X. Gothic Art in Normandy[314] (part 2 of 2)
[350] Jules Quicherat, the archæologist, was the first to place before the public the records of Jeanne d'Arc's two trials. He printed (1841-49) five volumes in Latin for the Société de l'histoire de France. Accounts of Jeanne have been written by Wallon (Paris, 1877); Marius Sepet (Tours, 1885); Ayroles, S. J. (Paris, 1902), who dwells much on the nefarious part played by Paris University in her condemnation: Siméon Luce; G. Hanotaux (Paris, 1911); Petit de Julleville (Les Saints Collection, Paris, Lecoffre, 1907); Andrew Lang (London, 1908): Mrs. Oliphant (Leaders of the Nation Series, New York); D. Lynch, S. J. (New York, 1919); Sarrazin, Jeanne d'Arc et la Normandie au XVe siècle (Rouen, 1896); F. Poulaine, Jeanne d'Arc à Rouen (Paris, 1899); Ch. Lemire, Jeanne d'Arc en Picardie et en Normandie (Paris, 1903); Le P. Denifle et Chatelain, Le procès Jeanne d'Arc et l'université de Paris (Paris); U. Chevalier, L'abjuration de Jeanne d'Arc; C. de Maleissye, "La prétendue abjuration de St. Ouen," in Revue des Deux Mondes, February, 1911, p. 610. The study of Anatole France on Jeanne d'Arc is written from the rationalist standpoint that considers hers a case of hysteria fitted for medical science. No book on Jeanne equals the contemporary records. The report of her two trials in Rouen, and the testimony gathered from end to end of France to vindicate her memory in 1456, have been marshaled and clarified in a skilled legal manner by a magistrate of Rouen: E. O'Reilly, Les deux procès de condamnation ... et la sentence de réhabilitation de Jeanne d'Arc (Paris, Pion, 1868), 2 vols. This masterly work should be translated into English. It is an example of the right way to write history. For Charles VII see Thomas Basin and Vallet de Viriville.
[351] Boisguillaume, second clerk of the Rouen court in 1431, Manchon's assistant, testified before the three inquests for Jeanne's rehabilitation. He drew attention to the fact that all who had been culpable of the Maid's death had come to a swift or shameful end. Estivet was found dead in a gutter at the gates of Rouen; Loyseleur, the false confessor, was struck down suddenly; Cauchon expired ignominiously. "I call you to judgment before God for what you have done," rang out Jeanne's words to these unworthy churchmen on her last day. Nicolas Midi, of the Paris Parliament, who drew up the odious twelve accusations, and who sermonized Jeanne in the Old Market, was stricken with leprosy. A year after the execution died the young Duchess of Bedford, who had inflicted a gross outrage on Jeanne, and her death detached from the English cause her brother, the Duke of Burgundy. Her husband, John of Lancaster, regent-duke, brother of Henry V, died in full youth, three years later, and was buried in Rouen Cathedral. His nephew, Henry VI, was dispossessed of his English crown, imprisoned, and murdered.
[352] "'Si j'y suis, Dieu m'y tienne; si je n'y suis, Dieu m'y veuille mettre: j'aimerais mieux mourir que de ne pas avoir l'amour de Dieu!' A cette réponse, les juges restèrent stupéfaits et rompirent sur-le-champ."--Testimony of the second clerk of the court, Boisguillaume, in 1450, before the inquest for the rehabilitation.
[353] The Norman, Siméon Luce, has written of Jeanne: "La Pucelle n'est pas seulement le type le plus achevé du patriotisme, elle est encore l'incarnation de notre pays dans ce qu'il a de meilleur. Il y a dans la physionomie de l'héroïne du XVe siècle, des traits qui la rattachent à la France de tous les temps, l'entrain belliqueux, la grâce légère, la gaieté prisesantière, l'esprit mordant, l'ironie méprisante en face de la force, la pitié pour les petits, les faibles, les malheureux, la tendresse pour les vaincus. De tels dons appartiennent à notre tradition nationale, et la libératrice d'Orléans les a possédés à un si haut degré que cette face de son génie a frappé tous ses admirateurs."
