Chapter X: Gothic Art in Normandy314 (4)

Near St. Thégonnec, at Guimiliau, is another Calvary (1581), and another ossuary and triumphal arch. The capacious church porch is lined with statues of the apostles. At Carhaix, Pleyben (1650), Cronan, and Penmarc'h, are Calvaries, and that at Lampaul is united in the same composition with the graveyard's triumphal arch. Brittany's most imposing _Calvaire_, and the most wonderful wayside shrine ever made, comprising over two hundred images in all, is at Plougastel-Daoulas, a memorial of the epidemic of 1598. The greenish Kersanton granite of which it is made is quarried close by in the harbor of Brest, and acquires with time the endurance and appearance of bronze. Breton peasants are represented playing on Breton pipes in the Entry-into-Jerusalem scene. Late comers these rough-hewn sculptures may be in the national art, but in so far as character goes they might easily belong to the XII or XIII century.

The theorist may say that the racial exclusiveness of Brittany is one of the reasons why it has not excelled in architecture and the kindred arts. That may be so. The chief concern of the Celt has ever been to save his soul. The architectural purist is prone to carp at Breton Gothic, and some even dare say that the Kreisker itself errs, in that its shaft is not sufficiently welded with its spire. Without a doubt the absence of symmetry in many churches of the ancient province is at first disturbing, but soon one comprehends that one travels in Brittany not for its architecture, but for the unconquerable soul of a people who, while devoted to tradition, have ever stood up uncowed, unswerving in their antagonism to despotism. The sensitive traveler--that is, the man with kindly, plain loyalties--will let himself grow attached to the mediocre, irregular churches of this individual land.

Some of those irregularities are startling enough. The pilgrimage church of Guingamp has a curious two-storied triforium, and flying buttresses inside the choir over the aisles. Its nave is an amalgam, one wall Gothic and its vis-à-vis a fluted-pilastered Renaissance affair. The sculptor gave his initiative full scope in the apostle's porch--a revered spot on the days of Guingamp's famous pardon, that precedes the first Sunday of July. At Dinan, in the church of St. Sauveur--in whose transept is treasured the heart of Duguesclin, born not far away--a Romanesque wall faces a Flamboyant Gothic one. In the corsair stronghold of St. Malo,[377] breeder of strong men, the cathedral's walls make no pretense to be parallel.

The Breton has been too engrossed in keeping warm in his churches the spirit of devotion to bother about such details as symmetry. Eagerly he added chapel to chapel, aisle to aisle, regardless how difficult it might be for a stranger to orient himself on entering. The wise traveler will accept Brittany as she is, for if he does not, Brittany, like Spain, will exasperate him by her tranquil indifference to his criticisms. On a mediæval tower of the castle at St. Malo was inscribed:

Grumble who will.
So shall it be
As pleases me.[378]

THE CATHEDRAL AT DOL-EN-BRETAGNE[379]

Bretagne, ô mon pays, garde ta foi naïve,
Car Dieu se plaît surtout dans la simplicité;
C'est comme le miroir d'une source d'eau vive,
Où vient se réfléchir, l'astre de vérité.
--JOSEPH ROUSSE, _Poésies bretonnes_.

Brittany may be a land of shrines more than of churches; nevertheless, some five of its former nine bishoprics are of interest in the Gothic story--Dol, Nantes, Quimper, St. Pol-de-Léon, and Tréguier.

The hardy outpost of Dol, in the north, has stood many a siege, fought many a battle, and its church walls are crenelated where they face the city ramparts. The tutelary of the _ci-devant_ cathedral is St. Samson, whose name keeps alive the memory of the arrival of the harassed Celts of Britain who poured "like a torrent" into Armorica during the dark centuries of the Middle Ages when the migrations of the Barbarians had wiped out Rome's civilization in England. In Dol's great eastern window, St. Samson and some monk companions are shown crossing the Channel.

The cathedral of Dol--which Stendhal admired beyond others in France--is a melancholy severe granite edifice, though probably the best Gothic of the province. Characteristics both of Normandy and the Ile-de-France appear in it. Two of the wholly detached colonnettes of each pier are now clamped with metal bands, and the wide arches of the triforium would be better suited to open on a gallery than as they are at present--set close to a blank wall; a few doors in the wall give on the lean-to roof over the aisles. The structure of the church demonstrates that, as the works rose, extra supports were added for stability.

The cathedral was begun by its nave soon after a conflagration of the town, in 1203, caused by the troops of John Lackland. Vestiges only of the wrecked church were retained. The façade's southern tower is late work, despite its Romanesque character, and its fellow belfry to the north is in larger part of the XVI century. Out of the nave's southern flank opens a graceful XIII-century porch. The choir, which ends in a flat eastern wall, was finished by 1265, when was installed its splendid big window of eight medallion panels that set forth the Last Judgment. In the XIV century was opened the arch leading to the Lady chapel of that same date, wherein were used various supplementary ribs, around windows and in corners, to obviate the difficulty of vaulting a square-ended edifice. To the XIV century, too, belong the side chapels of the choir, and the big porch of St. Magloire before the transept's southern door.

Against the blank wall that closes the north arm of the transept stands the much-discussed Renaissance tomb of Bishop Thomas James. It is an initial work of the Juste brothers of Tours, the ablest among the Italians who brought the new art standards across the Alps. The bishop's recumbent image has disappeared. From 1482 to 1504 he held the see of Dol, though only in residence after 1486, as he lived in Rome, the papal guardian of the castle of St. Angelo. In his testament he requested a simple burial, but his nephews--whose profiles adorn the tomb--chose to erect this elaborate monument, whose cream-colored fine-grained stone, delicately arabesqued, contrasts happily with the dark granite walls. One of the nephews had known the Juste, or Betti brothers, in Florence, and through him those artists came to France. In his prime Jean Juste made the tomb of Louis XII and Anne of Brittany for the Royal Abbey at St. Denis.

THE CATHEDRAL AT NANTES[380]

Très crestien, franc royaume de France,
Dieu a les braz ouvers pour t'acoler,
Prest d'oublier ta vie pécheresse:
Requier pardon, bien te vendra aidier
Nostre Dame, la très puissante princesse,
Qui est ton cry et que tiens pour maistresse.
Les saints aussy te viendront secourir,
Desquelz les corps font en toy demourance.
Ne vueilles plus en ton péchié dormir
Très crestien, franc royaume de France!
--CHARLES D'ORLÉANS (1391-1465).

The cathedral of St. Peter, at Nantes, the third on the site, is a late-Gothic structure, not overvirile, somewhat artificial, but ingenious and elegant, even as is the contemporary verse of Charles d'Orléans, who was taken prisoner at Agincourt and passed half a lifetime in exile. M. Gaston Paris has drawn attention to the similarity between XV-century architecture and XV-century poetry. Is not that bijou of artistry, the chapel of St. Hubert, which Anne of Brittany's first husband set on the cliff edge at Amboise, of the same quality as a rondel of the poet-duke's? Is not Villon's ironic, tragically-true note reflected in the Dance of Death painted on church walls during those years of pest and internecine strife? Brittany has retained one of the only two surviving _danses macabres_, in the hamlet of Kermaria,[381] the house of Mary, that lies between the villages of Plehedel and Plouha. In Auvergne, at La Chaise Dieu, is the other.

