congrès Archéologique_, 1863; Jean Laran, _La cathédrale d'Albi_
(Collection, Petites Monographies), (Paris, H. Laurens, 1911); H.
Crozes, _Monographie de la cathédrale de Ste. Cécile d'Albi_, 1873; E.
d'Auriac, _Histoire de l'ancienne cathédrale et des évêques d'Albi_
(Paris, 1858); Abbé A. Aurial, "La voûte de Ste-Cécile d'Albi," in
_Revue de l'art chrétien_, 1913, p. 91; Prosper Merimée, _Notes d'un
voyage dans le Midi de la France_ (1835); B. L. de Rivières, "Les
églises d'Albi," in _Bulletin Monumental_, 1873, vol. 39, p. 194; Taylor
et Nodier, _Voyages pittoresques dans l'ancienne France_. _Languedoc_
(Paris, Didot, 1833-37), 2 vols.
[235] In the Romanesque brick church of St. Salvi, with its imposing
tower and XII-century cloister, St. Bernard preached in 1145.
[236] The cathedral of Auch, which can be visited from Toulouse, was
rebuilt (1371) by a nephew of Innocent VI, and again, after a fire in
1483. It is quite devoid of capitals. The façade is neo-classic. The
choir stalls (1520-29) are masterpieces; Italianate fawns and Bacchantes
are placed beside sacred personages. The magnificent windows, of the
transition between Flamboyant Gothic and Renaissance, were the work of
Arnaud de Moles (1507-13); their portrait studies are like Holbein's
pictures. Abbé Canéto, Notice _sur l'église metro. de Ste. Marie d'Auch_
and _Congrès Archéologique_, 1901.
The cathedral of Rodez, some fifty miles west from Albi, built its grand
Flamboyant tower, _la couronne_, from 1510 to 1526, under the Blessed
François d'Estaing. The Romanesque cathedral at Rodez was supplanted by
the present one in 1277. The works flagged, however, and the nave was
built as late-Gothic by Bishop Guillaume de la Tour d'Oliergues and a
nephew who succeeded him. The west façade was left bare, since there the
church overlooked the ramparts; to it were added later a rose window and
a Flamboyant gallery. G. de Cogny, in _Bulletin Monumental_, 1874, vol.
39; Bion de Marlavagne, _Cathédrale de Rodez_ (Paris, 1875).
[237] _Congrès Archéologique_, 1868; and 1906, J. de Lahondès;
Viollet-le-Duc, _La cité de Carcassonne_ (Paris, 1858); H. Graillot,
_Toulouse et Carcassonne_ (Collection, Villes d'art célèbres), (Paris,
H. Laurens); L. Fédié, _Histoire de Carcassonne_ (Carcassonne, 1887); C.
Douais, _Soumission de la vicomté de Carcassonne par Simon de Montfort_;
Cros-Meyrevieille, _Histoire des comtes de Carcassonne_ (1845), 2 vols.;
Gaston Jourdanne, _La cité de Carcassonne_ (1905).
[238] Louis Serbat, in _Congrès Archéologique_, 1868 and 1906; L.
Narbonne, _La cathédrale de Narbonne_, 1901; Victor Mortet, "Notes
historiques et archéologiques sur la cathédrale de Narbonne," in
_Annales du Midi_, vol. 10, p. 401; vol. 11, pp. 273 and 439--also
printed separately (Toulouse, Privat, and Paris, Picard, 1899); F.
Pradel, _Mono, graphie de l'église St. Juste de Narbonne_ (Narbonne,
Caillard, 1884); Ch. Lentheric, _Les villes mortes du Golfe de Lyon:
Narbonne, Maguelonne, Aigues-Mortes, Arles, Les Saintes-Mariés_ (Paris,
Plon, 1883); "École gothique religieuse du Midi de la France," in
_Positions des thèses soutenues par les élèves de l'École des chartes en
1909; Histoire littéraire de la France_, vol. 32, p. 474, on Gilles
Aycelin, archbishop of Narbonne and Rouen, Léopold Delisle.
[239] For the other churches at Narbonne, see the _Congrès
Archéologique_, 1906. M. Lefèvre-Pontalis devotes a study to St. Paul
Serge (p. 345), whose choir was built from 1229 to 1244. In the transept
are vestiges of the primitive church. Two bays of the nave are of the
XIV century, and the others are XII-century work redone in the XIII. To
bind together the bulging walls, flat arches were thrown over the
central vessel at the level of the pier arches. The church presents such
peculiarities in the Midi as circulation passages at different levels
round the edifice. There are false tribune arches, and over the pier
arcade a passageway is maneuvered. Sergius Paulus was the first to
preach Christianity in the city. In Narbonne's valuable Museum are
classic vestiges of the city's great day under the Roman Empire. Many of
the classic marble columns are to-day in the mosque at Cordova. Ch. E.
Schmidt, _Cordoue, Grenade_ (Collection, Villes d'art célèbres), (Paris,
H. Laurens).
[240] The Cistercian abbey of Fontfroide lies in a wild gorge some six
miles from Narbonne. The church, begun in the middle of the XII century,
was roofed with a pointed cradle vault. The cloister, like that at
Tarragona, was covered with _bombé_ vaults on eight ribs. Little marble
columns support the Gothic masonry roof of the chapter house, which,
like Poblet's, opens by arcades on the cloister. Twelve monks from
Fontfroide founded Poblet in 1150. The countess who ruled Narbonne for
sixty years confirmed the abbey charter in 1157: " I, Ermengarde, give
to God and the Blessed Mary, to Abbot Vital and the present and future
servants of God, the lands of Fontfroide," runs her deed of gift. Doubly
is a nation robbed when monastic lands are held by private individuals
who assume no responsibility toward the public, as did a majority of the
ancient houses, before royalty named its favorites as their abbots. Even
as vast tracts were granted to nobles that they might perform gratis the
military defense of a land, so monasteries were expected to give payment
for their domains, by voluntary services to civilization. J. de
Lahondès, in _Congrès Archéologique_, 1906, p. 61; Calvert, _Études
historiques sur Fontfroide_ (1875); G. Desdevises du Dézert, _Barcelone
et les grands sanctuaires d'art catalan_ (Collection, Villes d'art
célèbres), (Paris, H. Laurens).
[241] Perpignan's aisleless cathedral of St. Jean was begun in 1324 and
finished, as the century ended, under the kings of Majorca, who then
ruled the Roussillon. The transept ends are apsidal below and pentagonal
above. Beside it stands an older St. Jean, dedicated in 1025. The see
originally was at Elne, where the cathedral was rebuilt in the XI
century; lotus leaves are carved on the capitals of its lovely marble
cloister (c. 1175). _Congrès Archéologique_, 1868; and 1906, p. 109,
Perpignan; p. 135, Elne; E. de Barthélemy, " Le cloître de la ville
d'Elne," in _Bulletin Monumental_, 1857, vol. 23; Bernard Palustre,"
Perpignan et ses monuments," in _Revue d'hist. et d'archéol du
Roussillon_, 1905; Auguste Brutails, " Notes sur l'art religieux du
Roussillon," in _Bulletin archéol. du comité des traveaux hist. et
scientifique_, 1892, No. 4; 1893, No. 3; P. Vidal, _Histoire de la ville
de Perpignan_ (Paris, 1897); P. Vidal et J. Calmette, _Le Roussillon_
(Collection, Les régions de la France), (Paris, L. Cerf, 1909); J. de
Gazanyola, _Histoire de Roussillon_ (Perpignan, Alzinc, 1857); Isabel
Savory, _Romantic Roussillon_ (London, Unwin, 1919).
[242] Eugène Müntz, _Les constructions du pope Urbain V à Montpellier,
1364-70_ (Paris, 1900); Jean Guiraud, _Les fondations du pape Urbain V à
Montpellier_ (Montpellier, 1899), 3 vols.; G. E. Lefenestre, _Le musée
de Montpellier_ (vol. 1, p. 189, "Inventaire des richesses d'art de la
France: ministère de l'instruction publique"), (Paris, 1878); Émile
Bonnet, _Antiquités et monuments du département de l'Hérault_
(Montpellier, 1908); Abbé M. Chaillon, _Le bienheureux Urbain V,
1310-70_ (Collection, Les Saints), (Paris, Lecoffre, 1911); A Germain,
_Maguelonne, étude historique et archéologique_; A Fabrége, _Histoire de
Maguelonne_ (Montpellier, 1900), 2 vols.
[243] Jean Aicard, _Arlette des Mayons_ (Paris, Flammarion, 1916).
[244] To the northwest of Montpellier, near Aniane, is St.
Guilhem-le-Désert, with blind niches in its exterior apse wall that
derive from such Lombard churches as S. Ambrogio at Milan. Lombard
towers, arched corbel tables, and mural arcaded bands passed from
northern Italy into Languedoc. The early intersecting ribs here were
exceptional for the Midi in being profiled. The nave and aisles are of
the first half of the XI century, the chevet and transept of the early
XII, as is the cloister, which once had a second story. The narthex was
built from 1165 to 1199. The first duke of Aquitaine, Aliénor's
ancestor, died here, a monk. _Congrès Archéologique_, 1906, p. 384;
"L'église abbatiale de St. Guilhem-le-Désert," Émile Bonnet; Joseph
Bédier, _Les légendes épiques_, vol. 1, "St. Guillaume de Gellone"
(Paris, H. Champion, 1908-13), 4 vols.
[245] Innocent III was the best type of the theory, enunciated by
Boniface VIII as the XIII century closed, that civil rulers derive their
power from religious authority. Leo XIII, in the encyclical _Immortale
Dei_, November, 1885, set aside that claim. Each should keep to its own
sphere, he said, one is not subordinate to the other; civil authorities
are to attend to human affairs, and spiritual authorities to divine
things. With every monarch in Europe appealing to him for his
arbitration, it is little wonder that Innocent III should have held the
views he did.
[246] Mende lies in the mountains of western Languedoc. Its cathedral
was begun (1365) under the auspices of Urban V, whose statue stands in
the square close by. Practically it is a XV-century church, without
capitals, flying buttresses, or transept. During twelve years the
architect was Pierre Juglar, an associate, at Riom, of those Flamboyant
Gothic masters, the Dammartin brothers. The cathedral was finished with
its two towers in 1512. From 1286 to 1296 the bishop of Mende was
Guillaume Durandus, author of _Rationale_, the famous book on church
symbolism. He was governor under the popes of the marches of Ancona and
the Romagna, and led the papal forces in battle. The Italian city of
Castel Duranti was named after him. When he died at Rome in 1296,
Giovanni Cosmati made his tomb, a masterpiece in the only Gothic church
of Rome, Santa-Maria-sopra-Minerva. Urban V was generous also to St.
Flour (which lies south of Mende), whose abbatial was rebuilt in the XIV
century; John XXII had raised it to cathedral rank in 1317. _Congrès
Archéologique_, 1857, Mende.
[247] Nothing now at St. Victor's, Marseilles, is earlier than the XI
century. A pre-Gothic use of diagonal ribs (with Lombard rectangular
profiles) cropped out here, yet when the upper church was remodeled in
the XIII century, Romanesque vaulting was used. Urban V rebuilt the
transept, made the square apse, and raised the battlemented towers. When
he visited Marseilles in 1373 every man in the city ceased his work to
welcome him. As it was his desire to be buried in his former abbey, his
remains were brought hither in 1372, and his successor, Gregory XI,
raised a sumptuous Gothic monument forty feet in height. Abbé A.
d'Agnel, "L'abbaye de St. Victor de Marseilles," in _Bulletin historique
et philosophique_, 1906, p. 364; Eugène Müntz, "St. Victor, Marseilles,"
in _Gazette Archéol._, 1884.
[248] In his short time in Rome Urban V gave commissions for art works
to Giottino and the sons of Taddeo Gaddi, and he had made the precious
shrine for the relics of St. Peter and St. Paul in the Lateran. (See
Eugène Müntz in the _Cronique des Arts_ for 1880.)
[249] Translated by F. J. C. Kearns, O. P.
[250] _Congrès Archéologique_, 1909, p. 183; J. Ch. Roux,
_Aigues-Mortes_ (Paris, Bloud et Cie, 1910); F. Em. di Pietro, _Histoire
d'Aigues-Mortes_ (Paris, 1849); Marius Topin, _Aigues-Mortes_ (Nîmes,
1865); Abbé H. Aigon, _Aigues-Mortes, ville de St. Louis_ (1908); H.
Havard, éd., _La France artistique et monumentale_, vol. 3, p. 145; Ch.
Lenthéric, _Le littoral d'Aigues-Mortes au XIIIe et au XIVe
siècles_ (Nîmes, 1870); Vie. (Dom) et Vaissette (Dom), _Histoire de
Languedoc_, vol. 7, p. 107, 3d éd.; Viollet-le-Duc, _Dictionnaire de
l'architecture_, vol. 1, pp. 378, 390; vol. 9, p. 182.
[251] Maurice Barrès, _Le jardin de Bérénice_ (Paris, Charpentier,
1894).
[252] _Congrès Archéologique_, 1897, p. 98; and 1909, p. 168, L. H.
Labande; J. Ch. Roux, _St. Gilles, sa légende, son abbaye, ses coutumes_
(Paris, Lemerre, 1910), 4to; J. Hubidos, _Histoire et décoration de
l'église abbatiale de St. Gilles_ (Nîmes, 1906); De Lasteyrie, _Étude
sur la sculpture française au moyen áge_ (Paris, 1902); A. Marignan,
_L'école de sculpture de Provence du XIIe au XIIIe siècle;
Histoire littéraire de la France_, vol. 19, p. 268, Clement IV (Paris,
1838); Forel, _Voyage au pays des sculpteurs romans_ (Paris and Geneva,
1913), 2 vols; W. Vöge, _Die Anfänge des monumentalen Styls_.
[253] Edmond Rostand, "Le nom sur la maison," in _Le vol de la
Marseillaise_ (Paris, Charpentier-Fasquelle, 1919).
[254] Les Saintes-Maries is a desolate village of the Camargue, on the
sea by the "Rhone of St. Gilles," six miles to the west of the big
Rhone. The crenelated fortress-church replaced, in the XII century, one
destroyed by Saracens. Its eastern end rises in three stories; below, in
the crypt, is the shrine of Sara, the dark handmaiden; above is the high
altar; and crowning all is the shrine (placed in St. Michael's care) in
which Mary Jacobi and Mary Salome are honored. Their chapel opens on the
church over the entrance to the Mass chapel. The sculpture resembles
that of St. Trophime, at Arles; perhaps the much-eroded marble lions
came from some monument of antiquity. Twice a year there are popular
pilgrimages to Les Saintes-Maries, that of May being frequented by the
gypsies. Monseigneur Duchesne, "La légende Sainte-Marie-Madeleine," in
_Annales du Midi_, 1903, vol. 5; Georges de Manteyer, "Les légendes
saintes de Provence," in _Mélanges d'archéol. et d'hist.: École de
Rome_, 1897, vol. 17; Faillon, _L'apostolat des Saintes-Maries en
Provence_. (This latter gives the Midi loyalists' point of view.) (1848,
2 vols.)
[255] _Congrès Archéologique_, 1897, pp. 95, 291, Tarascon; pp. 92, 333,
Beaucaire; and 1909, p. 262, Tarascon. The church of St. Martha at
Tarascon was dedicated in 1197, but reconstructed in the XIV century.
The south portal, with its curious little gallery, is of the XIII
century. The honored relics are in the crypt in a heavy tomb of 1650.
The simpler sarcophagus that once held them now stands by the side wall.
All over France the defeat of paganism by Christian bishop or saint was
symbolized by a dragon, and in the course of time the people often took
the symbol for reality. The legend of St. Martha's Tarasque, or dragon,
may be of this origin. Louis II d'Anjou began the castle of Tarascon,
which was decorated by good King René. At Beaucaire, across the Rhone,
is a tower built by St. Louis. The international fair of Beaucaire was
famous. "Aucassin was of Beaucaire, of a goodly castle there":
"'Tis of Aucassin and Nicolette....
