Chapter X: Gothic Art in Normandy314 (10)

[308] Viollet-le-Duc, _Dictionnaire de l'Architecture_, vol. 4, pp. 131-147; Huysmans, _L'Oblat_, chap. 5, on Notre Dame of Dijon. In his story, which is the continuation of _En Route_ and _La Cathédrale_, Huysmans described the closing of the Burgundian monastery of Val des Saints near Dijon. His theory is that by such acts the balance of good and evil in the world is destroyed, since no longer is propitiatory self-sacrifice and prayer offered to heaven for the sins being committed on earth: "_Il faut s'attendre à ce que le Bon Dieu tombe sur nous ... pour remettre les choses en place, et vous savez comment il procède, dans ces cas là, il vous accable d'infirmités et d'épreuves._"

[309] A clockmaker named Jacquemart made such works, hence their name. Originally only one figure struck the hours on the big bell. Then a wife, Jacqueleine, was given to the bell-knocker, and after a local wit had rallied the couple on their childless state, first one child, Jacquelinet, was added, and then another, Jacquelinette, and the industrious children now ring the quarter hours on the little bells.

[310] Works of St. Bernard, edited by Mabillon (Paris, 1669-90), tr. by Eales and Hodges (London, 1889), 4 vols.; E. Vacandard, _Vie de Saint Bernard_ (Paris, Lecoffre, 1895), 2 vols.; other studies of the saint, by Eales (London, 1890) and R. P. Ratisbonne; De Dion, _Étude sur les églises de l'ordre de Cîteaux_; Arbois de Jubainville, _Étude sur l'état intérieur des abbayes cisterciennes et principalement de Clairvaux au XII siècle_ (Paris, 1858); Lucien Bégule, _L'abbaye de Fontenay et l'architecture cistercienne_ (Lyon, 1912); Camille Enlart, _L'architecture gothique en Italie_ (Paris, 1893); _ibid._, _En Espagne et en Portugal_ (Paris, 1894); _ibid._, "Villard de Honnecourt et lex Cisterciens," in _Biblio. de l'École des chartes_, 1895; _Bulletin Monumental_, 1904, André Philippe, on Cistercian churches; John Bilson, _The Architecture of the Cistercians; Their Earliest Churches in England_ (London, 1909); also in the _Journal of the Royal Institute of British Architects_, 1909; Marcel Aubert, on Cistercian churches in Germany.

[311] The castle of Fontaine-lès-Dijon was held by Bernard's lineage till the XV century. To-day the site is covered by an unfinished commemorative church. The village church is of the XVI century.

[312] As at Cîteaux, scarcely an ancient vestige remains at Clairvaux. The XII-century monastic storehouse now serves as a house of detention. All trace of St. Bernard's tomb has been lost. The Revolution finished what the Huguenot wars and the absentee commendatory abbots began.

[313] M. Enlart calls Fossanuova, on the Appian Way between Rome and Naples, the first Gothic church in Italy, begun in 1187 by Burgundian Cistercians. Mr. Porter thinks that the infiltration had begun thirty years earlier through various channels. In 1208 Innocent III dedicated Fossanuova; in 1274 St. Thomas Aquinas died there, en route to the Council at Lyons. The same plain Burgundian plan was followed at Casamari (1217), and a daughter house of the latter was S. Galgano (1218), from which went monks who are cited as the masters-of-works of Siena Cathedral, the best Gothic edifice of the peninsula. Monks from French Clairvaux built the three Chiaravalle churches of Italy, and monks from Pontigny raised S. Martino near Viterbo. Later, Italy felt the influence of different French schools; thus the Naples churches are Gothic of Provence because southern French architects accompanied Charles d'Anjou, count of Provence, when he became king of the Two Sicilies. At Assisi the church of S. Francesco shows the Gothic traits of Burgundy, Provence, and Champagne. The Cistercians introduced the torus profile of diagonals, but they long clung to round-headed windows. The Provence masters introduced pointed arched windows. In Spain, Cîteaux found a rival in the monks of Cluny for the dissemination of the new art. In the XII century a large number of Spanish bishoprics were filled by Cluny monks. Sometimes they built according to their own native architecture, as in Lugo Cathedral, San Vincente at Avila, and churches in Seville, which are Burgundian Romanesque. Sigüenza Cathedral is Burgundian both in its Romanesque and Gothic parts. Zamora Cathedral, consecrated 1174, and the old cathedral of Salamanca, show traits of Aquitaine; both sees were occupied by Bishop Jerome, who came from Périgieux. The Cistercians of Spain did not confine themselves, as in Italy, to typically Burgundian Gothic churches. Poblet and Santa-Creus (1157) derive from the early Gothic of Midi France, as well as from Burgundy. Las Huelgas, the Cistercian house for nuns near Burgos, finished about 1180, shows slight Burgundian and much Plantagenet Gothic influence. The foundress was the daughter of Henry II and Aliénor of Aquitaine. In Spain, as in Italy, the later Gothic monuments conformed to the standards of northern French Gothic. Portugal was more exclusively a Cistercian field of art. In 1148, Alcobaça monastery was founded by the son of a Burgundian prince, progenitor of Portugal's royal line. While it shows Angevin Gothic traits, its plan is the sober Cistercian Burgundian type. In the military Orders of Spain and Portugal the Cistercian Rule was used. The king of Sweden, in 1143, obtained Cistercian missionaries from Clairvaux; in Denmark the abbey church of Sorö is Burgundian Gothic. Camille Enlart, _Les origines de l'architecture gothique en Espagne et en Portugal_ (Paris, 1894); _ibid._, _L'architecture gothique en Italie_ (Paris, 1893); _ibid._, _Notes archéologiques sur les abbayes cisterciennes de Scandinavie_ (Paris, 1894); _ibid._, "Villard de Honnecourt et les Cisterciens," in _Biblio. de l'École des chartes_, 1895; _ibid._, _L'art gothique ... en Chypre_ (Paris, 1899), 2 vols.

[314] _Congrès Archéologique_, 1908; V. Ruprich-Robert, _L'architecture normande aux XIe et XIIe siècles_ (Paris, 1897), 2 vols.; A. de Caumont et Ch. de Beaurepaire, _Mémoires historiques sur la Normandie: antiquités, monuments, histoire_ (1827-36); _La Normandie monumentale et pittoresque. Seine-Inférieure, Calvados, Eure, Orne, Manche_ (Le Havre, Lemale et Cie), 8 vols, folio; Léon le Cordier, "L'architecture de la Normandie au XIIIe siècle," in _Bulletin Monumental_, 1863, vol. 29, p. 513; Chanoine Porée, _L'art normand_ (Paris, 1914); Taylor et Nodier, _Voyages pittoresques ... dans l'ancienne France. Normandie_ (Paris, Didron, 1825), 2 vols., folio; Henri Prentout, _La Normandie_ (Collection, Les provinces françaises), (Paris, H. Laurens, 1910); Lechandé d'Anisy, _Les anciennes abbayes de Normandie_ (1834), 2 vols, and atlas; Ordericus Vitalis, _The Ecclesiastical History of England and Normandy_ (London, Bohn Library, 1856), 4 vols.; Albert Sorel, _Pages normandes_ (Paris, Plon, 1907).

On Normandy's history, see Stubbs, Freeman, Palgrave, H. W. C. Davis, G. B. Adams, Sir J. H. Ramsay, Miss Kate Norgate, Mrs. J. R, Green, etc. A. Thierry in his _Conquête de l'Angleterre_ gives details of the oppression of the Anglo-Saxons by their Norman conquerors.

[315] Rodin, _Les cathédrales de France_, (Paris, A. Colin, 1914).