In 1431 Jean V, of the third ducal line of Brittany, the de Montforts, decided to remake the cathedral of the outpost city wherein stood his castle. Nantes never was _Bretagne bretonnante_, being differentiated from Finistère amid its rocky seacoast, by its position on the Loire of commerce and art. That wonderful river, in an eight-hundred-mile course from Languedoc to Brittany, passes some of the fairest monuments of France: Le Puy, Nevers, La Charité, St. Satur, St. Benoît, Orléans, Blois, Chaumont, Amboise, Tours, Langeais--where Anne of Brittany wedded Charles VIII--Saumur, St. Florent, Gennes, Cunault, and the castle and cathedral of Nantes.

Under ducal patronage the nave of Nantes Cathedral rose apace; the capitals of its north side have deeply undercut curly-tipped foliage, but on the nave's south side the piers lack capitals altogether. The interior of the church is of glacial aspect; light floods it pitilessly. Its eastern end is modern. In 1886 was unearthed a Romanesque crypt which Abélard must have known, for he was born in a manor close by Nantes, and returned to live here in 1136.

Guillaume Dammartin, of the notable family of Flamboyant Gothic architects, is mentioned as working on Nantes Cathedral, and M. Arthur de la Borderic, Brittany's historian, has discovered that an artist of Tours, Mathelin Rodier, was master-of-works when the western portals were sculptured (1470-80), and while the stately inner-court façade of the duke's château was rising. In that castle Anne of Brittany was born in 1477, became a reigning duchess at twelve years of age, and in its chapel was married, in 1499, to Louis XII. On her deathbed she willed her heart to her native city. She completed the castle of Nantes by what is called the Horseshoe Tower overlooking the river.

Anne must have known the master, Mathelin Rodier, who made the portals of the cathedral, decorating them with the same undercut leaf foliation, the same lavish splayed ornaments as adorn the contemporary western doors of Tours Cathedral, a hundred and thirty miles to the east. The larger statues at Nantes' entrances have been destroyed, but in the voussures are many small groups, sometimes with four or five personages in a scene, chiseled with natural attitudes and expressive faces. One of the portals commemorates St. Peter (observe the _Quo Vadis_ episode), another, St. Paul, while the place of honor is given to the Saviour. Within the church, under the organ, are XV-century statues, one of which represents the duke patron who began the cathedral, the grandfather of Anne of Brittany.

Through the filial piety of Anne, her birthplace possesses the _canto cygni_ of Gothic sculpture, "the most unscathed monument of the Middle Ages," intact because it was taken apart and buried during the Revolution. The tomb of Anne's parents, Francis II, the last duke of Brittany, and his duchess, is the work of a Breton, for an authentic manuscript has proved that Michel Colombe was born in Finistère, within sight of the Kreisker. His genius was fortified by long years passed in the art atmosphere of Tours, and strengthened, too, by the Flemish realism which had come into France by way of the Dijon school that led the first half of the XV century, even as the school of Tours, whose chief master was Colombe, led its latter half. Nor did this Breton, fecundated by Touraine and sturdy Burgundy, ignore the incoming Italian culture, as is shown by his preference for ideal beauty over absolute realism: Celt, Teuton, and Latin--all were needed for the making of the last of the great Gothic masters, one who held loyally to the spiritual essence of the Middle Ages in a day when Renaissance pomp was fast rising to supremacy.

Michel Colombe was seventy years of age when Anne of Brittany, on a visit to Tours shortly after her second marriage, commissioned him to make a mausoleum for her parents, for which she had imported white marble from Genoa, and black from Liège. From 1502 to 1507 Colombe worked on the larger images, in his studio at Tours. His are the recumbent figures of the duke and duchess, and the entrancing little angels who support their headcushion, ministering with the same loving willingness as the XII-century angels of Senlis' lintel. From Colombe's master hand are the four allegorical figures at the corners of the tomb, robust and graceful women, of the local type to be seen in central France to-day. They typify qualities of the defunct, Fortitude, Temperance, Prudence, and Justice--this last image said to be a study from Duchess Anne herself.

Centuries later a similar arrangement of symbolic figures was used by Paul Dubois for his noble tomb of General de Lamoricière (a son of Nantes), which balances, in the north arm of the transept, the ducal tomb to the south. Valor, Faith, Charity, and History, are the four corner statues that commemorate the pioneer of civilization in French Africa, who was so loved by the natives that he went freely among them unarmed, a modern hero who proved himself a true Breton by assuming the leadership of a lost cause.

Lesser masters of the school of Tours worked on the noted ducal tomb of Nantes; Guillaume Regnault made the small images and Jerome of Fiesole the arabesques, the same two masters who composed the tomb of the children of Anne of Brittany and Charles VIII, now in the cathedral at Tours. And when Michel Colombe had finished his statues, Anne had the Lyons master, Jean Perréal, one of the most active agents in popularizing in France the new art standards of Italy, visit Nantes to supervise the erection of the mausoleum whose ordinance he had designed.

THE CATHEDRAL OF QUIMPER[382]

Ce qui me charme en toi, Quimper de Cornouailles,
C'est ton coeur paysan sous tes airs de cité.
--ANATOLE LE BRAZ.

Like the chief church at St. Pol-de-Léon, and that of Tréguier, St. Corentin at Quimper is "widowed of its bishop." Admirably situated, it stands with all the dignity of a cathedral above the pleasant little "river city of gables and fables," which etches itself on the memory. It is a well-cared-for shrine, full of warm Breton piety, seen at its richest during the pardon gatherings of August 15th.

Bishop Rainaud laid the first stone of Quimper Cathedral in 1239. Its ambulatory copied a disposition first used in Soissons Cathedral, but repeated only here and at Bayonne, though across the Rhine it became popular. The vault ribs of each chapel meet in the same keystone as the ribs of that section of the procession path on which the chapel opens. About 1280 a little shrine, which had stood in the rear of the cathedral, separated from it by a lane, was joined to the ambulatory of the new Gothic choir by means of a canted bay. This improvised Lady chapel increased the irregular alignment of the church. The deviation of Quimper's axis is extraordinary. Standing in its central aisle, at the rear of the nave, you cannot see the first of the three bays that usually are apparent at the apse curve, and such is the bend of the choir that its southern aisle possesses one more bay than does the aisle to the north. When the time came to replace the Romanesque nave by the actual one, that new Gothic edifice might have straightened somewhat the axial line by following the false orientation of the choir. But apparently the proximity of the episcopal quarters prevented this being done.