The song has charm, the tale has grace,
And courtesy and good address.
No man is in such distress,
Such suffering or weariness,
Sick with ever such sickness,
But he shall, if he hear this,
Recover all his happiness,
So sweet it is!"
Turn to that cante-fable of the XIII century, and live again the Midi's
days of chivalry. Turn to that XIX-century masterpiece of satirical
generous humor, _Tartarin de Tarascon_, more likely to survive than many
a more pretentious tale, so gay it is.
F. W. Bourillon, éd. and tr. of _Aucassin et Nicolette_ (Oxford, 1896).
[256] _Congrès Archéologique_, 1876; and 1909, p. 213, L. H. Labande; L.
H. Labande, "Étude historique et archéologique sur St. Trophime
d'Arles," in _Bulletin Archéologique_, 1904, p. 459; J. de Louvière,
"St. Trophime d'Arles," in _Bulletin Monumental_, 1876, vol. 42, p. 741;
Abbé Bernard, _La basilique primatiale de St. Trophime d'Arles_, 2
vols., 8vo; Roger Peyre, _Nîmes, Arles, Orange_ (Collection, Villes
d'art célèbres), (Paris, H. Laurens, 1904); Georges de Manteyer, _La
Province du Ie au XIIe siècle_ (1908); F. Beissier, _Le pays
d'Arles_ (1889); Abbé Pougnet, _Étude analytique sur l'architecture de
la Provence au moyen âge_ (1867); H. Revoil, _L'architecture romane du
Midi de la France_ (Paris, Morel et Cie, 1873), 3 vols.; Martin, _L'art
roman en France_ (Paris, 1910); Rebatu, _Antiquités d'Arles_ (1876); J.
B. de Rossi, "Le cimétière des Arlescamps et sa basilique de St.
Pierre," in _Bulletin Monumental_, 1875, vol. 41, p. 170; E. Leblant,
_Les sarcophages chrétien de la Gaule_ (1886); Alexis Forel, _Voyage au
pays des sculpteurs romans_, vol. 1, chap. 1, "Arles-la-grecque" (Paris
and Geneva, 1913), 2 vols.
[257] "Saint-Trophime, humide et écrasé, dit une louange irrésistible â
la solitude et s'offre comme un refuge contre la vie.... Arles, où rien
n'est vulgaire."--MAURICE BARRÈS, _Le jardin de Bérénice_ (Paris,
Charpentier, 1894).
[258] There is another cloister at Montmajour, four miles from Arles.
Its transverse ribs are caught along the wall on corbels carved with
grotesques. Nothing at Montmajour pre-dates A.D. 1000. In the monastery
church appeared (in the transept) some early diagonals; the crypt
(middle of the XII century) is of a peculiar plan: a circular chapel in
the middle of its apse with chapels radiating from the passage round it.
From each arm of the transept projects an apse chapel. Under a hillock
is a small shrine remade in the XIII century. In 1369 a tower of defense
was added to the abbey. The curious chapel of the Holy Cross, in a
meadow near by, is not of the time of its foundation, 1019, but a
reconstruction of the XII century, probably intended for the chapel of a
graveyard. Montmajour once rose from the sea marshes that for centuries
came up to the gates of Arles. J. M. Trichaud, _Les ruines de l'abbaye
de Montmajour-lès-Arles_ (Arles, 1854); _Congrès Archéologique_, 1876,
p. 362; and 1909, p. 154; Chantelon (Dom), _Histoire de Montmajour_
(1890); L. Royer, _L'abbaye de Montmajour-lès-Arles_ (Abbeville,
Paillart, 1910).
[259] "Sur cette terre élégante, au dessin si précis et si pur, sous
cette lumière pénétrante, sur ces champs rouges où l'ovilier verse son
ombre fine et grise, sur ces bords que la mer antique bat de sa flot
court et rythmé, subsistent des oeuvres et des souvenirs qui ne
dépareraient pas la Grèce elle-même, mère de toute beauté. Le Pont du
Gard, la Maison Carrée, les Arènes de Nîmes et d'Arles, Saint Trophime,
Montmajour, Les Saintes-Maries, Les Baux, le Château des Papes à
Avignon, les remparts de Saint Louis à Aigues-Mortes, le Peyrou à
Montpellier, le canal du Midi, sont les monuments de cette activité
séculaire qui recueillit l'héritage de Rome, et l'entretint tout le long
de cette vallée du Rhône qui, à ses deux extrémités, comme deux phares,
porte deux villes, deux républiques qui n'ont rien de supérieur par
l'antiquité, l'activité, et l'éclat: Lyon et Marseilles."'--GABRIEL
HANOTAUX.
[260] L. Rostan, _Monographie du couvent de St. Maximin_, 1874; Abbé
Albanès, _Le courent royal de St. Maximin_; Monseigneur Duchesne, "La
légende de Ste. Marie Madeleine," in _Annales du Midi_, 1893, vol. 5; L.
G. Pélissier, _La Provence_ (Régions de la France), (Paris, L. Cerf).
[261] _Rationale divinorum officiorum_, translated by Neale and Webb
(Camden Society) as _The Symbolism of Churches and Church Ornament_
(Leedes, Green, 1843).
[262] His son, St. Louis d'Anjou, died archbishop of Toulouse, having
resigned his heirsships after captive years in Spain proved to him the
futility of grandeur. Giotto painted him on the walls of Santa Croce,
Florence. His chasuble, a masterpiece of embroidery, was preserved by
the solid wardrobes of St. Maximin's XIV-century sacristy.
[263] L. H. Labande, "St. Sauveur d'Aix-en-Provence," in _Bulletin
archéological du comité des travaux historiques et scientifiques_
(Paris, 1912), p. 289; Abbé E. F. Maurin, _Notice historique et
description de l'église métropolitaine St. Sauveur d'Aix_
(Aix-en-Provence, 1837); Prosper de St. Paul, "La cathédrale
d'Aix-en-Provence," in _Bulletin Monumental_, 1875, vol. 41, p. 442; J.
Ch. Roux, _Aix-en-Provence_ (Paris, Bloud et Cie, 1907); L. Dimier, _Les
primitifs français_ (Collection, Les Grands Artistes), (Paris, H.
Laurens).
[264] _Congrès Archéologique_, 1882; 1897, p. 113; and 1909, L. H.
Labande; André Hallays, _Avignon el le Comtat-Venaissin_ (Collection,
Villes d'art célèbres), (Paris, H. Laurens); F. Digonnet, _Le palais des
papes d'Avignon_ (after R. P. Ehrle, S. J.), 1907; L. Duhamel, _Les
origines du palais des papes d'Avignon_ (Tours, 1882); L. H. Labande,
"L'église de N.-D.-des-Doms à Avignon," in _Bulletin Archéologique_,
1906; A. Penjon, _Avignon la ville, et le palais des papes_ (1905); Léon
Palustre, "Les peintures du palais des papes à Avignon," in _Bulletin
Monumental_, 1874, vol. 40, p. 665; Eugène Müntz, "Les tombeaux des
papes en France," in _Gazette des Beaux-Arts_, 1887, vol. 36, pp. 275,
367; _ibid._, "Les sources de l'histoire des arts dans la ville
d'Avignon pendant le XIVe siècle," in _Bulletin Archéologique_, 1887,
p. 249; Verlaque, _Jean XXII, sa vie, ses oeuvres_ (Paris, 1883);
Robert André-Michel, "Les fresques de la garde-robe au palais des papes
à Avignon," in _Gazette des Beaux-Arts_, 1914-16, vol. 56, p. 293. (This
study of the frescoes, discovered in 1909, was the author's last work.
He fell in battle at Crouy-sur-Ourcq in 1914); Louis Guérard, R. P.,
_Les papes d'Avignon_ (Paris, Lecoffre, 1910); Jean Guiraud, _L'église
et les origines de la Renaissance_ (chap. 2, on thé Avignon popes).
(Paris, Lecoffre, 1902).
[265] While the popes ruled in Avignon, churches rose from end to end of
the city. In St. Didier (XIV century) is the bas-relief N. D.-du-spasme
made for King René in 1476 by Francisco Laurana, one of the earliest
Renaissance sculptors to work in France. He made the tomb for King
René's brother in Le Mans Cathedral. The Gothic-Renaissance façade
(1512) of St. Pierre is of singular grace; the date of its carved doors
is 1551. There is a XV-century pulpit, and a retablo (1461) by Antoine
Le Moiturier, born in Avignon, who finished the celebrated tomb of Jean
Sans Peur now in Dijon's Museum. _Congrès Archéologique_, 1909, p. 17;
A. Chaillot, _Les oeuvres d'art dans les églises et chapelles
d'Avignon_; G. Bayle, _Notes historiques sur l'église de St. Pierre
d'Avignon_ (Avignon, 1899).
[266] _Congrès Archéologique_, 1897, p. 280; and 1909, p. 144,
Villeneuve-lès-Avignon; Jules Formigé, _Rapport sur la Chartreuse de
Villeneuve-lès-Avignon_ (Gard), (Paris, 1909); Robert André-Michel, "Le
tombeau du Pope Innocent VI à Villeneuve-lès-Avignon," in _Revue de
l'art chrétien_, 1911, p. 204.
[267] _Congrès Archéologique_, 1907 and 1913; A. Kleinclausz, _La
Bourgogne_ (Collection, Régions de la France), (Paris, L. Cerf, 1905);
_ibid._, _Histoire de Bourgogne_ (Paris, 1909); Dom. Urbain Plancher,
_Histoire générale de Bourgogne_ (1739-81), 4 vols.; Claude Courtépée,
_Description du duché de Bourgogne_ (1775-85); De Barente, _Histoire des
ducs de Bourgogne de la maison de Valois_ (Paris, 1825), 12 vols.;
Ernest Petit, _Histoire des ducs de Bourgogne de la race capétienne_
(Dijon, 1905), 9 vols.; A. de Caumont, "Rapport sur une excursion
archéol. en Bourgogne," in _Bulletin Monumental_, 1852, vol. 18, p. 225;
J. Calmette et H. Drouot, _La Bourgogne_ (Collection, Provinces
Françaises), (Paris, H. Laurens); A. Perrault-Dabot, _L'art en
Bourgogne_ (1897); J. L. Bazin, "La Bourgogne sous les ducs de la maison
de Valois, 1361-1478," in _Mémoires de la Soc. Éduenne_, 1901, vol. 29,
p. 33; Taylor et Nodier, _Voyages pittoresques et romantiques dans
l'ancienne France, La Bourgogne_ (Paris, Didot, 1863), 2 vols., folio;
W. S. Purchon, "An architectural Tour in Central France and Burgundy,"
in _Journal of the Royal Institute of British Architects_, 1913-14, 3d
series, vol. 21, p. 557.
[268] From Luxeuil derived Jumièges, St. Wandrille, Fécamp, St. Malo,
St. Valéry, St. Bertin, Corbie, St. Riquier, Péronne, Lure, Rebais,
Jouarre, Faremoutier, Remiremont, Dissentir, St. Gall, and Bobbio. St.
Columbanus was born in Leinster in 543, the year that St. Benedict died
at Monte Cassino. It is said that there was something supernatural in
his appearance. Because of his comeliness he embraced the monastic life
to flee temptation, entering the abbey of Bangor, a center of letters in
what is now Ulster. All his life Columbanus was a lover of the classics;
from his library at Bobbio was recovered Cicero's _De Republica_. At
thirty came the call to missionize in Gaul. Ireland, on the outer verge
of Europe, had escaped the Barbarian's wrecking so that her culture was
intact. With twelve monks, among them his nephew, St. Gall (future
founder of the noted Swiss abbey), Columbanus crossed to France. The
king of Burgundy, a grandson of Clovis, gave him the region of Luxeuil,
which the late invasions had turned into a desert. In twenty years
Columbanus made it the center of spiritual life in Gaul. He was exiled
in 610 because of his strictures on the evil living of Burgundy's
rulers. After many wanderings he founded Bobbio, between Genoa and
Milan, which abbey became another seat of learning. There he died in
615. Martin, _St. Columban_ (Collection, Les Saints), (Paris, Lecoffre,
1909); Healy, _Ireland's Ancient Schools and Scholars_ (Dublin, 1890);
Ch. de Montalembert, _Monks of the West_ (translated, London, 1896);
Dalgairns, _Apostles of Europe_ (London, 1876), vol. 1; Besse, _Les
moines de l'ancienne France_ (Paris, 1906).
[269] "On peut dire que vers le Xe siècle, le genre humain en Europe,
était devenu fou. Du mélange de la corruption romaine avec le férocité
des barbares qui avaient inondé l'empire, il était enfin resulté un état
de choses que, heureusement peut-être, on ne reverra plus. La férocité
et la débauche, l'anarchie et la pauvreté étaient dans tous les états.
Jamais l'ignorance ne fut plus universelle. Le chaire pontificale était
opprimée, deshonorée, et sanglante."--JOSEPH DE MAISTRE.
[270] _Congrès Archéologique_, 1899, p. 48; 1913, p. 65, Jean Virey;
_Millénaire de Cluny_ (Mâcon, 1910), 2 vols.; Jean Virey,
_L'architecture romane dans l'ancien diocèse de Mâcon_ (Paris, 1892), 2
vols.; _ibid._, _L'abbaye de Cluny_ (Collection, Petites Monographies),
(Paris, H. Laurens); Chanoine L. Chaumont, _Histoire de Cluny_ (Paris,
1911); Migne, _Dictionnaire des abbayes_ (Paris, 1856); Ch. de
Montalembert, _Monks of the West_ (trans. London, 1896); H. Pignot,
_Histoire de l'ordre de Cluny depuis la fondation de l'abbaye jusqu'à la
mort de Pierre le Vénérable_ (Autun et Paris, 1868), 3 vols.; F. L.
Bruel, _Cluny_, 910-1910. _Album historique et archéologique_ (Mâcon,
1910), 4to; Ponzet, in _Revue de l'art chrétien_, 1912, on the capitals
of Cluny's abbatial; David, _Grands abbayes de l'occident_ (Paris,
1909); Lecestre, _Abbayes en France_ (Paris, 1902); G. T. Rivoira,
_Lombardic Architecture_, vol. 2, p. 104, Cluny; p. 112, Tournus. Tr. by
G. McN. Rushforth (London and New York, 1910); Demimuid, _Pierre le
Vénérable et la vie monastique au XIIe siècle_ (Paris, 1895); A.
Penjon, _Cluny, la ville et l'abbaye_ (Cluny, 1884); _ibid._, "Abélard
et Pierre le Vénérable d'après Dom Gervaise," in _Annales de l'Acad. de
Mâcon_, 1910, p. 393; _Histoire littéraire de la France_, vol. 7, p.
318, "Le bienheureux Guillaume, abbé de St. Bénigne"; p. 399, "Raoul
Glaber"; p. 414, "St. Odilon" (Paris, 1746); vol. 9, p. 465, "St.
Hugues"; p. 526, "Abbé Jarenton" (Paris, 1750); vol. 14, p. 211, "Pierre
le Vénérable"; p. 129, "St. Bernard" (Paris, 1764).
[271] Dr. John Mason Neale, éd., _Rhythm of Bernard of Morlaix_ (London,
1858). Dr. Neale has here rendered his translation like the XII-century
original, dactylic hexameters divided into three parts.
[272] "Ah! ce Cluny!... ce fut vraiment l'idéal du labeur divin, l'idéal
rêvé! Ce fut, lui, qui réalisa le couvent d'art, la maison du luxe pour
Dieu."--J. K. HUYSMANS, _L'Oblat_ (Paris, Plon-Nourrit et Cie).
[273] Some of the French houses affiliated with Cluny were Vézelay, the
Trinité at Vendôme, the Trinité at Fécamp, St. Martin-des-Champs and St.
