Chapter X: Gothic Art in Normandy314 (9)

[226] From the Chapelle de Rieux at the Cordeliers came some curious statues which are now in the Museum of Toulouse. Their date is certain, 1324 to 1348, yet their realism is of the XV century. Again Languedoc proved precocious in sculpture. In the Museum is a XIV-century statue of Bishop Guillaume Durandus, author of _Rationale_.

[227] When Moissac was affiliated with Cluny and reformed, its church was rebuilt by Abbot Durand, whose image adorns a pier of the cloister's east gallery. The walls of the nave belong to the edifice consecrated in 1063. That church of three aisles was remade with cupolas and blessed in 1180, and of the same date are the fortified narthex and its tower. Owing to those defenses the celebrated portal is in the south wall of the porch, not in the church axis. The Gothic ribs beneath the tower are rectangular and three feet wide. In the XIV century the cupolas were replaced by diagonals. The cloisters were begun about 1100 under Abbot Ansquitil, who made the pier images, also the marble parts of the portal, its trumeau, and the Visitation. Abbot Roger (1115-31) finished the cloisters, inscribing the carved Scripture scenes of the capitals. During the first quarter of the XII century Moissac's imagery passed from the squat, coarsely executed figures of the cloister piers to the appealing, etherealized types--"_fluides créations du Languedoc_"--the Annunciation group. Mr. A. Kingsley Porter thinks that door-jamb-figure sculpture was first used by Guglielmo at Modena Cathedral (c. 1100), and from Italy passed into southern France. The current of art flowed in the opposite direction, too, for the coupled colonnettes, typical of the Romanesque cloisters of Provence, Languedoc, and Spain, soon found their way across the Alps, where early examples are to be seen at Verona and Aosta, and at the cathedral door of Verona are Languedoc's elongated figures with crossed feet. The _Portico de la gloria_ at Santiago sets forth the vision of John the Beloved at Patmos quite as Moissac's tympanum presents it. _Congrès Archéologique_, 1901, vol. 2, pp. 43, 303; E. Rupin, _Abbaye et les cloîtres de Moissac_ (Paris, Picard, 1897); André Michel, "Sculpture romane de Moissac," in _Bull. de la Soc. Archéol. du Midi de la France_, 1899 to 1901; Roger Peyre, _Padoue et Vérone_ (Collection, Villes d'art célèbres), (Paris, H. Laurens).

[228] The master of French iconography, M. Émile Mâle, is on the eve of publishing a work on XII-century imagery, of which he says, "The art of Languedoc undulates like a flame in the wind, that of Provence seems cast in bronze."

[229] _Paradiso_, xii:70-73.

"Dominico fu detto; ed io ne parlo
sì come dell'agricola, che Cristo
elesse all'orto suo per aiutarlo.
Ben parve messo e famigliar di Cristo."

("Dominic was he named; and I speak of him as of the husbandman whom Christ chose for his orchard to bring aid to it. Well did he show himself a messenger and a familiar of Christ.")

[230] Douais, _L'Inquisition, ses origines, sa procédure_ (Paris, 1906); A. Molinier, _L'Inquisition dans le Midi de la France au XIIIe et au XIVe siècles_ (Paris, 1880); Vacandard, _L'Inquisition; étude historique et critique sur le pouvoir coercitif de l'église_ (Paris, 1907), (tr. London and New York, Longmans, Green & Co., 1908); Jean Guiraud, _Histoire patiale, histoire vraie_ (Paris, 1911); _ibid._, _Questions d'histoire et d'archéologie chrétienne_ (Paris, 1906); _ibid._, _St. Dominique_ (Collection, Les Saints), (Paris, Lecoffre, 1909), (tr. London, Washburne, 1913); C. M. Antony, _In St. Dominic's Country_ (London, Longmans, Green & Co., 1912); Mortier, _Histoire des maîtres généraux de l'Ordre des Frères Prêcheurs_ (Paris, 1903), 5 vols.

[231] Jean Guiraud, _Cartulaire de Notre Dame-de-Prouille_ (Paris, Picard, 1907), 2 vols. Vol. 1 is the ablest exposition of the Albigensian tenets; A. Molinier, "L'Albigeisme languedocien au XIIe et XIIIe siècles," in _Histoire de Languedoc_, vol. 1 (Toulouse, Privat, 1872-92), 15 vols.; C. Douais, _Les Albigeois; action de l'église au XIIIe siècle_ (Paris, 1889); A. Luchaire, _Innocent III; la croisade des Albigeois_ (Paris, Hachette, 1905).

[232] "Les vainqueurs mettent à sac toutes les maisons au nombre de 7000.... Si trouvèrent en la ville grant avoir; si en prisent donquel qu'ils veurent et le remanant ils ardirent. Là eut grant persécution d'hommes, de femmes et d'enfans, dont ce fut pitié."--FROISSART, book I, chap. lxxvi.

[233] Paul Fournier, _St. Raymond de Pennafort_ (Collection, Les Saints), (Paris, Lecoffre). St. Raymond's life, from 1175 to 1275, covers one of the most vital centuries in history. He helped St. Peter Nolasco found the Order of Mercy to redeem Christian captives from Islam; he founded chairs for the study of Oriental languages; he reformed morals by his preaching. A voluntary teacher of philosophy at twenty, then a trained lawyer, it was not till he was touching the half-century limit that he entered the Dominican Order, of which he became the head. For fifty more years he gave himself up to works for humanity's advancement.

[234] _Congrès Archéologique_, 1863; Jean Laran, _La cathédrale d'Albi_ (Collection, Petites Monographies), (Paris, H. Laurens, 1911); H. Crozes, _Monographie de la cathédrale de Ste. Cécile d'Albi_, 1873; E. d'Auriac, _Histoire de l'ancienne cathédrale et des évêques d'Albi_ (Paris, 1858); Abbé A. Aurial, "La voûte de Ste-Cécile d'Albi," in _Revue de l'art chrétien_, 1913, p. 91; Prosper Merimée, _Notes d'un voyage dans le Midi de la France_ (1835); B. L. de Rivières, "Les églises d'Albi," in _Bulletin Monumental_, 1873, vol. 39, p. 194; Taylor et Nodier, _Voyages pittoresques dans l'ancienne France_. _Languedoc_ (Paris, Didot, 1833-37), 2 vols.

[235] In the Romanesque brick church of St. Salvi, with its imposing tower and XII-century cloister, St. Bernard preached in 1145.

[236] The cathedral of Auch, which can be visited from Toulouse, was rebuilt (1371) by a nephew of Innocent VI, and again, after a fire in 1483. It is quite devoid of capitals. The façade is neo-classic. The choir stalls (1520-29) are masterpieces; Italianate fawns and Bacchantes are placed beside sacred personages. The magnificent windows, of the transition between Flamboyant Gothic and Renaissance, were the work of Arnaud de Moles (1507-13); their portrait studies are like Holbein's pictures. Abbé Canéto, Notice _sur l'église metro. de Ste. Marie d'Auch_ and _Congrès Archéologique_, 1901.

The cathedral of Rodez, some fifty miles west from Albi, built its grand Flamboyant tower, _la couronne_, from 1510 to 1526, under the Blessed François d'Estaing. The Romanesque cathedral at Rodez was supplanted by the present one in 1277. The works flagged, however, and the nave was built as late-Gothic by Bishop Guillaume de la Tour d'Oliergues and a nephew who succeeded him. The west façade was left bare, since there the church overlooked the ramparts; to it were added later a rose window and a Flamboyant gallery. G. de Cogny, in _Bulletin Monumental_, 1874, vol. 39; Bion de Marlavagne, _Cathédrale de Rodez_ (Paris, 1875).

