PRINCESS MARGARET'S CHURCH
Our strongest impression of Bourg en Bresse--apart from its
associations with the Eglise de Brou--was that it brought us almost
within hail of the beloved Midi. As at Mâcon, the sun, when it shone,
was aggressive. You welcomed the sight of leafy plane trees, you hugged
the shady side of the road. Good peaches were to be had for a sou la
pièce; and the cattle wore hats--red and yellow tassels and elaborate
string fly-protectors bound about their foreheads. These things are
full of significance for one who has seen the south.
Another memory is the ill-manners of the townspeople. The attentions of
the folk at Paray were but neglect when compared with the fixed stare
of Bourg. One delinquent was so absorbed in us that he nearly wrecked
his motor in the open street: another fell down the hotel stairs;
there were three cases of abrasion. The fact that these victims had
obviously not forgotten the "convenances," only made more striking
their failure to observe them. They appeared to have no control over
certain faculties. Both sexes had forgotten how to blush. They wrought
me to anger, and my wife to tears.
But such trifles, after all, are merely the "petit désagréments" of
travel--remembered only with a smile; relics of primitivism, such as
was the service de la gare--omnibuses still running, not so much as
varnished since the French Revolution.
"C'est ancien" said a hotel porter, with a wave of the hand. "C'est un
monument historique," added a bystander. The porter smiled, as his hand
closed mechanically over a franc.
We rode, that first afternoon, to Cezenat, on the slopes of the Jura.
The aspect of the country round was harsher than that of central
Burgundy, and the light fiercer; the landscape, as a whole, lacks
the soft charm of the vine-clad Côte d'Or, without attaining to the
romantic quivering whiteness of the vrai midi. It was very delightful
to rest before the café opposite to the church of Revonnat, and
watch the shapely, creamy cattle, following the swarthy maid to the
water-trough beneath the virgin-crowned fountain. They drank steadily,
until a long stick, rattling about their shiny muzzles, made them raise
mildly-protesting heads. They walked home with unruffled dignity, a
processional frieze of madonnas--their faces veiled, as befits holiness.
More, and then more, came tinkling by, driven by a diminutive boy. They
disappeared down a winding lane, and were followed by four horses,
harnessed tandem, wearing the three-horned attelage of the Midi, and
stamping, swishing their tails, and tossing heads, till all the village
was vocal with their music. After them waddled a fat woman, leaking
seed, and followed by a hundred hungry fowls. Last of all, two piebald
oxen, harnessed in front of a skinny pony, tugged wearily up the hill
the household goods of a whole family piled upon a creaking cart.
With the exception of a few old houses and the world-famous Brou, there
is very little architecture worth seeing in Bourg. Or, if there is,
it did not detain us long. We made at once for Princess Margaret's
Church, rather more than a kilometre distant from the lower part of
the town, at the end of a long, straight, squalid road. There we found
it--this jewel ill-set. The authorities, with the cynical apathy, or
ignorance, that characterises French ecclesiasticism, have surrounded
the building, on the west and north, with a gravelled open space, like
the playground of a board-school, adorned with a tawdry crucifix, and
a lavatory, the whole enclosed within an ignoble wall. Why the French
public tolerate such outrages is a mystery!
[Illustration: ·IN THE STREET·]
I suppose that, in this case, darkness is just ignorance.[198] Yet
before their very eyes are evidences that it was not always so. The
pictures in their church show that the "parvis" was originally planted
with shrubs, which would grow as readily to-day as they did then;
failing a grassy lawn, and the money or men to keep it green and trim.
Enough of the setting--what of Princess Margaret's Church? Looking
up at it, we are reminded, at once, of her Flemish sympathies. The
high gables of this west front--of which the centre one is lightened
by a rose and three triangular windows, symbols of eternity and the
Trinity--recall the splendid architecture of Bruges and the Rhine
country. Rich flamboyant carving is to be seen everywhere; yet the
effect is more striking than successful. The façade is surrounded with
elaborate embellishments, that, jostling with one another, break the
harmony of line; the ornament is tortured, and conveys the impression
that it is merely hung upon the Church; the figures in the tympanum
below the flat-arched portal, are poor in execution; the tower is
mean and insufficient. Yet we must not hasten to condemn. This fallen
Gothic, though marred by the defects of its qualities, and, beyond
question, fundamentally decrepit, has yet wintry graces all her own.
Her death days were neither ignoble, nor frozen; rather they were
instinct with a repentant animation, and warmed by a delicate flush,
the hope and vision of coming spring.
Yes, despite the wanton waste of ornament, despite intemperance and
lack of restraint, there is pathos, there is beauty, even, in these
splendid agonies of a matchless art. That proud princess of ancient
lineage, lying stricken in her darkened chamber, where yet lingered
the shadows of a passing night, bent timidly, fearfully, her dreamy,
dying eyes upon the before and after, upon what had been and was yet
to be; until, gathering strength for a last effort, the frail, fair,
white hand, drawing apart the silken folds of the curtain, caught,
through the glowing casement, a glimpse of a golden dawn brightening a
yet lovelier world, and smiled to see the pure radiance of a happier,
more human belief touching with the tender light of a new-born hope the
sterner mysticism of her earlier discarded faith. The discarded faith
was mediævalism; that new-born hope we call the Renaissance.
Come with me into the building, and, before I tell Margaret's story,
look, for a moment, round this amazing church. The nave, though it
conveys at once to the mind of the devotee of pure Gothic, a sensation
of wintry decadence, that neither the richness of the lovely _jubé_,
nor a glimpse, through its open door, of the wonderful marble tombs
within the choir, can quite dispel, is pleasing in its grace and
simplicity, qualities which the exterior would not have led you to
expect. So restful, too, are the flowing lines of the columns and
engaged colonnettes rising, unbroken by capitals, to the low vaults,
that one imagines the architect to have planned deliberately this cool,
white marble hall, in which worshippers could soothe spirits wrought to
intensity by sights seen within. They may well have needed such repose,
since we need it to-day; though the love which brought this church into
being was left lonely four hundred years ago. Pass through that open
doorway, and see for yourself. You stand in a maze of sculptures, among
a thousand flowers, figures, emblems, devices, and myths, feminine
fantasies carved everywhere, in regal profusion upon many a pedestal
and column, upon shadowy niches and overhanging tabernacles, upon
dainty shaft, and lightest fretwork pinnacle, their marble whiteness
all warmed in blue, crimson, and golden light streaming from the
painted windows. Whether you look down upon the blue enamelled bricks
at your feet,[199] at the silent figures beneath those strangely
decorated canopies, and the myriad carven shapes about them, or whether
you look up at the resplendent saints, kings, and nobles ablaze upon
the panes, your sensation is one of unsatisfied wonder, and you know
yourself to be in a building, that, for all its faults, is unrivalled
in the world of art. Let me tell how it came to be so.
The story of Margaret d'Autriche, the unfortunate princess to whom
we owe this extraordinary Eglise de Brou, is closely linked with
events and personalities already mentioned in these pages. Born in
1480, she was the daughter of Maximilian and Marie de Bourgogne,
and grand-daughter of Charles le Téméraire. In the closing years of
his life, that old fox, Louis XI., had chosen her out as the future
wife of his Dauphin, and would, no doubt, have had his will, had not
his erstwhile ally, death, turned against him at last, and claimed
forfeiture.