[354] The Duke d'Alençon testified, in 1455, concerning Jeanne: "I have heard captains who took part in the siege of Orléans declare that what passed there touched on the miraculous, that it was no human work. Apart from things of war Jeanne was a simple young girl; but for things of war, wielding the lance, massing the army, preparing the battle, arranging the artillery, she was remarkably skilled. All marveled that she should show the ability and foresight of a captain who had warred for thirty years. Especially in her control of artillery was she admirable."
Equally convincing is the testimony, in 1455, of the bastard of Orléans, the great Dunois: "I believe that Jeanne was sent of God and that her conduct in war was more a divine than a human act.... I heard the seneschal of Beaucaire, whom the king had appointed to watch over Jeanne in the wars, say that he believed there never was a woman more chaste. I heard Jeanne say to the king one day: 'When I am distressed that credence is not given that it is Heaven has sent me to your aid, I withdraw to a quiet place and I pray and complain to God, and, my prayer finished, I hear a voice saying, "Fille Dè, va, va, va! Je serai à ton ayde, va!" ' And in repeating what the voice said, Jeanne was--an extraordinary thing--in a marvelous ravishment, in a sort of ecstasy, her eyes lifted to heaven." E. O'Reilly, Les deux procès de condamnation et la sentence de réhabilitation de Jeanne d'Arc (Paris, Plon, 1868), vol. 1, pp. 153, 156, 200, 214, 2 vols.
[355] Testimony of Isambeau de la Pierre, in 1450, before the inquest for the rehabilitation: "Je la vis éplorée, son visage plein de larmes, défigurée et outragée en telle sorte que j'en eus pitié et compassion."
[356] Congrès Archéologique, 1858, 1870, and 1908, p. 300, Louis Serbat; Abbé V. Hardy, La cathédrale St. Pierre de Lisieux (Paris, Impri. Fazier-Saye, 1917); La Normandie monumentale et pittoresque. Calvados, pp. 91, 103, "Lisieux," Abbé Marie (Le Havre, Lemale et Cie, 1875); Ch. Vasseur, Études historiques et archéologiques sur la cathédrale de Lisieux (Caen, 1891); Émile Lambin, "La cathédrale de Lisieux," in Revue de l'art chrétien, 1898, vol. 45, p. 448; A. de Caumont, Statistique monumentale du Calvados (Caen, 1867), vol. 5, p. 200; V. Ruprich-Robert, L'architecture normande au XIe et XIIe siècles (Paris, 1897), 2 vols.; H. de Formeville, Histoire de l'ancien évêche-comté de Lisieux (Lisieux, 1873), 2 vols.; Histoire littéraire de la France, vol. 14, p. 304, "Arnoul, évêque de Lisieux" (Paris, 1817); A. Sarrazin, Pierre Cauchon, juge de Jeanne d'Arc (Paris, 1901). Other studies of the judges of Jeanne d'Arc, by Fabre (Paris, 1915), and Ch. Engelhard (Le Havre, 1905).
[357] The murdered Duke of Orléans, a son of the art-loving Valois king, Charles V, built the châteaux of La Ferté-Milon, on the Oureq, and Pierrefonds, in the forest of Compiègne, in the courtyard of which latter stands his equestrian statue. His sons were the poet-duke, Charles d'Orléans, and Dunois, his acknowledged bastard, the chief instrument in ridding France of her invaders. Two grandsons of the builder of Pierrefonds ascended the French throne, Louis XII and Francis I, and those who undertake an architectural journey over France will soon become familiar with the porcupine of the one and the salamander of the other. Sir Theodore Andreas Cook, Twenty-five Great Houses of France (New York and London, 1916); Viollet-le-Duc, Dictionnaire de l'architecture, on Pierrefonds.