The choir of St. Corentin retains the canopy-image windows of Jamin Sohier (1417), and the nave, those of the Jamin Sohier of a second generation; a western window is dated 1496. The shield and helmet of one of Brittany's dukes of the Montfort line, Anne's immediate forebear, adorn the gable of the main façade. The cathedral works ceased during the first part of the Hundred Years' War; the choir was not roofed in stone till the first quarter of the XV century. In 1424 the nave was begun and the foundations of the west towers laid. Quimper's towers derive directly from the famous one of St. Pierre at Caen. There are the same deep, elongated twin-window recesses serving as buttresses. After another period of inactivity, the cathedral's nave was vaulted. In the latter part of the XIX century the west towers received their crowning of crocketed spires, paid for by a popular collection called "the penny of St. Corentin."

How these dwellers by the sea love their obsolete local saints! How certain they are that to forget them is to lose infinitely precious links with the past. The solidarity of ancestors with descendants is no dead letter in Finistère, that lives not by bread alone. One knows that the white-coiffed women of Quimper--and their daily gathering in their mediæval church makes a brave showing--would not love this shrine of St. Corentin so well had it a name common to western Christendom. But St. Corentin, St. Tugdual, St. Huec, St. Iltud, St. Budoc, St. Jacut, St. Jubel, St. Gulstan, St. Comery--ah, those are the potent ones before the heavenly throne when a true Breton needs assistance!

THE CATHEDRAL OF ST. POL-DE-LÉON[383]

O Dieu qui nous créas ou guerriers ou poètes,
Sur la côte marins, et pâtres dans les champs,
Sous les vils intérêts ne courbe pas nos têtes;
Ne fais pas des Bretons un peuple de marchands.
J'ai vu, par l'avarice ennuyés et vieillis,
Des barbares sans foi, sans coeur, sans espérance,
Et, l'amour m'inspirait, j'ai chanté mon pays.
--A. BRIZEUX, _L'élégie de la Bretagne_.

The most complete Gothic monument of Brittany is the whilom cathedral of St. Pol-de-Léon, one of the few important churches of the Middle Ages to be entirely carried out, with spired towers, and porches for the different needs of soul and body, one for catechumens, another for lepers. Its choir and nave differ strikingly in color and quality of stone. The nave of yellow sandstone was built first, and is decidedly the most artistic portion of the edifice. The florid Gothic choir is of gray granite.

As the XIII century closed the nave was begun, continuing building up to the dire times of the Hundred Years' War. It has the Norman traits of sculptured bands of academic design below triforium and clearstory, trefoils cut in the spandrels of arches, multiple arch molds, each with its own support, and a circulation passage beneath the upper windows. The triforium was begun elaborately, with much foliate decoration, but economy soon forced the architect to adopt a simpler plan. The nave's south aisle is double beyond the fourth bay where a porch opens, and the stones show that the outer aisle was originally a separate chamber, converted during the XV century into a passageway.

The Flamboyant Gothic choir, that lacks the harmony and elegance of the nave, was built from 1439 to 1472. Chapel has been added to chapel, aisle to aisle, with the profusion loved by the Breton, who would press into God's service every foot of free land around his presbytery. The transept of the XII and XIII centuries was radically reconstructed during the late-Gothic day, retaining vestiges only of its Romanesque and early-Gothic work. It is doubtless to such repeated modelings that some of the buttresses fail to correspond to columns and vault shafts.

During a siege of St. Pol-de-Léon by the English, the church called the Kreisker, "center of the city," was injured. When rebuilt, from 1345 to 1399, there was erected, between its nave and choir, carried merely on open arches, a grandiose tower modeled on Caen's belfry of St. Pierre, as had been the twin towers of St. Pol's cathedral, lesser in height than "the Kreisker." The deeply recessed lancet openings in each face of the giant beacon serve the practical purpose of buttresses. Few cities can show three such brave towers as this little Breton town. "The Kreisker," mantled in golden lichen, is the pride of every Breton. So sure is its poise, so supple and strong, that for centuries all the wild storms of the ocean have swept unheeded through its open stonework spire. The popular songs love to extol it:

Je suis natif du Finistère,
A Saint-Pol j'ai reçu le jour,
Mon clocher est l'plus beau d'la terre,
Mon pays l'plus beau d'alentour;
Rendez-moi ma bruyère et mon clocher à jour!

St. Pol received its name from another exile of Britain, and the good man's little bell is rung on the days of Pardon, over the heads of the people, who believe it can cure maladies of the mind. The Revolution tried to change the town's name to Port Pol, but the traditionalists and the independents that are the Bretons soon reverted to their St. Pol-de-Léon.

THE CATHEDRAL OF TRÉGUIER[384]

Une, deux génerations peuvent oublier la Loi, se rendre coupable de
tous les abandons, de toutes les ingratitudes. Mais il faut bien, à
l'heure marquée que la chaine soit reprise et que la petite lampe
vacillante brille de nouveau dans la maison.

--ERNEST PSICHARI (1883-1914).

The cathedral of St. Tugdual obtained its name from the founder of a local monastery, a nephew of St. Brieux, who had crossed from Britain with the returning missionary, St. Germain of Auxerre, and in Armorica had established a religious house which eventually gave its name to a Breton city. No church of the region demonstrates more clearly how difficult it is to obtain full Gothic effect with granite. Lacking sculpture, the art is necessarily abortive.

The interior of Tréguier is dark and forbidding. The capitals of the graceless octagonal piers are merely uncut bands. There are Norman balustrades and a Norman interior passage below the clearstory lights. The name of the architect, Goneder, was recently unearthed by M. de la Borderie. From the previous Romanesque cathedral was retained the Tour Hastings which now terminates the northern arm of the transept. Toward the western end of the church the molds of the archivolts die off in the piers.

The nave rose from 1296 to 1333; then came the pause of the Hundred Years' War. Building was resumed--always on the original Rayonnant lines--by Bishop Jean de Coëtquis (1450-61), whose relative, of the same name, was finishing the nave of Tours Cathedral. The charming Flamboyant cloisters of Tréguier were made from 1461 to 1468, and with the Tour Hastings they compose one of the oft-sketched architectural groups of the country. St. Tugdual has suffered by wars and revolutions, being damaged by the English in 1347, by the Spaniards in 1592, the Liguers in 1594, and the Revolution's cyclone passing here as elsewhere.

In the nave of Tréguier Cathedral stands a sumptuous Gothic monument to honor Brittany's patron saint, Yves de Helori, born in 1253, a mile from the town in the manor of Kernartin--modern Minihy. On the nineteenth of every May Tréguier marches in procession to Minihy to commemorate the good man who cleared the region of evil-doers, built a hospital beside his home that he might himself wait on the stricken, rose at midnight to chant matins, preached sometimes five sermons a day, and was the poor man's lawyer, so a popular hymn relates: "An advocate and not a thief, a thing almost beyond belief." The pardon of St. Yves, the Pardon of the Poor, is one of the five chief ones of Brittany. For centuries those who had pending law cases repaired to his primitive tomb. Thus Henry VII, Tudor, crossed from England the year before he won his kingship, to petition the favor of the Breton saint who had supported only just causes in law. Universities selected him as their patron.

