Chapter X: Gothic Art in Normandy314 (7)

[65] _Congrès Archéologique_, 1911, St. Remi (Rheims), p. 57, and Notre Dame (Châlons), p. 473, Louis Demaison; Louis Demaison, _Les églises de Châlons-sur-Marne_ (Caen, 1913); E. M. de Barthélemy, "Notre Dame-en-Vaux à Châlons-sur-Marne," in _Revue de l'art chrétien_, vol. 15, p. 97; A. de Dion, "Notre Dame-en-Vaux à Châlons-sur-Marne," in _Bulletin Monumental_, 1886, vol. 52, p. 547, and 1887, vol. 53, p. 439, Louis Grignon; L. Grignon, _Description et l'histoire de Notre Dame de Châlons-sur-Marne_ (Châlons-sur-Marne, 1884), 2 vols.; Abbé Poussin, _Monographie de l'abbaye et de l'église de St. Remi de Rheims_ (Rheims, 1857); Alfonse Gosset, _La basilique de St. Remi à Rheims_ (Paris, 1900); L. Barbat, _Histoire de la ville de Châlons-sur-Marne_; R. de Lasteyrie, _L'architecture religieuse en France à l'époque romane_ (Paris, 1912), p. 158, St. Remi.

[66] "Il est digne de remarque, que de toutes ces règles monastiques les plus rigides ont été les mieux observées: les Chartreux ont donné au monde l'unique exemple d'une congrégation qui a existé sept cents ans sans avoir besoin de réforme."--CHATEAUBRIAND, _Génie du Christianisme_.

In April, 1903, two squadrons of dragoons expelled the last monks from La Grande Chartreuse. An economic loss for the entire region has resulted.

[67] _Congrès Archéologique_, 1902; Morel-Payen, _Troyes et Provins_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1910); Félix Bourquelot, _Histoire de Provins_ (Paris, Techener, 1840), 2 vols.; Gabriel Fleury, "Le portail de St. Ayoul de Provins," in _Congrès Archéologique_, 1902, p. 458, or in _Études sur les portails imagés du XIIe siècle_ (Mamers, Fleury et Dangin, 1904).

[68] The transept of St. Ayoul is good Romanesque. After a fire in 1160 the nave was rebuilt as XIII-century Gothic; the choir is XVI century. At St. Loup-de-Naud there is a central lantern on squinches (XII century).

[69] _Congrès Archéologique_, 1911, p. 428, E. Lefèvre-Pontalis; S. Prioux, _Monographie de l'ancienne abbaye royale St. Yved de Braine_ (1859), folio; _Bulletin Monumental_, 1908, vol. 72, p. 455, A. Boinet.

[70] _Congrès Archéologique_, 1905, p. 121, E. Lefèvre-Pontalis; E. Lefèvre-Pontalis, _À travers le Beauvaisis et le Valois_ (Paris, 1907); Émile Lambin, "L'eglise de St. Leu d'Esserent," in _Gazette des beaux-arts_, 1901, tome 25, p. 305; Viollet-le-Duc, _Dictionnaire_, vol. 2, p. 504; vol. 4, pp. 83, 230; vol. 7, p. 384; vol. 9, p. 280; Abbé Eugène Müller, _Senlis et ses environs_ (1897).

[71] Marcel Aubert, _La cathédrale de Notre Dame de Paris_ (Paris, Longuet, 1909); Lassus et Viollet-le-Duc, _Monographie de Notre Dame de Paris_ (Paris), folio; V. Mortet, _Étude historique et archéologique sur la cathédrale et le palais épiscopal de Paris_ (Paris, 1888); Queyron, _Histoire et description de l'église de Notre Dame_ (Paris, Plon, Nourret et Cie); De Guilhermy, _Description de Notre Dame de Paris_ (1856); _ibid., Itinéraire archéologique de Paris_ (1855); S. François, _La façade de Notre Dame de Paris_ (Brussels, Imprimerie Goosens, 1907), 4to; E. Lefèvre-Pontalis, "Les origines des gables," in _Bulletin Monumental_, 1907, vol. 71, p. 92; Camille Enlart, _Le musée de sculpture comparée du Trocadéro_ (Collection, Les grandes institutions de France), (Paris, H. Laurens, 1911); H. Bazin, _Les monuments de Paris_ (Paris, 1904); G. Riat, _Paris_ (Collection, Villes d'art célèbres), (Paris, H. Laurens); Amédée Boinet and Jean Bayet, _Les édifices religieux de Paris_ (Collection, Les richesses d'art de la ville de Paris), (Paris, H. Laurens), 3 vols.; L. Barron, _La Seine_ (Collection, Fleuves de France), (Paris, H. Laurens); Émile Lambin, _La flore des grandes cathédrales de France_, (Paris, 1897); _ibid., Les églises des environs de Paris étudiées au point de vue de la flore ornamentale_ (Paris, 1896), folio; _ibid., Les églises de l'Ile-de-France_ (Paris, 1906); Anthyme Saint-Paul, "Notices sur les églises des environs de Paris," in _Bulletin Monumental_, vol. 34, p. 861, and vol. 35, p. 709; Alexis Martin, _Excursions dans les environs de Paris_ (Paris, 1900); Henri Stein, _Les architectes des cathédrales gothiques_ (Paris, 1908); Émile Mâle, _L'art religieux du XIIIe siècle en France_ (Paris, Colin, 1908), 4to.

[72] "Les ardentes prières, les sanglots désespérés du moyen âge avaient à jamais imprégné ces piliers et tanné ces murs."--J. K. HUYSMANS.

[73] "Il me sembla que tout le passé de mon pays se dressait devant moi. Tout ce qu'elles ont vu, ces pierres!... Tout ce qu'elles ont entendu, ces voûtes!"

--PIERRE L'ERMITE (Abbé Loutil)

[74] "The first of the great Gothic façades in point of dignity is undoubtedly that of Paris, a design of which no words can express the exalted beauty. Grandeur of composition, nobility of silhouette, perfection of proportion, wealth of detail, infinitely varied play of light and shade combine to raise this composition, so majestic, so serene, to the place it has ever occupied in the heart of everyone endowed with the slightest feeling for the beautiful."--ARTHUR KINGSLEY PORTER.

[75] The problem of Universals remains still a real one for the thinker--how our intellectual concepts correspond to things existing outside our intellect.

[76] In his _Summa totius theologiæ_ St. Thomas held that the existence of God was to be known by reason. He took his stand on a palpable fact--the existence of creatures. He began with the fecund idea of motion, the stars in their orbits, man engendering man. If there is movement there must be a First Motor. If there ever had been an instant when nothing was, nothing ever would have been. Effects must have a cause. Either nothing is, which is an absurdity, or there must be One Being eternally immutable.

That the movement is ordered, such as night and day, season following season, shows a supreme power directing. That creatures are more or less perfect supposes a perfect being. One by one Aquinas laid his foundation stones till a solid lower wall was built, on which he reared his majestic structure. In the Roman Breviary, he is thus recorded: "Thou hast written well of me, Thomas, what recompense do you ask of me?" "None but yourself, Lord!" ("_Non aliam, Domine, nisi te ipsum!_").

[77] The father of St. Thomas was the Count of Aquin, nephew of the Emperor Frederick Barbarossa. His mother came of the line of the Norman rulers in Sicily; the same stocks produced that undisciplined, undecipherable genius of the XIII century, Frederick II.