[316] Chanoine Porée, _Histoire de l'abbaye du Bec_ (Évreux, impri. de Hérissey, 1901); _La Normandie monumentale et pittoresque Eure_, vol. 2, p. 221, "Bec," Chanoine Porée (Le Havre, Lemale et Cie, 1895); Ragey, _Histoire de Saint Anselm_ (Paris, 1889); Martin Rule, _Life and Times of St. Anselm_ (London, 1883).

Other studies of St. Anselm by Rémusat (Paris, 1853); R. W. Church (London, 1870); J. M. Rigg (London, 1896), and in _Lives of the Archbishops of Canterbury_ (London, 1860-75); _Histoire littéraire de la France_, vol. 8, p. 260, "Lanfranc" (Paris, 1749); vol. 9, p. 398, "St. Anselm"; p. 369, "Gondulfe, évêque de Rochester" (Paris, 1750).

[317] V. Ruprich-Robert, _L'architecture normande aux XIe et XIIIe siècles_ (Paris, 1885-87); G. T. Rivoira, _Lombardic Architecture_, vol. 2, on Normandy (London and New York, 1910), translated from _Le origini dell 'architettura lombarda_ (Milano, 1908); Canoine Porée, _L'art normand_ (Paris, 1914); Camille Enlart, _Manuel d'archéologie française_ (Paris, Picard et fils, 1904), 2 vols.; R. de Lasteyrie, _L'architecture religieuse en France à l'époque romane_ (Paris, 1912); John Bilson, "The Beginnings of Gothic Architecture," in the _Journal of the Royal Institute of British Architects_, Third series, 1898-99, vol. 6, pp. 289, 322, 345; 1901-02, vol. 9, p. 350; René Fage, "La décoration géométrique dans l'école romane de Normandie," in _Congrès Archéol._, 1908, vol. 2, p. 614; Louis Engerand, "La sculpture romane en Normandie," in _Bulletin Monumental_, 1904, vol. 68, p. 405; Arthur Kingsley Porter, _Medieval Architecture_, vol. 1, pp. 285 to 332, gives the chief Norman Romanesque monuments (New York and London, 1907); _ibid._, _Lombard Architecture_ (New Haven, Yale University Press, 1917), 3 vols. and atlas.

[318] Henry Adams, _Mont Saint-Michel and Chartres_ (Boston, Houghton Mifflin Company, 1913).

[319] Normandy's _Millénaire_ of 1911 was celebrated fitly. Among the books it called forth are: Gabriel Monod, _Le rôle de la Normandie dans l'histoire de France_ (Paris, 1911); H. Prentout, _Essai sur les origines et la fondation du duché de Normandy_ (Paris, 1911); A. Albert, _Petit histoire de Normandie_ (Paris, 1912). In 1915 appeared Charles Homer Haskins, _The Normans in European History_ (Boston, Houghton Mifflin).

[320] E. Lefèvre-Pontalis, "Les influences normandes au XIe et au XIIe siècle dans le nord de la France," in _Bulletin Monumental_, 1906. vol. 70; Camille Enlart, _L'influence extérieure de l'art normand au moyen âge_; F. Chalandon, _Histoire de la domination normande en Italie et en Sicile_ (Paris, 1907); Ch. Diehl, _Palerme et Syracuse_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1907); Émile Bertaud, _L'art dans l'Italie méridionale_.

[321] Roger Martin du Gard, _L'abbaye de Jumièges, étude archéol. des ruines_ (Montdidier, 1909); _ibid._, "Jumièges," in _Bulletin Monumental_, 1909, vol. 73, p. 34; John Bilson, on "Jumièges," in _Revue de l'art chrétien_, 1901, p. 454; F. Lot, _Études critiques sur l'abbaye de Saint-Wandrille_ (Paris 1913); _La Normandie monumentale et pittoresque. Seine-Inférieure_, p. 219, "Jumièges," Alfred Darcel; p. 353, "St. Wandrille," Abbé Sauvage (Le Havre, Lemale et Cie); Abbé Julien Loth, _Histoire de l'abbaye royale de St. Pierre de Jumièges_ (Rouen, 1882-85), 3 vols.; David, _Les grandes abbayes de l'Occident_ (Lille, 1907); Lefèvre-Pontalis, _Les influences normandes au XIe et au XIIe siècle dans le nord de la France_ (1906), also in _Bulletin Monumental_, 1906, vol. 70.

[322] _Congrès Archéologique_, 1883 and 1908; H. Prentout, _Caen et Bayeux_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1909); V. Ruprich-Robert, _L'église Ste. Trinité et l'église St. Étienne de Caen_ (Caen, 1864); E. de Beaurepaire, _Caen illustré, son histoire, ses monuments_ (Caen, 1896), folio; Bouet, _Analyse architecturale de l'abbaye de St. Étienne de Caen_ (1868); _La Normandie monumentale et pittoresque. Calvados_, pp. 1, 49; Arcisse de Caumont, _Statistique monumentale du Calvados_ (Caen, F. Le Blanc-Hardal, 1898), 6 vols.; Camille Enlart, _Manuel d'archéologie française_ (Paris, Picard, 1902), 2 vols.; John Bilson, "The Beginnings of Gothic Architecture," in _Journal of the Royal Institute of British Architects_, Third series, 1898-99, vol. 6, pp. 289, 322, 345, and p. 259, his answer to M. de Lasteyrie. Reprinted in part in _Revue de l'art chrétien_, 1901, vol. 44, pp. 369, 462.

In the excellent public library of Caen are to be found the _Congrès Archéologique_, the _Bulletin Monumental_, and other archæological publications. Also the _Catalogue des ouvrages normande de la Bibliothèque municipale de Caen_ (Caen, 1910-12).

[323] Georges Lafenestre, _Gloires et deuils de France_ (Paris, Hachette, 1918).

[324] An old chronicle related how the young widow of the lord of La Roche-Guyon "_mieux aimer s'en aller denuée de tous bien, avec ses trois enfants, que de rendre hommage au roi d'outre mer et de se mettre ès mains des anciens ennemies du royaume_." Anthyme Saint-Paul, _L'architecture française et la Guerre de Cent Ans_ (Paris, 1910); Siméon Luce, _La France pendant la Guerre de Cent Ans_ (Paris, Hachette, 1893); H. Dénifle, _La désolation des églises, monastères, et hôpitaux en France pendant la Guerre de Cent Ans_ (Paris, Picard, 1899); H. Martin, _La guerre au XVe siècle_ (Paris, H. Laurens); G. Lefèvre-Pontalis, "Épisodes de l'invasion anglaise. La guerre de partisans dans la Haute-Normandie" (1424-29), in _Bibliothèque de l'École des chartes_, 1893 to 1895, vols. 54, 55, 56.

[325] A. de Caumont, "Les tours d'églises dans le Calvados," in _Bulletin Monumental_, 1847, vol. 23, p. 362; E. Lefèvre-Pontalis, "Les clochers du Calvados," in _Congrès Archéologique_, 1908, vol. 2, p. 652; G. Bouet, "Clochers du diocèse de Bayeux," in _Bulletin Monumental_, 1872, vol. 38, p. 517; Abbé Édeline, _Norrey et son histoire; La Normandie monumentale et pittoresque_. _Calvados_, p. 231, "Norrey," G. Lavalley; p. 349, "Secqueville"; _Congrès Archéologique_, 1908, p. 193, "Bernières"; p. 338, "Norrey"; p. 349, "Secqueville."