St. Yves was the son of a knight who went crusading with St. Louis. When sent, at fourteen, to Paris University, he sat with other young scholars on the rush-strewn floors to listen to the scholastics; even in his student days he visited the sick poor in the hospitals. Before thirty he entered the episcopal magistry, and henceforth his abilities were devoted to the relief of orphans and widows. This good man, after whom myriads of the sons of Brittany have been named, worked assiduously, it is said, to collect funds for the building of the Gothic cathedral of Tréguier.

In a street near the cloisters of St. Tugdual, Ernest Renan was born in 1828, his name deriving from an Irish anchorite of VI-century Armorica. From his Breton father he derived his gravity, respect, faith, and imagination; from his mother's Gascon stock his irony, gayety, and serenity in skepticism, the result being, as he himself said, a tissue of contradictions. Brittany took his _Vie de Jésus_ as a personal affront. That a son of hers, once destined for the priesthood, should call her dear Christ of Calvary a "sorcerer," a "demi-impostor," a "_géant sombre_," "_un fin et joyeux moralist_," pierced her to the soul. When, beside the cathedral of Tréguier, partisan politics raised a Renan statue (singularly inartistic), whose inscription was taken as an affront by every believing Christian, two million Bretons donated toward the erection of a monumental protest. The Calvary of Reparation stands at the entrance to Tréguier, voicing the cry attributed to the dying Julian the Apostate, "Thou hast conquered, Galilæan!"

The son of Renan's daughter was that chosen soul, Ernest Psichari, who fell defending Belgium in August, 1914, a death considered by mystic Brittany to be an atonement. He has told of his spiritual anguish, "without defense against evil, without protection against sophistry, wandering without conviction in the poisoned gardens of vice, sick to the soul and ever pursued by obscure remorse, weighed down by the bitter derision of a life ruled by disordered sentiments and thoughts." In his _Appel des Armes_ and his _Voyage du Centurion_ he has traced his pilgrimage from materialism to Christian belief, taking "_contre son père le parti de ses pères_." His grandfather, of Tréguier, in Armorica, had written many years earlier: "The characteristic trait of the Breton race is idealism--the disinterested pursuit of a moral or intellectual aim. The Celt craves the Infinite. He thirsts for it, seeking it beyond all the prizes of the world."

A SUMMING UP

All our France is in our cathedrals.... Initiation into the beauty
of Gothic is initiation into the truth of our race, of our sky, of
our landscape.... Gothic art is the sensible, tangible soul of
France; it is the religion of the French atmosphere. We are not
incredulous; we are merely unfaithful. We have lost at the same
time the sense of our race and of our religion. To regain force we
must live again in the past, revert to first principles. Taste
reigned of yore in our country: we must become French again.

--RODIN, _Les cathédrales de France_.

With many a gap, with many a lapse, we have followed the earlier stages of Gothic art in the land where it was born. We have seen how, from the efforts of the monks to cover their Romanesque naves with a permanent stone roof, was evolved the intersecting rib vault which was the basis of Gothic architecture, how for a short time churches used the Romanesque and Gothic systems simultaneously as in Morienval and Poissy, and for another short period the churches were Gothic in essentials while retaining a few traits of the earlier phase. By many the imperishable hour that produced Soissons' transept, the choir of St. Remi, Notre Dame at Laon, and Notre Dame at Paris, is beyond all others. When the national art expanded into its full flowering in the XIII century--an era as great in men and the making of history as in art--Gothic science, though ever seeking, ever reaching out, remained disciplined, even as the scholastic builders themselves were disciplined.

While eighty cathedrals in France were rising, and in the same hour some hundreds of lesser churches, the rulers of the nation were capable warriors, compilers of laws, and administrators, the builders were monarchs, crusading bishops, troubadour counts, cloistral ascetics, and arduous sinners. Serf, artisan, burgher, baron, and king built the cathedrals; field laborer, minstrel, maiden, and chatelaine were harnessed to the same cart to drag in the great stones. Little children cleared the church pavement of sand and cement in preparation for the "Day of Benediction" for their city, as the solemn blessing of their church was held to be by those God-fearing generations.

The new school of mediæval archæology, that during three generations has been interpreting the Gothic churches of France, is teaching us to read the stones with sympathy. "Symbol of Faith, the cathedral was also a symbol of Love," says M. Émile Mâle. "All men labored there. The peasants offered their all, the work of their strong arms. They pulled carts and carried stones on their shoulders with the brave good will of the giant-saint, Christopher. The burgess gave his money, the baron his land, the artist his genius. During more than two centuries every vital force in France collaborated on the cathedrals. From that comes the puissant life emanating from these eternal monuments. The dead, too, were associated with the living, for the cathedral was paved with tombstones, and the earlier generations, with hands joined in prayer, continued to worship in their ancient church. Past and present were united in the same feeling of love. The cathedral was the very conscience, the very soul of the city."[385]

After five generations had reared so many and such magnificent churches, their energy, because it was human, passed from plenitude into decline. The death of St. Louis, in 1270, may be taken as the beginning of the change, though even before had been used various cut-and-dried Rayonnant features. Genius flagged when structural perfection was achieved. The divinely restless reaching out of art was stultified by geometric rule. Graceful and stately as is many a XIV-century church, never in them do we find the unexpected entrancing touches of Apogee Gothic. Gothic was fast becoming an art made tongue-tied by authority.

As time went on profiles deteriorated, sharp prismatic molds succeeding to the virile torus, or molds fluid and vague. By the XV century capitals were omitted altogether. The sane marking of the horizontal line had become an offense to the eye. Without capitals the molds died away weakly in the piers. Flamboyant Gothic architecture exhibited all these traits, and, moreover, gave capricious rein to many a redundant detail, yet it was none the less a phase of art far more vigorous and satisfactory than the Rayonnant geometric period, its predecessor. The verve and abundance of Flamboyant Gothic was a rebirth. The inspiration of St. Jeanne d'Arc, the restored political unity, the increase of trade, the love of pageantry, all aided the art renaissance which was in progress before the advent of Italian ideas. No one can say that Gothic architecture ended in decrepitude who knows such masterpieces as the façades of Rouen and Beauvais, the towers at Bordeaux, Rodez, and Chartres, the baldaquin and choir screen of Albi, or statuary as ample in its simplicity as Riom's Virgin of the Bird and "the Saints" at Solesmes. And from end to end of France, as the XVI century opened, such work was in progress.