[358] A professor in a Norman college, Joseph Lotte, who fell on the field of honor at Arras, in December, 1914, thus apostrophized the "Little Flower" of Lisieux: "Enrôlez-nous, petite soeur céleste! Enrôlez-nous sous vos bannières. Nous avons battu bien des pays, couru bien des aventures, dissipé bien des dons: il nous reste la fidélité. Nous serons derrière vous les vieux routiers qui escortaient Jeanne d'Arc. Notre France ne veut pas mourir. Apprenez-nous à aimer. Il faut qu'un tel amour monte de nous à Dieu qu'il tourne à nouveau sa face vers notre terre de France et, retrouvant son peuple, décide de le sauver. Mais ne l'a-t-il pas déjà décidé, puisqu'il vous a envoyée?" P. Pacary, Un compagnon de Péguy, Joseph Lotte; pages choisies (Paris, J. Gabalda, 1916).
[359] Congrès Archéologique, 1864, 1889, and 1908; Abbé Jules Fossey, Monographie de la cathédrale d'Évreux (Évreux, 1898); Abbé Forée, Les clôtures des chapelles de la cathédrale d'Évreux (Évreux, Hérissey, 1890); A. J. de H. Bushnell, Storied Windows (New York, Macmillan, 1914); N. H. J. Westlake, A History of Design in Painted Glass (London, Parker & Co., 1881); La Normandie monumentale et pittoresque. Eure, vol. 1, p. 1, Évreux; p. 31, Conches; p. 61, Verneuil; p. 89, Tillières; p. 93, Nonancourt; p. 119, Vernon; p. 147, Les Andelys; p. 191, Gisors; vol. 2, p. 1, Louviers; p. 23, Gaillon; p. 97, Pont-Audemer; p. 63, Pont-de-l'Arche: p. 183, Bernay; p. 221, Bec-Hellouin; p. 245, Beaumont-le-Roger. In most of these churches the colored windows are remarkable.
[360] The son of that union was the trouvère poet, Thibaut IV of Champagne and I of Navarre, of which latter domain he was chosen king in 1234, on the death of his mother's brother, Sancho, the chief victor of Las Navas de Toloso. His niece, Jeanne, inheriting both Champagne and Navarre, united them with the royal domain by her marriage to Philippe le Bel. Three of her sons ruled successively as kings of France, and then the Valois branch--sprung from a brother of Philippe le Bel--came to the throne. Whereupon the Navarrese elected, as their ruler, the Count of Évreux, who had married a daughter of Jeanne's. His son was Charles the Wicked (1319-87), Count of Évreux, king of Navarre, who in turn was succeeded by his son, Charles the Noble (1387-1425). One and all of them were linked with the architectural story of France: at Troyes, Provins, Meaux, Mantes, and Évreux Cathedral.
[361] In Normandy, glass of the XIV century is to be found in the cathedrals of Séez and Coutances, at Carentan, Pont-de-l'Arche, Nesle-St.-Saire, and in Rouen's big abbatial. Elsewhere in France there are XIV-century windows at Mantes, Beauvais, Amiens, Dol, Limoges, Toulouse, Bordeaux, Narbonne, Béziers, Carcassonne (in St. Nazaire), Chartres (in St. Pierre), and Poitiers (in Ste. Radégonde). In St. Urbain's at Troyes is some of the earliest glass of this century.