[237] _Congrès Archéologique_, 1868; and 1906, J. de Lahondès; Viollet-le-Duc, _La cité de Carcassonne_ (Paris, 1858); H. Graillot, _Toulouse et Carcassonne_ (Collection, Villes d'art célèbres), (Paris, H. Laurens); L. Fédié, _Histoire de Carcassonne_ (Carcassonne, 1887); C. Douais, _Soumission de la vicomté de Carcassonne par Simon de Montfort_; Cros-Meyrevieille, _Histoire des comtes de Carcassonne_ (1845), 2 vols.; Gaston Jourdanne, _La cité de Carcassonne_ (1905).

[238] Louis Serbat, in _Congrès Archéologique_, 1868 and 1906; L. Narbonne, _La cathédrale de Narbonne_, 1901; Victor Mortet, "Notes historiques et archéologiques sur la cathédrale de Narbonne," in _Annales du Midi_, vol. 10, p. 401; vol. 11, pp. 273 and 439--also printed separately (Toulouse, Privat, and Paris, Picard, 1899); F. Pradel, _Mono, graphie de l'église St. Juste de Narbonne_ (Narbonne, Caillard, 1884); Ch. Lentheric, _Les villes mortes du Golfe de Lyon: Narbonne, Maguelonne, Aigues-Mortes, Arles, Les Saintes-Mariés_ (Paris, Plon, 1883); "École gothique religieuse du Midi de la France," in _Positions des thèses soutenues par les élèves de l'École des chartes en 1909; Histoire littéraire de la France_, vol. 32, p. 474, on Gilles Aycelin, archbishop of Narbonne and Rouen, Léopold Delisle.

[239] For the other churches at Narbonne, see the _Congrès Archéologique_, 1906. M. Lefèvre-Pontalis devotes a study to St. Paul Serge (p. 345), whose choir was built from 1229 to 1244. In the transept are vestiges of the primitive church. Two bays of the nave are of the XIV century, and the others are XII-century work redone in the XIII. To bind together the bulging walls, flat arches were thrown over the central vessel at the level of the pier arches. The church presents such peculiarities in the Midi as circulation passages at different levels round the edifice. There are false tribune arches, and over the pier arcade a passageway is maneuvered. Sergius Paulus was the first to preach Christianity in the city. In Narbonne's valuable Museum are classic vestiges of the city's great day under the Roman Empire. Many of the classic marble columns are to-day in the mosque at Cordova. Ch. E. Schmidt, _Cordoue, Grenade_ (Collection, Villes d'art célèbres), (Paris, H. Laurens).

[240] The Cistercian abbey of Fontfroide lies in a wild gorge some six miles from Narbonne. The church, begun in the middle of the XII century, was roofed with a pointed cradle vault. The cloister, like that at Tarragona, was covered with _bombé_ vaults on eight ribs. Little marble columns support the Gothic masonry roof of the chapter house, which, like Poblet's, opens by arcades on the cloister. Twelve monks from Fontfroide founded Poblet in 1150. The countess who ruled Narbonne for sixty years confirmed the abbey charter in 1157: " I, Ermengarde, give to God and the Blessed Mary, to Abbot Vital and the present and future servants of God, the lands of Fontfroide," runs her deed of gift. Doubly is a nation robbed when monastic lands are held by private individuals who assume no responsibility toward the public, as did a majority of the ancient houses, before royalty named its favorites as their abbots. Even as vast tracts were granted to nobles that they might perform gratis the military defense of a land, so monasteries were expected to give payment for their domains, by voluntary services to civilization. J. de Lahondès, in _Congrès Archéologique_, 1906, p. 61; Calvert, _Études historiques sur Fontfroide_ (1875); G. Desdevises du Dézert, _Barcelone et les grands sanctuaires d'art catalan_ (Collection, Villes d'art célèbres), (Paris, H. Laurens).

[241] Perpignan's aisleless cathedral of St. Jean was begun in 1324 and finished, as the century ended, under the kings of Majorca, who then ruled the Roussillon. The transept ends are apsidal below and pentagonal above. Beside it stands an older St. Jean, dedicated in 1025. The see originally was at Elne, where the cathedral was rebuilt in the XI century; lotus leaves are carved on the capitals of its lovely marble cloister (c. 1175). _Congrès Archéologique_, 1868; and 1906, p. 109, Perpignan; p. 135, Elne; E. de Barthélemy, " Le cloître de la ville d'Elne," in _Bulletin Monumental_, 1857, vol. 23; Bernard Palustre," Perpignan et ses monuments," in _Revue d'hist. et d'archéol du Roussillon_, 1905; Auguste Brutails, " Notes sur l'art religieux du Roussillon," in _Bulletin archéol. du comité des traveaux hist. et scientifique_, 1892, No. 4; 1893, No. 3; P. Vidal, _Histoire de la ville de Perpignan_ (Paris, 1897); P. Vidal et J. Calmette, _Le Roussillon_ (Collection, Les régions de la France), (Paris, L. Cerf, 1909); J. de Gazanyola, _Histoire de Roussillon_ (Perpignan, Alzinc, 1857); Isabel Savory, _Romantic Roussillon_ (London, Unwin, 1919).

[242] Eugène Müntz, _Les constructions du pope Urbain V à Montpellier, 1364-70_ (Paris, 1900); Jean Guiraud, _Les fondations du pape Urbain V à Montpellier_ (Montpellier, 1899), 3 vols.; G. E. Lefenestre, _Le musée de Montpellier_ (vol. 1, p. 189, "Inventaire des richesses d'art de la France: ministère de l'instruction publique"), (Paris, 1878); Émile Bonnet, _Antiquités et monuments du département de l'Hérault_ (Montpellier, 1908); Abbé M. Chaillon, _Le bienheureux Urbain V, 1310-70_ (Collection, Les Saints), (Paris, Lecoffre, 1911); A Germain, _Maguelonne, étude historique et archéologique_; A Fabrége, _Histoire de Maguelonne_ (Montpellier, 1900), 2 vols.

[243] Jean Aicard, _Arlette des Mayons_ (Paris, Flammarion, 1916).

[244] To the northwest of Montpellier, near Aniane, is St. Guilhem-le-Désert, with blind niches in its exterior apse wall that derive from such Lombard churches as S. Ambrogio at Milan. Lombard towers, arched corbel tables, and mural arcaded bands passed from northern Italy into Languedoc. The early intersecting ribs here were exceptional for the Midi in being profiled. The nave and aisles are of the first half of the XI century, the chevet and transept of the early XII, as is the cloister, which once had a second story. The narthex was built from 1165 to 1199. The first duke of Aquitaine, Aliénor's ancestor, died here, a monk. _Congrès Archéologique_, 1906, p. 384; "L'église abbatiale de St. Guilhem-le-Désert," Émile Bonnet; Joseph Bédier, _Les légendes épiques_, vol. 1, "St. Guillaume de Gellone" (Paris, H. Champion, 1908-13), 4 vols.

[245] Innocent III was the best type of the theory, enunciated by Boniface VIII as the XIII century closed, that civil rulers derive their power from religious authority. Leo XIII, in the encyclical _Immortale Dei_, November, 1885, set aside that claim. Each should keep to its own sphere, he said, one is not subordinate to the other; civil authorities are to attend to human affairs, and spiritual authorities to divine things. With every monarch in Europe appealing to him for his arbitration, it is little wonder that Innocent III should have held the views he did.