What, then, killed Gothic art? For it was slain with all this warm blood in its veins. Some say the return to pagan ideals dealt the death blow, the deserting of the celestial man-humble ideal for the terrestrial self-intoxicated pride of the Italian Renaissance: "The Renaissance is man seeking knowledge, happiness, and love, outside of Christianity." A Christian had knelt in prayer on a Gothic tomb, or reposed with serene confidence, awaiting the trumpet call of the archangel, a Book of Hours in his hand. On a Renaissance tomb the deceased reclined like a pagan at a feast. The Italian wars diverted from its natural channels the genius of the northern Latins (who were so strongly Celt and Frank), and in many cases the imported neo-classicism was not that of Italy's supreme masters, but of the lesser artists, their successors.

Others have contended that the printing press and the Protestant Reformation--with its spirit of hostile criticism--proved fatal to the national art, since the very life of Gothic was legend, poetry, and dreams, and symbolism its inspiration. Doubt quickly drained the sources of life. "Its charm had been to retain the candor of childhood, the limpid book of young saints. It was an art whose faith discussed not--it sang."[386] It was an art happy and bold and free of restraint, save the restraint which its own right instinct for discipline imposed--co-ordinating the multitudinous into a symmetrical unity--an art unfettered in its truth telling, daring to sculpture king or bishop marching to Hell, yet giving no offense to authority by so doing.

Alas, one must acknowledge that the Church, so long the guardian of Gothic art, dealt a deadly blow at the sweet naïve gayety of the Middle Ages. To reform Catholic Christendom there gathered at Trent a much-needed Council, impregnated with the critical spirit which Luther had unloosed. Pious churchmen had come to look askance on legends. They were ashamed of the simplicities which the XIII-century man was so certain pleased Our Lady, who accepted them with a friendly smile of comprehension of her fellow creatures. The good fathers at Trent regarded prudishly the spiritual passion of the Canticle of Canticles flaming in cathedral windows; they thought it forwardness to carve mechanics' tools on altar stones. Such manifestations were excessive. What would our critics of Wittemberg and Geneva say? The mystery plays, source of inspiration for the late-Gothic sculptors, now became suspect. Deprived of popular life, the religious themes grew cold. When censured, the creative instinct withered. In 1563 (a year after the iconoclastic outrages in France) the Council of Trent, at its last session, complained that Gothic artists scandalized the faithful by their childish superstitions. The Middle Ages were ended.

Cathedrals are not raised by critics or doubters. When France built her great churches, her faith was humble, her love a mounting flame. Her cathedrals were symbols of the Kingdom of God in her midst, the _pons sæculorum_ whereby man passed beyond the bourne of his narrow life. They were solaces in his hours of misery, in his delinquencies; they stood for justice alike to serf and baron; they were the Sermon on the Mount made visible, the _Biblia pauperum_ wherein lettered and unlettered read the same lessons; they were the _Credo_ chanted by men who believed in Christ, Son of the Living God and Son of the Immaculate Virgin.

Nor should it be forgotten that the generations who raised the great cathedrals believed profoundly in themselves as God's specially loved instruments, his own selected knights-errant. "We are a race that exists to advance in the world the affairs of God," said the old Gallic patrician to Clovis the Frank, and soon a Frankish parchment ran, "_Vivat Christus qui diligit Francos_." When men feel like that they are compelled to express it grandly. When as pagans they feel it, the expression is a cataclysmic war of conquest. When they feel it as Christians, they build cathedrals. The generations whom St. Bernard purified, whom Suger trained, whom St. Louis inspired, founded their church on a firm rock, a living rock, lighted it unto a precious stone, prepared it as a bride adorned for her husband, and ever since sanctity has abided therein; kings have brought hither their honors and glory, and the glory and honor of the people have adorned the walls.

FRANCE

Because for once the sword broke in her hand,
The words she spoke seemed perished for a space;
All wrong was brazen, and in every land
The tyrants walked abroad with naked face.

The waters turned to blood, as rose the Star
Of evil fate, denying all release.
The rulers smote the feeble, crying, "War!"
The usurers robbed the naked, crying, "Peace!"
And her own feet were caught in nets of gold,
And her own soul profaned by sects that squirm,
And little men climbed her high seats and sold
Her honor to the vulture and the worm.

And she seemed broken and they thought her dead,
The Over-Man, so brave against the weak.
Has your last word of sophistry been said,
O cult of slaves? Then it is hers to speak.

Clear the slow mists from her half-darkened eyes,
As slow mists parted over Valmy fell,
And once again her hands in high surprise
Take hold upon the battlements of Hell.
--CECIL CHESTERTON (who died a soldier of the World War).

Regretfully one turns to other interests after spending years in trying to draw closer to the spirit of the Middle Ages--years that have coincided with the apocalyptic struggle that has desolated the classic region of the national art, laying low, one after another, the churches of the first fugitive hour. And watching the giant battle, it has grown clearer how indissoluble is the solidarity of modern Frenchmen with their achieving grandfathers. A nation's bulwark is the unbroken solidarity of Past with Present. And only when _la race lumineuse_, compounded of Celt, Gaul, Latin, and Frank, denies that solidarity will it be conquered.

The peasant-soldier of 1914, starting for the front, who replied with grave dignity to his well-wisher, "Whichever way it turns, I am ready,"[387] would have met death like a paladin at Roncevaux, in 778, holding up his gauntlet to God, his suzerain, certain of the justice of Him who from the grave raised Blessed Lazarus, and Daniel saved from lions.

The young tradesman of 1915 who wrote from the trenches to one who loved him: "I look on this struggle less as a war against an enemy than as a crusade to reinstate God in his place in France," was true to his _race apostolique_ that sets the church bells ringing. At Clermont, in 1095, he pressed forward with the cry: "The cross! The cross! God wills it!" The priest-soldier offering sacrifice at an improvised altar within hearing of the guns, his spurs fretting his sacerdotal gown, is Turpin, guarding well the Cross and France.

The stricken lad, flung back, diseased from the prisons beyond the Rhine, weak, broken, in tatters, who cried with vibrant voice, as he and his comrades crossed the Swiss frontier, and friendly strangers gathered round: "_La tête haute! C'est nous la France!_" conquered Jerusalem with Godfrey de Bouillon in the olden days, and related his prowess in a legend-medallion window at Chartres.

Above all, lives the soul of the Past in the generalissimo to whom a righteous destiny granted the freeing of his land from invaders. In churches shattered by shell fire he knelt daily--the weightiest fruit bending lowest--and he begged that the children of Christendom lift up their little white hands to heaven to petition for his endurance. In 1249, with flashing sword and the cry, "_Montjoie-St.-Denis_," he sprang into the surf beside his saint-king, following the oriflamme as it touched African soil. We have seen them alive again, the cathedral builders, the commune winners, the crusaders, dying with the farewell sigh, "_Ha! doulce France!_"

And thank God the flame is unquenchable, thank God that in the French race is the underlying sentiment for the Infinite, that peasant, artisan, student, priest, and chief feel the same humility and the same proper pride as those who built Soissons, the lovely stricken virgin; and Laon the intrepid, braving the hammer of Odin and Thor; Amiens the perfect, menaced and shaken but spared to us; and tragic, immortal Rheims, symbol of a people's resurrection. To herald the dawn is the mission of France, to look on her deeds as _Gesta Dei per Francos_. "Hers is the hand that scatters the seed."