[362] Normandy's XV-century glass, besides that of Évreux' Lady chapel, can be studied at Rouen, in the cathedral, and the churches of St. Ouen and St. Maclou, at Caudebec, Bernay, Vereuil, Beaumont-le-Roger, St. Lô, Carentan, Falaise, Pont-Audemer, Bayeux, and Coutances. Elsewhere in France glass of this period can be seen in Amiens Cathedral, in the Vendôme chapel of Chartres, in the choir of Moulins, in the north transept of Le Mans, and the windows presented to Bourges Cathedral by the Duke of Berry and Jacques Coeur. There is also XV-century glass at Clermont-Ferrand, Eymoutiers, Riom, in some of the churches of Paris, such as St. Sévérin, and in Brittany, at Dinan, Plélan, Les Iffs, and in Quimper Cathedral. Windows of the XVI century abound in Normandy. The most imposing array is near Évreux, at Conches, whose church of Ste. Foi is on no account to be missed. Aldégrevier, a pupil of Albert Dürer, designed the seven tall apse windows, about 1520. There are eighteen other lights (1540-53), very Raphaelesque in type; the Pressoir window and the apotheosis of the Virgin are typical of that heated hour of controversy. Andre Michel, éd., Histoire de l'art, vol. 4, 2{ème} partie, "Le vitrail français au XV{e} et au XVI{e} siècle," Émile Mâle; A. Bouillet, L'église Ste. Foi de Couches (Eure) et ses vitraux (Caen, H. Delesque, 1889).
[363] V. Ruprich-Robert, La cathédrale de Séez (Paris, Morel, 1885); Abbé L. V. Dumaine, La cathédrale de Séez, son histoire et ses beautés (Séez, 1894); H. Tournouër, "La cathédrale de Séez," in Bulletin de la Soc. hist. et archéol. de l'Orne, 1897; Marais et Beaudouin, Essai hist. sur le cathédrale et le chapitre de Séez (Alençon, 1878); Robert Triger, "La cathédrale de Séez," in Revue hist. et archéol. du Maine, 1900, vol. 47, p. 287; De la Sicotière et Poulet-Malassis, Le département de l'Orne, archéol. et pittoresque (Laigle, Beuzelin, 1845), folio; La Normandie monumentale et pittoresque. Orne, p. 101, on Séez, Abbé Barret; p. 1, St. Germain at Argentan, with a central lantern and elaborate late-Gothic porch; p. 41, Notre Dame at Alençon; p. 77, St. Évroult-de-Montfort, a late-XI century abbatial; p. 245, the monastery of La Trappe, in Séez diocese, established in 1122, and reformed in 1662 by the noted Abbé de Rancy.
[364] St. Gervais, at Falaise, has a good Romanesque tower consecrated in the presence of Henry I of England. The nave's southern pier arcade is Romanesque, but the arches on the north side were reconstructed as Gothic at the same time that the vaults were redone during the XIII century. See Congrès Archéologique, 1848, 1864, and 1908, p. 367; Louis Régnier, "Falaise et la vallée d'Auge," in Annuaire normand, 1892; Langevin, Recherches historiques sur Falaise; Meriel, Hist. de Falaise (1889); Black, Normandy and Picardy, Their Castles, Churches, and Footprints of William the Conqueror.
[365] Congrès Archéologique, 1853 and 1908, vol. 1, p. 145; Henri Prentout, Caen et Bayeux (Collection. Villes d'art célèbres), (Paris, H. Laurens); Abbé Lelieve, Bayeux, la cathédrale, les églises (Bayeux, Deslandes, 1907); Jean Vallery-Radot, La cathédrale de Bayeux, Thèse: École des chartes (1911); De Dion et Lesvignes, La cathédrale de Bayeux (Paris, A. Morel et Cie, 1861); Rev. R. S. Mylne, The Cathedral of Bayeux (London, 1904); Chigonesnel, Histoire de Bayeux (1867); Paul de Farcy, Abbayes du diocèse de Bayeux (Laval, 1886-88), 3 vols, (on Cerisy-la-Forêt, etc.); Arcisse de Caumont, Statistique monumentale du Calvados (Caen, F. Le Blanc-Hardel, 1898); G. Bouet, "Clochers du diocèse de Bayeux," in Bulletin Monumental, vol. 17, p. 196; vol. 23, p. 362; vol. 25, 1859, p. 165; vol. 49, p. 465; Engerand, "La sculpture romane en Normandie," in Bulletin Monumental, 1904; Histoire littéraire de la France, vol. 13, p. 518, "Robert Wace, chanoine de Bayeux, historien-poète"; V. Bourrienne, in Revue catholique de Normandie, on the bishops Odo de Conteville and Philippe d'Harcourt, vii to x, xviii to xxiii.