[78] L. Liard, _L'Université de Paris_ (Collection, Les grandes institutions de France), (Paris, H. Laurens); L. Maître, _Les écoles épiscopales et monastiques de l'occident depuis Charlemagne jusqu'à Philippe-Auguste_ (Paris, 1866); Tarsot, _Les écoles et les écoliers à travers les âges_ (Paris, H. Laurens); H. Rashdall, _The Universities of the Middle Ages_ (Oxford, Clarendon Press, 1895), 2 vols.; Bonnard, _Histoire de l'abbaye royale de St. Victor de Paris_ (1907); V. Cousin, éd., _OEuvres de Pierre Abélard_ (Paris, 1849-59), 2 vols.; B. Hauréau, éd., _Les oeuvres de Hugues de St. Victor_ (Paris, 1887); B. Hauréau, _Histoire de la philosophie scholastique_ (Paris, 1872), 3 vols.; A. Mignon, _Hugues de St. Victor_ (Paris, 1895); Léon Gautier, éd., _OEuvres poétiques d'Adam de St. Victor_ (Paris, 1858), 2 vols.; Léon Gautier, _Histoire de la poésie religieuse dans les cloîtres des Xe et XIe siècle_ (Paris, 1887); Noël Valois, _Guillaume d'Auvergne_ (Paris, 1880); E. Berger, _La Bible française au moyen âge_ (Paris, 1884); Lecoy de la Marche, _La chaire française au moyen âge_ (Paris, 1886); _Histoire littéraire de la France_. (Begun by the XVII-century Benedictines, continued by the Institute of France.) Vol. 9, p. 1, "L'État des lettres en France, XIIe siècle" (Paris, 1750); vol. 10, p. 309, "Guillaume de Champeaux" (Paris, 1759); vol. 12, p. 1, "Hugues de St. Victor"; p. 86, "Abélard"; p. 585, "Pierre Lombard"; p. 629, "Héloïse" (Paris, 1764); vol. 13, p. 472, "Richard de St. Victor" (Paris, 1814); vol. 15, p. 40, "Adam de St. Victor"; p. 149. "Maurice de Sully" (Paris, 1820); vol. 16, p. 1, "L'état des lettres en France au XIIIe siècle" p. 574, "Eudes de Sully" (Paris, 1824); vol. 18, p. 357, "Guillaume d'Auvergne" p. 449, "Vincent de Beauvais" (Paris, 1835); vol. 19, p. 38, "Hugues de Saint-Cher"; p. 143, "St. Louis"; p. 238, "St. Thomas d'Aquin"; p. 266, "St. Bonaventure"; p. 291, "Robert de Sorbon"; p. 621, "Les trouvères," (Paris, 1838).

[79] The last vestige of St. Victor's monastery, foyer of sanctity for the XII century, was wiped out by order of a stupid municipality of Paris, in 1842.

[80] Petit de Julleville, éd., _Histoire de la langue et de la littérature française_ (Paris, Colin, 1900), 8 vols. In vols. 1 and 2 the Middle Ages are treated by Gaston Paris, Léon Gautier, and Joseph Bédier; Gaston Paris, _La littérature du XIIe siècle_ (Paris, Hachette, 1895). He places the classic epoch of the literature of the Middle Ages between 1108 (opening of Louis VI's reign) and 1223 (end of Philippe-Auguste's rule); Joseph Bédier, _Les légendes épiques_ (Paris, H. Champion, 1908-13), 4 vols.; Remy de Gourmont, _Le Latin mystique_.

[81] _Paradiso_, xxxiii: 4-6.

[82] Some of the modern archbishops of Paris have added to the prestige of their see. Monseigneur Affre was shot on the barricades, in 1848, when he went forth bearing a message of peace. Monseigneur Darboy was shot in prison by the Commune of 1871. Both are commemorated in side chapels of the cathedral's choir.

[83] G. Sanoner, "La Bible racontée par les artistes du moyen âge," in _Revue de l'art chrétien_, 1907-13; _ibid._, "La vie de Jésus-Christ racontée par les imagiers du moyen âge sur les portes d'églises," in _Revue de l'art chrétien_, 1905-08.

[84] Once the Paris churches were filled with late-Gothic windows, though the troubled history of the city has left but few. Some XVI-century glass is still to be found in St. Merri and St. Germain-l'Auxerrois, for which churches see Huysman's _Trois églises et trois primitifs_ (1908). St Étienne-du-Mont has in a chapel an Engrand Le Prince window, a symbolic wine press with portraits of Pope Paul II, Charles V, Francis I, and Henry VIII; and reset in the passage leading to the catechism chapel is the masterpiece of Pinaigrier, twelve panels that are veritable enameling on glass. In St. Gervais, where on Good Friday, 1918, a projectile from the long-distance German gun crashed through the masonry roof, killing many, are two windows, Solomon's judgment (1531), and St. Laurence (1551), said to be by Jean Cousin, also some Pinaigrier glass. To Jean Cousin are attributed the five splendid windows of the Apocalypse in the chapel at Vincennes, whose design derives from Dürer's woodcuts, published in 1498. They have deep shadows and are strong in color and plan. M. Mâle says that Dürer's German has here been translated into graceful Renaissance Italian. Vincennes' chapel had been begun by Charles V in 1378. Then came the pause of a century, and the works were finished by Henry II, still on the Gothic plan, however. Henry donated the windows and he had Diana of Poitiers pictured among the righteous souls in the fifth seal of the Apocalypse. Francis I is represented at the base of the second window. Excursions can be made from Paris to places within easy distance that posses Gothic-Renaissance glass. At Écouen, nine miles from Paris, in the church of St. Acceul, are sixteen windows due to De Montmorency patronage. Originally in Écouen's guard hall were the forty-four panels (made for the constable, Anne de Montmorency) now in the long gallery of Chantilly, the château bequeathed to the Institute of France in 1897 by the Duc d'Aumale. The story of Cupid and Psyche is told in that camaïeu glass so suited for domestic decoration, a species of iron-red grisaille, whose only other hue is yellow stain. Chantilly's panels were painted in the Raphaelesque style by the Flemish master, Coexyen, trained in Van Orley's school. At Montmorency, ten miles from Paris, in St. Martin's church, the history of France seems written in the windows, with the portraits of Francis I, Henry II, Adrian VI, and members of the houses of Montmorency, Pot, and Coligny. Three of the lights are by Engrand Le Prince. More portrait work appears in the many windows at Montfort l'Amaury, twenty-nine miles from Paris (1544-78), work not equal to the earlier XVI-century glass.

H. Havard, éd., _La France artistique et monumentale_, vol. 4, Écouen; vol. 5, Chantilly, Vincennes, Pierrefonds; F. de Fossa, _Le château de Vincennes_ (Collection, Petites Monographies), (Paris, H. Laurens); E. Macon, _Chantilly et le musée Condé_ (Paris, H. Laurens).

[85] Henri Stein, _La Sainte-Chapelle de Paris_ (Paris, 1912); F. de Guilhermy, _Description de la Sainte-Chapelle_ (Paris, 1899), 12me; Troche, _Notice historique et descriptive sur la Sainte-Chapelle_; Morand, _Histoire de la Sainte-Chapelle_ (Paris, 1790); Louis Courajod, _La polychromie dans le statuaire du moyen âge et de la Renaissance_ (Paris, 1888); Abbé A. Bouillet, _Les églises paroissiales de Paris_, vol. 5, _La Sainte-Chapelle_ (Paris, 1900); F. de Mély, "La sainte couronne d'épines," in _Revue de l'art chrétien_, 1899, vol. 42.

[86] Armand le Brun, _L'église St. Julien-le-Pauvre_ (Paris, 1889); J. Viatte, _L'église de St. Julien-le-Pauvre de Paris_ (Châteaudun, Prudhomme, 1899).