Index

NOTE.--The heavy figures appearing here and there in the index indicate the pages in which a complete description of the subject is given. The other figures indicate additional references to the subject.

A

Abadie, Paul, 151, 290, 292, 354, 355.

Abbeville (Somme), 210, 226.

Abélard, Pierre, 41, 91, 104, 130, 133, 138, 174, 175, 414, 419, 467, 566.

Abraham, 182, 218, 219.

Achery, Dom Luc d', 149.

Acy-en-Multien (Oise), 45, 48.

Adams, Henry, 165, 170, 231, 299, 477, 499.

Adrian IV (Nicolas Breakspear), Pope, 134.

Agincourt, =1415= (Pas-de-Calais), battle of, 71, 483, 490, 565.

Agnes of Meran, 54, 95, 280.

Aicard, Jean, 378, 384.

Aigueperse (Puy-de-Dôme), 341.

Aigues-Mortes (Bouches-du-Rhône), 11, 66, 157, 377, =389=, =390=, 400.

Airaines (Somme), 45.

Airvault (Deux-Sèvres), 321.

Aix-en-Provence, 40, 330, 401, =403=, =404=.

Albi (Tarn), Cathedral of, 11, 13, 14, 279, 329, 330, =370-375=, 466;
choir screen, 373, 577;
vault frescoes, 374, 519.

Albigensian Crusade, 11, 189, 330, 353, 357, 358, 362, 363, 364, 365-370, 371, 376, 383, 385, 386, 392, 394, 405.

Alcobaça, Cistercian abbatial of, 465.

Alcuin, 4, 10, 149, 249.

Aldégrevier (vitrine artist), 541.

Alençon (Orne), 542.

Alençon, the Duke d', 315, 515, 527.

Aleth, Blessed, 458, 463.

Alexander II, Pope, 487.

Alexander III, Pope, 91, 136, 149, 250, 388, 433.

Aliénor of Aquitaine, 10, 60, 137, 138, 153, 174, 254, 274, 293, 296, 297, 298, 317, 318, 319, 320, 321, 326, 351, 353, 439, 440, 465, 502, 531, 543.

Alternate system, the, 80, 81, 93, 100, 127, 164, 478, 481, 482, 486.

Amboise (Indre-et-Loire), 254, 304, 558, 565.

Amboise, Cardinal Georges d' (of Rouen), 373, 492, 513, 519, 558.

Amboise, Bishop Jacques d' (of Clermont), 97, 335, 373, 421.

Amboise, Bishop Louis d' (of Albi), 373, 374.

Ambulatory, 19, 24, 45, 48, 51, 54, 58, 64, 65, 92, 109, 124, 129, 150, 216,
278, 292, 307, 337, 353, 398, 432, 569.

America, United States of, 57, 367, 394, 429.

Amiens (Somme), Cathedral of, 12, 31, 34, 39, 46, 55, 181, 197, 201, =202-210=, 214, 224, 225, 329, 331, 333, 351, 380, 425, 475, 539, 581.

Amyot, Bishop Jacques, 451.

Angers (Maine-et-Loire), 10, 13, 39, 255, 286, 303, 309, 310;
Cathedral of, 59, 113, 146, 273, =302-309=, 351, 550;
Fortress of, 309, 310;
St. Jean's Hospital, 310, 311;
St. Martin, 295, 305;
St. Nicolas-du-Ronceray, 294, 295, 305;
St. Serge, 302, 311, 312;
Toussaint, 310, 321;
Trinité, 300, 305.

Angoulême (Charente), Cathedral of, 287, =290-293=, 295, 352.

Anjou, counts and dukes of, 173, 220, 269, 271, 273, 274, 280, 408.

Anjou, Charles I d', 154, 156, 280, 295, 299, 307, 309, 427, 465;
Charles II d', 280, 309, 401, 402;
St. Louis d', 402;
Louis II d', 280, 308, 309, 396.

Anjou, King René. _See_ René.

Anne, St., 138, 181.

Anne of Brittany, 67, 89, 256, 344, 373, 557, 558, 565, =566=, =567=, 569.

Annunzio, Gabriele, d', 107, 121.

Anselm, St., 4, 34, 133, 173, 250, 260, 271, 417, 473, =474=, =475=, 485.

Anselm de Laon. _See_ Laon.

Anthony of Padua, St., 5, 350, 359.

Antioch, 157, 208, 323, 345, 390, 554.

Apocalypse, the, 20, 98, 99, 144, 204, 217, 219, 239, 309, 320, 347.

Apostles in art, the, 146, 182, 207, 208, 262, 278, 321, 349, 352, 377, 389, 438, 561.

Apses, notable, 65, 80, 93, 105, 115, 116, 122, 129, 216, 232, 251, 275, 276,
421, 486, 489, 536, 547, 554.

Aquinas, St. Thomas, 2, 4, 41, 126, 130, =131=, =132=, 133, 134, 175, 238, 267, 334, 359, 465, 475.

Aquitaine, dukes of, 10, 298, 318, 327, 347, 351, 384.

Arbrissel, Robert d' (founder of Fontevrault), =294=, 323.

Archæology of the Middle Ages, 2, 13, 40, 92, 552.

Archæology, modern French school of, 32, =37-48=, 415, 428, 576.

Architects, mediæval, 5, 34, 35, 39, 57, 66, 82, 93, 94, 96, 141, 146, 150,
152, 163, 167, 177, 179, 190, 191, 204, 237, 276, 284, 251, 264, 271, 284,
299, 303, 334, 360, 380, 390, 406, 411, 457, 513, 517, 518, 553, 559, 564.

Architecture, 1, 4, 5, 7, 12, 15, 27, 56;
X century, 20, 21, 148, 411;
XI century, 17, 19, 20, 21, 22, 23, 24, 34, 48, 117, 254, 270, 305, 314, 343, 349, 384, 397, 481, 546, 554;
XII century, 12, 22, 31, 34, 41, 57, 58, 92, 104, 105, 108, 109, 115, 116, 119, 120, 124, 136, 137, 147, 253, 270, 275, 287, 289, 291, 295, 300, 303, 313, 314, 320, 344, 381, 392, 403, 406, 423, 428, 435, 446, 532, 537, 546, 552, 554;
XIII century, 12, 41, 65, 66, 105, 110, 111, 139, 141, 146, 166, 177, 190, 204, 237, 330, 436, 446, 489, 503, 504, 538, 575, 576;
XIV century, 12, 13, 65, 105, 130, 164, 187, 207, 232, 265, 330, 346, 377, 378, 381, 382, 386, 407, 408, 447, 449, =489=, =490=, 509, 513, 514, 515, 538, 555, 564, 576;
for the XV and XVI centuries _see_ Flamboyant Gothic;
XVII century, 243, 561.

Arcis-sur-Aube, 239.