[366] The term Romanesque was put into usage by the archaeologist, Arcisse de Caumont (1802-73), to whom Bayeux has erected a statue. He also originated the useful term "Flamboyant." His Norman Society of Antiquarians was a pioneer in the study of mediæval monuments. Another son of Bayeux, honored by a statue, is the poet, Alain Chartier (1386-1449), who lived to see his master, Charles VII, the conqueror of Normandy.
[367] A. Levé, La tapisserie de Bayeux (Paris, H. Laurens, 1919); Hilaire Belloc, The Bayeux Tapestry (London and New York, 1914); J. R. Fowke, The Bayeux Tapestry (London, G. Bell, 1898); Lefebvre des Mouettes, in Bulletin Monumental, 1912, p. 213; 1903, p. 84.
[368] Chaucer, Canterbury Tales, "Prologue."
[369] Congrès Archéologique, 1883; and 1908, p. 247, "La cathédrale de Coutances," E. Lefèvre-Pontalis, also published separately by H. Delesques, Caen, 1910; Abbé E. H. Pigéon, Histoire de la cathédrale de Coutances (Coutances, Salette fils, 1876); Alfred Ramée, "Cathédrale de Coutances," in Revue des Soc. Savantes, 1880, p. 94; A. de Dion, in Bulletin Monumental, 1884, vol. 50, p. 620; 1865, p. 509, G. Bouet; 1872, p. 19, Regnault; Gabriel Fleury, in Revue ... archéol. du Maine, 1909, on the architect, Thomas Toustain; Regnault, Revue monumentale et historique de l'arrondissement de Coutances (St. Lô, 1860); C. de Gerville, "Recherches sur les abbayes de la Manche," in Mém. de la Soc. des Antiquaires de Normandie, vol. 2, p. 77; ibid., Études géographiques et historiques sur le département de la Manche (Cherbourg, 1854).
[370] Near Hauteville-sur-mer are the ruins of Hambye Abbey, whose destruction was an irreparable loss for art, since its church was Primary Gothic. On the road from Coutances to Cherbourg is the abbatial of Lessay (a contemporary of St. Étienne at Caen), said by M. Arcisse de Caumont to be one of the purest models of Norman Romanesque, an austere monument of the XI-century type. Differences in the pier's profiles show where, in the nave, the XII century resumed work. In this latter period Gothic ribs were prepared for from the planting of the piers, but the actual diagonals of the nave were built in the XIII century. Mr. John Bilson claims that the Gothic ribs of the two sections preceding the apse are of the XI century, which again brings up the controversy of priority in the use of diagonals.
The Cistercian church of La Blanche at Mortain was another abbatial of the Manche, dedicated in 1206. At Cerisy-la-Forêt the abbey church was begun (c. 1130) by the Fécamp school of William of Volpiano, continued by Duke Robert the Magnificent, and finished by his son William the Conqueror. The nave was built from west to east in the last quarter of the XI century, the apse slightly after 1100, the actual vaulting a century later. The religious wars and the Revolution sacked the abbatial; in 1811 its demolition was still going on.
Congrès Archéologique, 1908, p. 242, "Lessay," Lefèvre-Pontalis; p. 553, "Cerisy-la-Forêt," André Rhein; Congrès Archéologique, 1860, on Cherbourg; La Normandie monumentale et pittoresque. Manche, p. 173, "Lessay"; p. 1, "St. Lô"; p. 51, "Carentan"; p. 73, "Cerisy-la-Forêt"; p. 153, "Hambye"; R. Le Conte, Études hist. et archéol. sur les abbayes bénédictines en général, et sur celle de Hambye en particulier (Bernay, 1890).
[371] Camille Enlart, L'influence extérieure de l'art normand au moyen âge; ibid., Origines françaises de l'architecture gothique en Italie (Paris, Thorin, 1894); Ch. Diehl, Palerme et Syracuse (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1907); Miss C. Waern, Medieval Sicily (London, 1910); Émile Bertaud, L'art dans l'Italie méridionale; F. Chalandon, Histoire de la domination normande en Italie et en Sicile (Paris, 1907); E. Curtis, Roger of Sicily (New York, 1912).