Germain-des-Prés at Paris, St. Denis, the Caen abbatials, St. Ouen at
Rouen, Jumièges, St. Wandrille, St. Remi at Rheims, Notre Dame at
Châlons-sur-Marne, St. Bénigne at Dijon, Tournus, St. Maixent, St.
Savin, Ste. Foy at Conques, Moissac, St. Sernin at Toulouse, and St.
Eutrope at Saintes.
[274] The church of Notre Dame built in Cluny by St. Hugues was burned
in 1233, and immediately reconstructed as Burgundian Gothic; the lower
walls and some of the capitals are of St. Hugues' time. Consoles,
sculptured with heads, such as those under the lantern, are frequent in
the province, but a central tower is exceptional. In the XVIII century
the narthex was destroyed. St. Marcel's church was rebuilt after a fire
in 1159 by the abbot of Cluny, who was a great-nephew of William the
Conqueror. The octagonal tower, capped by a XIII-century spire, is of
exceptionally lovely proportions. _Congrès Archéologique_, 1913, p. 68.
St. Hugues also founded the Charité-sur-Loire, whose church was
dedicated by his pupil. Paschal II, in 1107, at which ceremony assisted
Suger, then a monk at St. Denis. Only the transept and absidioles are of
that time, for the choir, nave, and tower are Burgundian Romanesque of
the second half of the XII century; the Lady chapel rose two centuries
later. Once the abbatial was four hundred feet long, but a fire, in
1559, damaged it and only four bays of the nave remain. _Congrès
Archéologique_, 1913, p. 374, Louis Serbat; André Philippe,
"Charité-sur-Loire," in _Bulletin Monumental_, 1905, vol. 69, p. 469.
[275] De Foville, _Pise et Lucques_ (Villes d'art célèbres) (Paris, H.
Laurens).
[276] Héloïse as a girl, in the convent of Argenteuil, studied Greek,
Latin, Hebrew, philosophy, and theology; the women of that age were as
eager for learning as the men. In 1817 her body and that of Abélard were
removed to the cemetery of Père la Chaise at Paris. Le Roux de Lincy,
_Les femmes célèbres de l'ancienne France_ (Paris, Leroi, 1848), 2 vols.
For Abélard, see de Rémusat (Paris, 1855) and E. Vacandard (Paris,
1881).
[277] _Congrès Archéologique_, 1899; and 1913, p. 63, E.
Lefèvre-Pontalis; Abbé Cucherat, _Monographie de la basilique du Sacré
Coeur à Paray-le-Monial_, 1884; N. de Nicolai, _Générale description
du Bourbonnais_.
[278] John Mason Neale, _Collected Hymns, Sequences, and Carols_
(London, Hodden & Stoughton, 1914), p. 199, a translation of the
XII-century poem of Bernard de Morlaix.
[279] _Congrès Archéologique_, 1899, p. 62; and 1907, p. 32, Joseph
Déchelette; also p. 537; H. de Fonteray and A. de Charmasse, _Autun et
ses monuments_ (1889); Abbé Devoncoux, _Description de l'église
cathédrale d'Autun_ (1845); Claude Courtépée, _Description de la duché
de Bourgogne_, vol. 6; H. Havard, éd., _La France artistique et
monumentale_, vol. 5, p. 49, L. Paté, on Autun; Paul Vitry, in _Revue
Archéol._, 1899, p. 188; Montegut, _Souvenirs de Bourgogne_.
[280] The abbey of St. Andoche, Saulieu, was named for a companion of
St. Benignus, a Greek missionary sent to evangelize Gaul, perhaps by St.
Polycarp of Smyrna. The church was rebuilt early in the XII century, and
of that period is the nave whose capitals present sculpture of different
epochs: the barbaric earlier grotesques censured by St. Bernard, then a
few acanthus leaves and medallions, and, finally, naturalistic work.
Calixtus II dedicated Saulieu's abbey church in 1119. In 1339 the
English sacked the choir and transept, which were rebuilt in 1704. That
true son of Burgundy, Vauban, the celebrated engineer of Louis XIV, was
born in a château near Saulieu in 1633: "The most honest man of his
century, the simplest, truest, and bravest," according to St. Simon. He
covered France with defenses whose worth was proved in 1914. One can
comprehend qualities in a region's architecture by a knowledge of
regional characters. _Congrès Archéologique_, 1907, p. 103, Pierre de
Truchis, on Saulieu. The architect Soufflot, of M. Lefèvre-Pontalis'
family, was a Burgundian.
[281] The cathedral of Langres in ancient Burgundy resembles Autun in
its channeled pilaster strips and its acanthus-leaf sculpture. Its choir
was rebuilt in 1100, using simultaneously groin vaulting and diagonals.
The façade is neo-classic.
[282] _Congrès Archéologique_, 1899, p. 68; A. Kleinclausz, _Dijon et
Beaune_ (Collection, Villes d'art célèbres), (Paris, H. Laurens);
Alphonse Germain, _Les Néerlandais en Bourgogne_ (Bruxelles, 1909);
Arsène Périer, _Un chancelier au XVe siècle, Nicolas Rolin_ (Paris,
Plon, 1904); H. Chabeuf, in _Revue de l'art chrétien_, 1900, p. 193, on
the tapestries of Beaune; Abbé Bavard, _Histoire de l'Hôtel Dieu de
Beaune_ (Beaune, 1881); André Michel, éd., _Histoire de l'art_, vol. 3,
première partie, "La tapisserie aux quatorzième et quinzième siècles,"
Jules Guiffrey.
[283] Robert Vallery-Radot, _Le réveil de l'esprit_ (Paris, Perrin et
Cie, 1917).
[284] _Congrès Archéologique_, 1907, p. 4, Avallon, Charles Porée, and
p. 129, G. Fleury; p. 97, Montréal, Charles Porée; p. 49, Flavigny, P.
de Truchis; E. Petit, _Avallon et l'Avallonnais_ (Auxerre, Gallot,
1867); R. Vallery-Radot, _Un Coin de Bourgogne_; _Avallon_; Abbé
Villetard, "Les statues du portail de l'église St. Lazare d'Avallon," in
_Bull. de la Société d'études d'Avallon_, 1899, 1900, and 1901; E.
Petit, "Collégiale de Montréal," in _L'Annuaire de l'Yonne_, 1861, p.
121; G. T. Rivoira, _Lombardic Architecture_ (tr. London and New York,
1910), vol. 2, on the crypt of Flavigny; L. Bondot et J. Galimard,
_Restes de l'ancienne basilique de Flavigny_ (1906); Claude Courtépée,
_Description du duché de Bourgogne_, vol. 3, on Flavigny; Lucien Bégule,
_L'abbaye de Fontenay et l'architecture cistercienne_ (Lyon, 1912).
There is also a study by Bégule of Fontenay in the Petites Monographies
series published by H. Laurens; J. B. Corbolin, _Monographie de l'abbaye
de Fontenay_ (Cîteaux, 1882).
[285] _Discours de réception de M. Louis Pasteur à l'Académie
Française_, 1882. Pasteur was born at Dôle (Jura), once a part of
ancient Burgundy. A grandson, Robert Vallery-Radot, is one of the
younger generation that comprehends the spiritual essence of the Middle
Ages. He has written of the potency of his prayer in the church
dedicated to holy Lazarus in his native Avallon. Another grandson, Jean
Vallery-Radot, is a rising member of the school of mediæval archæology.
[286] Jean de Chastellux, _Travels in America, 1780-1782_. He was the
first to have himself inoculated with smallpox in order to give
confidence to the people. The heir of Chastellux was a hereditary first
canon in Auxerre Cathedral, privileged to sit in its choir with a falcon
on his wrist.
[287] _Congrès Archéologique_, 1907, p. 199; Abbé Henry, _Histoire de
l'abbaye de Pontigny_ (Avallon, 1839); Chaillon des Barres, _L'abbaye de
Pontigny_ (Paris, 1844); _Histoire littéraire de la France_, vol. 11, p.
213, "St. Étienne, troisième abbé de Cîteaux" (Paris, 1759).
[288] "The long prospect of nave and choir ends with a sort of graceful
smallness in a chevet of seven closely packed, narrow bays. It is like a
nun's church, or like a nun's coif."--WALTER PATER, on Pontigny, in
_Miscellaneous Studies_ (London, The Macmillan Company, 1895).
[289] J. C. Robertson, ed., _Material for the History of Thomas Becket_.
Rolls series, 7 vols.; vols. 1 to 4 contain the lives written by John of
Salisbury, Herbert of Bosham, etc. Other studies of St. Thomas of
Canterbury are Morris (London, 1885); Kate Norgate (_Dictionary of
National Biography_); L. Huillier (Paris, 1891), 2 vols.
[290] _Congrès Archéologique_, 1907, p. 27; Charles Porée, _L'abbaye de
Vézelay_ (Collection, Petites Monographies), (Paris, H. Laurens); H.
Havard, éd., _La France artisque et monumentale_, vol. 4, Vézelay; De
George, "L'église abbatiale de Vézelay," in _L'Architecture_, 1905; L.
E. Lefèvre, "Le portail de l'abbaye de Vézelay," in _Revue de l'art
chrétien_, 1906, p. 253; also, 1904, vol. 54, p. 448, G. Sanoner;
Crosnier, "Iconographie de l'abbaye de Vézelay," in _Congrès
Archéologique_, 1847, p. 219; V. Flandin, "Vézelay," in _Annuaire
statistique du département de l'Yonne_, 1841-45; A. Chérest, _Études
historiques sur Vézelay_ (Auxerre, 1868); Gally, _Vézelay monastique_
(Tonnerre, 1888); Camille Enlart, _Le musée de sculpture comparée du
Trocadéro_ (Paris, H. Laurens, 1913); A. Thierry, _Lettres sur
l'histoire de France_, chaps. 22-24; Joseph Bédier, _Les légendes
épiques_, vol. 1, "La légende de Girard de Roussillon" (Paris, H.
Champion, 1908), 4 vols.
[291] Maurice Barrès, _La colline inspirée_ (Paris, Émile-Paul, frères,
1913).
[292] Louis Gonse, _L'Art Gothique_ (Paris, Quantin, 1891).
[293] St. Père-sous-Vézelay, below the hill, occupies the site where
Girard de Roussillon's foundation was first established. The present
church is a typical Burgundian Gothic edifice, partly of the XII and
partly of the XIII century. Carved corbels catch the fall of certain
diagonals, and in place of a triforium is an interior passageway that
passes through the shafts. In the opening years of the XIV century was
added the narthex, a noble porch of two bays whose capitals have foliage
in little bunches set in two rows. The façade is decorated by big
statues like that of the Madeleine church, a mile away, and at the
corners of the tower, a landmark for the valley, are sculptured angels
blowing trumpets. The choir of St. Père-sous-Vézelay was wrecked during
the English wars, and was in large part rebuilt as late-Gothic. _Congrès
Archéologique_, 1907, p. 16; Abbé Pissier, "Notice historique sur
Saint-Père-sous-Vézelay," in _Bull. de la Soc. des Sciences de l'Yonne_,
1902, vol. 56, pp. 33, 275.
[294] In his _Via Crucis_, F. Marion Crawford has described the great
gathering at Vézelay.
[295] The Huguenot leader, Théodore de Béze, was born in the bourg of
Vézelay. His brother, a canon in the church of St. Lazare at Avallon,
espoused the opposite side with equal zest.
[296] _Congrès Archéologique_, 1907, p. 64, Pierre de Truchis; Abbé
Bouzerand, _Mémoirs sur l'église Notre Dame de Semur_, 1864; _ibid._,
_Histoire générale de Semur-en-Auxois_; Ledeuil, _Notice sur
Semur-en-Auxois_ (Semur-en-Auxois, 1886); Taylor et Nodier, _Voyage
pittoresque et romantique dans l'ancienne France. Bourgogne_ (Paris,
Didot, 1863), folio; Max Quantin, _Répertoire archéol. du département de
l'Yonne_ (Paris, 1908); Eugène Lefèvre-Pontalis, "Les caractères
distinctifs des écoles gothique de la Champagne et de la Bourgogne," in
_Congrès Archéologique_, 1907, p. 546.
[297] _Congrès Archéologique_, 1850, p. 22; and 1907, p. 167, Charles
Porée; p. 599, Camille Enlart, on the sculptured doors of Auxerre
Cathedral: Camille Enlart, _La cathédrale d'Auxerre_ (Collection,
Petites Monographies), (Paris, H. Laurens): A. Chérest, _La cathédrale
d'Auxerre_. _Conferences d'Auxerre_ (Auxerre, 1868); Émile Lambin, "La
cathédrale d'Auxerre," in _Revue de l'art chrétien_, 1897, vol. 47, p.
383; Charles Porée, "Le choeur de la cathédrale d'Auxerre," in
_Bulletin Monumental_, 1906, vol. 70, p. 251; Louise Pillion, "Sculpture
de la cathédrale d'Auxerre," in _Revue de l'art chrétien_, 1905, p. 278;
Viollet-le-Duc, _Dictionnaire de l'architecture_, vol. 4, p. 131, on
construction; vol. 9, p. 447, on vitrail; Victor Petit, "Description des
villes et campagnes du département de l'Yonne" (Auxerre, 1876). In the
_Annuaire de l'Yonne_, earlier studies on Auxerre are, 1841, p. 38, F.
de Lasteyrie; 1843, p. 128, V. Petit; 1846, p. 207, and 1847, p. 141,
Challe; 1872, p. 161, and 1873. p. 3, Daudin; André Philippe,
"L'architecture religieuse au XIe et au XIIe siècle dans l'ancien
diocèse d'Auxerre," in _Bulletin Monumental_, 1904, vol. 68, _passim_.
Other notices on Auxerre in the _Bulletin Monumental_ are, 1847, vol.
13, p. 153, and 1849, vol. 15, p. 145, Victor Petit; 1872, vol. 38, pp.
494, 744, Victor Petit; Abbé Lebeuf, _Histoire d'Auxerre_; E. Moulton,
_La guerre au XVIe siècle_ (Paris, H. Laurens).
[298] St. Germain's abbatial is less pure Gothic than the cathedral's
choir. Beneath its sanctuary are two superimposed crypts, the lower one
of the IX century, and that above it belonging to the XIII-century
reconstruction of the abbey church. Conflagrations wiped out several
early churches of the monastery. In the XII century rose the Romanesque
tower--one of the best in France; until 1820 it was attached to the
nave. A total reconstruction of the abbatial was necessary in 1277, but
after the upper crypt and the choir were undertaken there came a pause.
The abbot here (1309-39), who erected the crenelated inclosure walls of
the monastery, resumed the church as Rayonnant Gothic. Urban V, the
greatest of the Avignon patrons of art and letters, had been abbot of
St. Germain (1352), and his arms were cut on a keystone of the new nave,
to which he contributed, as did his successor, Gregory XI. Soon after
the church was completed it was pillaged during the religious wars.
Napoleon turned the establishment into a hospital, which it still is.
_Congrès Archéologique_, 1907, p. 182, C. Porée; p. 627, Jules Tillet;
Abbé V. B. Henry, _Histoire de l'abbaye de St. Germain d'Auxerre_
(Auxerre, Gallot, 1853); Victor Petit, "Les cryptes de St. Germain
d'Auxerre," in _Bulletin Monumental_, 1872, vol. 38, p. 494;
Viollet-le-Duc, _Dictionnaire de l'Architecture_, vol. 3, p. 377.
[299] At her trial in Rouen Jeanne spoke of Auxerre Cathedral: "_En
route, je traversai Auxerre, où j'entendis la messe dans la principale
église.... Alors, j'avais fréquemment mes voix._" Marius Sepet, _Au
temps de la Pucelle, récits et tableaux_ (Paris, P. Téqui, 1905).