[326] In the abbatial of St. Pierre-sur-Dives there is XII-century work in the ambulatory walls, in the piers and side walls of the nave, and in the lower parts of the façade towers. To the XIII century belong most of the choir's piers and the apsidal chapels, also the beautiful chapter house. The transept then was put into harmony with the nave, and its tower built, which latter now is braced by clumsy obstructions within the church. In the XIV century rose the west façade, and the north tower was rebuilt. The XV century rehandled the high vaulting and clearstory, where appear die-away moldings and flamelike tracery. The abbey was founded by Richard II (d. 1020) and his beautiful duchess, Judith of Brittany. Its Romanesque abbatial was dedicated in 1067 by Archbishop Maurille in the presence of the Conqueror and Matilda. In 1107 the abbatial was burned by Henry I of England, who accused the abbot of siding with his elder brother, with whom he was at war, but in atonement the king contributed toward the reconstruction of the church; _Congrès Archéologique_, 1861, 1862, and 1908, p. 278; J. Pépin, _Saint-Pierre-sur-Dives_ (Caen, 1879); Abbé Denis, _Église de Saint-Pierre-sur-Dives en 1145_ (Caen, 1869); _Bibliothèque de l'École des chartes_, vol. 21, p. 120, gives Abbot Haimon's letter, which also was published in Rouen, 1851, by L. de Glanville.

[327] _Congrès Archéologique_, 1908; A. Besnard, _Monographie de l'église et de l'abbaye Saint Georges de Boscherville_ (Paris, Lechevailier, 1899); J. A. Deville, _Essai historique et descriptive sur l'église et l'abbaye de St. Georges de Boscherville_ (Rouen, 1827); _La Normandie monumentale et pittoresque. Seine-Inférieure_, p. 235, Abbé A. Tougard.

[328] _Congrès Archéologique_, 1908; Doctor Coutan, _La Trinité de Fécamp_ (Caen, 1907). He also describes the Trinité in _La Normandie monumentale et pittoresque_. _Seine-Inférieure_, p. 465; the churches at Dieppe, p. 279; the church of Harfleur, p. 393; Le Havre, p. 381; Carville, p. 177, and Notre Dame at Caudebec-en-Caux, of which Abbé Sauvage has published a separate monograph (1876); A. Leport, _Description de l'église de la Trinité de Fécamp_ (Fécamp, 1879); Leroux de Lincy, _Essai historique sur l'abbaye de Fécamp_; _Histoire littéraire de la France_, vol. 7, p. 318, "Le bienheureux Guillaume, abbé de St. Bénigne de Dijon" (Paris, 1746); vol. 10, p. 265, "Herbert Lozinga, évêque de Norwich" (Paris, 1756).

[329] The abbatial of Bernay (Eure), to-day a corn exchange on the market place, shows in its transept the earliest instance of an arcaded wall passage, the feature that, when placed at the clearstory level, became one of the most frequent characteristics of Anglo-Norman architecture, both Romanesque and Gothic. Bernay was founded between 1013 and 1019 by Richard II and Judith of Brittany, the same who invited to their duchy the Lombard, William of Volpiano. William is known to have worked on the Bernay abbatial, which shows resemblances to Burgundian churches at Auxerre and Nevers, and he may have brought to Normandy the Lombard trait of absidal chapels projecting from the eastern wall of the transept. Bernay, however, did not use the Lombard alternance of ground supports. Mr. Bilson thinks that the tall attached stripes were intended for a vaulted, not for a timber roof. The nave's side walls and piers are of Abbot William's time; two bays of the choir belong to later years of the XI century. William the Conqueror is said to have finished the church. It was grievously sacked during the religious wars. The church of Ste. Croix in Bernay, begun, 1373, enlarged 1497, contains tombs from Bec, of former abbots there. _Congrès Archéologique_, 1908, vol. 2, p. 588, Chanoine Porée; _Bulletin Monumental_, 1911, vol. 75, p. 396, Chanoine Porée, and p. 403, John Bilson; G.T. Rivoira, _Lombardic Architecture_, translated by G. Mc. N. Rushford (London and New York, 1910); Chanoine Porée, _Bernay_ (Caen, H. Delesques, 1912).

[330] _Congrès Archéologique_, 1895; Abbé A. Legris, _L'église d'Eu_ (1913); Desiré Le Beuf, _La ville d'Eu_ (1884); Doctor Coutan, in _La Normandie monumentale et pittoresque_. _Seine-Inférieure_, vol. 1, p. 333; Viollet-le-Duc, _Dictionnaire de l'architecture_, vol. 1, p. 198; vol. 2, p. 364; vol. 5, p. 359; Gonse, _L'art gothique_, p. 210 (Paris, Quantin, 1891).

[331] Paul Gout, _Le Mont-Saint-Michel_ (Paris, Colin, 1910), 2 vols.; Ch. H. Besnard, _Mont-Saint-Michel_ (Collection, Petites Monographies), (Paris, H. Laurens, 1911); Ch. de Beaurepaire, _Curieuses recherches sur le Mont-Saint-Michel_ (Rouen, 1873); Ed. Corroyer, _Description de l'abbaye du Mont-Saint-Michel et de ses abords_ (Paris, 1877); Dubouchet, _L'abbaye de Mont-Saint-Michel_ (Paris, 1895); Sir Theodore Andreas Cook, _Twenty-five Great Houses of France_ (London and New York, 1916), chap. 1; Henry Adams, _Chartres and Mont-Saint-Michel_ (Boston, Houghton Mifflin Company, 1913); Léopold Delisle, éd., _Cronique de Robert de Torigni_ (Paris, Soc. de l'histoire de Normandie, 1872-75), 2 vols. On Robert de Torigny see _Histoire littéraire de la France_, vol. 14, p. 362 (Paris, 1817); Siméon Luce, éd., _Cronique de Mont-Saint-Michel: la défence nationale_ (1879-86); O. de Poli, _Les défenseurs du Mont-Saint-Michel, 1417-50_, (Paris, 1895); Huynes, _Histoire générale de Mont-Saint-Michel_ (Rouen, 1872); Brin, _St. Michel et le Mont-Saint-Michel dans l'histoire et la littérature_ (Paris, 1880).

[332] From the _Chanson de Roland_, édition Léon Gautier (Tours, Mâme et fils, 1895).

"Li quens Rollanz se jut desuz un pin;
Envers Espaigne en ad turnet sun vis.
De plusurs choses à remembrer li prist;
De toutes teres que li bers ad cunquis,
De dulce France, des humes de sun lign,
De Carlemagne, sun seignur, ki l'nurrit,
Ne poet muer n'en plurt e ne suspirt.
Mais lui meïsme ne voelt metre en ubli;
Cleimet sa culpe, si priet Deu mercit:
'Viere paterne, ki unkes ne mentis,
Seit Lazarin de mort resurrexis
E Daniel des leuns quaresis,
Guaris de mei l'aume de tuz perilz
Pur les pecchiez que en ma vie fis!'
Sun destre gant à Deu en puroffrit,
E de sa main seinz Gabriel l'ad pris.
Desur sun braz teneit le chef enclin:
Juintes ses mains est alez à sa fin.
Deus li tramist sun angle chérubin,
Seinz Raphael, seinz Michiel de l'Péril,
Ensemble od els seinz Gabriels i vint,
L'aume de l'Cunte portent en pareïs."

("Roland the brave lay prone beneath a pine,
Toward Spain his face was turned as conqueror,
Of many things came back the memory sharp,
The host of places he had won in war,
Thoughts of sweet France and of his parentage,
Of Charlemagne, his lord, who nurtured him;
And tears and sighs rose as the memories surged.
Nor did he wish his own self to forget.
Demanding grace of God, he told his sins:
'Our Father true, who never yet has lied,
Who from the grave raised Blessed Lazarus,
Who Daniel saved from lions, save my soul.
Pardon the sins that I have stained it with!'
Toward God he held his right-hand gauntlet up,
Archangel Gabriel took it from his hand.
Then on his arm his head sank slowly down,
Hands clasped in prayer his spirit passed beyond.
God to him sent his angel cherubim,
Archguardian Michael, him called of the Peril,
St. Raphael and St. Gabriel with him came
And bore the Count's soul straight to Paradise.")