[87] Jules Quicherat, "St. Germain-des-Prés," in _Bibli. de l'École des chartes_, 1865, vol. I, p. 513; and _Mémoires de la Soc. des Antiquaires de France_, 1864, vol. 28, p. 156; Jacques Bouillart, _Histoire de l'abbaye royale de St. Germain-des-Prés_ (Paris, 1724); Auger, _Les dépendances de St. Germain-des-Prés_ (Paris, 1909), 3 vols.; E. Lefèvre-Pontalis, "Étude sur le choeur de l'église de St. Martin-des-Champs à Paris," in _Bibliothèque de l'École des chartes_, 1886, vol. 47; F. Deshoulières, _St. Pierre de Montmartre_ (Caen, H. Delesque, 1913); also in _Bulletin Monumental_, 1913, vol. 77, p. 4; H. Havard, éd., _La France artistique et monumentale_, vol. 6, p. 66, "Le conservatoire des arts et métiers" (St. Martin-des-Champs); A. Lenoir, _Statistique monumentale de la ville de Paris_ (Paris, Imprimerie Impériale, 1867), 3 vols., folio (valuable drawings of the Parisian abbeys); Em. de Broglie, _Mabillon et la société de l'abbaye de St. Germain-des-Prés_ (Paris, 1881).

[88] The Hôtel Cluny, which became a national museum in 1848, was built as the town house for the abbot of Burgundian Cluny, by those two art patrons, Jean de Bourbon (1456-81) and Jacques d'Amboise (1481-1514). It is one of the best works of Gothic civic architecture in France. It stands on the site of Roman baths, alleged to be those of Julian the Apostate, above which had later risen a residence of the Merovingian kings. In the time of the Carolings, Alcuin taught on this spot. The Palais des Termes was purchased for Cluny by Abbot Pierre de Chastellux (1322-43). H. Havard, éd., _La France artistique et monumentale_, vol. 1, p. 161, A. Darcel, on Musée Cluny; E. du Sommerard, _Le palais des thermes et l'Hôtel de Cluny_; Ch. Normand, _l'Hôtel de Cluny_ (Paris, 1888).

[89] Paul Abadie, who over-restored the cathedrals of Angoulême and Périgieux, won the competition for the national memorial basilica of the Sacré-Coeur, and began his strange Romano-Byzantine monument in 1873. He united Auvergne's Romanesque ambulatory with the cupola church of Aquitaine. There is not sufficient contrast between his elongated dome and the tower. Nevertheless, the immense pile of white stone standing over the capital presents exotic and superb effects in sun and mist, and no one can deny that a profound religious spirit breathes in this new shrine of France, as if the prayers and sufferings of generations had already hallowed its walls. Below the basilica stands a statue of the young Chevalier de la Barre, a victim of the personal intrigue of a corrupt magistrate of Abbeville and the lax law courts of Louis XV's time, not in any way the object of clerical hate, as the inscription on his statue would indicate. His abbess aunt was his warm defender, as was the bishop of Amiens, and on the day of his execution he received the sacraments piously. See Cruppi, _Révue des Deux Mondes_, March, 1895. As this mythical hero meets one in many a French city, it were well to know his real story.

[90] Some of the later manifestations of Gothic art in the capital are the porch and façade of St. Germain l'Auxerrois (1431-39), one of the first signs of renewed energy after Jeanne d'Arc's mission; the tower of St. Jacques (1508-22), attributed to the late-Gothic master, Martin Chambiges, and formerly part of a Flamboyant church destroyed by the Revolution; and the church of St. Merri (1520-1612), still Gothic in spirit. Th e Renaissance appears in St. Étienne-du-Mont (1517-63), whose interior is alluringly graceful, though it cannot boast of purity of style. St. Eustache (1532-1642), begun slightly after St. Merri, has a Gothic skeleton, "dressed in Renaissance robes sewed together like the pieces of a harlequin's garment, bizarre and contradictory, satisfactory to neither taste nor reason." The old church of St. Séverin used to be employed by M. Jules Quicherat as an object lesson for his pupils, since four different epochs are traceable in it; the three westernmost bays of the nave are early XIII century; and there is much Flamboyant Gothic with disappearing moldings. Abbé A. Bouillet, _Les églises paroissiales de Paris_ (1903); H. Escoffier, _Les dernières églises gothiques au diocèse de Paris_ (Thèse, École des chartes, 1900).

[91] Le Nain de Tillemont, _Vie de St. Louis_ (Paris, 1848-51 éd., Gauble), 6 vols.; Sertillanges, _St. Louis_ (Collection, L'art et les saints), (Paris, H. Laurens, 1918); H. Wallon, _St. Louis et son temps_ (Tours, 1865), 2 vols.; A. Beugnot, _Essai sur les institutions de St. Louis_ (Paris, 1821); Jean, sire de Joinville, texte original accompagné d'une traduction, Natalis de Wailly, éd., Paris, 1867. Translated into English, Bohn's Antiquarian Library, London; Gaston Paris, "Jean de Joinville," in _Hist. littéraire de la France_, 1848, vol. 32, p. 291; also Delaborde's biography; Lecoy de la Marche, _La France sous St. Louis et sous Philippe le Hardi_ (Paris, 1894); A. Molinier, _Les sources de l'histoire de France_ (Paris, 1901-06); U. Chevalier, Répertoire _des sources hist. du moyen âge_ (Montbéliard, 1903).

[92] Philippe Lauer, "Royaumont," in _Congrès Archéologique_, 1908, vol. 2, p. 215.

[93] One sister of St. Louis' queen married Henry III of England, under whom was built Westminster Abbey (1217-54). The second was the wife of King Henry's brother, Richard of Cornwall, who was titular emperor of Germany. The youngest sister inherited Provence and wedded St. Louis' brother, Charles d'Anjou, king of the Two Sicilies. E. Boutarie, _Marguerite de Provence, femme de St. Louis_ (Paris, 1869); E. Berger, _Blanche de Castille_ (Paris, 1900).

[94] Joinville, in Syria, went to the Krak, the great Christian fortress beyond the Jordan, to obtain, as a relic for his church at Joinville, the shield of his crusading ancestor whom Richard Coeur-de-Lion had admired. His "_beau chastel_" on the Marne was wrecked by the Revolution. His line had ended in an heiress who married into the ruling house of Lorraine, so that the XVI-century Duke of Guise, whose personal charm made him the idol of the French people, was fifth, by female descent, from the irresistible seneschal. A brother of Joinville's, Geoffrey, married Mahaut de Lacy, heiress of Meath, and became Lord Chief Justice of Ireland in 1273. Under Henry III and Edward I he played a role, and went crusading in 1270. He left nine children. On his wife's death he entered the Dominican convent of Tuam, where he died in 1314.

[95] Often did Louis IX sigh over his youngest brother. "Charles d'Anjou! Charles d'Anjou!" he would say, sadly. As king of the Two Sicilies, Charles won the title of the Merciless, and his harshness was punished by the Sicilian Vespers, 1282. Dante abominated the house of Anjou in Italy. Of Charles he wrote in the _Paradiso_ (viii: 73-75), "His evil rule, which ever cuts into the heart of subject people, caused Palermo to shriek out: 'Die! Die!'" St. Louis loved especially his brother Robert d'Artois, whose overhardy courage caused the defeat of the crusaders at Mansourah. When word was brought to the king of his brother's death in that battle, tears warm and full fell from his eyes, though he said, "God must be thanked for all he sends." The other brother of Louis IX was Alphonse of Poitiers, who married the heiress of Toulouse and took guidance of the king in his administration of the Midi.

[96] In 1841 Louis-Philippe built a chapel on the site where St. Louis had died in Tunis, 1270. In the _Ville d'Art Célèbres_ series (H. Laurens, Paris), see H. Saladin, _Tunis et Kairouan_, and R. Cagnat, _Carthage, Tingad, Tébessa_.

[97] Shakespeare, "Richard II." iv: 1.