[372] Doctor Coutan, La cathédrale d'Avranches (Rouen, Cagniard, 1902); La Normandie monumentale et pittoresque. Manche, vol. 2, p. 65, "Avranches."
[373] Anatole Le Braz, La Bretagne (Collection, Les provinces françaises), (Paris, H. Laurens); ibid., Histoire de Bretagne (Collection, Les vieilles provinces de France), (Paris, Bouvin); ibid., Au pays des pardons (translated, London, Methuen, 1906); Abbé J. M. Abgrall, Architecture bretonne; études des monuments du diocèse de Quimper (Quimper, 1904); ibid., Paysages et monuments des Côtes-du-Nord; Gautier du Mottay, Répertoire archéol. des Côtes-du-Nord; H. du Cleuziou, Bretagne artistique et pittoresque (Paris, 1886); Bulletin de la Soc. archéol. du Finistère, 1901, vol. 28, p. 264, "Le vieux Morlaix"; and 1902, vol. 30, p. 24, "Le vieux Quimperlé"; A. de Lorme, "L'art breton du XIIIe au XVIIe siècle," in Bulletin de la Soc. archéol. du Finistère, 1901, vol. 28, p. 264; Taylor et Nodier, Voyages pittoresque ... dans l'ancienne France, La Bretagne (Paris, Didron, 1845-46), 2 vols.; André, La verrerie et les vitraux peint dans l'ancienne province de Bretagne (1878); Léon Palustre, La Renaissance en France, vol. 2, "La Bretagne" (Paris, Quantin, 1885), 3 vols., folio; De la Borderie, Histoire de Bretagne, vol. 3, from 995 to 1364, and vol. 4, from 1364 to 1522 (Rennes, 1896-1900); ibid., Mosaïque bretonne (Rennes, Plihon et Hervé); De la Villemarqué, éd., Barzas-Breiz; chants populaires de la Bretagne, ninth edition (1892), 2 vols.; F. M. Luzel, Gwerziou Briez-Izel (epics) and Soniou (lyrics), (Lorient, 1868-74), 3 vols.; Siméon Luce, Histoire de Bertrand Duguesclin et de son épogue (1883); Leroux de Lincy, Vie de la reine Anne de Bretagne (1860); A. Robida, La veille France, Bretagne (Paris, 1891).
[374] Edmond Rostand, "Le nom sur la maison," in Le vol de la Marseillaise (Paris, Charpentier et Fasquelle, 1919).
[375] A son of Morlaix, Émile Souvestre (1806-54), has written lovingly of Brittany: "Il y a quelque chose de bien supérieure à la louange; la conscience que l'on a été compris et que l'on est aimé pour son oeuvre. Aimé pour son oeuvre! Je sais mieux que personne ce qui manque à ce que j'écris. Il faut quelque chose d'ondoyant. J'appartiens à cette terre Celtique où les monuments sont des pierres non taillées."
[376] "Campagnes bretonnes, qu'on dirait toujours recueillies dans le passé ... grandes pierres qui couvrent les lichens gris ... plaines où le granit affleure le sol antique.... Ce sont des impressions de tranquillité, d'apaisement, que m'apporte ce pays; c'est aussi une aspiration vers un repos plus complet sous la mousse."
--PIERRE LOTI, Mon frère Yves.
[377] The men of St. Malo have been pioneers under one aspect or another, sea rovers, like Duguay-Trouin, Surcouf, or Jacques Cartier, who, in 1535, knelt in the cathedral, where an inscription marks the pavement, to receive episcopal blessing before he sailed to discover Canada. Other sons of St. Malo have been the astronomer, Maupertius (1698-1756); Lamennais (1782-1854); and Chateaubriand (1768-1848), who chose for his burial the barren island of Grand Bé, offshore.