[333] Léon Gautier, _Les épopées françaises_ (Paris, V. Palme, 1878-94), 4 vols.; Joseph Bédier, _Les légends épiques, recherches sur la formation des chansons de geste_, vol. 3, "La légende de Roland" (Paris, H. Champion, 1908-13), 4 vols.

[334] "Il y a des provinces qui ont le doit de se dire françaises par excellence.... La Normandie et la Picardie sont de celles-là.... Elles ont apportés, dans le cours des siècles, à la vieille Ile-de-France, leur aînée, le concours loyal de leur bras, de leur courage, de leur génie."--GABRIEL HANOTAUX, "La Normandie dans l'unité française," in _Société normande de géographie_, 1900, vol 22.

[335] The court at Rouen asked Jeanne at the fourth interrogation, February 27, 1431: "Whose was the first voice you heard when you were about thirteen?" Jeanne replied: "It was St. Michael's. I saw him before my eyes; he was not alone, but was encircled by angels of heaven. I saw him with my bodily eyes as clearly as I see you. When they left me, I wept; right gladly would I have gone with them, that is--my soul." At the seventh interrogation, March 15, 1431, when asked how she knew it was St. Michael, Jeanne replied: "_Par le parler et le langage des anges_.... He told me I was a good child and that God would aid me, and to come to the aid of the king of France. He related to me the _grand pitié qui était au royaume de France_."--E. O'REILLY, _Les deux procès de condamnation et la sentence de réhabilitation, de Jeanne d'Arc_ (Paris, Plon, 1808), 2 vols.

[336] _Le procès Jeanne d'Arc_, eighth interrogation, March 17, 1431. When asked by her judges if God hated the English, Jeanne replied: "Of the love or the hate which God has for the English, or of what He will do with their souls, I know nothing. But this I know: that they one and all will be driven out of France, except those who here die, and that God will send victory to the French against the English."

[337] Marion Couthouy Smith, "Sainte Jeanne of France," in _The Nation_ (London, 1915.)

[338] _Congrès Archéologique_, 1859 and 1868; Abbé Loisel et Jean Lafond. _La cathédrale de Rouen_ (Collection, Petites Monographies), (Paris, H. Laurens, 1913): Loisel et Alline, _La cathédrale de Rouen avant l'incendie de 1200_ (Rouen, Lecerf fils, 1904); Louise Pillion, _Les portails lateraux de la cathédrale de Rouen_ (Paris, Picard et fils, 1907); A. Deville, _Tombeaux de la cathédrale de Rouen_ (Paris, Levy, 1881), folio; Camille Enlart, _Rouen_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1904); Émile Lambin, "La cathédrale de Rouen," in _Revue de l'art chrétien_, 1900; Abbé Julien Loth, _La cathédrale de Rouen_ (1879).

Other descriptions of Rouen's monuments can be found in the general works of Henri Havard, André Michel, Louis Gonse, Émile Mâle, Paul Vitry.

Cheruel, _Histoire de Rouen sous la domination anglaise au XVe siècle_ (Rouen, 1840); A. Fallue, _Histoire de l'église métropolitaine et du diocèse de Rouen_ (Rouen, 1850), 4 vols.; Ch. de Beaurepaire, _Notes historiques et archéol. concernaut le département de la Seine-Inférieure_ (Rouen, Cagniard, 1883); _ibid._, _Dernières mélanges historiques et archéol. Seine-Inférieure_ (Rouen, 1909); Cook, _The Story of Rouen_ (London, 1899); Perkins, _The Churches of Rouen_ (London, 1900).

[339] St. Ouen derived its name from the bishop who succeeded St. Romanus and governed Rouen for forty years in the VII century, aiding the founders of Jumièges, Fécamp, and St. Wandrille. He had been blessed as a child in his father's castle near Braine by a passing guest, the Irish missionary, St. Columbanus, and he loved to trace thence his vocation. So rich grew the abbey of St. Ouen that it ruled half the city as temporal lord. In the XV century the English expelled Abbot Jean Richard, a builder of the present nave, to substitute a prelate docile to themselves who sat as judge at Jeanne's trial. But the pope restored Jean Richard in 1434, and he lived to entertain Charles VII in his monastery when that king came as victor to Rouen in 1449. Vacandard, _Vie de St. Ouen_ (Paris, 1902).

[340] To a Romanesque abbatial of St. Ouen, burned in 1136, belonged the two-storied chapel called the Chambre-aux-Clercs, now set against the northern limb of the transept. In 1318 Abbot Jean Roussel, called Marc d'Argent, began the present abbatial, making its choir and transept in twenty years, as well as one bay of the nave. After a pause, two more bays were finished by 1390. Another cessation of work came during the Hundred Years' War. Alexander Berneval set up the transept's south rose (1439), made the pretty southern portal (1441) called after the marmosets decorating it; his son put up the north rose. Both architects repose in the same tomb in the church. Many hold the central lantern (c. 1490) to be a prime success of Flamboyant art. Flame tracery appeared in the XV-century windows, but the Rayonnant first plan was adhered to for the chief lines, so that the church, whose building extended over two centuries, is homogeneous. The abbatial was finished under Abbot Bohier (1491-1515). The Huguenots stripped it of its tombs, and lighted bonfires in the church. In the XIX century was added the mediocre west façade.

_La Normandie monumentale et pittoresque_. _Seine-Inférieure_, p. 105, "St. Ouen"; p. 129, "St. Maclou"; H. Havard, éd., _La France artistique et monumentale_, vol. 2, p. 79, "St. Ouen," L. de Foucaud; p. 85, "St. Maclou"; Dom. Pommeraye, _Histoire de l'abbaye royale de St. Ouen_ (Rouen, 1662), folio; Jules Quicherat, "Documents inédits sur la construction de St. Ouen de Rouen," in _Biblio. de l'École des chartes_, 1852, vol. 3, p. 454; H. de la Bunodière, _Notice sur l'église St. Ouen de Rouen_ (Paris, 1895); Camille Enlart, "L'architecture gothique au XIV siècle," in _Histoire de l'Art_ (éd., André Michel), vol. 2, partie 2 (Paris, Colin, 1914).

[341] Henry II, the first Plantagenet, made for his own residence the chapel of St. Julien in a faubourg of Rouen, Petit-Quevilly. Simultaneously Romanesque and Gothic, the small edifice is one of the most elegant specimens of Normandy's XII-century architecture. Only the choir bay has retained the polychrome decoration which once covered the interior. St. Julien's sexpartite vault has been replaced by a wooden roof.

Doctor Contan, _Monographie de St. Julien, Petit-Quevilly_, and his account, p. 239, in _La Normandie monumentale et pittoresque_. _Seine-Inférieure_; Duchemin, _Le Petit-Querilly et le prieuré de Saint Julien_.