[98] _Congrès Archéologique_, 1905; Léon Gautier, _La France sous Philippe-Auguste_ (Tours, Mâme et fils, 1869); A. Luchaire, _La société française au temps de Philippe-Auguste_ (Paris, Hachette, 1909); W. H. Hutton, _Philip-Augustus_ (London and New York, Macmillan Company, 1896); Viollet-le-Duc, _Dictionnaire de l'architecture_; see articles on cathedral, rose, triforium.

[99] Two miles from Mantes, across the river, is Gassicourt (Seine-et-Oise), once a Cluniac priory. Its earliest diagonals were built about 1125. The nave and tower are XII century; the choir and transept are Rayonnant Gothic. Some of the windows donated by Blanche of Castile remain. Bossuet long held the living of Gassicourt. See Lefèvre-Pontalis, "Monographie des églises Gassicourt, Meulan," etc., in _Bul. de la Commission des antiquités et des arts de Seine-et-Oise_, 1885-88, vols. 5 to 8.

[100] J. Formigé, _La cathédrale de Meaux_ (Pontoise, 1917); Amédée Boinet, "La cathédrale de Meaux," in _Revue de l'art chrétien_, 1912; I. Taylor, _La cathédrale de Meaux_ (Paris, Didot, 1858), folio; Emile Lambin, "La cathédrale de Meaux," in _Revue de l'art chrétien_, 1900; Henri Stein, _La cathédrale de Meaux et l'architecte Nicolas de Chaumes_ (Arcis-sur-Aube, 1890); Du Carro, _Histoire de Meaux et du pays meldois_ (Meaux, 1865); Monseigneur Allon, _Chronique des évêques de Meaux_; also his _Notice hist. et descript. de la cathédrale de Meaux_ (1871); O. Join-Lambert, _Le diocèse de Meaux_ (Thèse, École des chartes, 1894).

[101] Lionel Johnson, _Poetical Works_ (New York and London, Macmillan Company), p. 252.

[102] Péguy pierced to the very soul of the Maid in his _Mystère de la charité de Jeanne d'Arc_. Jeanne, in Domrémy, seeing the evil round her caused by war, says: "Je pourrais passer ma vie entière à la maudire, et les villes n'en seront pas moins efforcées, et les hommes d'armes n'en feront pas moins chevaucher leurs chevaux dans les blés vénérables ... blés sacrés, blés qui faites le pain ... sacrés blés qui devîntes le corps de Jésus-Christ."

[103] Another who fell in battle in that same summer of 1914, Ernest Psichari, divined this pregnant region: "Diocèse de Meaux, cryptes de Jouarre, cloches des petites communes ... l'harmonie délicate, la grâce parfaite, le bon goût de ces paysages modérés. Ici la race est d'accord avec le paysage, sérieuse comme lui, ardente sans frivolité, sans élégances inutiles. Certains soirs, on pense à Pascal, si français, quand il écrivait: 'Certitude.... Pleurs de joie.' "--_L'Appel des Armes_ (Paris, G. Oudin et Cie, 1913).

[104] _Paradiso_, xxxiii: 15-16.

[105] _Congrès Archéologique_, 1900; René Merlet, _La cathédrale de Chartres_ (Collection, Petites Monographies), (Paris, H. Laurens, 1909); _ibid._, "Les architectes de la cathédrale de Chartres et la construction de la chapelle Saint Piat au XIVe siècle," in _Bulletin Monumental_, 1906, vol. 70, p. 218; E. Lefèvre-Pontalis, _Les architectes et la construction des cathédrales de Chartres_ (Paris, 1905); _ibid._, _Les façades successives de la cathédrale de Chartres au XIe et au XIIe siècle_ (Caen, 1902); Abbé Bulteau, _Monographie de la cathédrale de Chartres_ (1891), 3 vols.; E. Lefèvre-Pontalis, "Le portail sud de la cathédrale de Chartres," in _Revue de l'art chrétien_, 1907, p. 100; F. de Mély, _Études iconographiques sur les vitraux du XIIIe siècle de la cathédrale de Chartres_ (Lille, 1888), 4to; J. K. Huysmans, _La Cathédrale_ (Paris, 1898; tr. London, Paul, Trench & Trübner); Henry Adams, _Mont Saint-Michel and Chartres_ (Boston, Houghton Mifflin Company, 1913); De Lasteyrie, _Études sur la sculpture française au moyen âge_ (Paris, 1902); Cherval, _Chartres, sa cathédrale, ses monuments_ (Chartres, 1905); _ibid._, _Les écoles de Chartres au moyen âge_ (1895); Lucien Merlet, tr. _Lettres de St. Ives, évêque de Chartres_ (Chartres, Petrot-Garnier, 1885); A. J. de H. Bushnell, _Storied Windows_ (New York, Macmillan Company, 1914); Crosnier, _Iconographie chrétienne_ (Tours, Mâme, 1876); Gabriel Fleury, _Études sur les portails imagés du XIIe siècle_ (Mamers, Fleury et Dangin, 1904); _Histoire littéraire de la France_, vol. 7, p. 1, "État des lettres en France, XIe siècle"; p. 261, "St. Fulbert" (Paris, 1746); vol. 10, p. 102, "St. Ives" (Paris, 1756); vol. 13, p. 82, "Geofroi de Lèves" (Paris, 1814); vol. 14, p. 89, "Jean de Sarisbéry"; p. 236, "Pierre de Celle, évêque de Chartres" (Paris, 1817).

[106] George Santayana, _Interpretations of Poetry and Religion_ (New York, Scribner's, 1905).

[107] Bishop Fulbert was buried in 1029 in the church of St. Pierre-en-Vallée. St. Pierre's choir is Romanesque and early Gothic; its sanctuary is a gem of XIV-century Rayonnant; its nave is in larger part of the XIII century, but later than the cathedral of Chartres; its west tower is of the XI century. At present it possesses a treasure of enamel work, the plaques of the apostles, by Léonard Limosin, which Francis I had made in 1545, and which Henry II gave to Diana de Poitiers for the château of Anet. There is much grisaille glass in St. Pierre; each window of the nave is divided perpendicularly into three panels--a colored one in the center and grisailles on either side. In the choir is some XII-century glass; the brilliant apse windows are XIV century, as are a few in the nave. P. Lavedan, _Léonard Limosin el les émailleurs français_ (Collection, Les grands artistes), (Paris, H. Laurens); Alleaume et Duplessis, _Les douze apôtres; émaux de Léonard Limosin_ (Paris, 1865).

[108] "Chartres est sage avec une passion intense.... Palais de la paix et du silence!... C'est du paix héroique qu'il s'agit ici."--RODIN, _Les Cathédrales de France_ (Paris, Colin, 1914).

[109] "I am Beauceron, Chartres is my cathedral," said Charles Péguy, who walked in pilgrimage a hundred miles to pray in the cathedral when his little son lay dying with diphtheria. No one has celebrated it better than that XX-century maker of mystery plays, true artisan-artist of the _moyen âge_:

"Voici le lourd pilier et la montante voûte;
Et l'oubli pour hier, et l'oubli pour demain;
Et l'inutilité de tout calcul humain;
Et plus que le péché, la sagesse en déroute.

"Voici le lieu du monde où tout devient facile,
Le regret, le départ, même l'événement,
Et l'adieu temporaire et le détournement,
Le seul coin de la terre où tout devient docile....

"Voici le lieu du monde où tout rentre et se tait,
Et le silence et l'ombre et la charnelle absence.
Et le commencement d'éternelle présence,
Le seul réduit où l'âme est tout ce qu'elle était."

--"Prières dans la cathédrale de Chartres," _OEuvres de Charles Péguy_, vol. 6, p. 383, éd., _Nouvelle Reçue française_, 1916-18.

[110] Émile Mâle, _L'art religieux du XIIIe siècle en France_ (Paris, A. Colin, 1908); _ibid._, _L'art religieux de la fin du moyen âge en France_ (Paris, A. Colin, 1910).