The childhood of Marguerite passed peaceably in that lovely Château of
Amboise by the Loire, in the company of her official husband, Charles
VIII., and his French Court, was not foreshadowed by sorrows that
were soon to come. The King torn between desires to unite Burgundy
and Brittany to the French crown, and finding that he could not have
both, decided in favour of the latter. Acting upon that decision, he
broke his sworn faith to Marguerite, dismissed his fiancée, and married
Anne of Brittany. Marguerite left in anger; nor did she ever forgive
Charles. Henceforth, France was her enemy. So, for many years, was
Fortune. The next stroke fell swiftly.
In April, 1497, Marguerite married Juan, Prince of Castille, the son
of Ferdinand and Isabella, who died of fever at Salamanca in the same
year--a misfortune that--if we are to believe her historiographer,
Jean Lemaire--neither crushed the girl's spirit, nor extinguished her
natural wit; "for, being on shipboard, and having passed a horrible and
tempestuous night, in fear of perilous shipwreck, as the following day
the sea had been calm and tranquil, while Marguerite was conversing
with her maids upon their past fears and perturbations, the proposal
was made that each should compose her own epitaph; whereupon she
promptly composed her own in this manner":
"Cy gist Margot la gentil' Damoiselle,
Q'u ha deux marys et encore est pucelle."[200]
Truly a very joyous epitaph, as Lemaire says, "si plein de vraie
urbanité." Not so did she salute the death of her next husband.[201]
It was on the 26th of September, 1501, that was signed the treaty of
her marriage with Philibert le Beau, Duke of Savoy--the event that
first links Marguerite's story with that of Brou.
The fifth of August in the following year, when Philibert and
Marguerite paid their first visit to Bourg, was a memorable day in the
annals of the town. Artillery boomed, joy bells clashed; every house
was bright with gay hangings of all colours, with festoons, and the
arms of Burgundy and Savoy. Soon the call of the trumpet drew all the
crowd to the Town Hall, whence issued the corps municipal, preceded by
the syndics clothed in red robes, one of whom bore the keys of the town
upon a silver plate.
The procession moved slowly forward, to the beat of music, until a
warlike fanfare of trumpets, and the neighing of horses, announced the
coming of the ducal cortège, at the head of which rode Philibert and
Marguerite. Loud were the cries of joy that greeted the young couple.
On a prancing steed, decked with rich draperies, bearing the arms of
Burgundy, its beautiful head plumed with tossing white feathers, rode
Marguerite, wearing the ducal crown. Through the folds of her silver
veil, spectators could obtain a glimpse of a gracious face, and long
fair tresses. Her dress was of crimson velvet, embroidered in gold,
showing upon the skirt the escutcheons of Austria and Savoy. In one
hand she held her reins, the other was lifted in gracious salutation
to the crowd. At her right ambled the Duke Philibert, proud of the
reception that Bourg was according his lady.
Philibert le Beau was a handsome, gay, debonair prince, who loved to
give to music and good cheer all the hours he could spare from his
favourite pastime of the hunt. He left to his ministers exclusively
all such troublesome matters as affairs of State. Such was the young
gallant who rode by Marguerite's side through the streets of Bourg.
Every house, as we have said, was gay with blazoned arms and bunting.
On a great scaffold before the Church of Notre Dame, the preaching
friars were presenting mystery plays, the Christian legends of St.
George and of the Archangel St. Michael. On the scaffolds, in various
parts of the town, were figured scenes from mythological history. The
Labours of Hercules, or Jason's encounters with monsters and dragons
during his quest of the Golden Fleece. Before the town wall, in the
presence of a crowd so dense that a way could scarcely be cleared for
the duchess, was represented the allegory of "The Fountain and the
Maid," in which, from the metal breasts of a gigantic female figure,
two jets of wine splashed into the basin below.
During the three short years of Philibert's married life, the peace
of Europe was untroubled, and the Duke of Savoy was forced to appease
his military ardour in tournament and hunt. A chronicler of the time
has left us a detailed account of the jousts held on the occasion
of the marriage of Laurent de Gorrevod, at the Castle of Carignan.
Philibert bore himself so bravely in the lists, that the ladies, with
one consent, "benign and not ungrateful, knowing the honour and the
great and mighty feats of arms done for love of them, advised that by
right and without favour, the honour and prize of the combat should be
given to Duke Philibert. Wherefore the said ladies desired him that he
would of his grace accept the ring presented to him on their behalf by
a young and fair demoiselle--which supplication, as one full of honour,
courtesy, and benignity, thanking the said ladies, their said ring and
present he graciously accepted."[202]
The Duke's favourite hunting-seat was at Château de Pont-Ain,[203]
high up on the hill overlooking Bresse and Bugey. Many a day the dark
woods around echoed the merry note of the horn, and the deep bay of his
hounds, as Philip and Marguerite rode forth together. She with "the
ivory horn hung in a sling, mounted on a spirited palfrey, followed her
very dear lord and spouse, in hot chase of the horned stags, by wood
and plain, by mountain and valley, fearing not the ardour of the sun
nor the toil of the hunt, so that by her careful presence she could
guard him from all misfortune."
On a very hot morning, in September, 1504, the young prince, led far
afield by the excitement of the chase, "and almost separated from his
party, who could follow him no longer, was passing, at mid-day, a long
and narrow valley, on foot, because his horses, by reason of the long
ride, were dead or broken down."
Arriving, breathless and bathed in perspiration, at the Fontaine St.
Vulbas, he was charmed by the cool shade of the place, and ordered his
meal to be served to him there. Before long, feeling himself seized
with a sudden shivering fit, he ordered his horse, and began his
homeward journey, "holding his hand to his chest, then commencing to
bend forward and to be in great agony." He reached the Castle at last,
and threw himself down upon a camp bed, "beside which came soon, all
troubled in heart, the very dear Duchess, his very dear spouse and
companion, who, seeing her lord and friend lying ill, and nevertheless
not knowing as yet of her great mourning so soon to be, began to
comfort him very sweetly, and to cheer him with all her power."
For several days the young prince battled with a violent attack of
pleurisy; but, at last, in spite of bleeding and many prayers, even his
strong constitution gave way, and the lovers knew that they must part.
"And himself feeling his end drawing near, rose and would fain bid an
eternal farewell to his very loved companion, holding her in a strong
embrace." He died in the arms of Marguerite, on the 10th September,
1504, in the very room in which he had been born, twenty-four years
before, in the Château de Pont-d'Ain.
The brief days of Marguerite's happiness were closed. Coming years
were to bring their measure of consolation to the stricken woman; but,
as she herself, a poetess of sorrow, wrote in verse, whose graceful
melodies recall the plaintive notes of Charles D'Orléans, henceforth
for her
Deuil et ennuy, soussy, regret et peine,
Ont eslongué ma plaisance mondaine,
Dont a part moy, je me plains et tourmente;
Et en espoir n'ay plus un brin d'attente:
Véez là, comment Fortune me pourmeine.