[300] The abbey church at St. Eusèbe is of archæological interest. The
octagonal tower over its altar, forming internally a lantern, is of the
XII century, as are the piers and their arches. A pause came between the
making of the nave's lower and upper parts, for the church did not
follow the usual custom of advancing bay by bay, but was constructed
story by story. The west front is full Gothic, and the ambulatory of the
XIII century. The original choir was in large part replaced by the
present well-built Flamboyant Gothic one, finished by 1530. What used to
be the episcopal palace of Auxerre is to-day the Prefecture. It shows,
in its wall on the river side, the Romanesque gallery built by Bishop
Hugues de Châlons (1116-36). Its hall, with pignons alike at both ends,
was erected by Bishop Guillaume de Mello (1247-70). _Congrès
Archéologique_, 1907, p. 188; Corberon, _Auxerre, ses monuments_;
Lescuyer, "Notice sur l'église de St. Eusèbe," in _l'Annuaire de
l'Yonne_, 1839, p. 318; 1845, p. 103, "St. Eusèbe," Max Quantin.
[301] The west apse of Nevers' Cathedral, dedicated to St. Juliette,
mother of the child martyr, St. Cyr, formed, with its crypt and
transept, part of the XII-century Romanesque edifice. Late in the XIII
century was built a Gothic nave, which was reconstructed after a fire in
1308, and again its outer walls were reconstructed in the Flamboyant
Gothic day. The present choir dates from the XIV century. The fine tower
at the transept's southern façade was built 1506 to 1528. Nevers' former
ducal palace, of the XV century, stands on a park overlooking the Loire.
The Romanesque abbey church of St. Étienne, founded, tradition says, by
St. Columbanus, combines the schools of Auvergne and Burgundy, and is
important to archæologists because the date of its building, 1063 to
1097, is certain. The expense of constructing it caused the Count of
Nevers to forego the First Crusade. Bishop Ives of Chartres consecrated
the church in 1097. _Congrès Archéologique_, 1913, p. 300, Louis Serbat;
Gaston Congny, _Bourges et Nevers_; J. Locquin, _Nevers et Moulins_
(Collection, Villes d'art célèbres), (Paris, H. Laurens); Monseigneur
Crosnier, _Monographie de la cathédrale de Nevers_ (1854); Abbé Sery,
_Les deux apsides de la cathédrale de Nevers_ (1899); Morellet, Barat,
et Bussière, _Le Nivermois_ (1840), 2 vols.; Paul Meunier, _Nevers
historique et pittoresque_ (1901).
[302] "Because the pearly white surfaces of the grisaille would make the
adjacent colored surfaces appear heavy and opaque, they introduced, into
these latter, limpid blues and yellows, very light reds, whites with a
greenish or rosy tint. In the high windows of the cathedral of Auxerre
they first tried this method, and here the grisaille is chased with a
large and firm design that offsets the transparency of the colorless
surfaces. Notice how the pedestal and the canopy, both very light, bind
together the bands of grisaille on either side, while the latter is
heavily painted with a trellis and rich ornaments. In Auxerre, the
grisaille is found only in the lateral windows which are seen obliquely.
The apse windows, meant to be seen, in face and from a distance, are
filled with color. The lateral windows are sufficiently opaque to
prevent the solar rays which pass through them from lighting the colored
windows on the reverse side. At certain hours the luminous rays throw a
pearly light on the colored windows, imparting to them a transparency of
tone and a delicacy impossible to describe. The opalescent light from
the lateral windows makes a sort of veil of extreme transparency under
the lofty vaults, and is pierced by the brilliant tones of the apse
windows, producing the sparkle of jewels. Solid outlines then seem to
waver like objects seen through a sheet of limpid water. Distance
changes values and gains a depth in which the eye loses itself. Hourly
during the day these effects are modified, and always with new harmonies
of which one never wearies trying to understand."
--VIOLLET-LE-DUC, _Dictionnaire de l'architecture_, vol. 9, p. 447.
[303] John Mason Neale, translator of "The Rhythm of Bernard of Morlaix"
(e. 1140), in _Collected Hymns, Sequences, and Carols_ (London, Hodder &
Stoughton, 1914), p. 19.
[304] "Je donne la palme à Jacques Amyot sur tout nos écrivains
français."--MONTAIGNE.
"Quand il s'agit d'une jolie et gracieuse naïveté de langage, on dit
aussitôt pour le définir: C'est de la langue d'Amyot."--SAINTE-BEUVE.
[305] _Congrès Archéologique_, 1907, on Dijon, Charles Porée; p. 546,
"Les caractères distinctifs des écoles gothiques de la Champagne et de
la Bourgogne," E. Lefèvre-Pontalis; A. Kleinclausz, _Dijon et Beaune_
(Collection, Villes d'art célèbres), (Paris, H. Laurens); _ibid._,
"L'art funéraire de la Bourgogne," in _Gazette des Beaux-Arts_, 1901-02;
_ibid._, _Claus Sluter et la sculpture bourguignonne au XVe siècle_
(Paris, 1906); Abbé L. Chomton, _Histoire de l'église St. Bénigne de
Dijon_ (Dijon, 1900), folio; G.T. Rivoira, _Lombardic Architecture_,
vol. 2, chap. 1, on St. Bénigne (tr. London and New York, 1910);
Chanoine Thomas, _Épigraphie de Notre Dame de Dijon_ (1904); H. Chabeuf,
"Tête sculptée à Notre Dame de Dijon," in _Revue de l'art chrétien_,
1900, vol. 43, p. 472; _ibid._, _Dijon, monuments et souvenirs_ (Dijon,
Damudot, 1894); H. Havard, éd., _La France artistique et monumental_,
vol. 6, p. 26, Cunisset-Carnot; Alphonse Germain, _Les Néerlandais en
Bourgogne_, 1909; Raymond Koechlin, _La sculpture belge et les
influences françaises au XIIIe siècle_ (Paris, 1903); Louis Courajod,
_Leçons professées à l'École du Louvre_, 1887-96. Vol. 2, _Origines de
la Renaissance_ (Paris, Picard et fils, 1901), 3 vols. On the sculpture
at Dijon, see MM. Paul Vitry, Louis Gonse, Léon Palustre, André Michel;
A. Humbert, _Sculpture en Bourgogne_ (Paris, H. Laurens); Ernest Petit,
_Hist. des ducs de Bourgogne de la race capétienne_ (Dijon, 1905), 9
vols.; B. de Barante, _Hist. des ducs de Bourgogne de la maison de
Valois_ (Paris, 1825), 12 vols.; Petit-Dutaillis, _Charles VII, Louis
XI, et les premières années de Charles VIII_ (Paris, Hachette, 1902);
Abbé Chevalier, _Le vénérable Guillaume, abbé de St. Bénigne_ (Dijon,
1875).
[306] "La gloire de Bossuet est devenue l'une des religions de la
France; on la reconnaît, on la proclame, on s'honore soi-même en y
apportant chaque jour un nouveau tribut. Bossuet, c'est le génie hébreu,
étendu, fécondé par le Christianisme, et ouvert à toutes les
acquisitions de l'intelligence, mais retenant quelque chose de
l'interdiction souveraine. Il est la voix éloquente par excellence, la
plus simple, la plus forte, la plus brusque, la plus familière, la plus
soudainement tonnante."--SAINTE-BEUVE.
No city has been more prolific in notable sons than Dijon, where, as
Voltaire said, "_le mérite de l'esprit semble être un des caractères des
citoyens_." Among them are Rameau, the musician (1683-1764), who founded
French opera and discovered important laws in harmony; he and his
descendants were exempted from tithes by their native city; Dubois, the
sculptor (1626-94), whose Assumption and the high altar of Notre Dame,
Dijon, are his best works; the critic and philologist, La Monnaye (b.
1641); the playwright, Crébillon (d. 1762); Piron, the witty
epigrammatist (d. 1773); the learned Président de Brosse (1709-77),
whose _Lettres d'Italie_ are full of Burgundian vivacity and salt, and
whose friend, Buffon, the naturalist (1707-88), though born at Montbard,
was educated in Dijon, where his father was counselor in the parliament.
The grandmother of Madame de Sévigné, St. Jeanne Françoise de Chantal,
founder of the Visitation Order, was born at 17 rue Jeannin, 1572. Her
father was a president of Dijon's parliament. The sculptor Rude was a
son of Dijon (d. 1855), and in this same city that had produced St.
Bernard and Bossuet, the most eloquent preacher of the XIX century,
Lacordaire, spent his childhood and youth, as his mother came of an old
legal family here. Léon Deshairs, _Dijon, architecture des XVIIe et
XVIIIe siècles_ (Paris, 1910).
[307] Tournus abbey (Saône-et-Loire), when founded, was affiliated with
the Columban tradition. From 946 to 980 the church was rebuilt, and
again from 1008 to 1028, under the auspices of William of Volpiano,
abbot of St. Bénigne. On its outer walls are Lombard mural arcaded
bands. The massive forechurch, or narthex of three bays, has two stories
of different dates, the lower one about 950, and the upper about 980.
The vault of the latter--a cradle carried on brackets--is the earliest
example extant in France of a wide-span masonry roof at such a height.
Tournus exemplified the militant spirit of Burgundy's Romanesque school
by experimenting with every kind of vault, cradle, half cradle,
transverse cradle, and groin. The pier arcades of the main church are of
William of Volpiano's time. The transept and choir are early XII
century, and in that same period the reconstructed nave was covered by
an experiment in stone roofing which never made a school; it had been
used in Persia in the VI century. A series of half barrels borne on
lintels were placed side by side across the wide nave, from north to
south, instead of one long tunnel vault from east to west. The system
allowed for the better lighting of the upper church, and as each barrel
vault was buttressed by the one next it, only at the east and west ends
of the edifice was abutment required. _Congrès Archéologique_, 1899, pp.
223, 236; and 1909; Clement Heaton, in _Journal of the Royal Institute
of British Architects_, 3d series, 1909.
[308] Viollet-le-Duc, _Dictionnaire de l'Architecture_, vol. 4, pp.
131-147; Huysmans, _L'Oblat_, chap. 5, on Notre Dame of Dijon. In his
story, which is the continuation of _En Route_ and _La Cathédrale_,
Huysmans described the closing of the Burgundian monastery of Val des
Saints near Dijon. His theory is that by such acts the balance of good
and evil in the world is destroyed, since no longer is propitiatory
self-sacrifice and prayer offered to heaven for the sins being committed
on earth: "_Il faut s'attendre à ce que le Bon Dieu tombe sur nous ...
pour remettre les choses en place, et vous savez comment il procède,
dans ces cas là, il vous accable d'infirmités et d'épreuves._"
[309] A clockmaker named Jacquemart made such works, hence their name.
Originally only one figure struck the hours on the big bell. Then a
wife, Jacqueleine, was given to the bell-knocker, and after a local wit
had rallied the couple on their childless state, first one child,
Jacquelinet, was added, and then another, Jacquelinette, and the
industrious children now ring the quarter hours on the little bells.
[310] Works of St. Bernard, edited by Mabillon (Paris, 1669-90), tr. by
Eales and Hodges (London, 1889), 4 vols.; E. Vacandard, _Vie de Saint
Bernard_ (Paris, Lecoffre, 1895), 2 vols.; other studies of the saint,
by Eales (London, 1890) and R. P. Ratisbonne; De Dion, _Étude sur les
églises de l'ordre de Cîteaux_; Arbois de Jubainville, _Étude sur l'état
intérieur des abbayes cisterciennes et principalement de Clairvaux au
XII siècle_ (Paris, 1858); Lucien Bégule, _L'abbaye de Fontenay et
l'architecture cistercienne_ (Lyon, 1912); Camille Enlart,
_L'architecture gothique en Italie_ (Paris, 1893); _ibid._, _En Espagne
et en Portugal_ (Paris, 1894); _ibid._, "Villard de Honnecourt et lex
Cisterciens," in _Biblio. de l'École des chartes_, 1895; _Bulletin
Monumental_, 1904, André Philippe, on Cistercian churches; John Bilson,
_The Architecture of the Cistercians; Their Earliest Churches in
England_ (London, 1909); also in the _Journal of the Royal Institute of
British Architects_, 1909; Marcel Aubert, on Cistercian churches in
Germany.
[311] The castle of Fontaine-lès-Dijon was held by Bernard's lineage
till the XV century. To-day the site is covered by an unfinished
commemorative church. The village church is of the XVI century.
[312] As at Cîteaux, scarcely an ancient vestige remains at Clairvaux.
The XII-century monastic storehouse now serves as a house of detention.
All trace of St. Bernard's tomb has been lost. The Revolution finished
what the Huguenot wars and the absentee commendatory abbots began.
[313] M. Enlart calls Fossanuova, on the Appian Way between Rome and
Naples, the first Gothic church in Italy, begun in 1187 by Burgundian
Cistercians. Mr. Porter thinks that the infiltration had begun thirty
years earlier through various channels. In 1208 Innocent III dedicated
Fossanuova; in 1274 St. Thomas Aquinas died there, en route to the
Council at Lyons. The same plain Burgundian plan was followed at
Casamari (1217), and a daughter house of the latter was S. Galgano
(1218), from which went monks who are cited as the masters-of-works of
Siena Cathedral, the best Gothic edifice of the peninsula. Monks from
French Clairvaux built the three Chiaravalle churches of Italy, and
monks from Pontigny raised S. Martino near Viterbo. Later, Italy felt
the influence of different French schools; thus the Naples churches are
Gothic of Provence because southern French architects accompanied
Charles d'Anjou, count of Provence, when he became king of the Two
Sicilies. At Assisi the church of S. Francesco shows the Gothic traits
of Burgundy, Provence, and Champagne. The Cistercians introduced the
torus profile of diagonals, but they long clung to round-headed windows.
The Provence masters introduced pointed arched windows. In Spain,
Cîteaux found a rival in the monks of Cluny for the dissemination of the
new art. In the XII century a large number of Spanish bishoprics were
filled by Cluny monks. Sometimes they built according to their own
native architecture, as in Lugo Cathedral, San Vincente at Avila, and
churches in Seville, which are Burgundian Romanesque. Sigüenza Cathedral
is Burgundian both in its Romanesque and Gothic parts. Zamora Cathedral,
consecrated 1174, and the old cathedral of Salamanca, show traits of
Aquitaine; both sees were occupied by Bishop Jerome, who came from
Périgieux. The Cistercians of Spain did not confine themselves, as in
Italy, to typically Burgundian Gothic churches. Poblet and Santa-Creus
(1157) derive from the early Gothic of Midi France, as well as from
Burgundy. Las Huelgas, the Cistercian house for nuns near Burgos,
finished about 1180, shows slight Burgundian and much Plantagenet Gothic
influence. The foundress was the daughter of Henry II and Aliénor of
Aquitaine. In Spain, as in Italy, the later Gothic monuments conformed
to the standards of northern French Gothic. Portugal was more
exclusively a Cistercian field of art. In 1148, Alcobaça monastery was
founded by the son of a Burgundian prince, progenitor of Portugal's
royal line. While it shows Angevin Gothic traits, its plan is the sober
Cistercian Burgundian type. In the military Orders of Spain and Portugal
the Cistercian Rule was used. The king of Sweden, in 1143, obtained
Cistercian missionaries from Clairvaux; in Denmark the abbey church of
Sorö is Burgundian Gothic. Camille Enlart, _Les origines de
l'architecture gothique en Espagne et en Portugal_ (Paris, 1894);
_ibid._, _L'architecture gothique en Italie_ (Paris, 1893); _ibid._,
_Notes archéologiques sur les abbayes cisterciennes de Scandinavie_
(Paris, 1894); _ibid._, "Villard de Honnecourt et les Cisterciens," in
_Biblio. de l'École des chartes_, 1895; _ibid._, _L'art gothique ... en
Chypre_ (Paris, 1899), 2 vols.