[111] Émile Mâle, _L'Art allemand et l'art français du moyen âge_ (Paris, A. Colin, 1917).

[112] "Lovelier color the hand of man has not produced. There are times when human art seems to be something more than mortal; when it rises to heights infinitely above the ordinary achievements of men. French glass of the XII century is such an art. It is impossible to stand in the presence of these translucent mosaics without experiencing a depth of æsthetic emotion that at once disarms the critical faculty. Such sensuous beauty of tone, such richness of color, has been equaled by no painter of the Renaissance, by no Byzantine worker in mosaics. Yet it is not only for their absolute beauty, but also for their perfectly architectural character that these windows claim unqualified admiration."--ARTHUR KINGSLEY PORTER, _Medieval Architecture_ (New York and London, 1907), vol. 2, p. 108.

[113] _Congrès Archéologique_, 1911, Rheims, p. 19, the cathedral; p. 57, St. Remi, L. Demaison; Louis Demaison, _Album de la cathédrale de Rheims_ (Paris, 1902), 2 vols., folio; _ibid._, _La cathédrale de Rheims_ (Collection, Petites Monographies), (Paris, H. Laurens, 1910); Abbé Cerf, _Histoire et description de Notre Dame de Rheims_ (Rheims, Dubois, 1861), 2 vols., 8vo; Alphonse Gosset, _La cathédrale de Rheims_ (Paris and Rheims, 1894), folio; _ibid._, _Rheims monumental_ (Rheims, 1880), 12mo; Anthyme Saint-Paul, "La cathédrale de Rheims, au XIIIe siècle," in _Bulletin Monumental_, 1906, vol. 70, p. 288; E. Moreau-Nélaton, _La cathédrale de Rheims_ (Paris, 1915); Monseigneur Landrieux, _La cathédrale de Rheims_ (Paris, H. Laurens, 1917); Louis Bréhier, _La cathédrale de Rheims_ (Paris, H. Laurens, 1919); Max Sainsaulieu, _Rheims avant la guerre_ (Paris, H. Laurens); Vitry, _La cathédrale de Rheims, architecture et sculpture_ (Paris, Longuet, 1913); Ch. Loriquet, _Les tapisseries de Notre Dame de Rheims_; H. Bazin, _Une vieille cité de France, Rheims_; _monuments et histoire_ (Rheims, Michaud, 1900), 4to; Louise Pillion, _Les sculpteurs français du XIIIe siècle_ (Collection, Les maîtres de l'art), (Paris); Émile Lambin, _Flore des grandes cathédrales_ (Paris, 1897); Vitry et Brière, _Documents de sculpture française au moyen âge_ (Paris, Longuet, 1900).

[114] Auguste Rodin, _Les cathédrales de France_ (Paris, Colin, 1914).

[115] The Benedictines' church at Orbais (Marne), between Rheims and Châlons, contains some exceptionally good XII-century windows. Its nave has been destroyed, but the transept and the choir, with its radiating chapels (c. 1200), survive. The World War swept over Orbais, but the abbatial is unharmed. Héron de Villefosse, _Abbaye d'Orbais_ (Paris, 1892).

[116] It has been suggested that about 1260 a façade then rising was dismounted and moved forward, to allow for the insertion of several more bays in the nave, but the idea remains a hypothesis.

[117] E. O'Reilly, _Les deux procès de condamnation ... de Jeanne d'Arc_, eighth interrogation, March 17, 1431. "Il avait été à la peine, c'était bien raison qu'il fût à l'honneur." (Paris, Plon, 1868), 2 vols.

[118] During this summer of 1020 excavations made under Rheims Cathedral have brought to light vestiges of the cathedral of the Virgin, founded by St. Nicaise in 401. Three Roman arches in good condition support the venerable nave, in a corner of whose floor was found buried sacred images of ivory most beautifully carved. Evidently they had been hidden to save them from the invading Vandals.

[119]

"Et les Français disent: Quel grand courage!
Avec Turpin la croix est bien gardée!"

Roland addressed the dead archbishop on the field of Roncevaux:

"Eh! Chevalier de bonne aire, homme noble,
Nul ne sut mieux, depuis les saints apôtres
La foi garder et convertir les hommes:
Du paradis lui soit la porte ouverte!"
--_La Chanson de Roland_ (Edition, A. d'Avril).

[120] Along the lower walls of the side aisles of Rheims hung splendid tapestries, "color of incense, silver-gray dashed with blue, with red." They related Our Lady's life and were given in 1530 by the saintly archbishop, Robert de Lenoncourt, the same who presented to St. Remi's monastery church other sumptuous embroideries, and who remade as Flamboyant Gothic St. Remi's south façade. The tapestries of Rheims were saved from the wrecked city and exhibited in Paris during the World War for the benefit of the refugees. It is said that a certain number of the stained-glass windows of the cathedral were dismounted in time to escape annihilation.

[121] Sung in the French trenches:

"... Attila II s'en veng et brûle
Le baptistère de nos rois.
Un siécle d'art à chaque bombe
Se craquèle, s'effrite et tombe
Avec un râle, et tout d'un coup!
... Mais dans la ville ruinée,
Par l'incendie illuminée,
_Jeanne d'Arc est encor debout!_"
--(THÉODOR BOTREL, _Refrains de guerre_ (Paris, Payot, 1915)).

[122] Georges Durand, _Monographie de l'église Notre Dame, cathédrale d'Amiens_ (Paris, Picard et fils, 1903), 2 vols., folio; _ibid., Description abrégée de la cathédrale d'Amiens_ (Amiens, Yvert et Tellier, 1904); _ibid._, "La peinture sur verre au XIIIe siècle et les vitraux de la cathédrale d'Amiens," in _Mémoires de la Société des antiquaires de Picardie_ 1891, 4e série, tome I, p. 389; Jourdain et Duval, "Le grand portail de la cathédrale d'Amiens," in _Bulletin Monumental_, vols. 11, 12, _passim_; _ibid., Cathédrale d'Amiens, les stalles et clôtures du choeur_ (Amiens, 1867), 8vo; T. Perkins, _The Cathedral Church of Amiens_ (London, Bell, 1902); Rodière et Guyencourt, _La Picardie historique et monumentale_ (Paris, Picard, 1906), 4to; Camille Enlart, _Monuments religieux de l'architecture romane et de transition dans la région Picarde_ (Amiens, Yvert et Tellier, 1895); Taylor et Nodier, _Voyages pittoresques ... dans l'ancienne France. Picardie_, (Paris, Didron, 1835-45), 3 vols.; Émile Mâle, _L'art religieux de la fin du moyen âge en France_ (Paris, Colin, 1910); A. de Colonne, _Histoire de la ville d'Amiens_ (Paris, 1900); Demogeon, La Picardie (Collection, Les régions de la France), (Paris, L. Cerf).

[123] Emile Lambin, _La flore des grandes cathédrales_ (Paris, 1897).

[124] L. Reau, _Cologne_ (Collection, Villes d'art célèbres), (Paris, H. Laurens); L. Leger, _Prague_ (Collection, Villes d'art célèbres), (Paris, H. Laurens); Henry Hymans, _Bruges et Ipres_ (Paris, H. Laurens).

[125] Apocalypse xxi:17.

[126] Emile Mâle, _L'art religieux de XIIIe siècle en France_ (Paris, Colin, 1908).

[127] Psalm xc:13.

[128] Eph. ii:20-21.

[129] John Ruskin, _The Bible of Amiens_, vol. 33, Complete Works (London, Cook & Wedderburn, 1908). Illustrated; chap. iv, "Interpretations."

[130] Abbeville, close by, also had its Puy, in whose competitions figured Froissart, the historian, as laureate. The magnificent portal decorations (1548) of the Flamboyant Gothic collegiate church of St. Wulfran were contributed in this way.