Ceste longheur vault pis que mort soudaine;
Je n'ay pensé qui joye me rameine;
Ma fantasie est de déplaisir pleine;
Car devant moy à toute heure se présente
Deuil et ennuy.[204]
So poor Marguerite adopted a new device, the last and saddest of three
comments upon her destiny.[205] You may read it to-day, a hundred
times, on the walls, the tombs, the windows of the church of Brou.
FORTUNE. INFORTUNE. FORT UNE.[206]
It was in the spring of 1505 that Margaret laid with her own hand the
first stone of the building she had dreamed of ever since her husband's
death, a church which would, at the same time worthily perpetuate
the memory of their loves, and accomplish the unfulfilled vow of her
mother, Marguerite de Bourbon, who had sworn many years before to
erect a church to the glory of God, should her husband recover from an
illness that then threatened his life.
The princess chose for her architect Loys van Boghen, a Flamand of
great ability, under whose direction the whole fabric of the church
was constructed. The statues and sculptures were in the hands of
"Maistre Conrard, le consommé tailleur d'ymages," between whom and the
difficult, quarrelsome Loys considerable friction seems to have arisen.
This we gather from the archives of Ain.[207]
"Insomuch as Maistre Loys is somewhat light of word and threat towards
one and another, both ecclesiastic and secular, whence much scandal
may arise, as indeed has already chanced, and our Lady's work thereby
retarded, the said Maistre Loys is thereby expressly forbidden and
prohibited henceforth from using such threats and words; and should he
notwithstanding attempt to do so, he will be held accountable therefore
to our Lady in his person and goods. The same shall be said to Maistre
Conrard and to all other whom it may concern."[208]
At length, stone by stone, in spite of Maistre Loys' temper and the
awful famine and pestilence, which, in those years, were ravaging the
town of Bourg, Marguerite's darling project approached completion. Many
a day would she ride over from the Castle of Pont d'Ain, where she was
passing the early years of her widowhood, to watch her beloved building
growing beneath her eyes.
On her palfrey white the Duchess
Sate and watched her working train--
Flemish carvers, Lombard gilders,
German masons, smiths from Spain.
Clad in black, on her white palfrey,
Her old architect beside--
There they found her in the mountains,
Morn and noon and eventide.
There she sate and watched the builders,
Till the Church was roofed and done.
Last of all the builders reared her
In the nave a tomb of stone.[209]
The closing years of Marguerite's life were passed in administering,
wisely and justly, the affairs of the Pays Bas, of which country she
had long been appointed governor. Her wealth, her great abilities, and
her exalted rank all combined to render her one of the most prominent
figures in the political life of the time.
[Illustration: SAINTE MADELEINE: TOMB OF MARGUERITE D'AUTRICHE: BROU.]
Francis I., after his defeat at Pavia, sought her good graces; she was
courted of many; her voice was loud in the counsels of Europe. But
Marguerite, who had already refused the hand of Henry VII. of England,
was not to be dazzled by the glitter of a crown. Long ago she had
renounced wedded life, until friendly death should lay her once more
beside Philibert in those bridal tombs. Her inmost thoughts, far away
from thrones and principalities, were turning towards the cloister, as
a fitting refuge from the cares of state, when, in 1530, her unhappy
life was brought to a sudden close. This is the traditional story of
her death, as told in a manuscript of the eighteenth century.[210]
On the fifteenth of the month of November, in the morning, before
rising, she asked for a drink of water from one of her attendants,
Magdeleine of Rochester, who, obeying her immediately, brought the
water in a crystal cup; but, while taking it back, she unfortunately
let the glass fall in front of the bed, where it was smashed to pieces.
The girl gathered the fragments up, as carefully as she could, but
did not think of looking into her Royal mistress's slippers. Some
hours later, Princess Marguerite put on her slippers, and walked to
the fire. Feeling a violent pricking sensation in her left foot, she
called a lady in waiting, who found a fragment of the broken cup firmly
embedded therein. This she drew out, as carefully as she could, and
the princess, with her usual courage, made light of the matter, and
dismissed it from her mind.
Some days after, she began to feel great pain in the foot, and noticed
that the limb was swollen. Physicians were summoned, who, after private
consultation, decided that the wound was gangrened, and that amputation
was the only practicable means of saving the patient's life. They
communicated their decision to Montécut, the princess's confessor, and
asked him to break the news to his mistress. She was much surprised,
but bore bravely what she must have known to be virtually a sentence of
death. The next few days having been passed in confession, absolution,
and the settlement of her temporal affairs, she submitted herself to
her doctors, who proceeded to administer to their patient so large a
dose of opium "that they put her to a sleep so sound that it is not yet
ended, and will not end until the Resurrection of all the dead."
Marguerite was buried at Malines, where her body lay for two years,
until, her tomb being ready, she was laid, in 1532, according to the
express terms of her will, beside her "lord and husband," who was to
rest between his mother and his wife.
There you may see her to-day lying, proud and lovely, as in life, her
royal face still turned to the man to whose glory, rather than to
God's, she had raised those astounding memorials of a woman's devotion.
There, in flaming colour upon the purpled panes, in blazoned device
upon floor and wall, in a thousand delicate fancies, wrought, with most
exquisite art, upon the pale, white marble of the tombs, and altar
pieces, you may read the story of her life.
* * * * *
We are now in a position to realize why the church, though built by
men, breathes femininity. It was the expression of a woman's mind, the
love offering of a lady to her lord. As such, all women's virtues are
expressed in it--dignity and grace in the flowing lines of the nave,
purity in the whiteness of the marble, wit and ingenuity in the legends
and devices, daintiness in the exquisite detail; courage, patience, and
devotion, revealed everywhere in the complete unity of the whole.[211]
And those women's virtues carried with them women's faults--a certain
lack of breadth and vision; over-elaboration of detail, and a love
of prettiness that verges upon the petty.[212] All these things are
apparent. But the greatest defect of all--the subordination of design
to ornament--is as much the fault of the age as of the individual.
These were the years of transition.
The old greatness had passed; the new greatness in building was not yet
come. In that sense this church is inherently decadent.
When men of the early middle ages reared their mighty fanes to God
and to his saints, they lifted vault and roof into echoing airy
spaces, where the rapt worshippers, looking upward, might seek haply
after God; but here is no upward call. This roof is low, flattened,
heavy; threatening, almost, to fall upon the heads bent in prayer.
The builders of pure Gothic loved to ornament their churches with the
richest sculpture that skilful, reverent hands could carve; and they
sought their inspirations in Nature alone, who shapes the tree before
she decks it with leaves, and fashions the plant before the flower.
But these later men, losing sincerity, lost truth; they thought of
the leaf before the limb, and of blossom rather than of bough. That
is why Brou leaves us unsatisfied. Yet, as I have said, we must not
blame utterly. Whatever architect and sculptor may have lacked, one
thing they did not lack--patience. And if patience were indeed genius,
as Buffon says it is, then is genius here, too. Surely, the most
fastidious spectator may say with Paradin, the old chronicler of Savoy,
"après tout estant léans (à Brou), semble que voyez un songe, et ne
savez à quoi premierment addresser vos yeux pour les repaistre, parce
qu' une chascune chose se convie á regarder comme un nouveau spectacle."
We have no space left in which to deal with details of the tombs, the
choir stalls, altar pieces, and other marvels the church contains. The
reader must discover them for himself; we can only give a few general
impressions.