Arezzo (Tuscany), 171, 374.

Aristotle, =344=, =434=.

Argentan (Orne), 542.

Arles (Bouches-du-Rhône), 11, 24, 397, 399;
St. Trophime, 330, 336, =398=, =399=, 400.

Arnold, Matthew, 264, 265.

Arnoul, Bishop (of Lisieux), 250, 531, 532, 534.

Arras (Pas-de-Calais), 2, 556.

Arthur of Brittany, 297, 308, 511.

Artois, Robert d', 96, 156.

Asnières (Maine-et-Loire), 314.

Attila the Hun, 201, 231, 243.

_Aucassin et Nicolette_, 396.

Auch (Gers), Cathedral of, 358, 374.

Augustine, St., 132, 158, 364, 449, 508.

Augustus, 239-243, 257, 259, 424.

Aulnay (Charente-Inférieure), 291.

Autun (Saône-et-Loire), Cathedral of, 24, 181, 416, 419, =423-426=, 429.

Autun, Honoré d', 262, 424.

Auvergne, 11, 38, 39, 249, 330, 331, 336, 337, 381;
Romanesque school of, 11, 24, 38, 151, 254, 329, 331, 333, 337, 339, 340,
343, 344, 360, 449.

Auvergne, Guillaume d' (Bishop of Paris), 133, 139, 140, 141, 469.

Auxerre (Yonne), 224, 428, 445;
Cathedral of, 7, 33, 115, 226, 242, 316, 429, =446-451=, 460;
glass of, 449, 450, 451;
sculpture of, 447;
St. Germain, 410, 445, 446, 572;
St. Eusèbe, 448.

Avallon (Yonne), 24, =428=, 435, 441.

Avignon (Vaucluse), 209, 381, 388, =405-409=;
the Avignon popes, 330, 335, 347, 353, 359, 368, 381, 386, 387, 388, 405,
406, 407, 408, 409.

Avila, 242, 264, 340, 465.

Avranches (Manche), Cathedral of, 2, 474, 556.

B

Bacon, Francis, 276.

Bacon, Roger, 134.

Balmes, J. C., 41.

Balzac, Honoré de, 119, 247, 249, 312.

Bamburg, Cathedral of, 2, 77, 193.

Bannalec (Finistère), 560.

Barbarian invasions in France, 4, 18, 20, 28, 29, 36, 78, 107, 142, 172, 261,
325, 336, 337, 361, 411, 414, 472, 479, 483, 495, 510, 563.

Bari, Cathedral of, 555.

Barre, Chevalier de la, 151.

Barrès, Maurice, 389, 398, 435.

Bar-sur-Aube, 239.

Bar-sur-Seine, 239.

_Barzas-Breiz_, 400, 556.

Basly (Calvados), 491.

Bassac (Charente), 291.

Bayard, Chevalier, 342.

Bayeux (Calvados), Cathedral of, 488, 508, =545-551=.

Bayonne (Basses-Pyrénées), Cathedral of, 354, 569.

Bazin, René, 259, 302, 415, 410, 580.

Beaucaire (Gard), 396.

Beauce, Jehan Texier, called de, 179, 180.

Beaulieu (Corrèze), 24, 288.

Beaumont, Raoul de, 306, 308;
family of, 308, 550.

Beaumont-le-Roger (Eure), 536, 541.

Beaune (Côte-d'Or), hospital and collegiate of, 419, =426=, =427=.

Beauneveu, André (sculptor), 67, 299, 327.

Beauvais (Oise), 3, 96, 100, 125, 127, 379, 380, 425, 533, 534, 539;
Cathedral of, =224-230=, 404, 577;
St. Étienne, 45, 46, =50-53=, 224, 228.

Beauvais, Vincent de, 9, 133, 134.

Bec (Eure), Abbey of, 125, 173, =473-476=, 485, 487, 496, 502, 512.

Becket, St. Thomas, 11, 41, 91, 93, 94, 95, 97, 134, 136, 176, 184, 250, 261,
311, 340, 432, 433, 446, 518, 527, 531, 532, 550, 556;
windows of, 97, 184, 518, 550.

Bedford, John Plantagenet, Duke of, 87, 143, 489, 490, 523, 525, 527, 530, 535.

Bellefontaine (Oise), 45.

Belloc, Hilaire, 375, 548.

Benedict, St., 4, 23, 411, 483.

Benedict XII, Pope (Avignon), 407.

Benedictines, 7, 34, 54, 114, 117, 123, 124, 133, 148-151, 190, 278, 411, 476, 501, 548, 554.

Berengaria of Navarre, 279, 296, 538.

Berengar of Tours, 250, 487.

Berland, Pierre (Archbishop of Bordeaux), 354, 355.

Bernard, St., 14, 34, 40, 63, 64, 91, 92, 93, 107, 133, 135, 152, 243, 246,
271, 273, 298, 319, 321, 361, 362, 364, 367, 371, 412, 414, 418, 423, 430,
431, 434, 439, 440, 441, 442, 453, =461-471=, 503, 541, 579.

Bernay (Eure), Abbatial of, 473, 481, =495=, 496, 541.

Bernières-sur-mer (Calvados), 491.

Berry, Jean, Duke de, 214, 220, 221, 222, 232, 309, 320, 327, 329, 341, 342, 349, 353, 539.

Berzy-le-Sec (Aisne), 45.

Béthisy-St. Pierre (Oise), 45.

Bèze, Théodore de, 218, 441.

Béziers (Hérault), Cathedral and sack of, 330, 367, 369, =383=, 405, 539.

Bible, in the Middle Ages, the, 9, 11, 58, 133, 142, 145, 208, 217, 233, 253,
273, 327, 358, 395, 418, 432, 434, 437, 470, 557.

_Biblia pauperum_ windows and sculpture, 97, 184, 219, 233, 418, 437, 451, 462, 520, 579.

Bilson, John, archæologist. _See_ Bibliography.

Bishop-builders of French cathedrals, 5, 32, 79, 80, 86, 92, 93, 94, 95, 96, 105, 136, 137, 138, 139, 140, 150, 172, 173, 174, 189, 202, 215, 229, 231, 243, 250, 251, 261, 263, 267, 270, 272, 275, 291, 299, 306, 334, 335, 344, 353, 354, 371, 373, 377, 381, 447, 513, 538, 542, 546, 592.

Black Prince, the, 347, 355, 368, 378.

Blanche of Castile, 54, 86, 106, 107, 153, 154, 185, 225, 232, 234, 253, 299,
313, 362, 398, 435, 508, 538.

Blois (Loir-et-Cher), 121, 254, 558.

Bobbio (Province of Pavia), monastery of, 411, 483.

Bohemund of Taranto, 323, 337, 555.

Bologna, 134, 327, 364, 374, 446.

Bonaventure, St., 5, 41, 133, 134, 267, 268.

Boniface VIII, Pope, 385.

Bonneuil-en-Valois, 45, 49.