Émile Deliguières, _L'église Saint-Vulfran à Abbeville_ (Abbeville, Paillart, 1898); _Congrès Archéologique_, 1893.

[131] _Congrès Archéologique_, 1849 and 1898; Amédée Boinet, _La cathédrale de Bourges_ (Collection, Petites Monographies), (Paris, H. Laurens, 1911); _ibid_., "Les sculpteurs de la cathédrale de Bourges," in _Revue de l'art chrétien_, 1912; also published by Champion (Paris, 1912); Gaston Congny, _Bourges et Nevers_; Buhot de Kersers, "Les chapelles absidioles de la cathédrale de Bourges," in _Bulletin Monumental_, vol. 40, p. 417; _ibid., Histoire et statistique monumentale du département du Cher_ (Bourges, 1875-98), 8 vols., 4to; Girardot et Durant, _La cathédrale de Bourges_ (Moulins, 1849); G. Hardy et A. Gandillon, _Bourges et les abbayes et châteaux de Berry_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1912); Cahier et Martin (P. P.), _Monographie de la cathédrale de Bourges; vitraux du XIIIe siècle_; Des Méloizes, _Les vitraux de Bourges postérieurs au XIIIe siècle_ (Lille, 1897), folio; _ibid., Les vitraux de Bourges_, 1901; _ibid._, "Note sur un très ancien vitrail de la cathédrale de Bourges," in _Mémoires de la Soc. des Antiquaires du Centre_, 1873, vol. 4, p. 193; Champeaux et Gauchery, _Les travaux d'art exécutés pour Jean de France, duc de Berry_ (Paris, Champion, 1894), folio; Buhot de Kersers, "Caractères de l'architecture religieuse en Berry à l'époque romane," in _Bul. archéol. du Comité des Travaux hist. et scientifiques_, 1890, p. 25; F. Deshoulières, "Les églises romanes du Berry," in _Bulletin Monumental_, 1909, p. 463; Raynal, _Histoire de Berry_; Vacher, _Le Berry_ (Collection, Les régions de la France), (Paris, L. Cerf); Sauvageot, _Palais, châteaux, hôtels et maisons de France_; Sir Theodore Andreas Cook, _Twenty-five Great Houses of France_ (London and New York, 1916).

[132] _Rationale Divinorum officiorum_, tr. by Neale and Webb of the Camden Society (Leeds, Green, 1843).

[133] Rodin should have placed his "Thinker" here: "Le Penseur aurait été au diapason dans cette crypt; cette ombre immense l'aurait fortifié!"

--RODIN, _Les cathédrales de France_.

[134] "There is a charming detail in this section. Beside the angel, on the left, where the wicked are the prey of demons, stands a little female figure, that of a child, who, with hands meekly folded and head gently raised, waits for the stern angel to decide upon her fate. In this fate, however, a dreadful big devil also takes a keen interest; he seems on the point of appropriating the tender creature; he has a face like a goat and an enormous hooked nose. But the angel gently lays a hand upon the shoulder of the little girl--the movement is full of dignity--as if to say, 'No; she belongs to the other side.' The frieze below represents the general Resurrection, with the good and the wicked emerging from their sepulchers. Nothing can be more quaint and charming than the difference shown in their way of responding to the final trump. The good get out of their tombs with a certain modest gayety, an alacrity tempered by respect; one of them kneels to pray as soon as he has disinterred himself. You may know the wicked, on the other hand, by their extreme shyness; they crawl out slowly and fearfully; they hang back."--HENRY JAMES, _A Little Tour in France_ (Boston, Houghton Mifflin Company, 1900), p. 105.

[135] The chief piers of Orléans Cathedral were mined by Théodore de Bèze and blown up on the night of March 23, 1567. The portal, part of the choir, and the apse chapel escaped. The XII-century nave had double aisles with tribunes; the frontispiece also was XII century. The choir, begun in 1287, was finished by 1297, and a new Gothic nave was in progress at the time of the civil wars of religion. Henry IV undertook to rebuild Orléans Cathedral, and with his bride, Marie de Medici, laid the first stone in 1601. But a bastard-Gothic edifice is not compensation for earlier work. H. Havard, éd., _La France artistique et monumentale_, vol. 6, p. 122, "Orléans," G. Lefenestre; _Congrès Archéologique_, 1854 and 1892; G. Rigault, _Orléans et le val de Loire_ (Collection, Villes d'art célèbres), (Paris, H. Laurens); E. Lèfevre-Pontalis et Eugène Garry, on Orléans Cathedral, in _Bulletin Monumental_, 1904, vol. 68, p. 309.

[136] _Nouvelle Alliance_ windows are to be found at Chartres (sixth window in the nave's north aisle), at Le Mans (the east window of the long Lady chapel), at Tours (in the axis chapel), in the transept of Sens Cathedral (in five lights below the north rose), and in the apse curve of Lyons Cathedral.

[137] The happy chance of travel led the writer, in May of 1914, to the ceremony of the unveiling of a statue of Jeanne d'Arc in the cathedral of this city, that has not known invasion--the military arsenal of France. As the preaching bishop exhorted modern France to remake her soul else she would perish, over that spellbound congregation seemed to pass a premonition of portentous events looming ahead. Within three months the World War opened, _forte et aspre guerre_, as they said in Jeanne's day, war the chastiser, war the purifier: "_Il y a des guerres qui avilissent les nations, et les avilissent pour des siècles; d'autres les exaltent, les perfectionnent de toutes manières_," wrote Joseph de Maistre.

[138] Carved on Jacques Coeur's house in Bourges are mottoes such as, "_A vaillans coeurs rien impossible_," or "_Dire, faire, taire, de ma joie_," or "_En bouche close, n'entre mousche_." Vallet de Viriville, _Jacques Coeur_; Pierre Clément, _Jacques Coeur et Charles VII_.

[139] _Congrès Archéologique_, 1905, "Beauvais," Chanoine Barsaux; P. Dubois, _La cathédrale de Beauvais_ (Collection, Petites Monographies), (Paris, H. Laurens, 1911); Abbé P. C. Barraud, "Beauvais et ses monuments," in _Bulletin Monumental_, vol. 27, _passim_. He gives studies on the Le Prince and other windows in the cathedral and St. Étienne, in _Mémoires de la Soc. Académique de l'Oise_, 1851-53, vol. 1, p. 225; vol. 2, p. 537; vol. 3, pp. 150, 277; Louise Pillion, on St. Étienne's glass, in _Revue de l'art chrétien_, 1910, p. 367; Eug. J. Woillez, _Archéologie des monuments religieux de l'ancien Beauvoisis pendant la métamorphose romane_ (Paris, 1839-49), folio; Graves, _Notice archéologique sur le département de l'Oise_ (Beauvais, 1856); Gustave Desgardins, _Histoire de la cathédrale de Beauvais_ (1875); Abbé L. Pihan, _Beauvais, sa cathédrale, ses monuments_ (1905); _ibid., Esquisse descriptive des monuments historiques dans l'Oise_; see Gonse and Palustre on the portals of the cathedral; Monseigneur Barbier de Montault, "Iconographie des Sibylles," in _Rev. de l'art chrétiens_, 1874.

[140] Carolingian work aboveground is rare; besides this _Basse-OEuvre_ at Beauvais, there is St. Philibert de Grandlieu (Loire-Inférieure), part of the small church under the flank of Jumièges' ruined abbatial, portions of St. Jouin-de-Marnes (Deux-Sèvres), and vestiges in the walls of La Couture at Le Mans. There are Carolingian crypts at St. Quentin, Amiens, Chartres, Orléans, Auxerre, Flavigny. More exceptional still are Merovingian remains, such as the crypt of Jouarre, the small tri-lobed church of St. Laurent at Grenoble, the crypt of St. Léger at St. Maixent (Deux-Sèvres), a crypt at Lyons, in St. Martin d'Ainay, and apsidal chapels in St. Jean's baptistry at Poitiers. A list of the Romanesque monuments of the Ile-de-France and bordering districts is to be found in Arthur Kingsley Porter's _Medieval Architecture_, 1909, vol. 2, pp. 13-49.