[Illustration: Ornament from the Tomb of Marguerite d'Autriche]
As you face the east end of the Church, the tomb of Marguerite
d'Autriche is on your left, that of Philibert le Beau in the centre,
and that of Marguerite de Bourbon on the right. This last, the earliest
of the three, is obviously inspired by the royal tombs at Dijon, but,
having no base, it lacks their dignity, just as it lacks their harmony
and simplicity. The pleurants are very poor, when compared with those
of Claus Sluter and his nephew. The minute detail is extraordinarily
good, but there is a superabundance of ornament, and the whole is
tortured and conscious. The meaning of the device bearing the letters F
E R T has been much debated. Some say that it represents Fortitudo Ejus
Rhodum Tenuit, or Tuetur, in memory of Amédee le Grand's victory over
the Turks; others that it is a chevaleresque French device; Frappez,
Entrez, Rompez Tout. The guide, however, gave us Fide et Religione
Tenemur, as the true solution.
Philibert's tomb is quite fittingly the best of the three, as being the
simplest and most dignified. The detail is very Flemish, some of the
figures recalling in pose as well as in costume, the manner of Van Eyck
and his school.
The tomb of Marguerite d'Autriche is beautifully proportioned, but much
of the ornament has so little relation to the design that it appears
to be appliqué. Tortured lines are the inevitable result. Many of the
figures however, are very charming; notably the Madeleine holding her
hair, and Catherine of Alexandria trampling down the Emperor Maximilian
of Italy. The Marguerites make effective and appropriate ornament, as
also do the briquets of the house of Burgundy--two sticks in the form
of St. Andrew's cross.
The altar piece of the virgin in the north transept is one of the
most extraordinary productions of its kind that I know. It is more
magnificent even than the tombs, and far exceeds them in grace, charm,
and realism. The seven scenes represented are: The Ascension of the
Virgin; the Visitation; the Annunciation; the Nativity; the Adoration;
Pentecost; Christ appearing to His Mother. In the oratory of Marguerite
d'Autriche there is a curious oblique arch, enabling her to see both
altars at the same time.
Let me close these few notes on the church of Brou with some lively
comments from Paradin's Chronique de Savoie.
"As to the pavement, even that which is in the choir as well as that
which is in the chapel of my said Lady Marguerite d'Autriche, it is
in truth a thing as pleasant and delicious to see as may possibly be
found, being all such joyous and singular leadwork mingled with very
divers picturing ... which so pleases spectators that almost with
regret one walks upon it. I remember that, being there, was a gentleman
who feeling scruples at walking on this pavement, spat in the face of a
great rascal of a pastrycook, whose nose was all beflowered with knobs
of scarlet tint, saying that there was no spot in all the church more
dirty to spit on than that."
"I remember also having seen descend (here), the late King Francis[213]
when he came to Bourg, who, having seen this church, was ravished with
admiration, saying that he had never seen nor heard of a temple of such
excellence for what it contained. And true it is that he noted (as he
was a Prince exceeding in good sense all the kings of his time) that
this white stone of which the Church is built, would not well endure
frost, being too rare and tender. And it was since found that he spoke
truly; for long after there fell from the clock tower some of the great
bastions or gargoyles which take the water over the roof, on the side
of the cloisters, a thing which did much hurt to the building."
The revolutionary mob were proposing to do still greater hurt to the
building, and would have done so, had not the wisest man in all Bourg
filled the church with hay which the sans-culottes could not bring
themselves to burn. So Brou is ours, we hope, for many centuries to
come.
[Illustration: THE END; Princess Marguerite d'Autriche]
FOOTNOTES:
[198]
The English public are supposed to be extraordinarily tolerant,
yet the French are undoubtedly more so. The inconveniences of such
a large railway station as that at Dijon, for example, with its
almost impassable doors and swinging gates that bang all day long
with a report like that of heavy artillery, are such as would be
dealt with sternly by an English public. But the French take quite
good-humouredly the evils of railway monopoly--and other ills besides.
[199] Azulejos--from the Arab word _Azul_, blue.
[200] "Within this tomb the sweet Margot is laid,
Who has two husbands and is still a maid."
[201] "Eglise de Brou," by Jules Baux, p. 22.
[202] Beaux's "Eglise de Brou," 52.
[203] The Château de Pont D'Ain does not seem to have met with general
favour, to judge from the following humourous lines which Jean
Lemaire imagined himself addressing to Marguerite.
"Ha! Le Pont d'Ain, que tu fusses péry!
Lieu exécrable, anathématisé,
Mal feu, puist êstre en tes tours attisé!
Au moins, Princesse, en extrême guerdon,
Je te requiers et te supplie ung don:
C'est que mon corps n'y soit ensevely;
Ains le netz en quelque lieu joy,
Bien tapisesé de diverses flourettes
Où pastoureaulx devisent d'amourettes."
[204] Mourning and care, regret and grief and pain,
Within my heart all worldly joy have slain,
Wherefore, apart, I make my moan and grieve
That hope no more my anguish may relieve,
For see how Fate to do me hurt is fain.
Far less to sudden Death would I complain,
Than life drawn out--nor ever joy again;
But fancy leading phantoms in her train,
For here, all day, all year long, I receive
Mourning and care.
For complete poem see Baux's "Eglise de Brou," p. 66.
[205]
The first, adopted after her dismissal from the Court of France by
Charles VIII., was a windswept mountain, with the motto, "Perflant
altissimo venti." The second, taken after the death of John Castille,
and her child by him, was a fruit tree split by lightning.
[206]
This enigmatic device has been variously deciphered, but two
contemporary authors agree in interpreting it "_Fortuna infortunat
fortiter unam_," which means "Fortune tries cruelly a woman." Murray's
guide gives incorrectly, "Fortune infortune forte une," meaning "Here
is a woman strong in fortune or in misfortune."
[207] Beaux's "Eglise de Brou," p. 57.
[208]
The fabric, however, does not seem to have suffered as much from the
quarrels of the builders, as from the extraordinary failure of the
architect to provide efficiently for carrying away the roof water,
with the result that heavy rains nearly destroyed the building before
even it was finished. Loys had probably forgotten structural soundness
in his efforts to satisfy his employer's passion for decorative
effect.
[209]
Matthew Arnold's poem, "The Church of Brou," is marred by a number of
unnecessary inaccuracies. Philibert was not slain by a boar, he died
of pleurisy. Marguerite's Tomb is at the "Crossing East of the Choir,"
and not in the nave, moreover, the poet seems so uncertain whether the
Church is in the mountain or in the valley, that one is led to doubt
whether he really knew.
[210] "Description Historique de la belle église et du couvent royal
de Brou." Quoted Beaux pp. 126-8.
[211] Baux points out that the church does not contain one statue of
St. Nicholas of Tolentin, its patron saint.
[212] Michelet vii. cap. xii.
[213] Francis I.