[314] _Congrès Archéologique_, 1908; V. Ruprich-Robert, _L'architecture
normande aux XIe et XIIe siècles_ (Paris, 1897), 2 vols.; A. de
Caumont et Ch. de Beaurepaire, _Mémoires historiques sur la Normandie:
antiquités, monuments, histoire_ (1827-36); _La Normandie monumentale et
pittoresque. Seine-Inférieure, Calvados, Eure, Orne, Manche_ (Le Havre,
Lemale et Cie), 8 vols, folio; Léon le Cordier, "L'architecture de la
Normandie au XIIIe siècle," in _Bulletin Monumental_, 1863, vol. 29,
p. 513; Chanoine Porée, _L'art normand_ (Paris, 1914); Taylor et Nodier,
_Voyages pittoresques ... dans l'ancienne France. Normandie_ (Paris,
Didron, 1825), 2 vols., folio; Henri Prentout, _La Normandie_
(Collection, Les provinces françaises), (Paris, H. Laurens, 1910);
Lechandé d'Anisy, _Les anciennes abbayes de Normandie_ (1834), 2 vols,
and atlas; Ordericus Vitalis, _The Ecclesiastical History of England and
Normandy_ (London, Bohn Library, 1856), 4 vols.; Albert Sorel, _Pages
normandes_ (Paris, Plon, 1907).
On Normandy's history, see Stubbs, Freeman, Palgrave, H. W. C. Davis, G.
B. Adams, Sir J. H. Ramsay, Miss Kate Norgate, Mrs. J. R, Green, etc. A.
Thierry in his _Conquête de l'Angleterre_ gives details of the
oppression of the Anglo-Saxons by their Norman conquerors.
[315] Rodin, _Les cathédrales de France_, (Paris, A. Colin, 1914).
[316] Chanoine Porée, _Histoire de l'abbaye du Bec_ (Évreux, impri. de
Hérissey, 1901); _La Normandie monumentale et pittoresque Eure_, vol. 2,
p. 221, "Bec," Chanoine Porée (Le Havre, Lemale et Cie, 1895); Ragey,
_Histoire de Saint Anselm_ (Paris, 1889); Martin Rule, _Life and Times
of St. Anselm_ (London, 1883).
Other studies of St. Anselm by Rémusat (Paris, 1853); R. W. Church
(London, 1870); J. M. Rigg (London, 1896), and in _Lives of the
Archbishops of Canterbury_ (London, 1860-75); _Histoire littéraire de la
France_, vol. 8, p. 260, "Lanfranc" (Paris, 1749); vol. 9, p. 398, "St.
Anselm"; p. 369, "Gondulfe, évêque de Rochester" (Paris, 1750).
[317] V. Ruprich-Robert, _L'architecture normande aux XIe et XIIIe
siècles_ (Paris, 1885-87); G. T. Rivoira, _Lombardic Architecture_, vol.
2, on Normandy (London and New York, 1910), translated from _Le origini
dell 'architettura lombarda_ (Milano, 1908); Canoine Porée, _L'art
normand_ (Paris, 1914); Camille Enlart, _Manuel d'archéologie française_
(Paris, Picard et fils, 1904), 2 vols.; R. de Lasteyrie, _L'architecture
religieuse en France à l'époque romane_ (Paris, 1912); John Bilson, "The
Beginnings of Gothic Architecture," in the _Journal of the Royal
Institute of British Architects_, Third series, 1898-99, vol. 6, pp.
289, 322, 345; 1901-02, vol. 9, p. 350; René Fage, "La décoration
géométrique dans l'école romane de Normandie," in _Congrès Archéol._,
1908, vol. 2, p. 614; Louis Engerand, "La sculpture romane en
Normandie," in _Bulletin Monumental_, 1904, vol. 68, p. 405; Arthur
Kingsley Porter, _Medieval Architecture_, vol. 1, pp. 285 to 332, gives
the chief Norman Romanesque monuments (New York and London, 1907);
_ibid._, _Lombard Architecture_ (New Haven, Yale University Press,
1917), 3 vols. and atlas.
[318] Henry Adams, _Mont Saint-Michel and Chartres_ (Boston, Houghton
Mifflin Company, 1913).
[319] Normandy's _Millénaire_ of 1911 was celebrated fitly. Among the
books it called forth are: Gabriel Monod, _Le rôle de la Normandie dans
l'histoire de France_ (Paris, 1911); H. Prentout, _Essai sur les
origines et la fondation du duché de Normandy_ (Paris, 1911); A. Albert,
_Petit histoire de Normandie_ (Paris, 1912). In 1915 appeared Charles
Homer Haskins, _The Normans in European History_ (Boston, Houghton
Mifflin).
[320] E. Lefèvre-Pontalis, "Les influences normandes au XIe et au
XIIe siècle dans le nord de la France," in _Bulletin Monumental_,
1906. vol. 70; Camille Enlart, _L'influence extérieure de l'art normand
au moyen âge_; F. Chalandon, _Histoire de la domination normande en
Italie et en Sicile_ (Paris, 1907); Ch. Diehl, _Palerme et Syracuse_
(Collection, Villes d'art célèbres), (Paris, H. Laurens, 1907); Émile
Bertaud, _L'art dans l'Italie méridionale_.
[321] Roger Martin du Gard, _L'abbaye de Jumièges, étude archéol. des
ruines_ (Montdidier, 1909); _ibid._, "Jumièges," in _Bulletin
Monumental_, 1909, vol. 73, p. 34; John Bilson, on "Jumièges," in _Revue
de l'art chrétien_, 1901, p. 454; F. Lot, _Études critiques sur l'abbaye
de Saint-Wandrille_ (Paris 1913); _La Normandie monumentale et
pittoresque. Seine-Inférieure_, p. 219, "Jumièges," Alfred Darcel; p.
353, "St. Wandrille," Abbé Sauvage (Le Havre, Lemale et Cie); Abbé
Julien Loth, _Histoire de l'abbaye royale de St. Pierre de Jumièges_
(Rouen, 1882-85), 3 vols.; David, _Les grandes abbayes de l'Occident_
(Lille, 1907); Lefèvre-Pontalis, _Les influences normandes au XIe et
au XIIe siècle dans le nord de la France_ (1906), also in _Bulletin
Monumental_, 1906, vol. 70.
[322] _Congrès Archéologique_, 1883 and 1908; H. Prentout, _Caen et
Bayeux_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1909);
V. Ruprich-Robert, _L'église Ste. Trinité et l'église St. Étienne de
Caen_ (Caen, 1864); E. de Beaurepaire, _Caen illustré, son histoire, ses
monuments_ (Caen, 1896), folio; Bouet, _Analyse architecturale de
l'abbaye de St. Étienne de Caen_ (1868); _La Normandie monumentale et
pittoresque. Calvados_, pp. 1, 49; Arcisse de Caumont, _Statistique
monumentale du Calvados_ (Caen, F. Le Blanc-Hardal, 1898), 6 vols.;
Camille Enlart, _Manuel d'archéologie française_ (Paris, Picard, 1902),
2 vols.; John Bilson, "The Beginnings of Gothic Architecture," in
_Journal of the Royal Institute of British Architects_, Third series,
1898-99, vol. 6, pp. 289, 322, 345, and p. 259, his answer to M. de
Lasteyrie. Reprinted in part in _Revue de l'art chrétien_, 1901, vol.
44, pp. 369, 462.
In the excellent public library of Caen are to be found the _Congrès
Archéologique_, the _Bulletin Monumental_, and other archæological
publications. Also the _Catalogue des ouvrages normande de la
Bibliothèque municipale de Caen_ (Caen, 1910-12).
[323] Georges Lafenestre, _Gloires et deuils de France_ (Paris,
Hachette, 1918).
[324] An old chronicle related how the young widow of the lord of La
Roche-Guyon "_mieux aimer s'en aller denuée de tous bien, avec ses trois
enfants, que de rendre hommage au roi d'outre mer et de se mettre ès
mains des anciens ennemies du royaume_." Anthyme Saint-Paul,
_L'architecture française et la Guerre de Cent Ans_ (Paris, 1910);
Siméon Luce, _La France pendant la Guerre de Cent Ans_ (Paris, Hachette,
1893); H. Dénifle, _La désolation des églises, monastères, et hôpitaux
en France pendant la Guerre de Cent Ans_ (Paris, Picard, 1899); H.
Martin, _La guerre au XVe siècle_ (Paris, H. Laurens); G.
Lefèvre-Pontalis, "Épisodes de l'invasion anglaise. La guerre de
partisans dans la Haute-Normandie" (1424-29), in _Bibliothèque de
l'École des chartes_, 1893 to 1895, vols. 54, 55, 56.
[325] A. de Caumont, "Les tours d'églises dans le Calvados," in
_Bulletin Monumental_, 1847, vol. 23, p. 362; E. Lefèvre-Pontalis, "Les
clochers du Calvados," in _Congrès Archéologique_, 1908, vol. 2, p. 652;
G. Bouet, "Clochers du diocèse de Bayeux," in _Bulletin Monumental_,
1872, vol. 38, p. 517; Abbé Édeline, _Norrey et son histoire; La
Normandie monumentale et pittoresque_. _Calvados_, p. 231, "Norrey," G.
Lavalley; p. 349, "Secqueville"; _Congrès Archéologique_, 1908, p. 193,
"Bernières"; p. 338, "Norrey"; p. 349, "Secqueville."
[326] In the abbatial of St. Pierre-sur-Dives there is XII-century work
in the ambulatory walls, in the piers and side walls of the nave, and in
the lower parts of the façade towers. To the XIII century belong most of
the choir's piers and the apsidal chapels, also the beautiful chapter
house. The transept then was put into harmony with the nave, and its
tower built, which latter now is braced by clumsy obstructions within
the church. In the XIV century rose the west façade, and the north tower
was rebuilt. The XV century rehandled the high vaulting and clearstory,
where appear die-away moldings and flamelike tracery. The abbey was
founded by Richard II (d. 1020) and his beautiful duchess, Judith of
Brittany. Its Romanesque abbatial was dedicated in 1067 by Archbishop
Maurille in the presence of the Conqueror and Matilda. In 1107 the
abbatial was burned by Henry I of England, who accused the abbot of
siding with his elder brother, with whom he was at war, but in atonement
the king contributed toward the reconstruction of the church; _Congrès
Archéologique_, 1861, 1862, and 1908, p. 278; J. Pépin,
_Saint-Pierre-sur-Dives_ (Caen, 1879); Abbé Denis, _Église de
Saint-Pierre-sur-Dives en 1145_ (Caen, 1869); _Bibliothèque de l'École
des chartes_, vol. 21, p. 120, gives Abbot Haimon's letter, which also
was published in Rouen, 1851, by L. de Glanville.
[327] _Congrès Archéologique_, 1908; A. Besnard, _Monographie de
l'église et de l'abbaye Saint Georges de Boscherville_ (Paris,
Lechevailier, 1899); J. A. Deville, _Essai historique et descriptive sur
l'église et l'abbaye de St. Georges de Boscherville_ (Rouen, 1827); _La
Normandie monumentale et pittoresque. Seine-Inférieure_, p. 235, Abbé A.
Tougard.
[328] _Congrès Archéologique_, 1908; Doctor Coutan, _La Trinité de
Fécamp_ (Caen, 1907). He also describes the Trinité in _La Normandie
monumentale et pittoresque_. _Seine-Inférieure_, p. 465; the churches at
Dieppe, p. 279; the church of Harfleur, p. 393; Le Havre, p. 381;
Carville, p. 177, and Notre Dame at Caudebec-en-Caux, of which Abbé
Sauvage has published a separate monograph (1876); A. Leport,
_Description de l'église de la Trinité de Fécamp_ (Fécamp, 1879); Leroux
de Lincy, _Essai historique sur l'abbaye de Fécamp_; _Histoire
littéraire de la France_, vol. 7, p. 318, "Le bienheureux Guillaume,
abbé de St. Bénigne de Dijon" (Paris, 1746); vol. 10, p. 265, "Herbert
Lozinga, évêque de Norwich" (Paris, 1756).
[329] The abbatial of Bernay (Eure), to-day a corn exchange on the
market place, shows in its transept the earliest instance of an arcaded
wall passage, the feature that, when placed at the clearstory level,
became one of the most frequent characteristics of Anglo-Norman
architecture, both Romanesque and Gothic. Bernay was founded between
1013 and 1019 by Richard II and Judith of Brittany, the same who invited
to their duchy the Lombard, William of Volpiano. William is known to
have worked on the Bernay abbatial, which shows resemblances to
Burgundian churches at Auxerre and Nevers, and he may have brought to
Normandy the Lombard trait of absidal chapels projecting from the
eastern wall of the transept. Bernay, however, did not use the Lombard
alternance of ground supports. Mr. Bilson thinks that the tall attached
stripes were intended for a vaulted, not for a timber roof. The nave's
side walls and piers are of Abbot William's time; two bays of the choir
belong to later years of the XI century. William the Conqueror is said
to have finished the church. It was grievously sacked during the
religious wars. The church of Ste. Croix in Bernay, begun, 1373,
enlarged 1497, contains tombs from Bec, of former abbots there. _Congrès
Archéologique_, 1908, vol. 2, p. 588, Chanoine Porée; _Bulletin
Monumental_, 1911, vol. 75, p. 396, Chanoine Porée, and p. 403, John
Bilson; G.T. Rivoira, _Lombardic Architecture_, translated by G. Mc. N.
Rushford (London and New York, 1910); Chanoine Porée, _Bernay_ (Caen, H.
Delesques, 1912).
[330] _Congrès Archéologique_, 1895; Abbé A. Legris, _L'église d'Eu_
(1913); Desiré Le Beuf, _La ville d'Eu_ (1884); Doctor Coutan, in _La
Normandie monumentale et pittoresque_. _Seine-Inférieure_, vol. 1, p.
333; Viollet-le-Duc, _Dictionnaire de l'architecture_, vol. 1, p. 198;
vol. 2, p. 364; vol. 5, p. 359; Gonse, _L'art gothique_, p. 210 (Paris,
Quantin, 1891).
[331] Paul Gout, _Le Mont-Saint-Michel_ (Paris, Colin, 1910), 2 vols.;
Ch. H. Besnard, _Mont-Saint-Michel_ (Collection, Petites Monographies),
(Paris, H. Laurens, 1911); Ch. de Beaurepaire, _Curieuses recherches sur
le Mont-Saint-Michel_ (Rouen, 1873); Ed. Corroyer, _Description de
l'abbaye du Mont-Saint-Michel et de ses abords_ (Paris, 1877);
Dubouchet, _L'abbaye de Mont-Saint-Michel_ (Paris, 1895); Sir Theodore
Andreas Cook, _Twenty-five Great Houses of France_ (London and New York,
1916), chap. 1; Henry Adams, _Chartres and Mont-Saint-Michel_ (Boston,
Houghton Mifflin Company, 1913); Léopold Delisle, éd., _Cronique de
Robert de Torigni_ (Paris, Soc. de l'histoire de Normandie, 1872-75), 2
vols. On Robert de Torigny see _Histoire littéraire de la France_, vol.
14, p. 362 (Paris, 1817); Siméon Luce, éd., _Cronique de
Mont-Saint-Michel: la défence nationale_ (1879-86); O. de Poli, _Les
défenseurs du Mont-Saint-Michel, 1417-50_, (Paris, 1895); Huynes,
_Histoire générale de Mont-Saint-Michel_ (Rouen, 1872); Brin, _St.
Michel et le Mont-Saint-Michel dans l'histoire et la littérature_
(Paris, 1880).
[332] From the _Chanson de Roland_, édition Léon Gautier (Tours, Mâme et
fils, 1895).
"Li quens Rollanz se jut desuz un pin;
Envers Espaigne en ad turnet sun vis.
De plusurs choses à remembrer li prist;
De toutes teres que li bers ad cunquis,
De dulce France, des humes de sun lign,
De Carlemagne, sun seignur, ki l'nurrit,
Ne poet muer n'en plurt e ne suspirt.