[342] The church of St. Sauveur in Petit-Andely, begun in 1215, finished in 1245, contains excellent XIII-century glass. Of the same date are the façade, nave, and square-ended choir of Notre Dame at Grand-Andely. Its central tower is of the XV century; the transept is a gem of Flamboyant Gothic. The most brilliant of its windows date from 1540 to 1616. Above the smaller Andely stands Château Gaillard, the "Saucy Castle," which Richard the Lion-hearted built in a year. Its capture in 1204 by Philippe-Auguste ended the English resistance in Normandy at that period. Five miles away are the remains of the magnificent château of Gaillon, where every master of the Renaissance in France was employed. Begun in 1454 by Cardinal d'Estouteville, it was carried forward by Cardinal George I d'Amboise and Cardinal de Bourbon. Its bas-relief of St. George and the dragon is one of the three authenticated works of Michel Colombe. A façade of Gaillon is now in the courtyard of the Beaux-Arts at Paris. Abbé Porée, _Guide historique et descriptive aux Andelys_; _Congrès Archéologique_, 1853; _La Normandie monumentale et pittoresque_. _Eure 1_, pp. 147, 163 (Le Havre, 1895); E. A. Didron, "Les vitraux du Grand-Andely," in _Annales Archéol._, vol. 22.

[343] Opposite the tomb of the d'Amboise cardinals (1513-25), predominantly Gothic in character, is the purely Renaissance monument of Louis de Brézé (1536-44), seneschal of Normandy, son of the daughter of Charles VII and Agnes Sorel. The kneeling figure on the tomb is the notorious Diane de Poitiers, his widow. The critics say that if the De Brézé mausoleum is not the work of Jean Goujon, Diane's favorite sculptor, then there must have been living here an unknown XVI-century master of the first order. Jean Goujon was in Rouen, making the wooden doors of St. Maclou, at that time.

Paul Vitry, _Jean Goujon_ (Collection, Les Grandes Artistes), (Paris, H. Laurens, 1908); Louis Gonse, _La sculpture française depuis le XIVe siècle_ (Paris, 1895); Léon Palustre, _La Renaissance en France_, vol. 1 (Paris, Quantin, 1888), 3 vols.

[344] Camille Enlart, on the origin of Flamboyant Gothic, in the _Archæological Journal_, 1886, and in _Histoire de l'Art_ (éd. A. Michel), vol. 3, 1^{ère} partie (Paris, Colin, 1914); _Bulletin Monumental_, 1906, vol. 70, pp. 38, 483, 511, the controversy between M. Saint-Paul and M. Enlart, on the origin of Flamboyant Gothic; Anthyme Saint-Paul, _L'architecture française et la Guerre de Cent Ans_ (1910); _ibid._, _Les origines du gothique flamboyant en France_ (Caen, 1907).

[345] Charles d'Orléans, _Poésies_, éd. Ch. d'Héricault (Paris), 2 vols.

[346] St. Maclou, says Mr. F. M. Simpson, expresses the _joie de vivre_, even as the stiff angular lines of a contemporary style--the English Perpendicular--show the gloom that prevailed in England after the War of the Roses. Cardinal Guillaume d'Estouteville contributed toward St. Maclou, which was dedicated only in 1521, by Cardinal Georges II d'Amboise. Jean Goujon probably made the richly chiseled doors. St. Maclou has XV-century windows; its rose windows are of the XVI century. There is Le Prince glass in the late-Gothic church of St. Vincent, and other XVI-century windows in St. Patrice. Abbé Ouin-Lacroix. _Histoire de l'église et de la paroisse de St. Maclou de Rouen_ (1846); Edmond Renaud, _L'église St. Vincent de Rouen_ (1885); Arthur Kingsley Porter, _Medieval Architecture_, vol. 2, pp. 389 to 416, "Flamboyant Gothic Monuments."

[347] Notre Dame at Caudebec-en-Caud, called by Henry IV "the most beautiful chapel of my kingdom of France," has its "tiara" united to its shaft by flying buttresses. Other Flamboyant Gothic monuments in Normandy are Louviers' lacelike portal (1493); churches at Dieppe; the transept of Évreux Cathedral; St. Jacques at Lisieux; St. Pierre at Coutances; Les Andelys, Elbeuf, Gisors, and the joyous festival of stone of Notre Dame at Alençon, where the shady north side of the nave is adorned with Old Testament scenes, and the sun-lit southern wall opened by spacious Flamboyant traceries that frame the New Testament; its Jesse tree is unusual. Notre Dame at St. Lô (which has a Becket window) shows Perpendicular traits. Its west portals are strangely dissimilar, as are its monumental towers. Near Fécamp, the Estouteville family founded Valmont abbatial (1116) now unroofed save its Lady chapel, in which are splendid tombs, a reredos of the Annunciation that is a gem of XVI-century realism, and a window that inspired Eugène Delacroix's palette.

[348] Sir Theodore Andreas Cook, _Twenty-five Great Houses of France_, chap. 12 (New York and London, 1916).

[349] Flaubert, born in Rouen, 1821, died near the city, at Croisset, in his ancient house that formerly belonged to the monks of St. Ouen. The increased river activities during the World War have encroached on his property. His pupil, Guy de Maupassant, born near Dieppe, was associated with his mother's city, Rouen, where stands his statue (1853-93). The house of the great Corneille (1636-1709) is near Rouen's Old Market. Other sons of Rouen were La Salle, the explorer (d. 1687), and the painter Géricault (1791-1824). Nicholas Poussin (1594-1665) was born at Les Andelys; Jean-François Millet, near Cherbourg (1814-74); Auber, the composer (1782-1871), at Caen, as was the poet Malherbes (1555-1628). Mézerai, whose history is considered the best account of the XVI-century religious struggle in France, and his brother, Jean Eudes, founder of the Eudists, were born near Caen. The great seamen, Tourville (1642-1701) and Du Quesne (1610-88), were Normans; so were Laplace, the mathematician (1749-1827), Alexis de Tocqueville (1805-59), Bernardin de Saint-Pierre (1736-1814), Octave Feuillet (1821-90), Léon Gautier (1832-97), Barbey d'Aurevilly (1808-89), and savants such as Simeon Luce (d. 1892), Gabriel Monod (d. 1912), Albert Sorel, Paul Allard, Leopold Delisle (d. 1910). The latter was led to decipher ancient manuscripts by C. de Gerville, who, with that other Norman, Arcisse de Caumont, was a pioneer in mediæval archeology.

[350] Jules Quicherat, the archæologist, was the first to place before the public the records of Jeanne d'Arc's two trials. He printed (1841-49) five volumes in Latin for the _Société de l'histoire de France_. Accounts of Jeanne have been written by Wallon (Paris, 1877); Marius Sepet (Tours, 1885); Ayroles, S. J. (Paris, 1902), who dwells much on the nefarious part played by Paris University in her condemnation: Siméon Luce; G. Hanotaux (Paris, 1911); Petit de Julleville (Les Saints Collection, Paris, Lecoffre, 1907); Andrew Lang (London, 1908): Mrs. Oliphant (Leaders of the Nation Series, New York); D. Lynch, S. J. (New York, 1919); Sarrazin, _Jeanne d'Arc et la Normandie au XVe siècle_ (Rouen, 1896); F. Poulaine, _Jeanne d'Arc à Rouen_ (Paris, 1899); Ch. Lemire, _Jeanne d'Arc en Picardie et en Normandie_ (Paris, 1903); Le P. Denifle et Chatelain, _Le procès Jeanne d'Arc et l'université de Paris_ (Paris); U. Chevalier, _L'abjuration de Jeanne d'Arc_; C. de Maleissye, "La prétendue abjuration de St. Ouen," in _Revue des Deux Mondes_, February, 1911, p. 610. The study of Anatole France on Jeanne d'Arc is written from the rationalist standpoint that considers hers a case of hysteria fitted for medical science. No book on Jeanne equals the contemporary records. The report of her two trials in Rouen, and the testimony gathered from end to end of France to vindicate her memory in 1456, have been marshaled and clarified in a skilled legal manner by a magistrate of Rouen: E. O'Reilly, _Les deux procès de condamnation ... et la sentence de réhabilitation de Jeanne d'Arc_ (Paris, Pion, 1868), 2 vols. This masterly work should be translated into English. It is an example of the right way to write history. For Charles VII see Thomas Basin and Vallet de Viriville.