Bordeaux (Gironde), 350-356;
Cathedral of, 13, 31, 226, 298, 318, 330, =350-356=, 577;
Ste. Croix, 318, 351, 355;
St. Michel, 320;
St. Seurin, 318, 351, 352, 355, 356.

Born, Bertran de, 345, 348, 349.

Boscherville. _See_ St. Georges de.

Bosham, Herbert of, 93.

Bossuet, 121, 163, 167, 247, 252, 253.

Boston, U. S. A., 353, 394.

Botrel, Théodor, 201.

Bouilhet, Louis, 78.

Bourbon art patrons, 185, 253, 259, 264, 265, 266, 295, 341, 357, 364, 406,
421, 456, 513, 539.

Bourdaloue, 212.

Bourges (Cher), Cathedral of, 8, 11, 14, 211, =212-224=, 226, 255, 275, 276, 320, 322, 328, 454.

Bourget, Paul, 339, 531.

Bourgonnière chapel in Bouzilly (Maine-et-Loire), 322.

Bouvines, =1214= (Nord), battle of, 12, 32, 70, 86, 122, 195, 453.

Boyle (Co. Roscommon), Abbey of, 464.

Braine (Aisne), St. Yved at, 99, 113, 116, =121-125=, 185, 284.

Brest (Finistère), 560, 561.

Bridges, mediæval, 267, 289, 350, 371, 405, 407.

Brienne (Aube), 239.

Brienne, Jean de, 4, 70, 189.

Brioude (Haute-Loire), 340.

Brittany, 11, 400, =556-575=;
Calvaries of, 400, 559, 560, =561=, 574;
cult of the dead in, 559, 561;
dukes of, 297, 308, 566, 567, 569;
glass of, 559, 560, 563, 569;
Gothic of, 12, 557, 558, 559, 562, 563, 570, 571;
Romanesque of, 557, 562;
the Renaissance in, 559, 560, 561, 562, 563, 564, 568.
_See_ Anne of Brittany.

Brizeux, A., 570.

Brou (in Bourg-en-Bresse), the church of, 264, 265.

Brunetière, F., 148.

Bruno, St., 4, 117, 118, 194.

Bruyère (Aisne), 45.

Burgos, Cistercian abbatial of Las Huelgas, 2, 264, 399, 465, 502.

Burgundy, 21, 23, 39, 229, =410-470=;
dukes of, 143, 154, 226, 261, 410, 425, 452, 453, 454;
Franco-Flamand school of sculpture, 240, 255, 256, 281, 452, 455, 456, 567;
Gothic of, 242, 410, 412, 413, 415, 427, 436, 440, 443, 446, 447, 448, 464,
465;
Apogee Gothic, sculpture of, 410-413, 444, 447, 449;
Romanesque school of, 23, 254, 340, 344, 360, 394, 422, 423, 428, 437, 438,
439;
Romanesque, sculpture of, 418, 422, 423, 424, 437, 457.

Bury (Oise), 44, 45, 150.

Buttresses, 25, 26, 27, 229, 352, 378, 412, 413, 451, 481, 504;
flying buttresses, 26, 27, 46, 52, 117, 124, 129, 163, 179, 181, 187, 196, 225, 237, 260, 276, 292, 360, 413, 437, 443, 486, 554.

Byzantine influences in French art, 17, 18, 43, 59, 101, 120, 123, 137, 138, 180, 181, 196, 234, 248, 249, 262, 287, 291, 292, 306, 322, 349, 398, 438, 486, 547.

C

Caen (Calvados), 10, 13, 30, 163, 478, =484-491=, 519, 520;
Abbaye-aux-Dames (Ste. Trinité), 164, 482, =484=, 485;
Abbaye-aux-Hommes (St. Étienne), 415, 482, =484=, =486=, =487=, 488, 512,
532, 547, 554;
St. Nicholas, =484=, 493;
St. Pierre, 488, 489, 490, 523, 570, 571;
Vaucelle's tower, 491.

Cahors (Lot), Cathedral of, 24, =288=, =289=, 292, 407.

Calixtus II, Pope, 151, 200, 250, 261, 288, 291, 295, 360, 393, 417, 423, 453.

Calixtus III, Pope, 529.

Calvaries. _See_ Brittany.

Cambrai (Nord), 2, 81, 264, 556.

Cambrai, Jean de (sculptor), 221, 266.

Cambridge, England, 407, 457.

Cambronne (Oise), 44, 45.

Candes (Maine-et-Loire), =314=, =316=, 319.

Canterbury, archbishops of, 173, 260, 410, 432, 433, 434, 474, 475, 550;
Cathedral of, 3, 30, 93, 94, 173, 474, 475, 487, 532;
pilgrims, 94, 551.

Captives, redeeming of Christian, 6, 38, 42, 139, 369, 386, 404, 405.

Carcassonne (Aude), 11, 330, 339, =375-378=;
Cathedral of St. Nazaire, 349, 376, 377, 539.

Carentan (Manche), 539, 541, 554.

Carhaix (Finistère), 561.

Carnac (Morbihan), 400.

Carolingian vestiges and times, 20, 56, 57, 77, 78, 84, 149, 171, 173, 224,
225, 249, 250, 278, 283, 284, 305, 311, 324, 333, 337, 411, 470, 471, 478,
480, 482.

Cartharist heresy, 174, 362, 365, 366, 466.

Carthusian Order, 4, 117, 118, 194, 408;
the Grande-Chartreuse, 118, 408.

Carville (Seine-Inférieure), 492, 494.

Casamari (Province of Rome), Cistercian abbatial of, 465.

Castanets, Bernard de (Bishop of Albi), 371, 372.

Catalonia, 357, 380.
_See_ Gerona, Poblet, Tarragona.

Cathedrals of France, 9, 42, 74, 193, 202, 268, 575, 576, 578, 579;
Religious fervor of the builders, 5, 8, 9, 23, 32, 33, 35, 36, 42, 57, 115,
174, 175, 275, 338, 350, 472, 491, 512, 553, 578, 579, 580, 581.

Catherine of Siena, St., 307, 388.

Cauchon, Bishop Pierre, 225, 328, 523, 524, 525, 529, 530, 531, 533, 534, 535, 536.

Caudebec-en-Caud (Seine-Inférieure), 474, 494, =518=, 541.

Cécile, Abbess (Trinité, Caen), 485, 486.

Cecilia, St., 14, 370-375, 485, 486.

Cefalu (Palermo province), Cathedral of, 555.

Ceffonds (Aube), 239.

Celle, Pierre de (Bishop of Chartres), 114, 116, 170, 176, 190, 469.

Celtic element in France, 4, 11, 12, 21, 91, 135, 174, 177, 245, 336, 378, 384, 388, 411, 483, 556, 558, 562, 563, 567, 572, 574, 575, 577, 580.

Cerisy-la-Forêt (Manche), 473, 554, 573.

Cervantes, 405.

Chaalis (Oise), ruins of abbatial, 87, 215.