Mais lui meïsme ne voelt metre en ubli;
Cleimet sa culpe, si priet Deu mercit:
'Viere paterne, ki unkes ne mentis,
Seit Lazarin de mort resurrexis
E Daniel des leuns quaresis,
Guaris de mei l'aume de tuz perilz
Pur les pecchiez que en ma vie fis!'
Sun destre gant à Deu en puroffrit,
E de sa main seinz Gabriel l'ad pris.
Desur sun braz teneit le chef enclin:
Juintes ses mains est alez à sa fin.
Deus li tramist sun angle chérubin,
Seinz Raphael, seinz Michiel de l'Péril,
Ensemble od els seinz Gabriels i vint,
L'aume de l'Cunte portent en pareïs."
("Roland the brave lay prone beneath a pine,
Toward Spain his face was turned as conqueror,
Of many things came back the memory sharp,
The host of places he had won in war,
Thoughts of sweet France and of his parentage,
Of Charlemagne, his lord, who nurtured him;
And tears and sighs rose as the memories surged.
Nor did he wish his own self to forget.
Demanding grace of God, he told his sins:
'Our Father true, who never yet has lied,
Who from the grave raised Blessed Lazarus,
Who Daniel saved from lions, save my soul.
Pardon the sins that I have stained it with!'
Toward God he held his right-hand gauntlet up,
Archangel Gabriel took it from his hand.
Then on his arm his head sank slowly down,
Hands clasped in prayer his spirit passed beyond.
God to him sent his angel cherubim,
Archguardian Michael, him called of the Peril,
St. Raphael and St. Gabriel with him came
And bore the Count's soul straight to Paradise.")
[333] Léon Gautier, _Les épopées françaises_ (Paris, V. Palme, 1878-94),
4 vols.; Joseph Bédier, _Les légends épiques, recherches sur la
formation des chansons de geste_, vol. 3, "La légende de Roland" (Paris,
H. Champion, 1908-13), 4 vols.
[334] "Il y a des provinces qui ont le doit de se dire françaises par
excellence.... La Normandie et la Picardie sont de celles-là.... Elles
ont apportés, dans le cours des siècles, à la vieille Ile-de-France,
leur aînée, le concours loyal de leur bras, de leur courage, de leur
génie."--GABRIEL HANOTAUX, "La Normandie dans l'unité française," in
_Société normande de géographie_, 1900, vol 22.
[335] The court at Rouen asked Jeanne at the fourth interrogation,
February 27, 1431: "Whose was the first voice you heard when you were
about thirteen?" Jeanne replied: "It was St. Michael's. I saw him before
my eyes; he was not alone, but was encircled by angels of heaven. I saw
him with my bodily eyes as clearly as I see you. When they left me, I
wept; right gladly would I have gone with them, that is--my soul." At
the seventh interrogation, March 15, 1431, when asked how she knew it
was St. Michael, Jeanne replied: "_Par le parler et le langage des
anges_.... He told me I was a good child and that God would aid me, and
to come to the aid of the king of France. He related to me the _grand
pitié qui était au royaume de France_."--E. O'REILLY, _Les deux procès
de condamnation et la sentence de réhabilitation, de Jeanne d'Arc_
(Paris, Plon, 1808), 2 vols.
[336] _Le procès Jeanne d'Arc_, eighth interrogation, March 17, 1431.
When asked by her judges if God hated the English, Jeanne replied: "Of
the love or the hate which God has for the English, or of what He will
do with their souls, I know nothing. But this I know: that they one and
all will be driven out of France, except those who here die, and that
God will send victory to the French against the English."
[337] Marion Couthouy Smith, "Sainte Jeanne of France," in _The Nation_
(London, 1915.)
[338] _Congrès Archéologique_, 1859 and 1868; Abbé Loisel et Jean
Lafond. _La cathédrale de Rouen_ (Collection, Petites Monographies),
(Paris, H. Laurens, 1913): Loisel et Alline, _La cathédrale de Rouen
avant l'incendie de 1200_ (Rouen, Lecerf fils, 1904); Louise Pillion,
_Les portails lateraux de la cathédrale de Rouen_ (Paris, Picard et
fils, 1907); A. Deville, _Tombeaux de la cathédrale de Rouen_ (Paris,
Levy, 1881), folio; Camille Enlart, _Rouen_ (Collection, Villes d'art
célèbres), (Paris, H. Laurens, 1904); Émile Lambin, "La cathédrale de
Rouen," in _Revue de l'art chrétien_, 1900; Abbé Julien Loth, _La
cathédrale de Rouen_ (1879).
Other descriptions of Rouen's monuments can be found in the general
works of Henri Havard, André Michel, Louis Gonse, Émile Mâle, Paul
Vitry.
Cheruel, _Histoire de Rouen sous la domination anglaise au XVe
siècle_ (Rouen, 1840); A. Fallue, _Histoire de l'église métropolitaine
et du diocèse de Rouen_ (Rouen, 1850), 4 vols.; Ch. de Beaurepaire,
_Notes historiques et archéol. concernaut le département de la
Seine-Inférieure_ (Rouen, Cagniard, 1883); _ibid._, _Dernières mélanges
historiques et archéol. Seine-Inférieure_ (Rouen, 1909); Cook, _The
Story of Rouen_ (London, 1899); Perkins, _The Churches of Rouen_
(London, 1900).
[339] St. Ouen derived its name from the bishop who succeeded St.
Romanus and governed Rouen for forty years in the VII century, aiding
the founders of Jumièges, Fécamp, and St. Wandrille. He had been blessed
as a child in his father's castle near Braine by a passing guest, the
Irish missionary, St. Columbanus, and he loved to trace thence his
vocation. So rich grew the abbey of St. Ouen that it ruled half the city
as temporal lord. In the XV century the English expelled Abbot Jean
Richard, a builder of the present nave, to substitute a prelate docile
to themselves who sat as judge at Jeanne's trial. But the pope restored
Jean Richard in 1434, and he lived to entertain Charles VII in his
monastery when that king came as victor to Rouen in 1449. Vacandard,
_Vie de St. Ouen_ (Paris, 1902).
[340] To a Romanesque abbatial of St. Ouen, burned in 1136, belonged the
two-storied chapel called the Chambre-aux-Clercs, now set against the
northern limb of the transept. In 1318 Abbot Jean Roussel, called Marc
d'Argent, began the present abbatial, making its choir and transept in
twenty years, as well as one bay of the nave. After a pause, two more
bays were finished by 1390. Another cessation of work came during the
Hundred Years' War. Alexander Berneval set up the transept's south rose
(1439), made the pretty southern portal (1441) called after the
marmosets decorating it; his son put up the north rose. Both architects
repose in the same tomb in the church. Many hold the central lantern (c.
1490) to be a prime success of Flamboyant art. Flame tracery appeared in
the XV-century windows, but the Rayonnant first plan was adhered to for
the chief lines, so that the church, whose building extended over two
centuries, is homogeneous. The abbatial was finished under Abbot Bohier
(1491-1515). The Huguenots stripped it of its tombs, and lighted
bonfires in the church. In the XIX century was added the mediocre west
façade.
_La Normandie monumentale et pittoresque_. _Seine-Inférieure_, p. 105,
"St. Ouen"; p. 129, "St. Maclou"; H. Havard, éd., _La France artistique
et monumentale_, vol. 2, p. 79, "St. Ouen," L. de Foucaud; p. 85, "St.
Maclou"; Dom. Pommeraye, _Histoire de l'abbaye royale de St. Ouen_
(Rouen, 1662), folio; Jules Quicherat, "Documents inédits sur la
construction de St. Ouen de Rouen," in _Biblio. de l'École des chartes_,
1852, vol. 3, p. 454; H. de la Bunodière, _Notice sur l'église St. Ouen
de Rouen_ (Paris, 1895); Camille Enlart, "L'architecture gothique au XIV
siècle," in _Histoire de l'Art_ (éd., André Michel), vol. 2, partie 2
(Paris, Colin, 1914).
[341] Henry II, the first Plantagenet, made for his own residence the
chapel of St. Julien in a faubourg of Rouen, Petit-Quevilly.
Simultaneously Romanesque and Gothic, the small edifice is one of the
most elegant specimens of Normandy's XII-century architecture. Only the
choir bay has retained the polychrome decoration which once covered the
interior. St. Julien's sexpartite vault has been replaced by a wooden
roof.
Doctor Contan, _Monographie de St. Julien, Petit-Quevilly_, and his
account, p. 239, in _La Normandie monumentale et pittoresque_.
_Seine-Inférieure_; Duchemin, _Le Petit-Querilly et le prieuré de Saint
Julien_.
[342] The church of St. Sauveur in Petit-Andely, begun in 1215, finished
in 1245, contains excellent XIII-century glass. Of the same date are the
façade, nave, and square-ended choir of Notre Dame at Grand-Andely. Its
central tower is of the XV century; the transept is a gem of Flamboyant
Gothic. The most brilliant of its windows date from 1540 to 1616. Above
the smaller Andely stands Château Gaillard, the "Saucy Castle," which
Richard the Lion-hearted built in a year. Its capture in 1204 by
Philippe-Auguste ended the English resistance in Normandy at that
period. Five miles away are the remains of the magnificent château of
Gaillon, where every master of the Renaissance in France was employed.
Begun in 1454 by Cardinal d'Estouteville, it was carried forward by
Cardinal George I d'Amboise and Cardinal de Bourbon. Its bas-relief of
St. George and the dragon is one of the three authenticated works of
Michel Colombe. A façade of Gaillon is now in the courtyard of the
Beaux-Arts at Paris. Abbé Porée, _Guide historique et descriptive aux
Andelys_; _Congrès Archéologique_, 1853; _La Normandie monumentale et
pittoresque_. _Eure 1_, pp. 147, 163 (Le Havre, 1895); E. A. Didron,
"Les vitraux du Grand-Andely," in _Annales Archéol._, vol. 22.
[343] Opposite the tomb of the d'Amboise cardinals (1513-25),
predominantly Gothic in character, is the purely Renaissance monument of
Louis de Brézé (1536-44), seneschal of Normandy, son of the daughter of
Charles VII and Agnes Sorel. The kneeling figure on the tomb is the
notorious Diane de Poitiers, his widow. The critics say that if the De
Brézé mausoleum is not the work of Jean Goujon, Diane's favorite
sculptor, then there must have been living here an unknown XVI-century
master of the first order. Jean Goujon was in Rouen, making the wooden
doors of St. Maclou, at that time.
Paul Vitry, _Jean Goujon_ (Collection, Les Grandes Artistes), (Paris, H.
Laurens, 1908); Louis Gonse, _La sculpture française depuis le XIVe
siècle_ (Paris, 1895); Léon Palustre, _La Renaissance en France_, vol. 1
(Paris, Quantin, 1888), 3 vols.
[344] Camille Enlart, on the origin of Flamboyant Gothic, in the
_Archæological Journal_, 1886, and in _Histoire de l'Art_ (éd. A.
Michel), vol. 3, 1^{ère} partie (Paris, Colin, 1914); _Bulletin
Monumental_, 1906, vol. 70, pp. 38, 483, 511, the controversy between M.
Saint-Paul and M. Enlart, on the origin of Flamboyant Gothic; Anthyme
Saint-Paul, _L'architecture française et la Guerre de Cent Ans_ (1910);
_ibid._, _Les origines du gothique flamboyant en France_ (Caen, 1907).
[345] Charles d'Orléans, _Poésies_, éd. Ch. d'Héricault (Paris), 2 vols.
[346] St. Maclou, says Mr. F. M. Simpson, expresses the _joie de vivre_,
even as the stiff angular lines of a contemporary style--the English
Perpendicular--show the gloom that prevailed in England after the War of
the Roses. Cardinal Guillaume d'Estouteville contributed toward St.
Maclou, which was dedicated only in 1521, by Cardinal Georges II
d'Amboise. Jean Goujon probably made the richly chiseled doors. St.
Maclou has XV-century windows; its rose windows are of the XVI century.
There is Le Prince glass in the late-Gothic church of St. Vincent, and
other XVI-century windows in St. Patrice. Abbé Ouin-Lacroix. _Histoire
de l'église et de la paroisse de St. Maclou de Rouen_ (1846); Edmond
Renaud, _L'église St. Vincent de Rouen_ (1885); Arthur Kingsley Porter,
_Medieval Architecture_, vol. 2, pp. 389 to 416, "Flamboyant Gothic
Monuments."
[347] Notre Dame at Caudebec-en-Caud, called by Henry IV "the most
beautiful chapel of my kingdom of France," has its "tiara" united to its
shaft by flying buttresses. Other Flamboyant Gothic monuments in
Normandy are Louviers' lacelike portal (1493); churches at Dieppe; the
transept of Évreux Cathedral; St. Jacques at Lisieux; St. Pierre at
Coutances; Les Andelys, Elbeuf, Gisors, and the joyous festival of stone
of Notre Dame at Alençon, where the shady north side of the nave is
adorned with Old Testament scenes, and the sun-lit southern wall opened
by spacious Flamboyant traceries that frame the New Testament; its Jesse
tree is unusual. Notre Dame at St. Lô (which has a Becket window) shows
Perpendicular traits. Its west portals are strangely dissimilar, as are
its monumental towers. Near Fécamp, the Estouteville family founded
Valmont abbatial (1116) now unroofed save its Lady chapel, in which are
splendid tombs, a reredos of the Annunciation that is a gem of
XVI-century realism, and a window that inspired Eugène Delacroix's
palette.
[348] Sir Theodore Andreas Cook, _Twenty-five Great Houses of France_,
chap. 12 (New York and London, 1916).
[349] Flaubert, born in Rouen, 1821, died near the city, at Croisset, in
his ancient house that formerly belonged to the monks of St. Ouen. The
increased river activities during the World War have encroached on his
property. His pupil, Guy de Maupassant, born near Dieppe, was associated
with his mother's city, Rouen, where stands his statue (1853-93). The
house of the great Corneille (1636-1709) is near Rouen's Old Market.
Other sons of Rouen were La Salle, the explorer (d. 1687), and the
painter Géricault (1791-1824). Nicholas Poussin (1594-1665) was born at
Les Andelys; Jean-François Millet, near Cherbourg (1814-74); Auber, the
composer (1782-1871), at Caen, as was the poet Malherbes (1555-1628).
Mézerai, whose history is considered the best account of the XVI-century
religious struggle in France, and his brother, Jean Eudes, founder of
the Eudists, were born near Caen. The great seamen, Tourville
(1642-1701) and Du Quesne (1610-88), were Normans; so were Laplace, the
mathematician (1749-1827), Alexis de Tocqueville (1805-59), Bernardin de
Saint-Pierre (1736-1814), Octave Feuillet (1821-90), Léon Gautier
(1832-97), Barbey d'Aurevilly (1808-89), and savants such as Simeon Luce
(d. 1892), Gabriel Monod (d. 1912), Albert Sorel, Paul Allard, Leopold
Delisle (d. 1910). The latter was led to decipher ancient manuscripts by
C. de Gerville, who, with that other Norman, Arcisse de Caumont, was a
pioneer in mediæval archeology.