[351] Boisguillaume, second clerk of the Rouen court in 1431, Manchon's assistant, testified before the three inquests for Jeanne's rehabilitation. He drew attention to the fact that all who had been culpable of the Maid's death had come to a swift or shameful end. Estivet was found dead in a gutter at the gates of Rouen; Loyseleur, the false confessor, was struck down suddenly; Cauchon expired ignominiously. "I call you to judgment before God for what you have done," rang out Jeanne's words to these unworthy churchmen on her last day. Nicolas Midi, of the Paris Parliament, who drew up the odious twelve accusations, and who sermonized Jeanne in the Old Market, was stricken with leprosy. A year after the execution died the young Duchess of Bedford, who had inflicted a gross outrage on Jeanne, and her death detached from the English cause her brother, the Duke of Burgundy. Her husband, John of Lancaster, regent-duke, brother of Henry V, died in full youth, three years later, and was buried in Rouen Cathedral. His nephew, Henry VI, was dispossessed of his English crown, imprisoned, and murdered.

[352] "'Si j'y suis, Dieu m'y tienne; si je n'y suis, Dieu m'y veuille mettre: j'aimerais mieux mourir que de ne pas avoir l'amour de Dieu!' A cette réponse, les juges restèrent stupéfaits et rompirent sur-le-champ."--Testimony of the second clerk of the court, Boisguillaume, in 1450, before the inquest for the rehabilitation.

[353] The Norman, Siméon Luce, has written of Jeanne: "La Pucelle n'est pas seulement le type le plus achevé du patriotisme, elle est encore l'incarnation de notre pays dans ce qu'il a de meilleur. Il y a dans la physionomie de l'héroïne du XVe siècle, des traits qui la rattachent à la France de tous les temps, l'entrain belliqueux, la grâce légère, la gaieté prisesantière, l'esprit mordant, l'ironie méprisante en face de la force, la pitié pour les petits, les faibles, les malheureux, la tendresse pour les vaincus. De tels dons appartiennent à notre tradition nationale, et la libératrice d'Orléans les a possédés à un si haut degré que cette face de son génie a frappé tous ses admirateurs."

[354] The Duke d'Alençon testified, in 1455, concerning Jeanne: "I have heard captains who took part in the siege of Orléans declare that what passed there touched on the miraculous, that it was no human work. Apart from things of war Jeanne was a simple young girl; but for things of war, wielding the lance, massing the army, preparing the battle, arranging the artillery, she was remarkably skilled. All marveled that she should show the ability and foresight of a captain who had warred for thirty years. Especially in her control of artillery was she admirable."

Equally convincing is the testimony, in 1455, of the bastard of Orléans, the great Dunois: "I believe that Jeanne was sent of God and that her conduct in war was more a divine than a human act.... I heard the seneschal of Beaucaire, whom the king had appointed to watch over Jeanne in the wars, say that he believed there never was a woman more chaste. I heard Jeanne say to the king one day: 'When I am distressed that credence is not given that it is Heaven has sent me to your aid, I withdraw to a quiet place and I pray and complain to God, and, my prayer finished, I hear a voice saying, "_Fille Dè, va, va, va! Je serai à ton ayde, va!_" ' And in repeating what the voice said, Jeanne was--an extraordinary thing--in a marvelous ravishment, in a sort of ecstasy, her eyes lifted to heaven." E. O'Reilly, _Les deux procès de condamnation et la sentence de réhabilitation de Jeanne d'Arc_ (Paris, Plon, 1868), vol. 1, pp. 153, 156, 200, 214, 2 vols.

[355] Testimony of Isambeau de la Pierre, in 1450, before the inquest for the rehabilitation: "Je la vis éplorée, son visage plein de larmes, défigurée et outragée en telle sorte que j'en eus pitié et compassion."

[356] _Congrès Archéologique_, 1858, 1870, and 1908, p. 300, Louis Serbat; Abbé V. Hardy, _La cathédrale St. Pierre de Lisieux_ (Paris, Impri. Fazier-Saye, 1917); _La Normandie monumentale et pittoresque_. _Calvados_, pp. 91, 103, "Lisieux," Abbé Marie (Le Havre, Lemale et Cie, 1875); Ch. Vasseur, _Études historiques et archéologiques sur la cathédrale de Lisieux_ (Caen, 1891); Émile Lambin, "La cathédrale de Lisieux," in _Revue de l'art chrétien_, 1898, vol. 45, p. 448; A. de Caumont, _Statistique monumentale du Calvados_ (Caen, 1867), vol. 5, p. 200; V. Ruprich-Robert, _L'architecture normande au XIe et XIIe siècles_ (Paris, 1897), 2 vols.; H. de Formeville, _Histoire de l'ancien évêche-comté de Lisieux_ (Lisieux, 1873), 2 vols.; _Histoire littéraire de la France_, vol. 14, p. 304, "Arnoul, évêque de Lisieux" (Paris, 1817); A. Sarrazin, _Pierre Cauchon, juge de Jeanne d'Arc_ (Paris, 1901). Other studies of the judges of Jeanne d'Arc, by Fabre (Paris, 1915), and Ch. Engelhard (Le Havre, 1905).

[357] The murdered Duke of Orléans, a son of the art-loving Valois king, Charles V, built the châteaux of La Ferté-Milon, on the Oureq, and Pierrefonds, in the forest of Compiègne, in the courtyard of which latter stands his equestrian statue. His sons were the poet-duke, Charles d'Orléans, and Dunois, his acknowledged bastard, the chief instrument in ridding France of her invaders. Two grandsons of the builder of Pierrefonds ascended the French throne, Louis XII and Francis I, and those who undertake an architectural journey over France will soon become familiar with the porcupine of the one and the salamander of the other. Sir Theodore Andreas Cook, _Twenty-five Great Houses of France_ (New York and London, 1916); Viollet-le-Duc, _Dictionnaire de l'architecture_, on Pierrefonds.

[358] A professor in a Norman college, Joseph Lotte, who fell on the field of honor at Arras, in December, 1914, thus apostrophized the "Little Flower" of Lisieux: "Enrôlez-nous, petite soeur céleste! Enrôlez-nous sous vos bannières. Nous avons battu bien des pays, couru bien des aventures, dissipé bien des dons: il nous reste la fidélité. Nous serons derrière vous les vieux routiers qui escortaient Jeanne d'Arc. Notre France ne veut pas mourir. Apprenez-nous à aimer. Il faut qu'un tel amour monte de nous à Dieu qu'il tourne à nouveau sa face vers notre terre de France et, retrouvant son peuple, décide de le sauver. Mais ne l'a-t-il pas déjà décidé, puisqu'il vous a envoyée?" P. Pacary, _Un compagnon de Péguy, Joseph Lotte; pages choisies_ (Paris, J. Gabalda, 1916).

[359] _Congrès Archéologique_, 1864, 1889, and 1908; Abbé Jules Fossey, _Monographie de la cathédrale d'Évreux_ (Évreux, 1898); Abbé Forée, _Les clôtures des chapelles de la cathédrale d'Évreux_ (Évreux, Hérissey, 1890); A. J. de H. Bushnell, _Storied Windows_ (New York, Macmillan, 1914); N. H. J. Westlake, _A History of Design in Painted Glass_ (London, Parker & Co., 1881); _La Normandie monumentale et pittoresque_. _Eure_, vol. 1, p. 1, Évreux; p. 31, Conches; p. 61, Verneuil; p. 89, Tillières; p. 93, Nonancourt; p. 119, Vernon; p. 147, Les Andelys; p. 191, Gisors; vol. 2, p. 1, Louviers; p. 23, Gaillon; p. 97, Pont-Audemer; p. 63, Pont-de-l'Arche: p. 183, Bernay; p. 221, Bec-Hellouin; p. 245, Beaumont-le-Roger. In most of these churches the colored windows are remarkable.