[246] Mende lies in the mountains of western Languedoc. Its cathedral was begun (1365) under the auspices of Urban V, whose statue stands in the square close by. Practically it is a XV-century church, without capitals, flying buttresses, or transept. During twelve years the architect was Pierre Juglar, an associate, at Riom, of those Flamboyant Gothic masters, the Dammartin brothers. The cathedral was finished with its two towers in 1512. From 1286 to 1296 the bishop of Mende was Guillaume Durandus, author of _Rationale_, the famous book on church symbolism. He was governor under the popes of the marches of Ancona and the Romagna, and led the papal forces in battle. The Italian city of Castel Duranti was named after him. When he died at Rome in 1296, Giovanni Cosmati made his tomb, a masterpiece in the only Gothic church of Rome, Santa-Maria-sopra-Minerva. Urban V was generous also to St. Flour (which lies south of Mende), whose abbatial was rebuilt in the XIV century; John XXII had raised it to cathedral rank in 1317. _Congrès Archéologique_, 1857, Mende.

[247] Nothing now at St. Victor's, Marseilles, is earlier than the XI century. A pre-Gothic use of diagonal ribs (with Lombard rectangular profiles) cropped out here, yet when the upper church was remodeled in the XIII century, Romanesque vaulting was used. Urban V rebuilt the transept, made the square apse, and raised the battlemented towers. When he visited Marseilles in 1373 every man in the city ceased his work to welcome him. As it was his desire to be buried in his former abbey, his remains were brought hither in 1372, and his successor, Gregory XI, raised a sumptuous Gothic monument forty feet in height. Abbé A. d'Agnel, "L'abbaye de St. Victor de Marseilles," in _Bulletin historique et philosophique_, 1906, p. 364; Eugène Müntz, "St. Victor, Marseilles," in _Gazette Archéol._, 1884.

[248] In his short time in Rome Urban V gave commissions for art works to Giottino and the sons of Taddeo Gaddi, and he had made the precious shrine for the relics of St. Peter and St. Paul in the Lateran. (See Eugène Müntz in the _Cronique des Arts_ for 1880.)

[249] Translated by F. J. C. Kearns, O. P.

[250] _Congrès Archéologique_, 1909, p. 183; J. Ch. Roux, _Aigues-Mortes_ (Paris, Bloud et Cie, 1910); F. Em. di Pietro, _Histoire d'Aigues-Mortes_ (Paris, 1849); Marius Topin, _Aigues-Mortes_ (Nîmes, 1865); Abbé H. Aigon, _Aigues-Mortes, ville de St. Louis_ (1908); H. Havard, éd., _La France artistique et monumentale_, vol. 3, p. 145; Ch. Lenthéric, _Le littoral d'Aigues-Mortes au XIIIe et au XIVe siècles_ (Nîmes, 1870); Vie. (Dom) et Vaissette (Dom), _Histoire de Languedoc_, vol. 7, p. 107, 3d éd.; Viollet-le-Duc, _Dictionnaire de l'architecture_, vol. 1, pp. 378, 390; vol. 9, p. 182.

[251] Maurice Barrès, _Le jardin de Bérénice_ (Paris, Charpentier, 1894).

[252] _Congrès Archéologique_, 1897, p. 98; and 1909, p. 168, L. H. Labande; J. Ch. Roux, _St. Gilles, sa légende, son abbaye, ses coutumes_ (Paris, Lemerre, 1910), 4to; J. Hubidos, _Histoire et décoration de l'église abbatiale de St. Gilles_ (Nîmes, 1906); De Lasteyrie, _Étude sur la sculpture française au moyen áge_ (Paris, 1902); A. Marignan, _L'école de sculpture de Provence du XIIe au XIIIe siècle; Histoire littéraire de la France_, vol. 19, p. 268, Clement IV (Paris, 1838); Forel, _Voyage au pays des sculpteurs romans_ (Paris and Geneva, 1913), 2 vols; W. Vöge, _Die Anfänge des monumentalen Styls_.

[253] Edmond Rostand, "Le nom sur la maison," in _Le vol de la Marseillaise_ (Paris, Charpentier-Fasquelle, 1919).

[254] Les Saintes-Maries is a desolate village of the Camargue, on the sea by the "Rhone of St. Gilles," six miles to the west of the big Rhone. The crenelated fortress-church replaced, in the XII century, one destroyed by Saracens. Its eastern end rises in three stories; below, in the crypt, is the shrine of Sara, the dark handmaiden; above is the high altar; and crowning all is the shrine (placed in St. Michael's care) in which Mary Jacobi and Mary Salome are honored. Their chapel opens on the church over the entrance to the Mass chapel. The sculpture resembles that of St. Trophime, at Arles; perhaps the much-eroded marble lions came from some monument of antiquity. Twice a year there are popular pilgrimages to Les Saintes-Maries, that of May being frequented by the gypsies. Monseigneur Duchesne, "La légende Sainte-Marie-Madeleine," in _Annales du Midi_, 1903, vol. 5; Georges de Manteyer, "Les légendes saintes de Provence," in _Mélanges d'archéol. et d'hist.: École de Rome_, 1897, vol. 17; Faillon, _L'apostolat des Saintes-Maries en Provence_. (This latter gives the Midi loyalists' point of view.) (1848, 2 vols.)

[255] _Congrès Archéologique_, 1897, pp. 95, 291, Tarascon; pp. 92, 333, Beaucaire; and 1909, p. 262, Tarascon. The church of St. Martha at Tarascon was dedicated in 1197, but reconstructed in the XIV century. The south portal, with its curious little gallery, is of the XIII century. The honored relics are in the crypt in a heavy tomb of 1650. The simpler sarcophagus that once held them now stands by the side wall. All over France the defeat of paganism by Christian bishop or saint was symbolized by a dragon, and in the course of time the people often took the symbol for reality. The legend of St. Martha's Tarasque, or dragon, may be of this origin. Louis II d'Anjou began the castle of Tarascon, which was decorated by good King René. At Beaucaire, across the Rhone, is a tower built by St. Louis. The international fair of Beaucaire was famous. "Aucassin was of Beaucaire, of a goodly castle there":

"'Tis of Aucassin and Nicolette....
The song has charm, the tale has grace,
And courtesy and good address.
No man is in such distress,
Such suffering or weariness,
Sick with ever such sickness,
But he shall, if he hear this,
Recover all his happiness,
So sweet it is!"

Turn to that cante-fable of the XIII century, and live again the Midi's days of chivalry. Turn to that XIX-century masterpiece of satirical generous humor, _Tartarin de Tarascon_, more likely to survive than many a more pretentious tale, so gay it is.

F. W. Bourillon, éd. and tr. of _Aucassin et Nicolette_ (Oxford, 1896).

[256] _Congrès Archéologique_, 1876; and 1909, p. 213, L. H. Labande; L. H. Labande, "Étude historique et archéologique sur St. Trophime d'Arles," in _Bulletin Archéologique_, 1904, p. 459; J. de Louvière, "St. Trophime d'Arles," in _Bulletin Monumental_, 1876, vol. 42, p. 741; Abbé Bernard, _La basilique primatiale de St. Trophime d'Arles_, 2 vols., 8vo; Roger Peyre, _Nîmes, Arles, Orange_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1904); Georges de Manteyer, _La Province du Ie au XIIe siècle_ (1908); F. Beissier, _Le pays d'Arles_ (1889); Abbé Pougnet, _Étude analytique sur l'architecture de la Provence au moyen âge_ (1867); H. Revoil, _L'architecture romane du Midi de la France_ (Paris, Morel et Cie, 1873), 3 vols.; Martin, _L'art roman en France_ (Paris, 1910); Rebatu, _Antiquités d'Arles_ (1876); J. B. de Rossi, "Le cimétière des Arlescamps et sa basilique de St. Pierre," in _Bulletin Monumental_, 1875, vol. 41, p. 170; E. Leblant, _Les sarcophages chrétien de la Gaule_ (1886); Alexis Forel, _Voyage au pays des sculpteurs romans_, vol. 1, chap. 1, "Arles-la-grecque" (Paris and Geneva, 1913), 2 vols.