[350] Jules Quicherat, the archæologist, was the first to place before
the public the records of Jeanne d'Arc's two trials. He printed
(1841-49) five volumes in Latin for the _Société de l'histoire de
France_. Accounts of Jeanne have been written by Wallon (Paris, 1877);
Marius Sepet (Tours, 1885); Ayroles, S. J. (Paris, 1902), who dwells
much on the nefarious part played by Paris University in her
condemnation: Siméon Luce; G. Hanotaux (Paris, 1911); Petit de
Julleville (Les Saints Collection, Paris, Lecoffre, 1907); Andrew Lang
(London, 1908): Mrs. Oliphant (Leaders of the Nation Series, New York);
D. Lynch, S. J. (New York, 1919); Sarrazin, _Jeanne d'Arc et la
Normandie au XVe siècle_ (Rouen, 1896); F. Poulaine, _Jeanne d'Arc à
Rouen_ (Paris, 1899); Ch. Lemire, _Jeanne d'Arc en Picardie et en
Normandie_ (Paris, 1903); Le P. Denifle et Chatelain, _Le procès Jeanne
d'Arc et l'université de Paris_ (Paris); U. Chevalier, _L'abjuration de
Jeanne d'Arc_; C. de Maleissye, "La prétendue abjuration de St. Ouen,"
in _Revue des Deux Mondes_, February, 1911, p. 610. The study of Anatole
France on Jeanne d'Arc is written from the rationalist standpoint that
considers hers a case of hysteria fitted for medical science. No book on
Jeanne equals the contemporary records. The report of her two trials in
Rouen, and the testimony gathered from end to end of France to vindicate
her memory in 1456, have been marshaled and clarified in a skilled legal
manner by a magistrate of Rouen: E. O'Reilly, _Les deux procès de
condamnation ... et la sentence de réhabilitation de Jeanne d'Arc_
(Paris, Pion, 1868), 2 vols. This masterly work should be translated
into English. It is an example of the right way to write history. For
Charles VII see Thomas Basin and Vallet de Viriville.
[351] Boisguillaume, second clerk of the Rouen court in 1431, Manchon's
assistant, testified before the three inquests for Jeanne's
rehabilitation. He drew attention to the fact that all who had been
culpable of the Maid's death had come to a swift or shameful end.
Estivet was found dead in a gutter at the gates of Rouen; Loyseleur, the
false confessor, was struck down suddenly; Cauchon expired
ignominiously. "I call you to judgment before God for what you have
done," rang out Jeanne's words to these unworthy churchmen on her last
day. Nicolas Midi, of the Paris Parliament, who drew up the odious
twelve accusations, and who sermonized Jeanne in the Old Market, was
stricken with leprosy. A year after the execution died the young Duchess
of Bedford, who had inflicted a gross outrage on Jeanne, and her death
detached from the English cause her brother, the Duke of Burgundy. Her
husband, John of Lancaster, regent-duke, brother of Henry V, died in
full youth, three years later, and was buried in Rouen Cathedral. His
nephew, Henry VI, was dispossessed of his English crown, imprisoned, and
murdered.
[352] "'Si j'y suis, Dieu m'y tienne; si je n'y suis, Dieu m'y veuille
mettre: j'aimerais mieux mourir que de ne pas avoir l'amour de Dieu!' A
cette réponse, les juges restèrent stupéfaits et rompirent
sur-le-champ."--Testimony of the second clerk of the court,
Boisguillaume, in 1450, before the inquest for the rehabilitation.
[353] The Norman, Siméon Luce, has written of Jeanne: "La Pucelle n'est
pas seulement le type le plus achevé du patriotisme, elle est encore
l'incarnation de notre pays dans ce qu'il a de meilleur. Il y a dans la
physionomie de l'héroïne du XVe siècle, des traits qui la rattachent
à la France de tous les temps, l'entrain belliqueux, la grâce légère, la
gaieté prisesantière, l'esprit mordant, l'ironie méprisante en face de
la force, la pitié pour les petits, les faibles, les malheureux, la
tendresse pour les vaincus. De tels dons appartiennent à notre tradition
nationale, et la libératrice d'Orléans les a possédés à un si haut degré
que cette face de son génie a frappé tous ses admirateurs."
[354] The Duke d'Alençon testified, in 1455, concerning Jeanne: "I have
heard captains who took part in the siege of Orléans declare that what
passed there touched on the miraculous, that it was no human work. Apart
from things of war Jeanne was a simple young girl; but for things of
war, wielding the lance, massing the army, preparing the battle,
arranging the artillery, she was remarkably skilled. All marveled that
she should show the ability and foresight of a captain who had warred
for thirty years. Especially in her control of artillery was she
admirable."
Equally convincing is the testimony, in 1455, of the bastard of Orléans,
the great Dunois: "I believe that Jeanne was sent of God and that her
conduct in war was more a divine than a human act.... I heard the
seneschal of Beaucaire, whom the king had appointed to watch over Jeanne
in the wars, say that he believed there never was a woman more chaste. I
heard Jeanne say to the king one day: 'When I am distressed that
credence is not given that it is Heaven has sent me to your aid, I
withdraw to a quiet place and I pray and complain to God, and, my prayer
finished, I hear a voice saying, "_Fille Dè, va, va, va! Je serai à ton
ayde, va!_" ' And in repeating what the voice said, Jeanne was--an
extraordinary thing--in a marvelous ravishment, in a sort of ecstasy,
her eyes lifted to heaven." E. O'Reilly, _Les deux procès de
condamnation et la sentence de réhabilitation de Jeanne d'Arc_ (Paris,
Plon, 1868), vol. 1, pp. 153, 156, 200, 214, 2 vols.
[355] Testimony of Isambeau de la Pierre, in 1450, before the inquest
for the rehabilitation: "Je la vis éplorée, son visage plein de larmes,
défigurée et outragée en telle sorte que j'en eus pitié et compassion."
[356] _Congrès Archéologique_, 1858, 1870, and 1908, p. 300, Louis
Serbat; Abbé V. Hardy, _La cathédrale St. Pierre de Lisieux_ (Paris,
Impri. Fazier-Saye, 1917); _La Normandie monumentale et pittoresque_.
_Calvados_, pp. 91, 103, "Lisieux," Abbé Marie (Le Havre, Lemale et Cie,
1875); Ch. Vasseur, _Études historiques et archéologiques sur la
cathédrale de Lisieux_ (Caen, 1891); Émile Lambin, "La cathédrale de
Lisieux," in _Revue de l'art chrétien_, 1898, vol. 45, p. 448; A. de
Caumont, _Statistique monumentale du Calvados_ (Caen, 1867), vol. 5, p.
200; V. Ruprich-Robert, _L'architecture normande au XIe et XIIe
siècles_ (Paris, 1897), 2 vols.; H. de Formeville, _Histoire de l'ancien
évêche-comté de Lisieux_ (Lisieux, 1873), 2 vols.; _Histoire littéraire
de la France_, vol. 14, p. 304, "Arnoul, évêque de Lisieux" (Paris,
1817); A. Sarrazin, _Pierre Cauchon, juge de Jeanne d'Arc_ (Paris,
1901). Other studies of the judges of Jeanne d'Arc, by Fabre (Paris,
1915), and Ch. Engelhard (Le Havre, 1905).
[357] The murdered Duke of Orléans, a son of the art-loving Valois king,
Charles V, built the châteaux of La Ferté-Milon, on the Oureq, and
Pierrefonds, in the forest of Compiègne, in the courtyard of which
latter stands his equestrian statue. His sons were the poet-duke,
Charles d'Orléans, and Dunois, his acknowledged bastard, the chief
instrument in ridding France of her invaders. Two grandsons of the
builder of Pierrefonds ascended the French throne, Louis XII and Francis
I, and those who undertake an architectural journey over France will
soon become familiar with the porcupine of the one and the salamander of
the other. Sir Theodore Andreas Cook, _Twenty-five Great Houses of
France_ (New York and London, 1916); Viollet-le-Duc, _Dictionnaire de
l'architecture_, on Pierrefonds.
[358] A professor in a Norman college, Joseph Lotte, who fell on the
field of honor at Arras, in December, 1914, thus apostrophized the
"Little Flower" of Lisieux: "Enrôlez-nous, petite soeur céleste!
Enrôlez-nous sous vos bannières. Nous avons battu bien des pays, couru
bien des aventures, dissipé bien des dons: il nous reste la fidélité.
Nous serons derrière vous les vieux routiers qui escortaient Jeanne
d'Arc. Notre France ne veut pas mourir. Apprenez-nous à aimer. Il faut
qu'un tel amour monte de nous à Dieu qu'il tourne à nouveau sa face vers
notre terre de France et, retrouvant son peuple, décide de le sauver.
Mais ne l'a-t-il pas déjà décidé, puisqu'il vous a envoyée?" P. Pacary,
_Un compagnon de Péguy, Joseph Lotte; pages choisies_ (Paris, J.
Gabalda, 1916).
[359] _Congrès Archéologique_, 1864, 1889, and 1908; Abbé Jules Fossey,
_Monographie de la cathédrale d'Évreux_ (Évreux, 1898); Abbé Forée, _Les
clôtures des chapelles de la cathédrale d'Évreux_ (Évreux, Hérissey,
1890); A. J. de H. Bushnell, _Storied Windows_ (New York, Macmillan,
1914); N. H. J. Westlake, _A History of Design in Painted Glass_
(London, Parker & Co., 1881); _La Normandie monumentale et pittoresque_.
_Eure_, vol. 1, p. 1, Évreux; p. 31, Conches; p. 61, Verneuil; p. 89,
Tillières; p. 93, Nonancourt; p. 119, Vernon; p. 147, Les Andelys; p.
191, Gisors; vol. 2, p. 1, Louviers; p. 23, Gaillon; p. 97,
Pont-Audemer; p. 63, Pont-de-l'Arche: p. 183, Bernay; p. 221,
Bec-Hellouin; p. 245, Beaumont-le-Roger. In most of these churches the
colored windows are remarkable.
[360] The son of that union was the trouvère poet, Thibaut IV of
Champagne and I of Navarre, of which latter domain he was chosen king in
1234, on the death of his mother's brother, Sancho, the chief victor of
Las Navas de Toloso. His niece, Jeanne, inheriting both Champagne and
Navarre, united them with the royal domain by her marriage to Philippe
le Bel. Three of her sons ruled successively as kings of France, and
then the Valois branch--sprung from a brother of Philippe le Bel--came
to the throne. Whereupon the Navarrese elected, as their ruler, the
Count of Évreux, who had married a daughter of Jeanne's. His son was
Charles the Wicked (1319-87), Count of Évreux, king of Navarre, who in
turn was succeeded by his son, Charles the Noble (1387-1425). One and
all of them were linked with the architectural story of France: at
Troyes, Provins, Meaux, Mantes, and Évreux Cathedral.
[361] In Normandy, glass of the XIV century is to be found in the
cathedrals of Séez and Coutances, at Carentan, Pont-de-l'Arche,
Nesle-St.-Saire, and in Rouen's big abbatial. Elsewhere in France there
are XIV-century windows at Mantes, Beauvais, Amiens, Dol, Limoges,
Toulouse, Bordeaux, Narbonne, Béziers, Carcassonne (in St. Nazaire),
Chartres (in St. Pierre), and Poitiers (in Ste. Radégonde). In St.
Urbain's at Troyes is some of the earliest glass of this century.
[362] Normandy's XV-century glass, besides that of Évreux' Lady chapel,
can be studied at Rouen, in the cathedral, and the churches of St. Ouen
and St. Maclou, at Caudebec, Bernay, Vereuil, Beaumont-le-Roger, St. Lô,
Carentan, Falaise, Pont-Audemer, Bayeux, and Coutances. Elsewhere in
France glass of this period can be seen in Amiens Cathedral, in the
Vendôme chapel of Chartres, in the choir of Moulins, in the north
transept of Le Mans, and the windows presented to Bourges Cathedral by
the Duke of Berry and Jacques Coeur. There is also XV-century glass at
Clermont-Ferrand, Eymoutiers, Riom, in some of the churches of Paris,
such as St. Sévérin, and in Brittany, at Dinan, Plélan, Les Iffs, and in
Quimper Cathedral. Windows of the XVI century abound in Normandy. The
most imposing array is near Évreux, at Conches, whose church of Ste. Foi
is on no account to be missed. Aldégrevier, a pupil of Albert Dürer,
designed the seven tall apse windows, about 1520. There are eighteen
other lights (1540-53), very Raphaelesque in type; the _Pressoir_ window
and the apotheosis of the Virgin are typical of that heated hour of
controversy. Andre Michel, éd., _Histoire de l'art_, vol. 4, 2{ème}
partie, "Le vitrail français au XV{e} et au XVI{e} siècle," Émile Mâle;
A. Bouillet, _L'église Ste. Foi de Couches (Eure) et ses vitraux_ (Caen,
H. Delesque, 1889).
[363] V. Ruprich-Robert, _La cathédrale de Séez_ (Paris, Morel, 1885);
Abbé L. V. Dumaine, _La cathédrale de Séez, son histoire et ses beautés_
(Séez, 1894); H. Tournouër, "La cathédrale de Séez," in _Bulletin de la
Soc. hist. et archéol. de l'Orne_, 1897; Marais et Beaudouin, _Essai
hist. sur le cathédrale et le chapitre de Séez_ (Alençon, 1878); Robert
Triger, "La cathédrale de Séez," in _Revue hist. et archéol. du Maine_,
1900, vol. 47, p. 287; _De la Sicotière et Poulet-Malassis, Le
département de l'Orne, archéol. et pittoresque_ (Laigle, Beuzelin,
1845), folio; _La Normandie monumentale et pittoresque_. _Orne_, p. 101,
on Séez, Abbé Barret; p. 1, St. Germain at Argentan, with a central
lantern and elaborate late-Gothic porch; p. 41, Notre Dame at Alençon;
p. 77, St. Évroult-de-Montfort, a late-XI century abbatial; p. 245, the
monastery of La Trappe, in Séez diocese, established in 1122, and
reformed in 1662 by the noted Abbé de Rancy.
[364] St. Gervais, at Falaise, has a good Romanesque tower consecrated
in the presence of Henry I of England. The nave's southern pier arcade
is Romanesque, but the arches on the north side were reconstructed as
Gothic at the same time that the vaults were redone during the XIII
century. See _Congrès Archéologique_, 1848, 1864, and 1908, p. 367;
Louis Régnier, "Falaise et la vallée d'Auge," in _Annuaire normand_,
1892; Langevin, _Recherches historiques sur Falaise_; Meriel, _Hist. de
Falaise_ (1889); Black, _Normandy and Picardy, Their Castles, Churches,
and Footprints of William the Conqueror_.
[365] _Congrès Archéologique_, 1853 and 1908, vol. 1, p. 145; Henri
Prentout, _Caen et Bayeux_ (Collection. Villes d'art célèbres), (Paris,
H. Laurens); Abbé Lelieve, _Bayeux, la cathédrale, les églises_ (Bayeux,
Deslandes, 1907); Jean Vallery-Radot, _La cathédrale de Bayeux_, Thèse:
École des chartes (1911); De Dion et Lesvignes, _La cathédrale de
Bayeux_ (Paris, A. Morel et Cie, 1861); Rev. R. S. Mylne, _The Cathedral
of Bayeux_ (London, 1904); Chigonesnel, _Histoire de Bayeux_ (1867);
Paul de Farcy, _Abbayes du diocèse de Bayeux_ (Laval, 1886-88), 3 vols,
(on Cerisy-la-Forêt, etc.); Arcisse de Caumont, _Statistique monumentale
du Calvados_ (Caen, F. Le Blanc-Hardel, 1898); G. Bouet, "Clochers du
diocèse de Bayeux," in _Bulletin Monumental_, vol. 17, p. 196; vol. 23,
p. 362; vol. 25, 1859, p. 165; vol. 49, p. 465; Engerand, "La sculpture
romane en Normandie," in _Bulletin Monumental_, 1904; _Histoire
littéraire de la France_, vol. 13, p. 518, "Robert Wace, chanoine de
Bayeux, historien-poète"; V. Bourrienne, in _Revue catholique de
Normandie_, on the bishops Odo de Conteville and Philippe d'Harcourt,
vii to x, xviii to xxiii.
[366] The term Romanesque was put into usage by the archaeologist,
Arcisse de Caumont (1802-73), to whom Bayeux has erected a statue. He
also originated the useful term "Flamboyant." His Norman Society of
Antiquarians was a pioneer in the study of mediæval monuments. Another
son of Bayeux, honored by a statue, is the poet, Alain Chartier
(1386-1449), who lived to see his master, Charles VII, the conqueror of
Normandy.