[378] "Quiqu'en grogne, Ainsi sera: C'est mon plaisir."
[379] André Rhein, "La cathédrale de Dol," in Bulletin Monumental, 1910, vol. 74, p. 367; A. Ramé, "La cathédrale de Dol; tombeau de l'évêque Thomas James," in Mélanges d'archéologie bretonne, 1858, vol. 2, p. 10; T. Gautier, La cathédrale de Dol; Ch. Robert, Guide de tourist archéologique à Dol (Dol-de-Bretagne, 1892); Léon Palustre, La Renaissance en France, vol. 2, "La Bretagne," p. 87, on Dol (Paris, Quantin, 1885); Paul Vitry, Michel Colombe et la sculpture française de son temps (Paris, 1901); A. de Montaiglon, "La sculpture française à la Renaissance: la famille des Juste en France," in Gazette des Beaux-Arts, 1875, vol. 12, p. 394.
[380] Congrès Archéologique, 1856 and 1886; Guilhermy, "Monuments des bords de la Loire; Nantes," in Annales archéol., 1845, vol. 2, p. 87; J. Montfort, "La crypte de la cathédrale de Nantes," in Bulletin Monumental, 1884, vol. 50, pp. 368, 449; Paul Vitry, Michel Colombe et la sculpture française de son temps (Paris, 1901); Lambin de Lignum, Recherches historiques sur l'origine et des ouvrages de Michel Colombe; Benj. Fillon, Poitou et Vendée (1846); Travers, Histoire ... du comté de Nantes, 3 vols.
[381] Félix Soleil, La danse-macabre de Kermaria-an-Isquit (St. Brieuc, 1882); Émile Mâle, L'art religieux de la fin du moyen âge en France, chap. 2, "La danse macabre" (Paris, Colin, 1910); Lucien Bégule, La chapelle de Kermaria Nisquit et la danse des morts (Paris, 1911); Abbé J. M. Abgrall, Le mobilier artistique des églises bretonnes (Quimper, Cotonnec, 1898).
[382] R. F. Le Men, Monographie de la cathédrale de Quimper (Quimper, 1877); Abbé J. M. Abgrall, "Autour du vieux Quimper," in Bulletin de la Soc. archéol. du Finistère, 1901, vol. 28, p. 79; ibid., L'architecture bretonne, étude des monuments du diocèse de Quimper (1882); Thomas, La cathédrale de Quimper (1892); P. Peyron, "Les églises et chapelles du diocèse de Quimper," in Bulletin de la Soc. archéol. du Finistère, vol. 20, pp. 129, 451; vol. 31, pp. 18, 216, 304; vol. 32, p. 183.
[383] L. Th. Lecureur, La cathédrale de St. Pol-de-Léon (Collection, Petites Monographies), (Paris, H. Laurens); Ch. Chassepied, "Notes sur la cathédrale de St. Pol-de-Léon," in Bulletin de la Soc. archéol. du Finistère, 1901, vol. 28, p. 304; Abbé J. M. Abgrall, Au pays des clochers à jour (Paris, 1902).
[384] Congrès Archéologique, 1883, on Tréguier; Ch. de la Ronsiere, Saint Yves (Collection, Les Saints), (Paris, Lecoffre, 1901); Ernest Renan, Souvenirs d'enfance (1883).
[385] Émile Mâle, L'art religieux au XIIIe siècle en France, p. 442 (Paris, Colin, 1908). (Trans. by Dora Mussey, London, Dent & Sons, New York, Dutton, 1913).
[386] "Un tel art ne pouvait être effleuré par le doute. L'art et la poésie qui émeuvent sortent du coeur et d'une région obscure où la raison n'a pas accès. L'artiste qui examine, juge, critique, doute, concilie, a déjà perdu la moitié de la force créatrice."--ÉMILE MÂLE, L'art religieux de la fin du moyen âge en France (Paris, Colin, 1910).
"Art addresses not pure sense, still less the pure intellect, but the imaginative reason through the senses."--WALTER PATER.