[141] Among the Flamboyant monuments of France are St. Wulfran's frontispiece at Abbeville, begun in 1481, overcharged with ornament but with portals of great beauty; St. Riquier near by, also overcharged; the churches of Rue and Mézières; façades of cathedrals at Sens, Senlis, Auxerre, Troyes, Tours, and Limoges; Vendôme's frontispiece, and Albi's porch; towers at Bordeaux, Rodez, Saintes, Chartres, Auxerre, Bourges, Rouen, and many other cities in Normandy; the cathedrals of Toul and Metz; St. Maurice at Lille, a well-restrained Flamboyant monument; the magnificent church of St. Nicholas-du-Port near Nancy; the choir of Moulins; St. Antoine at Compiègne and a number of civic halls such as Compiègne's and St. Quentin's. The beautiful Flamboyant Gothic church at Péronne (1509-25) has been wiped out in the World War. Artois and Flanders were especially rich in late-Gothic edifices. Normandy was a Mecca of Flamboyant work--from Rouen, to that gem of the final phase, the choir of Mont Saint-Michel. Monseigneur Dehaisnes, _Histoire de l'art dans la Flandre, l'Artois et le Hainaut_ (Lille, 1886), 3 vols.

[142] André Michel, éd., _Histoire de l'Art_, vol. 3, 1^{ère} partie, "Le style flamboyant," Camille Enlart (Paris, A. Colin), 1914, 10 vols.; Camille Enlart, "Origine anglaise du style flamboyant," in _Bulletin Monumental_, 1886, 1906, p. 38; A. Saint-Paul, "L'architecture religieuse en France pendant la Guerre de Cent Ans," in _Bulletin Monumental_, 1908, p. 5; _ibid., Les origines du gothique flamboyant en France_ (Caen, 1907); Arthur Kingsley Porter, _Medieval Architecture_, vol. 2 (New York and London, 1907), 2 vols.

[143] _Congrès Archéologique_, 1902; V. C. de Courcel, _La cathédrale de Troyes_, (1910); L. Morel-Payen, _Troyes et Provins_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1910); F. Arnaud, _Description historique de l'église cathédrale de Troyes_; J. B. Coffinet, "Les peintres-verriers de Troyes," in _Annales Archéologiques_, vol. 18, pp. 125, 212; A. J. de H. Bushnell, _Storied Windows_, chapters 32 and 33, on Troyes (New York, Macmillan Company, 1914); Ch. Fichot, _Statistique monumentale du département de l'Aube_, vol. 1, _Arrondissement de Troyes_ (Troyes, 1884), 4to; R. Koechlin and J.M. de Vasselot, _La sculpture à Troyes et dans la Champagne méridionale au XVIe siècle_ (Paris, A. Colin, 1900); Raymond Koechlin, "La sculpture du XIVe et du XVe siècle dans la région de Troyes," in _Congrès Archéologique_, 1908; Paul Vitry, _Michel Colombe et la sculpture française de son temps_ (Paris, 1901); Louis Gonse, _La sculpture française depuis le XIVe siècle_ (Paris, Quantin, 1895), folio; D'Arbois de Jubainville, _Histoire des ducs et des comtes de Champagne_, 1859, 7 vols.; Bontier, _Histoire de Troyes et de la Champagne méridionale_ (Troyes, 1880), 4 vols.; Amédée Aufauvre, _Troyes et ses environs_.

[144] Translation from XIII-century French by Henry Adams.

[145] Generation after generation, the Lyénin, Macadré, Verrat, and Gontier families produced noted artists. Assier, _Les arts dans l'ancienne capitale de la Champagne_.

[146] The same feat can be seen in St. Nizier at Troyes, rebuilt in 1528 and literally filled with XVI-century glass. Its best window is in the transept (1552), and shows the beasts of heresy trampled upon, for that day was nothing if not controversial. In a central window of the choir, the Descent of the Holy Ghost, the artist made the hands of a figure in one panel appear in the neighboring panel, regardless of the stone mullions. In 1901 an anarchist bomb exploded in St. Nizier, and in 1910 a terrible storm wrecked more of its windows. The church possesses a _Saint Sépulcre_ and a _Christ de Pité_ in which the Gothic spirit lingers. Its reredos, now in the Museum, was from the Juliot _atelier_. Her international fairs early accustomed Troyes to foreign influences. Flemish realism had fortified her sculptors and vitrine artists, and during the first third of the XVI century (when the trade of the city tripled itself) the new Italian ideas found favor. For a generation the just and loyal measure of Champagne's own Gothic tradition held the leadership, but finally the Italian Renaissance conquered. When abstract types were substituted for types precisely observed, imagery became cold, declamatory, and pretentious. In several of the churches of Troyes will be found the Education of the Virgin by her mother, St. Anne, a theme for which this city had a partiality.

[147] Abbé O. F. Jossier, _Monographie des vitraux de St. Urbain de Troyes_ (Troyes, 1912); E. Lefèvre-Pontalis, "Jean Langlois, architecte de St. Urbain de Troyes," in _Bulletin Monumental_, 1904, vol. 64, p. 93; Albert Barbeau, _St. Urbain de Troyes_ (Troyes, Dufour-Bonquot, 1891), 8vo; Viollet-le-Duc, _Dictionnaire de l'architecture_, vol. 4, pp. 182-192; Abbé Lahore, _L'église Saint-Urbain_ (1891).

[148] Within walking distance of Troyes are Ste. Maure, with a Jesse tree by Linard Gontier; Les Noès, with good sculpture and a Jesse-tree window of 1521; St. André-lès-Troyes, with a lovely St. Catherine statue; St. Parre-les-Tertres, with a Vision of Augustus in _camaïeu_ like a magnificent enamel on white glass, and another grisaille-like Vision of Augustus at St. Léger-lès-Troyes (1558); Chapelle St. Luc, with a triptych on wood, sculpture of the Three Maries, and good glass; Torvilliers, Pont-Ste.-Marie, and Montgueux, with other _objets d'art_. Eight miles away, at Verrières, is the best portal of the region and more late-Gothic glass. There are storied windows at St. Loup, St. Ponanges, Rosnay, Brienne, Rouilly (with a good Virgin image), Pouvres, Chavanges, Bar-sur-Seine, Bar-sur-Aube (with a statue of St. Barbara), Mussy-sur-Seine, Montier-en-Der, Arcis-sur-Aube, and Ceffonds, whose windows were the gift of Étienne Chévalier (1528). Some thirty miles away lies St. Florentin (six miles from Pontigny), where are twenty splendid Renaissance lights, among them a Creation window (1525), with God the Father wearing the tiara, one of 1528 telling St. Nicolas' life in quatrains describing each scene, and a 1529 window devoted to the Apocalypse. Between Troyes and St. Florentin lies Ervy, where is a Crucifixion window (1570), showing the Saviour nailed to a Tree of Knowledge Cross with apples and leaves on its top, and Adam and Eve standing below. There are also the noted windows of the Sibyls (1515), representing twelve instead of ten prophetesses, each accompanied by the event of the New Law which she is said to have foretold, and the window called the Triumph of Petrarch (1502).

[149] Of the same appealing type as St. Martha at Troyes are the Virgin and Madeleine of the Holy Sepulcher group at Villeneuve l'Archevêque (Yonne), where are also some beautiful portal images of the XIII century. M. Ch. Fichot has brought forward testimony that would indicate the image called St. Martha in the church of the Madeleine is really one of St. Mary Magdelene herself. However, the majority of those who have written on the sculpture of Champagne continue to call it a St. Martha.