[257] "Saint-Trophime, humide et écrasé, dit une louange irrésistible â la solitude et s'offre comme un refuge contre la vie.... Arles, où rien n'est vulgaire."--MAURICE BARRÈS, _Le jardin de Bérénice_ (Paris, Charpentier, 1894).

[258] There is another cloister at Montmajour, four miles from Arles. Its transverse ribs are caught along the wall on corbels carved with grotesques. Nothing at Montmajour pre-dates A.D. 1000. In the monastery church appeared (in the transept) some early diagonals; the crypt (middle of the XII century) is of a peculiar plan: a circular chapel in the middle of its apse with chapels radiating from the passage round it. From each arm of the transept projects an apse chapel. Under a hillock is a small shrine remade in the XIII century. In 1369 a tower of defense was added to the abbey. The curious chapel of the Holy Cross, in a meadow near by, is not of the time of its foundation, 1019, but a reconstruction of the XII century, probably intended for the chapel of a graveyard. Montmajour once rose from the sea marshes that for centuries came up to the gates of Arles. J. M. Trichaud, _Les ruines de l'abbaye de Montmajour-lès-Arles_ (Arles, 1854); _Congrès Archéologique_, 1876, p. 362; and 1909, p. 154; Chantelon (Dom), _Histoire de Montmajour_ (1890); L. Royer, _L'abbaye de Montmajour-lès-Arles_ (Abbeville, Paillart, 1910).

[259] "Sur cette terre élégante, au dessin si précis et si pur, sous cette lumière pénétrante, sur ces champs rouges où l'ovilier verse son ombre fine et grise, sur ces bords que la mer antique bat de sa flot court et rythmé, subsistent des oeuvres et des souvenirs qui ne dépareraient pas la Grèce elle-même, mère de toute beauté. Le Pont du Gard, la Maison Carrée, les Arènes de Nîmes et d'Arles, Saint Trophime, Montmajour, Les Saintes-Maries, Les Baux, le Château des Papes à Avignon, les remparts de Saint Louis à Aigues-Mortes, le Peyrou à Montpellier, le canal du Midi, sont les monuments de cette activité séculaire qui recueillit l'héritage de Rome, et l'entretint tout le long de cette vallée du Rhône qui, à ses deux extrémités, comme deux phares, porte deux villes, deux républiques qui n'ont rien de supérieur par l'antiquité, l'activité, et l'éclat: Lyon et Marseilles."'--GABRIEL HANOTAUX.

[260] L. Rostan, _Monographie du couvent de St. Maximin_, 1874; Abbé Albanès, _Le courent royal de St. Maximin_; Monseigneur Duchesne, "La légende de Ste. Marie Madeleine," in _Annales du Midi_, 1893, vol. 5; L. G. Pélissier, _La Provence_ (Régions de la France), (Paris, L. Cerf).

[261] _Rationale divinorum officiorum_, translated by Neale and Webb (Camden Society) as _The Symbolism of Churches and Church Ornament_ (Leedes, Green, 1843).

[262] His son, St. Louis d'Anjou, died archbishop of Toulouse, having resigned his heirsships after captive years in Spain proved to him the futility of grandeur. Giotto painted him on the walls of Santa Croce, Florence. His chasuble, a masterpiece of embroidery, was preserved by the solid wardrobes of St. Maximin's XIV-century sacristy.

[263] L. H. Labande, "St. Sauveur d'Aix-en-Provence," in _Bulletin archéological du comité des travaux historiques et scientifiques_ (Paris, 1912), p. 289; Abbé E. F. Maurin, _Notice historique et description de l'église métropolitaine St. Sauveur d'Aix_ (Aix-en-Provence, 1837); Prosper de St. Paul, "La cathédrale d'Aix-en-Provence," in _Bulletin Monumental_, 1875, vol. 41, p. 442; J. Ch. Roux, _Aix-en-Provence_ (Paris, Bloud et Cie, 1907); L. Dimier, _Les primitifs français_ (Collection, Les Grands Artistes), (Paris, H. Laurens).

[264] _Congrès Archéologique_, 1882; 1897, p. 113; and 1909, L. H. Labande; André Hallays, _Avignon el le Comtat-Venaissin_ (Collection, Villes d'art célèbres), (Paris, H. Laurens); F. Digonnet, _Le palais des papes d'Avignon_ (after R. P. Ehrle, S. J.), 1907; L. Duhamel, _Les origines du palais des papes d'Avignon_ (Tours, 1882); L. H. Labande, "L'église de N.-D.-des-Doms à Avignon," in _Bulletin Archéologique_, 1906; A. Penjon, _Avignon la ville, et le palais des papes_ (1905); Léon Palustre, "Les peintures du palais des papes à Avignon," in _Bulletin Monumental_, 1874, vol. 40, p. 665; Eugène Müntz, "Les tombeaux des papes en France," in _Gazette des Beaux-Arts_, 1887, vol. 36, pp. 275, 367; _ibid._, "Les sources de l'histoire des arts dans la ville d'Avignon pendant le XIVe siècle," in _Bulletin Archéologique_, 1887, p. 249; Verlaque, _Jean XXII, sa vie, ses oeuvres_ (Paris, 1883); Robert André-Michel, "Les fresques de la garde-robe au palais des papes à Avignon," in _Gazette des Beaux-Arts_, 1914-16, vol. 56, p. 293. (This study of the frescoes, discovered in 1909, was the author's last work. He fell in battle at Crouy-sur-Ourcq in 1914); Louis Guérard, R. P., _Les papes d'Avignon_ (Paris, Lecoffre, 1910); Jean Guiraud, _L'église et les origines de la Renaissance_ (chap. 2, on thé Avignon popes). (Paris, Lecoffre, 1902).

[265] While the popes ruled in Avignon, churches rose from end to end of the city. In St. Didier (XIV century) is the bas-relief N. D.-du-spasme made for King René in 1476 by Francisco Laurana, one of the earliest Renaissance sculptors to work in France. He made the tomb for King René's brother in Le Mans Cathedral. The Gothic-Renaissance façade (1512) of St. Pierre is of singular grace; the date of its carved doors is 1551. There is a XV-century pulpit, and a retablo (1461) by Antoine Le Moiturier, born in Avignon, who finished the celebrated tomb of Jean Sans Peur now in Dijon's Museum. _Congrès Archéologique_, 1909, p. 17; A. Chaillot, _Les oeuvres d'art dans les églises et chapelles d'Avignon_; G. Bayle, _Notes historiques sur l'église de St. Pierre d'Avignon_ (Avignon, 1899).

[266] _Congrès Archéologique_, 1897, p. 280; and 1909, p. 144, Villeneuve-lès-Avignon; Jules Formigé, _Rapport sur la Chartreuse de Villeneuve-lès-Avignon_ (Gard), (Paris, 1909); Robert André-Michel, "Le tombeau du Pope Innocent VI à Villeneuve-lès-Avignon," in _Revue de l'art chrétien_, 1911, p. 204.

[267] _Congrès Archéologique_, 1907 and 1913; A. Kleinclausz, _La Bourgogne_ (Collection, Régions de la France), (Paris, L. Cerf, 1905); _ibid._, _Histoire de Bourgogne_ (Paris, 1909); Dom. Urbain Plancher, _Histoire générale de Bourgogne_ (1739-81), 4 vols.; Claude Courtépée, _Description du duché de Bourgogne_ (1775-85); De Barente, _Histoire des ducs de Bourgogne de la maison de Valois_ (Paris, 1825), 12 vols.; Ernest Petit, _Histoire des ducs de Bourgogne de la race capétienne_ (Dijon, 1905), 9 vols.; A. de Caumont, "Rapport sur une excursion archéol. en Bourgogne," in _Bulletin Monumental_, 1852, vol. 18, p. 225; J. Calmette et H. Drouot, _La Bourgogne_ (Collection, Provinces Françaises), (Paris, H. Laurens); A. Perrault-Dabot, _L'art en Bourgogne_ (1897); J. L. Bazin, "La Bourgogne sous les ducs de la maison de Valois, 1361-1478," in _Mémoires de la Soc. Éduenne_, 1901, vol. 29, p. 33; Taylor et Nodier, _Voyages pittoresques et romantiques dans l'ancienne France, La Bourgogne_ (Paris, Didot, 1863), 2 vols., folio; W. S. Purchon, "An architectural Tour in Central France and Burgundy," in _Journal of the Royal Institute of British Architects_, 1913-14, 3d series, vol. 21, p. 557.