[367] A. Levé, _La tapisserie de Bayeux_ (Paris, H. Laurens, 1919);
Hilaire Belloc, _The Bayeux Tapestry_ (London and New York, 1914); J. R.
Fowke, _The Bayeux Tapestry_ (London, G. Bell, 1898); Lefebvre des
Mouettes, in _Bulletin Monumental_, 1912, p. 213; 1903, p. 84.
[368] Chaucer, _Canterbury Tales_, "Prologue."
[369] _Congrès Archéologique_, 1883; and 1908, p. 247, "La cathédrale de
Coutances," E. Lefèvre-Pontalis, also published separately by H.
Delesques, Caen, 1910; Abbé E. H. Pigéon, _Histoire de la cathédrale de
Coutances_ (Coutances, Salette fils, 1876); Alfred Ramée, "Cathédrale de
Coutances," in _Revue des Soc. Savantes_, 1880, p. 94; A. de Dion, in
_Bulletin Monumental_, 1884, vol. 50, p. 620; 1865, p. 509, G. Bouet;
1872, p. 19, Regnault; Gabriel Fleury, in _Revue ... archéol. du Maine_,
1909, on the architect, Thomas Toustain; Regnault, _Revue monumentale et
historique de l'arrondissement de Coutances_ (St. Lô, 1860); C. de
Gerville, "Recherches sur les abbayes de la Manche," in _Mém. de la Soc.
des Antiquaires de Normandie_, vol. 2, p. 77; _ibid._, _Études
géographiques et historiques sur le département de la Manche_
(Cherbourg, 1854).
[370] Near Hauteville-sur-mer are the ruins of Hambye Abbey, whose
destruction was an irreparable loss for art, since its church was
Primary Gothic. On the road from Coutances to Cherbourg is the abbatial
of Lessay (a contemporary of St. Étienne at Caen), said by M. Arcisse de
Caumont to be one of the purest models of Norman Romanesque, an austere
monument of the XI-century type. Differences in the pier's profiles show
where, in the nave, the XII century resumed work. In this latter period
Gothic ribs were prepared for from the planting of the piers, but the
actual diagonals of the nave were built in the XIII century. Mr. John
Bilson claims that the Gothic ribs of the two sections preceding the
apse are of the XI century, which again brings up the controversy of
priority in the use of diagonals.
The Cistercian church of La Blanche at Mortain was another abbatial of
the Manche, dedicated in 1206. At Cerisy-la-Forêt the abbey church was
begun (c. 1130) by the Fécamp school of William of Volpiano, continued
by Duke Robert the Magnificent, and finished by his son William the
Conqueror. The nave was built from west to east in the last quarter of
the XI century, the apse slightly after 1100, the actual vaulting a
century later. The religious wars and the Revolution sacked the
abbatial; in 1811 its demolition was still going on.
_Congrès Archéologique_, 1908, p. 242, "Lessay," Lefèvre-Pontalis; p.
553, "Cerisy-la-Forêt," André Rhein; _Congrès Archéologique_, 1860, on
Cherbourg; _La Normandie monumentale et pittoresque_. _Manche_, p. 173,
"Lessay"; p. 1, "St. Lô"; p. 51, "Carentan"; p. 73, "Cerisy-la-Forêt";
p. 153, "Hambye"; R. Le Conte, _Études hist. et archéol. sur les abbayes
bénédictines en général, et sur celle de Hambye en particulier_ (Bernay,
1890).
[371] Camille Enlart, _L'influence extérieure de l'art normand au moyen
âge_; _ibid._, _Origines françaises de l'architecture gothique en
Italie_ (Paris, Thorin, 1894); Ch. Diehl, _Palerme et Syracuse_
(Collection, Villes d'art célèbres), (Paris, H. Laurens, 1907); Miss C.
Waern, _Medieval Sicily_ (London, 1910); Émile Bertaud, _L'art dans
l'Italie méridionale_; F. Chalandon, _Histoire de la domination normande
en Italie et en Sicile_ (Paris, 1907); E. Curtis, _Roger of Sicily_ (New
York, 1912).
[372] Doctor Coutan, _La cathédrale d'Avranches_ (Rouen, Cagniard,
1902); _La Normandie monumentale et pittoresque_. _Manche_, vol. 2, p.
65, "Avranches."
[373] Anatole Le Braz, _La Bretagne_ (Collection, Les provinces
françaises), (Paris, H. Laurens); _ibid._, _Histoire de Bretagne_
(Collection, Les vieilles provinces de France), (Paris, Bouvin);
_ibid._, _Au pays des pardons_ (translated, London, Methuen, 1906); Abbé
J. M. Abgrall, _Architecture bretonne; études des monuments du diocèse
de Quimper_ (Quimper, 1904); _ibid._, _Paysages et monuments des
Côtes-du-Nord_; Gautier du Mottay, _Répertoire archéol. des
Côtes-du-Nord_; H. du Cleuziou, _Bretagne artistique et pittoresque_
(Paris, 1886); _Bulletin de la Soc. archéol. du Finistère_, 1901, vol.
28, p. 264, "Le vieux Morlaix"; and 1902, vol. 30, p. 24, "Le vieux
Quimperlé"; A. de Lorme, "L'art breton du XIIIe au XVIIe siècle,"
in _Bulletin de la Soc. archéol. du Finistère_, 1901, vol. 28, p. 264;
Taylor et Nodier, _Voyages pittoresque ... dans l'ancienne France, La
Bretagne_ (Paris, Didron, 1845-46), 2 vols.; André, _La verrerie et les
vitraux peint dans l'ancienne province de Bretagne_ (1878); Léon
Palustre, _La Renaissance en France_, vol. 2, "La Bretagne" (Paris,
Quantin, 1885), 3 vols., folio; De la Borderie, _Histoire de Bretagne_,
vol. 3, from 995 to 1364, and vol. 4, from 1364 to 1522 (Rennes,
1896-1900); _ibid._, _Mosaïque bretonne_ (Rennes, Plihon et Hervé); De
la Villemarqué, éd., _Barzas-Breiz; chants populaires de la Bretagne_,
ninth edition (1892), 2 vols.; F. M. Luzel, _Gwerziou Briez-Izel_
(epics) and _Soniou_ (lyrics), (Lorient, 1868-74), 3 vols.; Siméon Luce,
_Histoire de Bertrand Duguesclin et de son épogue_ (1883); Leroux de
Lincy, _Vie de la reine Anne de Bretagne_ (1860); A. Robida, _La veille
France, Bretagne_ (Paris, 1891).
[374] Edmond Rostand, "Le nom sur la maison," in _Le vol de la
Marseillaise_ (Paris, Charpentier et Fasquelle, 1919).
[375] A son of Morlaix, Émile Souvestre (1806-54), has written lovingly
of Brittany: "Il y a quelque chose de bien supérieure à la louange; la
conscience que l'on a été compris et que l'on est aimé pour son
oeuvre. _Aimé pour son oeuvre!_ Je sais mieux que personne ce qui
manque à ce que j'écris. Il faut quelque chose d'ondoyant. J'appartiens
à cette terre Celtique où les monuments sont des pierres non taillées."
[376] "Campagnes bretonnes, qu'on dirait toujours recueillies dans le
passé ... grandes pierres qui couvrent les lichens gris ... plaines où
le granit affleure le sol antique.... Ce sont des impressions de
tranquillité, d'apaisement, que m'apporte ce pays; c'est aussi une
aspiration vers un repos plus complet sous la mousse."
--PIERRE LOTI, _Mon frère Yves_.
[377] The men of St. Malo have been pioneers under one aspect or
another, sea rovers, like Duguay-Trouin, Surcouf, or Jacques Cartier,
who, in 1535, knelt in the cathedral, where an inscription marks the
pavement, to receive episcopal blessing before he sailed to discover
Canada. Other sons of St. Malo have been the astronomer, Maupertius
(1698-1756); Lamennais (1782-1854); and Chateaubriand (1768-1848), who
chose for his burial the barren island of Grand Bé, offshore.
[378] "Quiqu'en grogne, Ainsi sera: C'est mon plaisir."
[379] André Rhein, "La cathédrale de Dol," in _Bulletin Monumental_,
1910, vol. 74, p. 367; A. Ramé, "La cathédrale de Dol; tombeau de
l'évêque Thomas James," in _Mélanges d'archéologie bretonne_, 1858, vol.
2, p. 10; T. Gautier, _La cathédrale de Dol_; Ch. Robert, _Guide de
tourist archéologique à Dol_ (Dol-de-Bretagne, 1892); Léon Palustre, _La
Renaissance en France_, vol. 2, "La Bretagne," p. 87, on Dol (Paris,
Quantin, 1885); Paul Vitry, _Michel Colombe et la sculpture française de
son temps_ (Paris, 1901); A. de Montaiglon, "La sculpture française à la
Renaissance: la famille des Juste en France," in _Gazette des
Beaux-Arts_, 1875, vol. 12, p. 394.
[380] _Congrès Archéologique_, 1856 and 1886; Guilhermy, "Monuments des
bords de la Loire; Nantes," in _Annales archéol._, 1845, vol. 2, p. 87;
J. Montfort, "La crypte de la cathédrale de Nantes," in _Bulletin
Monumental_, 1884, vol. 50, pp. 368, 449; Paul Vitry, _Michel Colombe et
la sculpture française de son temps_ (Paris, 1901); Lambin de Lignum,
_Recherches historiques sur l'origine et des ouvrages de Michel
Colombe_; Benj. Fillon, _Poitou et Vendée_ (1846); Travers, _Histoire
... du comté de Nantes_, 3 vols.
[381] Félix Soleil, _La danse-macabre de Kermaria-an-Isquit_ (St.
Brieuc, 1882); Émile Mâle, _L'art religieux de la fin du moyen âge en
France_, chap. 2, "La danse macabre" (Paris, Colin, 1910); Lucien
Bégule, _La chapelle de Kermaria Nisquit et la danse des morts_ (Paris,
1911); Abbé J. M. Abgrall, _Le mobilier artistique des églises
bretonnes_ (Quimper, Cotonnec, 1898).
[382] R. F. Le Men, _Monographie de la cathédrale de Quimper_ (Quimper,
1877); Abbé J. M. Abgrall, "Autour du vieux Quimper," in _Bulletin de la
Soc. archéol. du Finistère_, 1901, vol. 28, p. 79; _ibid._,
_L'architecture bretonne, étude des monuments du diocèse de Quimper_
(1882); Thomas, _La cathédrale de Quimper_ (1892); P. Peyron, "Les
églises et chapelles du diocèse de Quimper," in _Bulletin de la Soc.
archéol. du Finistère_, vol. 20, pp. 129, 451; vol. 31, pp. 18, 216,
304; vol. 32, p. 183.
[383] L. Th. Lecureur, _La cathédrale de St. Pol-de-Léon_ (Collection,
Petites Monographies), (Paris, H. Laurens); Ch. Chassepied, "Notes sur
la cathédrale de St. Pol-de-Léon," in _Bulletin de la Soc. archéol. du
Finistère_, 1901, vol. 28, p. 304; Abbé J. M. Abgrall, _Au pays des
clochers à jour_ (Paris, 1902).
[384] _Congrès Archéologique_, 1883, on Tréguier; Ch. de la Ronsiere,
_Saint Yves_ (Collection, Les Saints), (Paris, Lecoffre, 1901); Ernest
Renan, _Souvenirs d'enfance_ (1883).
[385] Émile Mâle, _L'art religieux au XIIIe siècle en France_, p. 442
(Paris, Colin, 1908). (Trans. by Dora Mussey, London, Dent & Sons, New
York, Dutton, 1913).
[386] "Un tel art ne pouvait être effleuré par le doute. L'art et la
poésie qui émeuvent sortent du coeur et d'une région obscure où la
raison n'a pas accès. L'artiste qui examine, juge, critique, doute,
concilie, a déjà perdu la moitié de la force créatrice."--ÉMILE MÂLE,
_L'art religieux de la fin du moyen âge en France_ (Paris, Colin, 1910).
"Art addresses not pure sense, still less the pure intellect, but the
imaginative reason through the senses."--WALTER PATER.
[387] "Hier, pendant son congé de vingt-quatre heures, j'ai rencontré le
fils d'une pauvre femme de la campagne, un ouvrier que j'aime bien
depuis longtemps. Quand je l'ai quitté, et que je lui ai dit: 'Bonne
chance, Marcel,' il m'a regardé de ses yeux sans reproche, et il m'a
répondu: 'D'un côté ou de l'autre, je ne crains rien.' Et cela voulait
dire: la vie la mort? Qu'importe! je suis prêt. Qu'est ce que tout cela.
C'est la chanson de geste qui continue: c'est la croisade qui n'est
point finie, c'est Dieu transparaissant à travers la France
purifiée."--An episode to the World War, 1914: René Bazin, _Les Preux_.
* * * * *
Typographical errors corrected by the etext transcriber:
Madgeburg is a Primary Gothic cathedral=> Magdeburg is a Primary Gothic
cathedral {pg 2}
builder of Sossions Cathedral=> builder of Soissons Cathedral {pg 6}
To point a rose-colored picture=> To paint a rose-colored picture {pg
41}
blood of the Caroligian line=> blood of the Carolingian line {pg 86}
Germans' stategic retreat=> Germans' strategic retreat {pg 112}
conterbutting members of Rheims Cathedral=> counterbutting members of
Rheims Cathedral {pg 117}
congrégation quia existé=> congrégation qui a existé {pg 118-(note 66)}
Les eglises de l'Ile-de-France=> Les églises de l'Ile-de-France {pg 126
(note 71)}
Cronique des évêques de Meaux=> Chronique des évêques de Meaux {pg 165
(note 100)}
its sanctury is a gem=> its sanctuary is a gem {pg 172 (note 107)}
They are the patriachs=> They are the patriarchs {pg 182}
Quelle delicieuse église!=> Quelle délicieuse église! {pg 237}
Through Créstien=> Through Crestien {pg 245}
l'oyage au pays des sculpteurs romans=> l'Voyage au pays des sculpteurs
romans {pg 288 (note 177)}
tantôt estrompée=> tantôt estompée {pg 332 (note 207)}
the tenets of Cartharism=> the tenets of Catharism {pg 365}
vestage of the city ramparts=> vestige of the city ramparts {pg 385}
fit into our catagory=> fit into our category {pg 405}
Gregory XI--Count Roger de Beaufort, a nephew of Clement VI--went back
definitely in 1177 to the Holy City=> Gregory XI--Count Roger de
Beaufort, a nephew of Clement VI--went back definitely in 1377 to the
Holy City {pg 409}
Celui qui proclaime l'existence de l'infini=> Celui qui proclame
l'existence de l'infini {pg 428}
et de la democratic moderne=> et de la démocratie moderne {pg 428}
Sacracen inroads=> Saracen inroads {pg 436}
more romatically ideal=> more romantically ideal {pg 441}
XI-centuy-Notre Dame at Semur=> XI-century Notre Dame at Semur {pg 443}
nos éerivains français=> nos écrivains français {pg 451 (note 304)}
et vous savez somment il procède=> et vous savez comment il procède {pg
460 (note 308)}
the Cartharis heresy=> the Catharist heresy {pg 466}
Lanfrance had been teaching at Avranches=>Lanfranc had been teaching at
Avranches {pg 474}
a chonicle mass=>a chonicle mass a conicle mass {pg 500}
beseiged and burned=> besieged and burned {pg 546}
joie de viore=> joie de vivre {pg 517}
La crypt de la cathédrale de Nantes=> La crypte de la cathédrale de
Nantes {pg 565 (note 380)}
was married, in 1199, to Louis XII.=> was married, in 1499, to Louis
XII. {pg 566}
place of honor is give to the Saviour=> place of honor is given to the
Saviour {pg 567}
Tarantaise, Pierre de (Innocent IV), 268.=> Tarentaise, Pierre de
(Innocent IV), 268. {index}
Viffart (Aisne), 45.=> Viffort (Aisne), 45. {index}