[360] The son of that union was the trouvère poet, Thibaut IV of Champagne and I of Navarre, of which latter domain he was chosen king in 1234, on the death of his mother's brother, Sancho, the chief victor of Las Navas de Toloso. His niece, Jeanne, inheriting both Champagne and Navarre, united them with the royal domain by her marriage to Philippe le Bel. Three of her sons ruled successively as kings of France, and then the Valois branch--sprung from a brother of Philippe le Bel--came to the throne. Whereupon the Navarrese elected, as their ruler, the Count of Évreux, who had married a daughter of Jeanne's. His son was Charles the Wicked (1319-87), Count of Évreux, king of Navarre, who in turn was succeeded by his son, Charles the Noble (1387-1425). One and all of them were linked with the architectural story of France: at Troyes, Provins, Meaux, Mantes, and Évreux Cathedral.

[361] In Normandy, glass of the XIV century is to be found in the cathedrals of Séez and Coutances, at Carentan, Pont-de-l'Arche, Nesle-St.-Saire, and in Rouen's big abbatial. Elsewhere in France there are XIV-century windows at Mantes, Beauvais, Amiens, Dol, Limoges, Toulouse, Bordeaux, Narbonne, Béziers, Carcassonne (in St. Nazaire), Chartres (in St. Pierre), and Poitiers (in Ste. Radégonde). In St. Urbain's at Troyes is some of the earliest glass of this century.

[362] Normandy's XV-century glass, besides that of Évreux' Lady chapel, can be studied at Rouen, in the cathedral, and the churches of St. Ouen and St. Maclou, at Caudebec, Bernay, Vereuil, Beaumont-le-Roger, St. Lô, Carentan, Falaise, Pont-Audemer, Bayeux, and Coutances. Elsewhere in France glass of this period can be seen in Amiens Cathedral, in the Vendôme chapel of Chartres, in the choir of Moulins, in the north transept of Le Mans, and the windows presented to Bourges Cathedral by the Duke of Berry and Jacques Coeur. There is also XV-century glass at Clermont-Ferrand, Eymoutiers, Riom, in some of the churches of Paris, such as St. Sévérin, and in Brittany, at Dinan, Plélan, Les Iffs, and in Quimper Cathedral. Windows of the XVI century abound in Normandy. The most imposing array is near Évreux, at Conches, whose church of Ste. Foi is on no account to be missed. Aldégrevier, a pupil of Albert Dürer, designed the seven tall apse windows, about 1520. There are eighteen other lights (1540-53), very Raphaelesque in type; the _Pressoir_ window and the apotheosis of the Virgin are typical of that heated hour of controversy. Andre Michel, éd., _Histoire de l'art_, vol. 4, 2{ème} partie, "Le vitrail français au XV{e} et au XVI{e} siècle," Émile Mâle; A. Bouillet, _L'église Ste. Foi de Couches (Eure) et ses vitraux_ (Caen, H. Delesque, 1889).

[363] V. Ruprich-Robert, _La cathédrale de Séez_ (Paris, Morel, 1885); Abbé L. V. Dumaine, _La cathédrale de Séez, son histoire et ses beautés_ (Séez, 1894); H. Tournouër, "La cathédrale de Séez," in _Bulletin de la Soc. hist. et archéol. de l'Orne_, 1897; Marais et Beaudouin, _Essai hist. sur le cathédrale et le chapitre de Séez_ (Alençon, 1878); Robert Triger, "La cathédrale de Séez," in _Revue hist. et archéol. du Maine_, 1900, vol. 47, p. 287; _De la Sicotière et Poulet-Malassis, Le département de l'Orne, archéol. et pittoresque_ (Laigle, Beuzelin, 1845), folio; _La Normandie monumentale et pittoresque_. _Orne_, p. 101, on Séez, Abbé Barret; p. 1, St. Germain at Argentan, with a central lantern and elaborate late-Gothic porch; p. 41, Notre Dame at Alençon; p. 77, St. Évroult-de-Montfort, a late-XI century abbatial; p. 245, the monastery of La Trappe, in Séez diocese, established in 1122, and reformed in 1662 by the noted Abbé de Rancy.

[364] St. Gervais, at Falaise, has a good Romanesque tower consecrated in the presence of Henry I of England. The nave's southern pier arcade is Romanesque, but the arches on the north side were reconstructed as Gothic at the same time that the vaults were redone during the XIII century. See _Congrès Archéologique_, 1848, 1864, and 1908, p. 367; Louis Régnier, "Falaise et la vallée d'Auge," in _Annuaire normand_, 1892; Langevin, _Recherches historiques sur Falaise_; Meriel, _Hist. de Falaise_ (1889); Black, _Normandy and Picardy, Their Castles, Churches, and Footprints of William the Conqueror_.

[365] _Congrès Archéologique_, 1853 and 1908, vol. 1, p. 145; Henri Prentout, _Caen et Bayeux_ (Collection. Villes d'art célèbres), (Paris, H. Laurens); Abbé Lelieve, _Bayeux, la cathédrale, les églises_ (Bayeux, Deslandes, 1907); Jean Vallery-Radot, _La cathédrale de Bayeux_, Thèse: École des chartes (1911); De Dion et Lesvignes, _La cathédrale de Bayeux_ (Paris, A. Morel et Cie, 1861); Rev. R. S. Mylne, _The Cathedral of Bayeux_ (London, 1904); Chigonesnel, _Histoire de Bayeux_ (1867); Paul de Farcy, _Abbayes du diocèse de Bayeux_ (Laval, 1886-88), 3 vols, (on Cerisy-la-Forêt, etc.); Arcisse de Caumont, _Statistique monumentale du Calvados_ (Caen, F. Le Blanc-Hardel, 1898); G. Bouet, "Clochers du diocèse de Bayeux," in _Bulletin Monumental_, vol. 17, p. 196; vol. 23, p. 362; vol. 25, 1859, p. 165; vol. 49, p. 465; Engerand, "La sculpture romane en Normandie," in _Bulletin Monumental_, 1904; _Histoire littéraire de la France_, vol. 13, p. 518, "Robert Wace, chanoine de Bayeux, historien-poète"; V. Bourrienne, in _Revue catholique de Normandie_, on the bishops Odo de Conteville and Philippe d'Harcourt, vii to x, xviii to xxiii.

[366] The term Romanesque was put into usage by the archaeologist, Arcisse de Caumont (1802-73), to whom Bayeux has erected a statue. He also originated the useful term "Flamboyant." His Norman Society of Antiquarians was a pioneer in the study of mediæval monuments. Another son of Bayeux, honored by a statue, is the poet, Alain Chartier (1386-1449), who lived to see his master, Charles VII, the conqueror of Normandy.

[367] A. Levé, _La tapisserie de Bayeux_ (Paris, H. Laurens, 1919); Hilaire Belloc, _The Bayeux Tapestry_ (London and New York, 1914); J. R. Fowke, _The Bayeux Tapestry_ (London, G. Bell, 1898); Lefebvre des Mouettes, in _Bulletin Monumental_, 1912, p. 213; 1903, p. 84.

[368] Chaucer, _Canterbury Tales_, "Prologue."