[268] From Luxeuil derived Jumièges, St. Wandrille, Fécamp, St. Malo, St. Valéry, St. Bertin, Corbie, St. Riquier, Péronne, Lure, Rebais, Jouarre, Faremoutier, Remiremont, Dissentir, St. Gall, and Bobbio. St. Columbanus was born in Leinster in 543, the year that St. Benedict died at Monte Cassino. It is said that there was something supernatural in his appearance. Because of his comeliness he embraced the monastic life to flee temptation, entering the abbey of Bangor, a center of letters in what is now Ulster. All his life Columbanus was a lover of the classics; from his library at Bobbio was recovered Cicero's _De Republica_. At thirty came the call to missionize in Gaul. Ireland, on the outer verge of Europe, had escaped the Barbarian's wrecking so that her culture was intact. With twelve monks, among them his nephew, St. Gall (future founder of the noted Swiss abbey), Columbanus crossed to France. The king of Burgundy, a grandson of Clovis, gave him the region of Luxeuil, which the late invasions had turned into a desert. In twenty years Columbanus made it the center of spiritual life in Gaul. He was exiled in 610 because of his strictures on the evil living of Burgundy's rulers. After many wanderings he founded Bobbio, between Genoa and Milan, which abbey became another seat of learning. There he died in 615. Martin, _St. Columban_ (Collection, Les Saints), (Paris, Lecoffre, 1909); Healy, _Ireland's Ancient Schools and Scholars_ (Dublin, 1890); Ch. de Montalembert, _Monks of the West_ (translated, London, 1896); Dalgairns, _Apostles of Europe_ (London, 1876), vol. 1; Besse, _Les moines de l'ancienne France_ (Paris, 1906).

[269] "On peut dire que vers le Xe siècle, le genre humain en Europe, était devenu fou. Du mélange de la corruption romaine avec le férocité des barbares qui avaient inondé l'empire, il était enfin resulté un état de choses que, heureusement peut-être, on ne reverra plus. La férocité et la débauche, l'anarchie et la pauvreté étaient dans tous les états. Jamais l'ignorance ne fut plus universelle. Le chaire pontificale était opprimée, deshonorée, et sanglante."--JOSEPH DE MAISTRE.

[270] _Congrès Archéologique_, 1899, p. 48; 1913, p. 65, Jean Virey; _Millénaire de Cluny_ (Mâcon, 1910), 2 vols.; Jean Virey, _L'architecture romane dans l'ancien diocèse de Mâcon_ (Paris, 1892), 2 vols.; _ibid._, _L'abbaye de Cluny_ (Collection, Petites Monographies), (Paris, H. Laurens); Chanoine L. Chaumont, _Histoire de Cluny_ (Paris, 1911); Migne, _Dictionnaire des abbayes_ (Paris, 1856); Ch. de Montalembert, _Monks of the West_ (trans. London, 1896); H. Pignot, _Histoire de l'ordre de Cluny depuis la fondation de l'abbaye jusqu'à la mort de Pierre le Vénérable_ (Autun et Paris, 1868), 3 vols.; F. L. Bruel, _Cluny_, 910-1910. _Album historique et archéologique_ (Mâcon, 1910), 4to; Ponzet, in _Revue de l'art chrétien_, 1912, on the capitals of Cluny's abbatial; David, _Grands abbayes de l'occident_ (Paris, 1909); Lecestre, _Abbayes en France_ (Paris, 1902); G. T. Rivoira, _Lombardic Architecture_, vol. 2, p. 104, Cluny; p. 112, Tournus. Tr. by G. McN. Rushforth (London and New York, 1910); Demimuid, _Pierre le Vénérable et la vie monastique au XIIe siècle_ (Paris, 1895); A. Penjon, _Cluny, la ville et l'abbaye_ (Cluny, 1884); _ibid._, "Abélard et Pierre le Vénérable d'après Dom Gervaise," in _Annales de l'Acad. de Mâcon_, 1910, p. 393; _Histoire littéraire de la France_, vol. 7, p. 318, "Le bienheureux Guillaume, abbé de St. Bénigne"; p. 399, "Raoul Glaber"; p. 414, "St. Odilon" (Paris, 1746); vol. 9, p. 465, "St. Hugues"; p. 526, "Abbé Jarenton" (Paris, 1750); vol. 14, p. 211, "Pierre le Vénérable"; p. 129, "St. Bernard" (Paris, 1764).

[271] Dr. John Mason Neale, éd., _Rhythm of Bernard of Morlaix_ (London, 1858). Dr. Neale has here rendered his translation like the XII-century original, dactylic hexameters divided into three parts.

[272] "Ah! ce Cluny!... ce fut vraiment l'idéal du labeur divin, l'idéal rêvé! Ce fut, lui, qui réalisa le couvent d'art, la maison du luxe pour Dieu."--J. K. HUYSMANS, _L'Oblat_ (Paris, Plon-Nourrit et Cie).

[273] Some of the French houses affiliated with Cluny were Vézelay, the Trinité at Vendôme, the Trinité at Fécamp, St. Martin-des-Champs and St. Germain-des-Prés at Paris, St. Denis, the Caen abbatials, St. Ouen at Rouen, Jumièges, St. Wandrille, St. Remi at Rheims, Notre Dame at Châlons-sur-Marne, St. Bénigne at Dijon, Tournus, St. Maixent, St. Savin, Ste. Foy at Conques, Moissac, St. Sernin at Toulouse, and St. Eutrope at Saintes.

[274] The church of Notre Dame built in Cluny by St. Hugues was burned in 1233, and immediately reconstructed as Burgundian Gothic; the lower walls and some of the capitals are of St. Hugues' time. Consoles, sculptured with heads, such as those under the lantern, are frequent in the province, but a central tower is exceptional. In the XVIII century the narthex was destroyed. St. Marcel's church was rebuilt after a fire in 1159 by the abbot of Cluny, who was a great-nephew of William the Conqueror. The octagonal tower, capped by a XIII-century spire, is of exceptionally lovely proportions. _Congrès Archéologique_, 1913, p. 68. St. Hugues also founded the Charité-sur-Loire, whose church was dedicated by his pupil. Paschal II, in 1107, at which ceremony assisted Suger, then a monk at St. Denis. Only the transept and absidioles are of that time, for the choir, nave, and tower are Burgundian Romanesque of the second half of the XII century; the Lady chapel rose two centuries later. Once the abbatial was four hundred feet long, but a fire, in 1559, damaged it and only four bays of the nave remain. _Congrès Archéologique_, 1913, p. 374, Louis Serbat; André Philippe, "Charité-sur-Loire," in _Bulletin Monumental_, 1905, vol. 69, p. 469.

[275] De Foville, _Pise et Lucques_ (Villes d'art célèbres) (Paris, H. Laurens).

[276] Héloïse as a girl, in the convent of Argenteuil, studied Greek, Latin, Hebrew, philosophy, and theology; the women of that age were as eager for learning as the men. In 1817 her body and that of Abélard were removed to the cemetery of Père la Chaise at Paris. Le Roux de Lincy, _Les femmes célèbres de l'ancienne France_ (Paris, Leroi, 1848), 2 vols. For Abélard, see de Rémusat (Paris, 1855) and E. Vacandard (Paris, 1881).