[Illustration: ·SKETCH MAP TO· ILLUSTRATE P. ALLEN'S "BURGUNDY"
_Facing page 292._]
INDEX
PAGE
Abélard 89, 146, 153
" At Paris 146
" Marriage with Héloïse 148
" Fulbert's crime 149
" At St. Denis & St. Gildas 150
" Paraclet & correspondence 151
" Death 152
Aedui 13, 16, 32
Agrippa, Voie de 21, 36, 63
Aimard, Abbot of Cluny 91
Ain, The 272
Albéric 174, 176, 178
Albigensian Crusade 123
Alençon, Duc d' 106
Alesia 15
Alethea (Alèthe) 115, 209
Alexandre de Bourgogne 242
Aligote (wine) 247
Alonzo VI., King of Castille 71
Amalon, Duke 138, 140
Amboise, Jacques de 88, 94
Amboise, Château de 281
Ambulatorium Angelorum, Cluny Abbey 75
Amphitheatres 39
Andrew 18
Anjou, Duke of 136
Anne of Brittany 281
Anselm 89
" Bishop of Laon 146
Antoine-le-Moiturier 192
Antigny-le-Châtel 179
Antony de la Marche 156
Apollo 32, 50
Apollo, Temple of 21, 32, 34
Aquitaine, William, Duke of 60, 61, 63
Argenteuil, Convent of 147, 149
Ariovistus 14
Arles 32, 36, 100
Armagnacs et Bourguignons 105, 200
Arnay-le-due, Road to 179
" Town 180, 182, 183, 248
Arnaud, Abbot of Citeaux 123
Arnold, Matthew, "Church of Brou" 286
Arverni 13
Aseraule, Monastery of 178
Asile des Aliénées, Dijon 189
Augustodunum (See Autun) 33
Augustus 11
Autun 8, 10-58
" Amphitheatres 39
" Cathedral St. Lazare 12, 26, 42, 51
" " translation of Relics 42
" " Destruction of Tomb 48
" " Alterations to 48
" " Capitals 49
" Capitol 21, 32, 34
" Castrum 21, 26, 55
" Caves Joyaux (See Theatre)
" Champ de Mars,
Place du 11, 26, 55, 56
" " des Urnes 20
" Crot Volu (Amphitheatre) 39
" Ecoles Méniennes 21, 22, 33, 34
" Faubourg d'Arroux 11, 24, 27
" " des Marbres 34
" Forum 21
" Fountain of Pelican 28, 51, 52
" Hôpital St. Nicholas 53
" Hôtel Rolin 51-53
" " de Ville 55
" " St. Louis 31, 41
" Hospice St. Gabriel, 34
" Jambe de Bois, Rue de la, 21
" Lazarus (See St. Lazare)
" Marbres, Faubourg des, 34
" " Promenade des, 34, 39
" " Porte des, 21
" Martha (See St. Martha)
" Mary (See St. Mary)
" Musée lapidaire, 43, 53-55
" Musée municipal, 55
" Porch of Cathedral, 44, 45
" Porte d'Arroux, 26, 27
" " des Marbres (Porte de Rome), 21
" " St. Andoche, 39
" " André, 27
" St. Andrew, 43
" Saint Lazare, 41, 46;
Tomb of, 43, 48;
Cathedral of, 12, 26, 42, 51
" St. Martha, 41, 43, 46, 54
" " Martin, Abbey of, 154
" " Mary, 41, 43, 46, 54
" Rue de la Jambe de Bois, 21
" Sand, Georges, 57
" Temple of Appollo, 21, 32, 34
" " " Janus, 12, 16, 22, 24
" Theatre (Roman), 35-37, 39
" Tour des Ursulines, 29
" Voie d'Agrippa, 21, 36
Auvergne, Mountains of, 10, 13
Auxerre, 184
Auxey-le-Grand, 240, 246
Avignon, 136
Babuti, Mdlle. (Mme Greuze), 169
Bagaudes, The, 250
Baleuse, Julian de, 91
Balme, Monastery of, 64
Bar, Tour de, Dijon, 215
" Duc de, 213
Batonard, Citizen, 85
Baufremont, Jeanne de, 242
" Pierre de, 242
Beauchamp, Guillaume de, 53
Beaune, Vicomte de, 112;
Castle of, 208
" Maison du Colombier, 230;
Flemish Belfry, 232;
Hospice de la Charité, 232;
Notre Dame, 232;
Hotel Dieu, 233-236
Bees, Albéric's Dream of, 177
Belfry of Beaune, 232
Belle Pierre, Cluny, 94
Berecynthia, Cybele, 50
Bernard (see St. Bernard)
Bernon, Abbot of Gigny, 61
Berri, Jean, Duke of, 196, 199
Bertille, 137-144
Bertrand, Maréchal, 56
Besançon, 24
Beuvray, 2, 4-10, 13, 15, 16, 53
Berzé-le-Châtel, 103-106
Béziers, 123
Bibracte, Oppidum (see Beuvray), 5
" Goddess, 6
Blanche de Castille (Queen), 103, 123
Bligny-sur-Ouche, 178, 179
Boniface VIII., Pope, 89
Bouilland, 237
Boulogne, 24
Bouillon, Cardinal de, 98
Bourbon, Jean de, 88, 89, 91
" l'Archambaud, 24
" Marguerite de, 285
Bourg-en-Bresse, 276, 277
Bourgogne, Canal de, 215
" Marie de, 250
Bouxaise, Valley of the, 237
Brasey, Guillaume de, 53
Brayer, General, 56
Bresse, Pays de, 276, 277, 283
Broederlam, Melchior, 204
Brou, Eglise de, 204, 277-292
Brunehault, Queen, 54
Bugey, 283
Buligneville, Battle of, 213
Bulliot, 6, 9, 16, 53
Burgundian Dreams of Empire, 205, 206, 208
" Patois, 270, 271
" Sculpture, 44, 45, 49, 191, 192,
194, 204, 212
" Wedding, 266-270
Busseul-Saint Sernin, Marguerite de, 263
Cæsar, Julius, 5, 10, 13, 14, 250
Canal de Bourgogne, 215, 216
Canossa, 67
Capitals, Cluny Abbey, 93;
Autun Cathedral, 49
Carignan, Château de, 282, 283
Carnot, 240
Caves Joyaux, 34
Célestins, Church of the, 199
Cezenat, 277
Challant, Jacques de,
Seigneur de Manille, 219, 220
Chalonnais, 137
Chalon-Sur-Saône, 136, 137, 153, 158;
" Cathedral of, 158
Champeux, 146
Champs des Urnes, Autun, 20
Chandios, Pierre de, 154-158
Chapelle Bourbon, Cluny, 87, 88
Charlemagne, Tree of, 210, 217, 220
Charles V. of France, 185, 186, 188
Charles VI. of France, 89, 185;
madness of, 188, 201
Charles VII. of France, 91, 105;
as Dauphin, 201, 202
Charles VIII. of France, 20;
at Autun, 56, 94, 281
Charles le Téméraire, 53, 203, 205;
death of, 206-208, 280
Charles the Simple, 61
Charmeur de Vipères, 134, 135
Charney, Lord of, 156, 217, 219, 220, 242
Charolles, 135
Charolois, Count Charles of, 153
Chartreuse de Champnol, 189, 191
Chastelux, Pierre de, 88
Château-neuf, 246
Châtigny, Forest of, 166
Châtillon-sur-Seine, 111, 115