[150] _Congrès Archéologique_, 1855, 1875, and 1911, p. 447, the cathedral of Châlons; p. 473, Notre-Dame-en-Vaux; p. 496, St. Alpin; p. 512, Notre-Dame-de-l'Épine; E. Lefèvre-Pontalis, "L'architecture dans la Champagne méridionale au XIIIe et au XVIe siècle," in _Congrès Archéologique_, 1902, p. 273; _ibid._, "Les caractères distinctifs des écoles gothiques de la Champagne et de la Bourgogne," in _Congrès Archéologique_, 1907, p. 546; Louis Demaison, _Les églises de Châlons-sur-Marne_ (Caen, 1913); E. de Barthélemy, _Diocèse ancien de Châlons-sur-Marne_. _Histoire et monuments_ (Paris, 1861), 2 vols.; E. Hurault, _La cathédrale de Châlons-sur-Marne et sa clergé au XIIIe siècle_; A. J. de H. Bushnell, _Storied Windows_, chapter 34, on the windows of Châlons (New York, Macmillan Company, 1914); Abbé E. Musset, _Notre Dame-de-l'Épine près Châlons-sur-Marne. La légende, l'histoire, le monument et le pèlerinage_ (Paris, Champion, 1902); Chanoine Marsaux, "La prédiction de la sibylle et la vision d'Auguste," in _Bulletin Monumental_, 1908, p. 235.

[151] _Congrès Archéologique_, 1890, Toul. In the series of _Villes d'art célèbres_, published by H. Laurens (Paris), are studies on Tournai, Ipres, and Avila: Henri Guerlin, _Ségovie, Avila, Salamanque_; Henri Hymans, _Gand et Tournai_ and _Bruges et Ypres_.

[152] L. Petit de Julleville, _Histoire de la langue et de la littérature française_, dirigée par (Paris, Colin et Cie, 1841-1901), 8 vols. In vols. 1 and 2 the Middle Ages are treated by Léon Gautier, Gaston Paris, and Joseph Bédier; Gaston Paris, _La littérature française au moyen âge_ (Paris, Hachette, 1890); _ibid._, _Les origines de la poésie lyrique, en France au moyen âge_ (Paris, 1892); Léon Gautier, _Origines et histoire des épopées françaises_ (Paris, V. Palme, 1878-94), 4 vols.; Joseph Bédier, _Les légends épiques_ (Paris, H. Champion, 1908-13), 4 vols.; P. Tarbé, _Les chansonniers de Champagne_ (1851); Delaborde, _Notice historique sur le château de Joinville_. _Haute-Marne_ (Joinville, 1891); Natalis de Wailly, éd., _Jean, sire de Joinville, texte original accompagné d'une traduction_. Translated into English, Bohns' Antiquarian Library, VI, London; Bouchet, éd., _Villehardouin_ (Paris, 1891). English translation by Sir F. T. Marzial (London, Everyman's Library, 1908).

[153] Chanoine Boissonnot, _La cathédrale de Tours_ (Tours, 1904); Paul Vitry, _Tours et les châteaux de Touraine_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1905); _ibid._, _Michel Colombe et la sculpture française de son temps_ (Paris, 1901); Marchand et Bourassé, _Verrières du choeur de l'église metropolitaine de Tours_ (Paris, 1849), folio; A. J. de H. Bushnell, _Storied Windows_, chapter 22, on Tours (New York and London, 1914); Charles de Grandmaison, _Tours archéologique_ (Paris, 1879); Abbé Bosseboeuf, _Tours et ses monuments_; Monseigneur Chevalier, _Promenades pittoresques en Touraine_ (Tours, 1869); Abbé J. J. Bourassé, _Recherches hist. et archéol. sur les églises romanes en Touraine_ (1869); L. Courajod, _La sculpture française avant la Renaissance classique_ (Paris, 1891); Louis Gonse, _La sculpture française depuis le XIVe siècle_ (Paris, 1895), folio; Giraudet, _Histoire de la ville de Tours_ (Tours, 1873), 2 vols.; Chalmel, _Histoire de Touraine_ (1841), 4 vols.; Henri Guerlin, _La Touraine_ (Collection, Provinces françaises), (Paris, H. Laurens); L. Barron, _La Loire_ (Fleuves de France), (Paris, H. Laurens); C. H. Petit-Dutaillis, _Charles VII, Louis XI et les premières années de Charles VIII_ (Paris, Hachette, 1902).

[154] Behind the choir of Tours Cathedral, in the Place Grégoire de Tours, a veritable nook of the Middle Ages, are XII-century vestiges of the Episcopal Palace, a mansion of the XV century, and near by is the rue de la Psalette, in which Balzac set the scene of his _Curé de Tours_. Why has not Tours named her chief square and residential street for Balzac, her own son, instead of for Emile Zola? Balzac's sister has told of the profound impression made on him by the cathedral of Tours, especially by its marvels of stained glass, so that all through the novelist's life the mere name "St. Gatien" had the power to rouse him to the dreams and aspirations of his youth.

[155] R. de Lasteyrie, _L'église St. Martin de Tours_ (Paris, 1891); Monsuyer, _Histoire de l'abbaye de St. Martin_; Henri Martin, _Saint-Martin_ (Collection, _L'art et les saints_), (Paris, H. Laurens); Ed. Chévalier, _Histoire de l'abbaye de Marmoutier_ (Tours, 1871), 2 vols. There are papers on the church of St. Julien de Tours in the _Mémoires de la Soc. archéol. de Touraine_, 1909, p. 13, and on St. Martin de Tours, 1907; also in the _Bulletin Monumental_, 1873, p. 830, on St. Symphorien de Tours. The abbatial of St. Julien, a contemporary of Tours Cathedral, is exceptionally pure Gothic. Its tower is Romanesque and in part dates before 1000.

[156] Many a Council has been held in Tours. In 1055 came Gregory VII, the reformer. In 1095 Urban II preached the First Crusade, and dedicated a Romanesque abbatial at Marmoutier. In 1107 Pope Paschal II came, in 1119 Calixtus II, in 1134 Innocent II, and Alexander III in 1163. At the Council of 1163 the new archbishop of Canterbury, Thomas Becket, pleaded for St. Anselm's canonization, and the builder of Lisieux Cathedral, the politic Arnoul, delivered an address that urged the unity and liberty of the Church; yet later he upheld Henry II in his dispute with St. Thomas Becket. Tours can even boast a pope, for Martin IV (d. 1285) had long been a canon in St. Martin's abbey.

[157] Such is the architectural wealth within reach of Tours that one can draw but a few monuments to the traveler's attention. At Amboise is St. Hubert's marvelously sculptured little chapel (c. 1491) and the church of St. Florentin (c. 1445). At Loches is Anne of Brittany's oratory, a Virgin statue of Michel Colombe's school of Tours, and the tomb of Agnes Sorel, attributed to the master who made Souvigny's ducal tomb, Jacques Morel. The collegiate church of St. Ours is of exceptional interest to archæologists; its narthex (now the first bay), covered by a tower, was built by Fulk II of Anjou; the porch, also with a tower over it, was added in the XII century. To that date belong the two bays of the church covered by hollow pyramids, said by Mr. A. Kingsley Porter to be an attempt to make a stone roof without wooden centering. At Beaulieu-lès-Loches, founded by Fulk Nerra, the choir is late-Gothic (1440-1540). At St. Catherine de Fierbois, where Jeanne d'Arc found her sword, is a charming Flamboyant Gothic church. There are Plantagenet Gothic vaults at Chinon. Nine miles from Chinon, at Champigny-sur-Veude, is a rich mass of Renaissance glass attributed to Pinagrier, with Bourbon-Montpensier portraits.