[277] _Congrès Archéologique_, 1899; and 1913, p. 63, E. Lefèvre-Pontalis; Abbé Cucherat, _Monographie de la basilique du Sacré Coeur à Paray-le-Monial_, 1884; N. de Nicolai, _Générale description du Bourbonnais_.

[278] John Mason Neale, _Collected Hymns, Sequences, and Carols_ (London, Hodden & Stoughton, 1914), p. 199, a translation of the XII-century poem of Bernard de Morlaix.

[279] _Congrès Archéologique_, 1899, p. 62; and 1907, p. 32, Joseph Déchelette; also p. 537; H. de Fonteray and A. de Charmasse, _Autun et ses monuments_ (1889); Abbé Devoncoux, _Description de l'église cathédrale d'Autun_ (1845); Claude Courtépée, _Description de la duché de Bourgogne_, vol. 6; H. Havard, éd., _La France artistique et monumentale_, vol. 5, p. 49, L. Paté, on Autun; Paul Vitry, in _Revue Archéol._, 1899, p. 188; Montegut, _Souvenirs de Bourgogne_.

[280] The abbey of St. Andoche, Saulieu, was named for a companion of St. Benignus, a Greek missionary sent to evangelize Gaul, perhaps by St. Polycarp of Smyrna. The church was rebuilt early in the XII century, and of that period is the nave whose capitals present sculpture of different epochs: the barbaric earlier grotesques censured by St. Bernard, then a few acanthus leaves and medallions, and, finally, naturalistic work. Calixtus II dedicated Saulieu's abbey church in 1119. In 1339 the English sacked the choir and transept, which were rebuilt in 1704. That true son of Burgundy, Vauban, the celebrated engineer of Louis XIV, was born in a château near Saulieu in 1633: "The most honest man of his century, the simplest, truest, and bravest," according to St. Simon. He covered France with defenses whose worth was proved in 1914. One can comprehend qualities in a region's architecture by a knowledge of regional characters. _Congrès Archéologique_, 1907, p. 103, Pierre de Truchis, on Saulieu. The architect Soufflot, of M. Lefèvre-Pontalis' family, was a Burgundian.

[281] The cathedral of Langres in ancient Burgundy resembles Autun in its channeled pilaster strips and its acanthus-leaf sculpture. Its choir was rebuilt in 1100, using simultaneously groin vaulting and diagonals. The façade is neo-classic.

[282] _Congrès Archéologique_, 1899, p. 68; A. Kleinclausz, _Dijon et Beaune_ (Collection, Villes d'art célèbres), (Paris, H. Laurens); Alphonse Germain, _Les Néerlandais en Bourgogne_ (Bruxelles, 1909); Arsène Périer, _Un chancelier au XVe siècle, Nicolas Rolin_ (Paris, Plon, 1904); H. Chabeuf, in _Revue de l'art chrétien_, 1900, p. 193, on the tapestries of Beaune; Abbé Bavard, _Histoire de l'Hôtel Dieu de Beaune_ (Beaune, 1881); André Michel, éd., _Histoire de l'art_, vol. 3, première partie, "La tapisserie aux quatorzième et quinzième siècles," Jules Guiffrey.

[283] Robert Vallery-Radot, _Le réveil de l'esprit_ (Paris, Perrin et Cie, 1917).

[284] _Congrès Archéologique_, 1907, p. 4, Avallon, Charles Porée, and p. 129, G. Fleury; p. 97, Montréal, Charles Porée; p. 49, Flavigny, P. de Truchis; E. Petit, _Avallon et l'Avallonnais_ (Auxerre, Gallot, 1867); R. Vallery-Radot, _Un Coin de Bourgogne_; _Avallon_; Abbé Villetard, "Les statues du portail de l'église St. Lazare d'Avallon," in _Bull. de la Société d'études d'Avallon_, 1899, 1900, and 1901; E. Petit, "Collégiale de Montréal," in _L'Annuaire de l'Yonne_, 1861, p. 121; G. T. Rivoira, _Lombardic Architecture_ (tr. London and New York, 1910), vol. 2, on the crypt of Flavigny; L. Bondot et J. Galimard, _Restes de l'ancienne basilique de Flavigny_ (1906); Claude Courtépée, _Description du duché de Bourgogne_, vol. 3, on Flavigny; Lucien Bégule, _L'abbaye de Fontenay et l'architecture cistercienne_ (Lyon, 1912). There is also a study by Bégule of Fontenay in the Petites Monographies series published by H. Laurens; J. B. Corbolin, _Monographie de l'abbaye de Fontenay_ (Cîteaux, 1882).

[285] _Discours de réception de M. Louis Pasteur à l'Académie Française_, 1882. Pasteur was born at Dôle (Jura), once a part of ancient Burgundy. A grandson, Robert Vallery-Radot, is one of the younger generation that comprehends the spiritual essence of the Middle Ages. He has written of the potency of his prayer in the church dedicated to holy Lazarus in his native Avallon. Another grandson, Jean Vallery-Radot, is a rising member of the school of mediæval archæology.

[286] Jean de Chastellux, _Travels in America, 1780-1782_. He was the first to have himself inoculated with smallpox in order to give confidence to the people. The heir of Chastellux was a hereditary first canon in Auxerre Cathedral, privileged to sit in its choir with a falcon on his wrist.

[287] _Congrès Archéologique_, 1907, p. 199; Abbé Henry, _Histoire de l'abbaye de Pontigny_ (Avallon, 1839); Chaillon des Barres, _L'abbaye de Pontigny_ (Paris, 1844); _Histoire littéraire de la France_, vol. 11, p. 213, "St. Étienne, troisième abbé de Cîteaux" (Paris, 1759).

[288] "The long prospect of nave and choir ends with a sort of graceful smallness in a chevet of seven closely packed, narrow bays. It is like a nun's church, or like a nun's coif."--WALTER PATER, on Pontigny, in _Miscellaneous Studies_ (London, The Macmillan Company, 1895).

[289] J. C. Robertson, ed., _Material for the History of Thomas Becket_. Rolls series, 7 vols.; vols. 1 to 4 contain the lives written by John of Salisbury, Herbert of Bosham, etc. Other studies of St. Thomas of Canterbury are Morris (London, 1885); Kate Norgate (_Dictionary of National Biography_); L. Huillier (Paris, 1891), 2 vols.

[290] _Congrès Archéologique_, 1907, p. 27; Charles Porée, _L'abbaye de Vézelay_ (Collection, Petites Monographies), (Paris, H. Laurens); H. Havard, éd., _La France artisque et monumentale_, vol. 4, Vézelay; De George, "L'église abbatiale de Vézelay," in _L'Architecture_, 1905; L. E. Lefèvre, "Le portail de l'abbaye de Vézelay," in _Revue de l'art chrétien_, 1906, p. 253; also, 1904, vol. 54, p. 448, G. Sanoner; Crosnier, "Iconographie de l'abbaye de Vézelay," in _Congrès Archéologique_, 1847, p. 219; V. Flandin, "Vézelay," in _Annuaire statistique du département de l'Yonne_, 1841-45; A. Chérest, _Études historiques sur Vézelay_ (Auxerre, 1868); Gally, _Vézelay monastique_ (Tonnerre, 1888); Camille Enlart, _Le musée de sculpture comparée du Trocadéro_ (Paris, H. Laurens, 1913); A. Thierry, _Lettres sur l'histoire de France_, chaps. 22-24; Joseph Bédier, _Les légendes épiques_, vol. 1, "La légende de Girard de Roussillon" (Paris, H. Champion, 1908), 4 vols.