Childebert, 137
Chilperic, 137
Cicero, 13, 14
Circateurs, 79
Cistercian Architecture, 120, 145
" Order and Rule, 111, 112, 113
" Sites, 113
" to-day, 124-126, 177, 184, 204
Citeaux, 59, 111-126;
" Foundation of, 112
Clairvaux, 111, 117, 125
Claude de France, 20
Claude de Guise, 94
Claudius, Emperor, 250
Claus Sluter (see Sluter)
" de Werve, 190, 191
Clermain, village of, 63, 110
Clotaire, 11, 54
Clous, Valley of the, 240
Cluny, 26, 59-110, 111, 120, 127, 184
" Eglise Notre Dame, 97
" " St. Marcel, 97, 99
" Hôtel Dieu
" " de Bourgogne, 60, 88, 100, 101
" " des Monnaies, 97
" " de Ville, 94
" Impressions of, 59, 60, 99
" Women of, 99, 100
Cluny Abbey, 75
" " Abélard at, 152
" " Arms of, 91
" " Basilica, Interior of, 74
" " Boar, Legend of the, 65
" " Capitals, 93
" " Chapelle Bourbon, 87
" " Consecration by
Innocent II., 70
" " Crumbs, Legend of the, 64
" " Description, 71-73
" " Dream of, 102
" " Exterior, 75, 76
" " Foundation, 60, 61, 63
" " Gateway, 89
" " Hugues, Death of St., 82
" " Luxury, 84
" " Monastic Revival, 65, 66
" " Monks Vision, 69
" " " Purpose of, 73
" " Palace of Pope Gélase, 86
" " Palais Abbatial, 89
" " Pascal II. at, 70
" " Raoul Glaber at, 163
" " Revolution, 85
" " Romanesque Houses, 95
" " Rule of, 76-82
" " Tour de l'Eau Bénite, 89
" " " l'Horloge, 87
Colonna, Jean Baptiste, 207
Conrad, Maitre, 285, 286
Constantine, 21, 28, 32
" Emperor of Byzantium, 242
Constantius Chlorus, 32
Correggio, 99
Cosse (Broom-pod) Order of, 185
Costumes of 15th century, 185, 186
Côte-d'Or, 216, 230-257, 240, 248, 253
Couhard, Pierre de, 16, 18, 20-22
Courtépée, 249
Courtrai, 212
Creux du Diable, 221, 222
" " Legend of, 222-229
Cross of St. Andrew (Burgundian Badge), 200
Croix de Rebout, 5
Crumbs, Legend of, 64
Cussy, 248-250
" la Colonne, 248-250
Cybele (Berecynthia), 50
Damien, Pierre, 80, 89
Dame des Pleurs, Tournament of, 153-158
Dance des Morts, 186
Déchelette, 27
De la Monnoye, 260
Delmace, 66
Devil's Pit, 221, 222
" " Legend of, 222-229
Diana, 50
Digoin, 135
Dijon, 21, 184-220
" As it was in the 14th century, 184
" Asile des Aliénées, 189
" Bar, Tour de, 189
" Castle of, 205
" Chartreuse de Champnol, 189
" Louis 11th, Entry of, 208
" Musée, 203-205
" Murder of Duc d'Orléans, 196-199
" Notre Dame, Church of, 204, 210, 212,
220, 242, 244
" Palais de Justice, 204, 210, 215
" Palais des Ducs, 213, 244
" Post Office, 205, 209
" Prisons of, 173
" Puits des Prophètes, 189, 190
" St. Michel, Church of, 204, 210
" Tomb of Jean Sans Peur, 192, 194
" " Philippe le Hardi 191, 192
" To-day, 209-215
Divitiacus, 13, 14, 31, 34
Druids, 13
Dumnorix, 14, 15
Edward I. (King of England), 158
Edward IV. " ", 186
Eglise de Brou (see Brou)
"Eho" (Folk Song), 258-262
Epinac, 58
Eringarde, 111
Etzebon, 71
Eudes I., Duke of Burgundy, 115
Eudes II., Duke of Burgundy, 42
Eudes III., Duke of Burgundy, 123
Eugène III., Pope, 117, 118, 122
Eumenes, 26, 28, 32, 33, 34
Famine in France, 165-168
Faurtride, Abbot of Clairvaux, 118
Ferdinand, King of Spain, 281
Fertiault, François, 260, 262, 271
Fête des Trépassés, 244
First of March, 264
Folk Song, 258-262
Fontaine-les-Dijon, 115, 216
Fontaine St. Vulbas, 283
Fontenay (M. De), 22, 24, 26, 27, 34, 36
Fountain of the Pelican, Autun, 51, 52
Forêt au Maitre, 237
François I., 20, 21, 54, 129, 288, 291
Froissart, 212
Froissy, 179
Fulbert, Canon, 147-149
Gabriel de Roquette, 36
Gamay, Wine, 247
Gaul, 6, 9, 10, 14, 15
Gaulish Coins, 16
Gaulish Remains, 6
Gélase II., Pope, 74, 86, 89
Gemeaux, 228
Geneva, Canton of, 271
Geoffrey (St. Bernard's Secretary), 118
" de Berze, 104
Geraldus, 43, 44
Gérard (Brother of St. Bernard), 116
Gisilbertus, 46
Glaber, Raoul, 163-167
" History of his Time, 164
Gloze d'Ezéchiel, 147
Golden Fleece (Toison d'Or), 156-158,
244, 246
Gontran (King of Burgundy), 137, 140-144
Gorrevod, Laurant de, 282
Goujon, Jean, 51
Goux, Pierre de, 155
Grandson, Battle of, 53, 206
Grancy, Château de, 116
Gregory of Tours, 54, 143
" VII. (Pope Hildebrand), 67-69
Greuze, 99, 167-169
Guigonnes de Salins, 234, 236
Guillain, Nicolas, 49
Guillaume de St. Bénigne, 164
Guillaume de Vaudray, 220
" Lord of Marigny, 174-176
Guise, Claude de, 94, 106
Hamerton, P. G., 9, 10, 27, 42, 55
Harding, Stephen, 112-114, 178
Héliodore de Thiard de Bissy, 263
Héloïse, 146-153;
meets Abélard, 147;
marriage, 148, 149;
at Paraclet, 150, 151;
death of, 153
Helvetii, 14, 250
Henry I. (King of England), 71
" IV. (King of France), 106, 263
" IV. (King of the Germans), 67, 68
" V. (King of the Germans), 86
" VII. (King of England), 288
Heraclicus, 50
Hercules, Maximian, 250
Hildebrand de Mans, 75
" Pope Gregory VII., 67, 68, 89
Holy Tear, 175
Hospice de la Charité, Beaune, 232
Hotel Chrétien, Arnay-le-Duc, 183
" des Ambassadeurs,
Maison Richard, Dijon, 213
" de Bourgogne, Cluny, 60, 68
" de Cluny, Paris, 91
" Dieu, Beaune, 232-236
" Dieu, Cluny, 97, 98
" Rolin, Autun, 51
" St. Louis, Autun, 51
Huerta, Jean de la, 191
Hugues, Abbot of St. Martin, Autun, 61
" Abbot of Cluny, 66-70, 74,
80, 82, 91
" II. Abbot of Cluny, 83