[387] "Hier, pendant son congé de vingt-quatre heures, j'ai rencontré le fils d'une pauvre femme de la campagne, un ouvrier que j'aime bien depuis longtemps. Quand je l'ai quitté, et que je lui ai dit: 'Bonne chance, Marcel,' il m'a regardé de ses yeux sans reproche, et il m'a répondu: 'D'un côté ou de l'autre, je ne crains rien.' Et cela voulait dire: la vie la mort? Qu'importe! je suis prêt. Qu'est ce que tout cela. C'est la chanson de geste qui continue: c'est la croisade qui n'est point finie, c'est Dieu transparaissant à travers la France purifiée."--An episode to the World War, 1914: René Bazin, Les Preux.
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Typographical errors corrected by the etext transcriber:
Madgeburg is a Primary Gothic cathedral=> Magdeburg is a Primary Gothic cathedral {pg 2}
builder of Sossions Cathedral=> builder of Soissons Cathedral {pg 6}
To point a rose-colored picture=> To paint a rose-colored picture {pg 41}
blood of the Caroligian line=> blood of the Carolingian line {pg 86}
Germans' stategic retreat=> Germans' strategic retreat {pg 112}
conterbutting members of Rheims Cathedral=> counterbutting members of Rheims Cathedral {pg 117}
congrégation quia existé=> congrégation qui a existé {pg 118-(note 66)}
Les eglises de l'Ile-de-France=> Les églises de l'Ile-de-France {pg 126 (note 71)}
Cronique des évêques de Meaux=> Chronique des évêques de Meaux {pg 165 (note 100)}
its sanctury is a gem=> its sanctuary is a gem {pg 172 (note 107)}
They are the patriachs=> They are the patriarchs {pg 182}
Quelle delicieuse église!=> Quelle délicieuse église! {pg 237}
Through Créstien=> Through Crestien {pg 245}
l'oyage au pays des sculpteurs romans=> l'Voyage au pays des sculpteurs romans {pg 288 (note 177)}
tantôt estrompée=> tantôt estompée {pg 332 (note 207)}
the tenets of Cartharism=> the tenets of Catharism {pg 365}
vestage of the city ramparts=> vestige of the city ramparts {pg 385}
fit into our catagory=> fit into our category {pg 405}
Gregory XI--Count Roger de Beaufort, a nephew of Clement VI--went back definitely in 1177 to the Holy City=> Gregory XI--Count Roger de Beaufort, a nephew of Clement VI--went back definitely in 1377 to the Holy City {pg 409}
Celui qui proclaime l'existence de l'infini=> Celui qui proclame l'existence de l'infini {pg 428}
et de la democratic moderne=> et de la démocratie moderne {pg 428}
Sacracen inroads=> Saracen inroads {pg 436}
more romatically ideal=> more romantically ideal {pg 441}
XI-centuy-Notre Dame at Semur=> XI-century Notre Dame at Semur {pg 443}
nos éerivains français=> nos écrivains français {pg 451 (note 304)}
et vous savez somment il procède=> et vous savez comment il procède {pg 460 (note 308)}
the Cartharis heresy=> the Catharist heresy {pg 466}
Lanfrance had been teaching at Avranches=>Lanfranc had been teaching at Avranches {pg 474}
a chonicle mass=>a chonicle mass a conicle mass {pg 500}
beseiged and burned=> besieged and burned {pg 546}
joie de viore=> joie de vivre {pg 517}
La crypt de la cathédrale de Nantes=> La crypte de la cathédrale de Nantes {pg 565 (note 380)}
was married, in 1199, to Louis XII.=> was married, in 1499, to Louis XII. {pg 566}
place of honor is give to the Saviour=> place of honor is given to the Saviour {pg 567}
Tarantaise, Pierre de (Innocent IV), 268.=> Tarentaise, Pierre de (Innocent IV), 268. {index}
Viffart (Aisne), 45.=> Viffort (Aisne), 45. {index}