[291] Maurice Barrès, _La colline inspirée_ (Paris, Émile-Paul, frères, 1913).

[292] Louis Gonse, _L'Art Gothique_ (Paris, Quantin, 1891).

[293] St. Père-sous-Vézelay, below the hill, occupies the site where Girard de Roussillon's foundation was first established. The present church is a typical Burgundian Gothic edifice, partly of the XII and partly of the XIII century. Carved corbels catch the fall of certain diagonals, and in place of a triforium is an interior passageway that passes through the shafts. In the opening years of the XIV century was added the narthex, a noble porch of two bays whose capitals have foliage in little bunches set in two rows. The façade is decorated by big statues like that of the Madeleine church, a mile away, and at the corners of the tower, a landmark for the valley, are sculptured angels blowing trumpets. The choir of St. Père-sous-Vézelay was wrecked during the English wars, and was in large part rebuilt as late-Gothic. _Congrès Archéologique_, 1907, p. 16; Abbé Pissier, "Notice historique sur Saint-Père-sous-Vézelay," in _Bull. de la Soc. des Sciences de l'Yonne_, 1902, vol. 56, pp. 33, 275.

[294] In his _Via Crucis_, F. Marion Crawford has described the great gathering at Vézelay.

[295] The Huguenot leader, Théodore de Béze, was born in the bourg of Vézelay. His brother, a canon in the church of St. Lazare at Avallon, espoused the opposite side with equal zest.

[296] _Congrès Archéologique_, 1907, p. 64, Pierre de Truchis; Abbé Bouzerand, _Mémoirs sur l'église Notre Dame de Semur_, 1864; _ibid._, _Histoire générale de Semur-en-Auxois_; Ledeuil, _Notice sur Semur-en-Auxois_ (Semur-en-Auxois, 1886); Taylor et Nodier, _Voyage pittoresque et romantique dans l'ancienne France. Bourgogne_ (Paris, Didot, 1863), folio; Max Quantin, _Répertoire archéol. du département de l'Yonne_ (Paris, 1908); Eugène Lefèvre-Pontalis, "Les caractères distinctifs des écoles gothique de la Champagne et de la Bourgogne," in _Congrès Archéologique_, 1907, p. 546.

[297] _Congrès Archéologique_, 1850, p. 22; and 1907, p. 167, Charles Porée; p. 599, Camille Enlart, on the sculptured doors of Auxerre Cathedral: Camille Enlart, _La cathédrale d'Auxerre_ (Collection, Petites Monographies), (Paris, H. Laurens): A. Chérest, _La cathédrale d'Auxerre_. _Conferences d'Auxerre_ (Auxerre, 1868); Émile Lambin, "La cathédrale d'Auxerre," in _Revue de l'art chrétien_, 1897, vol. 47, p. 383; Charles Porée, "Le choeur de la cathédrale d'Auxerre," in _Bulletin Monumental_, 1906, vol. 70, p. 251; Louise Pillion, "Sculpture de la cathédrale d'Auxerre," in _Revue de l'art chrétien_, 1905, p. 278; Viollet-le-Duc, _Dictionnaire de l'architecture_, vol. 4, p. 131, on construction; vol. 9, p. 447, on vitrail; Victor Petit, "Description des villes et campagnes du département de l'Yonne" (Auxerre, 1876). In the _Annuaire de l'Yonne_, earlier studies on Auxerre are, 1841, p. 38, F. de Lasteyrie; 1843, p. 128, V. Petit; 1846, p. 207, and 1847, p. 141, Challe; 1872, p. 161, and 1873. p. 3, Daudin; André Philippe, "L'architecture religieuse au XIe et au XIIe siècle dans l'ancien diocèse d'Auxerre," in _Bulletin Monumental_, 1904, vol. 68, _passim_. Other notices on Auxerre in the _Bulletin Monumental_ are, 1847, vol. 13, p. 153, and 1849, vol. 15, p. 145, Victor Petit; 1872, vol. 38, pp. 494, 744, Victor Petit; Abbé Lebeuf, _Histoire d'Auxerre_; E. Moulton, _La guerre au XVIe siècle_ (Paris, H. Laurens).

[298] St. Germain's abbatial is less pure Gothic than the cathedral's choir. Beneath its sanctuary are two superimposed crypts, the lower one of the IX century, and that above it belonging to the XIII-century reconstruction of the abbey church. Conflagrations wiped out several early churches of the monastery. In the XII century rose the Romanesque tower--one of the best in France; until 1820 it was attached to the nave. A total reconstruction of the abbatial was necessary in 1277, but after the upper crypt and the choir were undertaken there came a pause. The abbot here (1309-39), who erected the crenelated inclosure walls of the monastery, resumed the church as Rayonnant Gothic. Urban V, the greatest of the Avignon patrons of art and letters, had been abbot of St. Germain (1352), and his arms were cut on a keystone of the new nave, to which he contributed, as did his successor, Gregory XI. Soon after the church was completed it was pillaged during the religious wars. Napoleon turned the establishment into a hospital, which it still is. _Congrès Archéologique_, 1907, p. 182, C. Porée; p. 627, Jules Tillet; Abbé V. B. Henry, _Histoire de l'abbaye de St. Germain d'Auxerre_ (Auxerre, Gallot, 1853); Victor Petit, "Les cryptes de St. Germain d'Auxerre," in _Bulletin Monumental_, 1872, vol. 38, p. 494; Viollet-le-Duc, _Dictionnaire de l'Architecture_, vol. 3, p. 377.

[299] At her trial in Rouen Jeanne spoke of Auxerre Cathedral: "_En route, je traversai Auxerre, où j'entendis la messe dans la principale église.... Alors, j'avais fréquemment mes voix._" Marius Sepet, _Au temps de la Pucelle, récits et tableaux_ (Paris, P. Téqui, 1905).

[300] The abbey church at St. Eusèbe is of archæological interest. The octagonal tower over its altar, forming internally a lantern, is of the XII century, as are the piers and their arches. A pause came between the making of the nave's lower and upper parts, for the church did not follow the usual custom of advancing bay by bay, but was constructed story by story. The west front is full Gothic, and the ambulatory of the XIII century. The original choir was in large part replaced by the present well-built Flamboyant Gothic one, finished by 1530. What used to be the episcopal palace of Auxerre is to-day the Prefecture. It shows, in its wall on the river side, the Romanesque gallery built by Bishop Hugues de Châlons (1116-36). Its hall, with pignons alike at both ends, was erected by Bishop Guillaume de Mello (1247-70). _Congrès Archéologique_, 1907, p. 188; Corberon, _Auxerre, ses monuments_; Lescuyer, "Notice sur l'église de St. Eusèbe," in _l'Annuaire de l'Yonne_, 1839, p. 318; 1845, p. 103, "St. Eusèbe," Max Quantin.

[301] The west apse of Nevers' Cathedral, dedicated to St. Juliette, mother of the child martyr, St. Cyr, formed, with its crypt and transept, part of the XII-century Romanesque edifice. Late in the XIII century was built a Gothic nave, which was reconstructed after a fire in 1308, and again its outer walls were reconstructed in the Flamboyant Gothic day. The present choir dates from the XIV century. The fine tower at the transept's southern façade was built 1506 to 1528. Nevers' former ducal palace, of the XV century, stands on a park overlooking the Loire. The Romanesque abbey church of St. Étienne, founded, tradition says, by St. Columbanus, combines the schools of Auvergne and Burgundy, and is important to archæologists because the date of its building, 1063 to 1097, is certain. The expense of constructing it caused the Count of Nevers to forego the First Crusade. Bishop Ives of Chartres consecrated the church in 1097. _Congrès Archéologique_, 1913, p. 300, Louis Serbat; Gaston Congny, _Bourges et Nevers_; J. Locquin, _Nevers et Moulins_ (Collection, Villes d'art célèbres), (Paris, H. Laurens); Monseigneur Crosnier, _Monographie de la cathédrale de Nevers_ (1854); Abbé Sery, _Les deux apsides de la cathédrale de Nevers_ (1899); Morellet, Barat, et Bussière, _Le Nivermois_ (1840), 2 vols.; Paul Meunier, _Nevers historique et pittoresque_ (1901).