" II. Duke of Burgundy, 115
" III. " ", 45
" IV. " ", 122
" le Pacifique, Duke of Burgundy, 175
" de Mâcon, 117
" Sambin, 204, 210
Huguenots, 105
Humbert de Bage, 42
Huns, 137, 144, 160
Ingres, 49, 50
Innocent II., Pope, 42, 71, 119
" III., Pope, 68, 123
" IV., " , 89
Isabella, Queen of Spain, 281
Isabeau de Bavière, Queen, 196
Is-sur-Tille, 229
Jaquemart, Clock, 212
Jacques d'Amboisè, 88, 94
" de Baerze, 203
Janus, Temple of (See Autun)
Jayet, Pierre, 129
Jean de la Huerta, 191
" de Bourbon, 88, 89
" de Marville, 191
" Petit, 199
" sans Peur, Tomb of, 192, 194;
character, 194, 195, 198, 199, 201;
murder of, 202, 204
Jeannin, Pierre, 49
Jeanniot, G.H.P., 205
John VIII., Pope, 146
Josephine, Empress, 56
Juan, Prince of Castille, 281
Judith Chalonnaise, La (Bertille), 137-144
Labussière, Abbey of, 173-178
" Church, 178
La Cluse, 272, 273
La Ferté, Abbey of, 117, 125
Lalain, Jaques de, 154-158
La Marche, Olivier de, 153, 207,
218, 219, 234
" " Anthony de, 156
Lamartine (de Prat), 107-110
Lancaster, Duke of, 185
Langue d'Oc, 271
Langue d'Oil, 271
Laurel, Fixing and Song of, 268-270
Lemaire, Jean, 281
Lempereur, 249
Leo XIII., Pope, 125
Les Carmes, Church of, 155
Lichfield Cathedral, Spire of, 44
Ligueurs, 263
Loire, Valley of, 10
Lois von Boghen, 285, 286
Louée, la, 1
Louis VII., of France, 42, 122, 152
" IX. ", 89, 122, 123
" XI. ", 194, 205, 206, 208, 233,
236, 263, 280, 281
" XIV. ", 98
" d'Orléans, murder of, 196-199
" le Gros, 122
Louise de Savoie, 20
Lourdon, Château de, 106, 107
Ludwige, 137, 138, 142, 144
Lusigny, 248, 249
Lux, Village of, 221, 222
Mâcon, 63, 104, 135, 171, 172
Maeniana, 33
Magdeleine of Rochester, 288
Maison de Bois, Chalon-sur-Saône, 158
" Colombier, Beaune, 230
" des Caryatids, Dijon, 213
" Milsand, Dijon, 213
" Notre Dame, Paris, 196, 198
" des Pompons, 129
" Richard, Dijon, 213
Mahomet II., Sultan, 242
Maitre, Foret au, 237
Malines, 289
Malvaux, Gorge of, 6
Mandelot, 253
Manoir des Ducs de Bourgogne,
Arnay-le-Duc, 182
Marbres, Les, Autun, 28
"March, First of", 264
Marcilly, Etang de, 229
Marcus Aurelius, 50
Maréchal de Rieux, 196
Marguerite d'Autriche, 280-292;
Devices of, 285;
closing years of, 286;
death of, 288
Marguerite de Bourbon, 285
" de Busseul-Saint-Sernin, 263
" de Flandres, 190
" Ste. Abbey and Legend of,
237-240
Marigny, Château de, 174
Marie de Bourgogne, 280
Martha (see St. Martha)
Martial d'Auvergne, 188, 189
Martin of Autun, 43, 48
Marville, Jean de, 191
Mary (see St. Mary)
Mathilde Duhesme, 247
" Lady of Marigny, 175
Matthew Arnold's "Church of Brou", 286
" Bishop, of Westminster, 68
Mavilly, 248, 253, 255
Maximilian d'Autriche, 280
" of Italy, 291
Melchior Broederlam, 204
Melin, 240
Melun, 164
Mendes, Catulle, 260
Meursault, 240
Michael Angelo, 190
Milly, Comte de, 103, 106
Milly, Village of, 107
Mirebeau, Lord of, 156
Molême, Forest and Abbey of, 111, 112
Monnoye, De la, 260
Montagne Ste. Gêneviève, Abélard at, 146
Montbard, Counts of, 115
Mont Beuvray (see Beuvray)
Montceau, 249
Montécut, 288
Montégut, Emile, 31, 49, 99, 123, 129
Montereau, 191;
Murder at Bridge of, 202
Montfauçon, 249
Monthelon, 10
Montjeu, Chateau de, 47
Montlhéri, Battle of, 206
Morat, Battle of, 206
Morée, Prince de
(Alexandre de Bourgogne), 242
Morimond, 117, 125
Morvan, 2
Moses, Well of, 100
Motte Forte, Tour de la, Arnay-le-Duc, 180
Musée Lapidaire, Autun, 43, 53-55
" Municipal, Autun, 55
Namours, Duc de, 105
Nancy, Siege and Battle of, 206, 207
Nantoux, Valley and Gorge of, 248, 252, 253
Nantua, 272-275;
Church of, 275
Napoleon Buonaparte, 56, 57, 169
Narthex, Purpose of, 73
" of St. Philibert, Tournus, 160, 161
Nicolas Rolin, 44, 53, 233, 236
" V., Pope, 242
"Noce d'autrefois en Bourgogne", 266-270
Nogent, 150
Noirmoutiers, Monastery of, 162
Notre Dame, Beaune, 232
" Cluny, 97
" Dijon, 204, 210, 212,
220, 242, 244
Nuits, 217, 218
Odilon, Abbot of Cluny, 65-67, 74, 163
Odon, 64, 74;
Legend of the Crumbs, 64
Olivier de la Marche (see La Marche)
Orbandale, 137
Otellot, Wine, 247
Ouche, Valley of the, 172-183, 215, 216
Palace of Pope Gélase, 86
" " the Dukes, Dijon, 213
Palais Abbatial, Cluny, 89
" de Justice, Dijon, 204, 215
Palermo, 67
Pallet, Seigneur de, 146
" Bourg du, 148
Papillon, Canon, 236
Paraclet, 150, 151, 153
Paradin, Chronicler of Savoy, 291
Paray-le-Monial, 127-135;
Hotel de Ville, 129;
church, 129-134
Pascal II., Pope, 70
Paris, Massacre of the Armagnacs, 200;
famine, 201
Patois, Burgundian, 270, 271
Perrault-Dabot, 271
Petit, Jean, 199
Philibert le Beau, Duke of Savoy, 281-284;
death of, 284;
tomb, 290
Philintus, 146
Philippe le Bon,
Duke of Burgundy, 191, 203, 206,
218, 234, 244
" de Rouvre (see Philippe le Hardi)
" le Bel, 89
" le Hardi, 136, 184-190, 204, 212, 217
" III., King of France, 158
" Pot, 210, 240-246
Pierre Damien, 80, 89
" de Chastellux, 88
" de Chandios, 154-158
" de Couhard, La, 16, 18, 29-32
" de la Wivre, La, 6, 8
" le Vénérable, 75, 79, 111,
117, 120, 146, 152
" Jayet, 129
" Salvee, La, 9
" de Vasco, 153
Pinot, Wine, 147
Pius VII., Pope, 146
Planoise, Forest of, 20
Pleurants, 191, 192, 194
Plombières, 215, 216
Pochouse, La (national dish), 266
Poillot, Denis, 54
Poirer aux Chiens, 4
Pommard, 252
Pons, Abbot of Cluny, 75
Pont d'Ain, Château de, 283, 284
Pontigny, Abbey of, 117, 125
Porcheresse, Château de, 20
Porch of Cathedral, Autun, 44, 45
Porte d'Arroux, 24, 26, 27, 29, 47
" des Marbres, 21, 28
" de Rome (See Porte des Marbres)
" St. Andoche, 24, 28, 29
" St. André, 24, 27
Post Office, Dijon, 205, 209
Pot, Philippe (see Philippe Pot)
" René, 242
Prat family (Lamartine), 107
Prudhon, 99, 168
Puits des Prophètes, Dijon, 189
Raoul Glaber, 163-167
Richelieu, 106
Rieux, Maréchal de, 196;
Hotel de, 198
Renée (Duc d'Anjou, Duc de Bar,
"Good King Renée"), 213
René (Duke of Lorraine), 207
Revonnat, 277
Robert I., Abbot of Cluny, 73
Robert, Abbot of Molême (see St. Robert)
Rochepot, Castle of, 240-243
Rolin, Cardinal, 44, 53
" Hotel, 51-53
" Nicolas, 44, 53, 233, 236
Roman Buildings (see Autun)
" Column (see Cussy la Colonne)
Romanesque Houses, Cluny, 95
Rouvres, 123, 124, 217
Rude, 205
Sacré Cœur, Cult of, 127
Sainte Larme, Fontaine de, 176
" " (Holy Tear), 175, 176
Saint Agricole, 145, 165
" Albéric, 113
" Antony, Temptation of, 204
" Bénigne de Dijon, Abbey of, 163, 184;
Cathedral, 208, 209
" " Missionary, 255
" Benedict, Rule of, 76-82
" Bernard, 83, 115, 150, 152, 216;
takes the Cowl, 114;
Legend of his birth, 115;
His Austerities, 116;
Appointed Abbot of Clairvaux, 117;
His Character, 118;
Correspondence with Pierre
le Vénérable, 120-122;
Cup of, 204;
Home of, 216, 217
Saint Catherine, Martyrdom of, 203, 204
" Cécile, 63
" Denis, Abbey of, 149, 150
" Germain d'Auxerre, Abbey of, 163
" Gildas, Abbey of, 150
" Hubert, Confraternity of, 4
" Lazare, and Cathedral of (see Autun)
" Leger-sous-Beuvray, 1-4, 8
" Louis (see Louis IX.)
" Loup, Village of, 258
" Marcel de Chalon, 137, 140, 142,
145, 146, 152
" Marcel, Eglise de, Cluny, 97
" Marguerite, Abbey and
Legend of, 237-240
" Martha, 41, 42, 43, 54
" Martial Chapel of, Cluny, 88
" Martin, Abbey of, Autun, 54, 6, 9,
255-257
" " Count of, 219
" " de Tours, Tomb of, 208
" " Legend of, 255-257
" " Saut de, 253
" " Puits de, 252-255
" Mayeul, Abbot of Cluny, 74
" Mary, 41, 43, 46, 54
" Michael, Church of, Dijon, 204, 210
" Nicholas, Church of, Paray, 129
" Odilon (see Odilon)
" Pierre, Mâcon, 172
" Philibert, Tournus, 160-162;
Dijon, 185
" Point, Chateau and Village of, 107-110
" " Church, 108
" " Guillaume de, 109
" Rémy, Provence, 110
" Robert, 111, 112;
Cross of, 204
" Stephen, Stoning of, 232;
Chapel of, Cluny, 88
" Symphorien, 49-51
" Valérien, 161
" Victor, Village of, 174
Saint Vincent, Mâcon, 172
" " Cathedral of,
Chalon-Sur-Saône, 158
" Vulbas, Fontaine de, 283
Salamanca, 281
Salernes, Jean de, 64
Sambin, Hugues, 204, 210
Sand, Georges, 57
Sandon, Lord of (Anthony de la Marche), 156
Sarcy, Guillaume de, 155
Savigny, 237
Scheffer, 262
Sens, Council of, 152
Seyl, Lord of, 156
Sluter, Claus, 192-194, 246
"Snake-Skin" tiling, 210
Soissons, Council of, 149
Suran, The, 272
Tacitus, 13, 32, 35
Talant, 216
Tanneguy du Chatel, 202
Tavannes, Vicomte de, 263
Tebsima-Ben-Beka, 174-177
Tebsima, Legend of, 174-177
Teillage (Autumn Fête), 265
Tescelin le Roux, 115, 117
Tetricus, 21, 28, 32
Theatre of Ephesus, 36
" " Roman (see Autun)
" " Smyrna, 36
Thermes, Palais des, Paris, 88
Thomas, Eden, 36
Touleur, 8
Toulongeon, the Herald, 154
" Tristan de, 155
" Claude, 155
Tour des Fromages
" de l'Eau Bénite, Cluny, 87, 99, 100
" de la Gênetoie, 24
" de l'Horloge, Cluny, 87
" du Logis du Roi (Tour de la
Terrasse) Dijon, 204, 213
Tour du Moulin, Cluny, 88
" des Ursulines, 29
Tournament of La Dame des Pleurs, 153-158
" " the Tree of Charlemagne, 217
Tournoi (see Tournament)
Tournus, 99, 160-171
Tramaye, 110
Trempée, La, 268
Tres Valles (Three Valleys), 177
Udalric, 77, 80
Vallée d'Absinthe, 152
Valois, Duke of House of, 185;
Madness of, 203, 205
Van Boghen, Lois de, 285, 286
" der Weyden, Roger, 100, 234, 236
" Hemerren, 203
Varennes, Bernard de, 82
Vauchignon, 82
Vaudrey, Guillaume de, 220
Velours, Forest of, 221
Vercingetorix, 15
Verdun-sur-le-Doubs, 258, 262-264
" Seigneurs de, 263
Vergy, Castle of, 238
" Maid of (see Marguerite)
Verrière, La, 10
Vesentio, Road of, 36
Vespasian, 18
Vézeley, 42, 45
Vienne, Sieurs de, 263
Violet-le-Duc, 22, 24, 27, 131, 161, 234
Vitruvius, 16
Voltaire, 47
Vulfrand, 137, 138, 142-144
Well of St. Martin, 252-255
Well of the Prophets
Werve, Claus de, 190, 191
William I., of England, 89
Wines, qualities of, 247
Wivern, 9
NEWPORT, SALOP:
BENNION, HORNE AND CO., LTD., PRINTERS.
Transcriber's notes:
--Different spelling of Citeaux and Cit-eaux results from usage in
text.
--Chalon-Sur-Saône (city) is different from Chalon and Châlon. No
further change to spelling.
--Other differences in spelling like Hotel/Hôtel remain in text as
intended by the author. Many of those result from usage of English
AND French texts.
--Caret character ^ used for superscripts
End of Project Gutenberg's Burgundy: The Splendid Duchy, by Percy Allen