[302] "Because the pearly white surfaces of the grisaille would make the adjacent colored surfaces appear heavy and opaque, they introduced, into these latter, limpid blues and yellows, very light reds, whites with a greenish or rosy tint. In the high windows of the cathedral of Auxerre they first tried this method, and here the grisaille is chased with a large and firm design that offsets the transparency of the colorless surfaces. Notice how the pedestal and the canopy, both very light, bind together the bands of grisaille on either side, while the latter is heavily painted with a trellis and rich ornaments. In Auxerre, the grisaille is found only in the lateral windows which are seen obliquely. The apse windows, meant to be seen, in face and from a distance, are filled with color. The lateral windows are sufficiently opaque to prevent the solar rays which pass through them from lighting the colored windows on the reverse side. At certain hours the luminous rays throw a pearly light on the colored windows, imparting to them a transparency of tone and a delicacy impossible to describe. The opalescent light from the lateral windows makes a sort of veil of extreme transparency under the lofty vaults, and is pierced by the brilliant tones of the apse windows, producing the sparkle of jewels. Solid outlines then seem to waver like objects seen through a sheet of limpid water. Distance changes values and gains a depth in which the eye loses itself. Hourly during the day these effects are modified, and always with new harmonies of which one never wearies trying to understand."

--VIOLLET-LE-DUC, _Dictionnaire de l'architecture_, vol. 9, p. 447.

[303] John Mason Neale, translator of "The Rhythm of Bernard of Morlaix" (e. 1140), in _Collected Hymns, Sequences, and Carols_ (London, Hodder & Stoughton, 1914), p. 19.

[304] "Je donne la palme à Jacques Amyot sur tout nos écrivains français."--MONTAIGNE.

"Quand il s'agit d'une jolie et gracieuse naïveté de langage, on dit aussitôt pour le définir: C'est de la langue d'Amyot."--SAINTE-BEUVE.

[305] _Congrès Archéologique_, 1907, on Dijon, Charles Porée; p. 546, "Les caractères distinctifs des écoles gothiques de la Champagne et de la Bourgogne," E. Lefèvre-Pontalis; A. Kleinclausz, _Dijon et Beaune_ (Collection, Villes d'art célèbres), (Paris, H. Laurens); _ibid._, "L'art funéraire de la Bourgogne," in _Gazette des Beaux-Arts_, 1901-02; _ibid._, _Claus Sluter et la sculpture bourguignonne au XVe siècle_ (Paris, 1906); Abbé L. Chomton, _Histoire de l'église St. Bénigne de Dijon_ (Dijon, 1900), folio; G.T. Rivoira, _Lombardic Architecture_, vol. 2, chap. 1, on St. Bénigne (tr. London and New York, 1910); Chanoine Thomas, _Épigraphie de Notre Dame de Dijon_ (1904); H. Chabeuf, "Tête sculptée à Notre Dame de Dijon," in _Revue de l'art chrétien_, 1900, vol. 43, p. 472; _ibid._, _Dijon, monuments et souvenirs_ (Dijon, Damudot, 1894); H. Havard, éd., _La France artistique et monumental_, vol. 6, p. 26, Cunisset-Carnot; Alphonse Germain, _Les Néerlandais en Bourgogne_, 1909; Raymond Koechlin, _La sculpture belge et les influences françaises au XIIIe siècle_ (Paris, 1903); Louis Courajod, _Leçons professées à l'École du Louvre_, 1887-96. Vol. 2, _Origines de la Renaissance_ (Paris, Picard et fils, 1901), 3 vols. On the sculpture at Dijon, see MM. Paul Vitry, Louis Gonse, Léon Palustre, André Michel; A. Humbert, _Sculpture en Bourgogne_ (Paris, H. Laurens); Ernest Petit, _Hist. des ducs de Bourgogne de la race capétienne_ (Dijon, 1905), 9 vols.; B. de Barante, _Hist. des ducs de Bourgogne de la maison de Valois_ (Paris, 1825), 12 vols.; Petit-Dutaillis, _Charles VII, Louis XI, et les premières années de Charles VIII_ (Paris, Hachette, 1902); Abbé Chevalier, _Le vénérable Guillaume, abbé de St. Bénigne_ (Dijon, 1875).

[306] "La gloire de Bossuet est devenue l'une des religions de la France; on la reconnaît, on la proclame, on s'honore soi-même en y apportant chaque jour un nouveau tribut. Bossuet, c'est le génie hébreu, étendu, fécondé par le Christianisme, et ouvert à toutes les acquisitions de l'intelligence, mais retenant quelque chose de l'interdiction souveraine. Il est la voix éloquente par excellence, la plus simple, la plus forte, la plus brusque, la plus familière, la plus soudainement tonnante."--SAINTE-BEUVE.

No city has been more prolific in notable sons than Dijon, where, as Voltaire said, "_le mérite de l'esprit semble être un des caractères des citoyens_." Among them are Rameau, the musician (1683-1764), who founded French opera and discovered important laws in harmony; he and his descendants were exempted from tithes by their native city; Dubois, the sculptor (1626-94), whose Assumption and the high altar of Notre Dame, Dijon, are his best works; the critic and philologist, La Monnaye (b. 1641); the playwright, Crébillon (d. 1762); Piron, the witty epigrammatist (d. 1773); the learned Président de Brosse (1709-77), whose _Lettres d'Italie_ are full of Burgundian vivacity and salt, and whose friend, Buffon, the naturalist (1707-88), though born at Montbard, was educated in Dijon, where his father was counselor in the parliament. The grandmother of Madame de Sévigné, St. Jeanne Françoise de Chantal, founder of the Visitation Order, was born at 17 rue Jeannin, 1572. Her father was a president of Dijon's parliament. The sculptor Rude was a son of Dijon (d. 1855), and in this same city that had produced St. Bernard and Bossuet, the most eloquent preacher of the XIX century, Lacordaire, spent his childhood and youth, as his mother came of an old legal family here. Léon Deshairs, _Dijon, architecture des XVIIe et XVIIIe siècles_ (Paris, 1910).

[307] Tournus abbey (Saône-et-Loire), when founded, was affiliated with the Columban tradition. From 946 to 980 the church was rebuilt, and again from 1008 to 1028, under the auspices of William of Volpiano, abbot of St. Bénigne. On its outer walls are Lombard mural arcaded bands. The massive forechurch, or narthex of three bays, has two stories of different dates, the lower one about 950, and the upper about 980. The vault of the latter--a cradle carried on brackets--is the earliest example extant in France of a wide-span masonry roof at such a height. Tournus exemplified the militant spirit of Burgundy's Romanesque school by experimenting with every kind of vault, cradle, half cradle, transverse cradle, and groin. The pier arcades of the main church are of William of Volpiano's time. The transept and choir are early XII century, and in that same period the reconstructed nave was covered by an experiment in stone roofing which never made a school; it had been used in Persia in the VI century. A series of half barrels borne on lintels were placed side by side across the wide nave, from north to south, instead of one long tunnel vault from east to west. The system allowed for the better lighting of the upper church, and as each barrel vault was buttressed by the one next it, only at the east and west ends of the edifice was abutment required. _Congrès Archéologique_, 1899, pp. 223, 236; and 1909; Clement Heaton, in _Journal of the Royal Institute of British Architects_, 3d series, 1909.