[369] _Congrès Archéologique_, 1883; and 1908, p. 247, "La cathédrale de Coutances," E. Lefèvre-Pontalis, also published separately by H. Delesques, Caen, 1910; Abbé E. H. Pigéon, _Histoire de la cathédrale de Coutances_ (Coutances, Salette fils, 1876); Alfred Ramée, "Cathédrale de Coutances," in _Revue des Soc. Savantes_, 1880, p. 94; A. de Dion, in _Bulletin Monumental_, 1884, vol. 50, p. 620; 1865, p. 509, G. Bouet; 1872, p. 19, Regnault; Gabriel Fleury, in _Revue ... archéol. du Maine_, 1909, on the architect, Thomas Toustain; Regnault, _Revue monumentale et historique de l'arrondissement de Coutances_ (St. Lô, 1860); C. de Gerville, "Recherches sur les abbayes de la Manche," in _Mém. de la Soc. des Antiquaires de Normandie_, vol. 2, p. 77; _ibid._, _Études géographiques et historiques sur le département de la Manche_ (Cherbourg, 1854).

[370] Near Hauteville-sur-mer are the ruins of Hambye Abbey, whose destruction was an irreparable loss for art, since its church was Primary Gothic. On the road from Coutances to Cherbourg is the abbatial of Lessay (a contemporary of St. Étienne at Caen), said by M. Arcisse de Caumont to be one of the purest models of Norman Romanesque, an austere monument of the XI-century type. Differences in the pier's profiles show where, in the nave, the XII century resumed work. In this latter period Gothic ribs were prepared for from the planting of the piers, but the actual diagonals of the nave were built in the XIII century. Mr. John Bilson claims that the Gothic ribs of the two sections preceding the apse are of the XI century, which again brings up the controversy of priority in the use of diagonals.

The Cistercian church of La Blanche at Mortain was another abbatial of the Manche, dedicated in 1206. At Cerisy-la-Forêt the abbey church was begun (c. 1130) by the Fécamp school of William of Volpiano, continued by Duke Robert the Magnificent, and finished by his son William the Conqueror. The nave was built from west to east in the last quarter of the XI century, the apse slightly after 1100, the actual vaulting a century later. The religious wars and the Revolution sacked the abbatial; in 1811 its demolition was still going on.

_Congrès Archéologique_, 1908, p. 242, "Lessay," Lefèvre-Pontalis; p. 553, "Cerisy-la-Forêt," André Rhein; _Congrès Archéologique_, 1860, on Cherbourg; _La Normandie monumentale et pittoresque_. _Manche_, p. 173, "Lessay"; p. 1, "St. Lô"; p. 51, "Carentan"; p. 73, "Cerisy-la-Forêt"; p. 153, "Hambye"; R. Le Conte, _Études hist. et archéol. sur les abbayes bénédictines en général, et sur celle de Hambye en particulier_ (Bernay, 1890).

[371] Camille Enlart, _L'influence extérieure de l'art normand au moyen âge_; _ibid._, _Origines françaises de l'architecture gothique en Italie_ (Paris, Thorin, 1894); Ch. Diehl, _Palerme et Syracuse_ (Collection, Villes d'art célèbres), (Paris, H. Laurens, 1907); Miss C. Waern, _Medieval Sicily_ (London, 1910); Émile Bertaud, _L'art dans l'Italie méridionale_; F. Chalandon, _Histoire de la domination normande en Italie et en Sicile_ (Paris, 1907); E. Curtis, _Roger of Sicily_ (New York, 1912).

[372] Doctor Coutan, _La cathédrale d'Avranches_ (Rouen, Cagniard, 1902); _La Normandie monumentale et pittoresque_. _Manche_, vol. 2, p. 65, "Avranches."

[373] Anatole Le Braz, _La Bretagne_ (Collection, Les provinces françaises), (Paris, H. Laurens); _ibid._, _Histoire de Bretagne_ (Collection, Les vieilles provinces de France), (Paris, Bouvin); _ibid._, _Au pays des pardons_ (translated, London, Methuen, 1906); Abbé J. M. Abgrall, _Architecture bretonne; études des monuments du diocèse de Quimper_ (Quimper, 1904); _ibid._, _Paysages et monuments des Côtes-du-Nord_; Gautier du Mottay, _Répertoire archéol. des Côtes-du-Nord_; H. du Cleuziou, _Bretagne artistique et pittoresque_ (Paris, 1886); _Bulletin de la Soc. archéol. du Finistère_, 1901, vol. 28, p. 264, "Le vieux Morlaix"; and 1902, vol. 30, p. 24, "Le vieux Quimperlé"; A. de Lorme, "L'art breton du XIIIe au XVIIe siècle," in _Bulletin de la Soc. archéol. du Finistère_, 1901, vol. 28, p. 264; Taylor et Nodier, _Voyages pittoresque ... dans l'ancienne France, La Bretagne_ (Paris, Didron, 1845-46), 2 vols.; André, _La verrerie et les vitraux peint dans l'ancienne province de Bretagne_ (1878); Léon Palustre, _La Renaissance en France_, vol. 2, "La Bretagne" (Paris, Quantin, 1885), 3 vols., folio; De la Borderie, _Histoire de Bretagne_, vol. 3, from 995 to 1364, and vol. 4, from 1364 to 1522 (Rennes, 1896-1900); _ibid._, _Mosaïque bretonne_ (Rennes, Plihon et Hervé); De la Villemarqué, éd., _Barzas-Breiz; chants populaires de la Bretagne_, ninth edition (1892), 2 vols.; F. M. Luzel, _Gwerziou Briez-Izel_ (epics) and _Soniou_ (lyrics), (Lorient, 1868-74), 3 vols.; Siméon Luce, _Histoire de Bertrand Duguesclin et de son épogue_ (1883); Leroux de Lincy, _Vie de la reine Anne de Bretagne_ (1860); A. Robida, _La veille France, Bretagne_ (Paris, 1891).

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

[375] A son of Morlaix, Émile Souvestre (1806-54), has written lovingly of Brittany: "Il y a quelque chose de bien supérieure à la louange; la conscience que l'on a été compris et que l'on est aimé pour son oeuvre. _Aimé pour son oeuvre!_ Je sais mieux que personne ce qui manque à ce que j'écris. Il faut quelque chose d'ondoyant. J'appartiens à cette terre Celtique où les monuments sont des pierres non taillées."

[376] "Campagnes bretonnes, qu'on dirait toujours recueillies dans le passé ... grandes pierres qui couvrent les lichens gris ... plaines où le granit affleure le sol antique.... Ce sont des impressions de tranquillité, d'apaisement, que m'apporte ce pays; c'est aussi une aspiration vers un repos plus complet sous la mousse."

--PIERRE LOTI, _Mon frère Yves_.

[377] The men of St. Malo have been pioneers under one aspect or another, sea rovers, like Duguay-Trouin, Surcouf, or Jacques Cartier, who, in 1535, knelt in the cathedral, where an inscription marks the pavement, to receive episcopal blessing before he sailed to discover Canada. Other sons of St. Malo have been the astronomer, Maupertius (1698-1756); Lamennais (1782-1854); and Chateaubriand (1768-1848), who chose for his burial the barren island of Grand Bé, offshore.

[378] "Quiqu'en grogne, Ainsi sera: C'est mon plaisir."

[379] André Rhein, "La cathédrale de Dol," in _Bulletin Monumental_, 1910, vol. 74, p. 367; A. Ramé, "La cathédrale de Dol; tombeau de l'évêque Thomas James," in _Mélanges d'archéologie bretonne_, 1858, vol. 2, p. 10; T. Gautier, _La cathédrale de Dol_; Ch. Robert, _Guide de tourist archéologique à Dol_ (Dol-de-Bretagne, 1892); Léon Palustre, _La Renaissance en France_, vol. 2, "La Bretagne," p. 87, on Dol (Paris, Quantin, 1885); Paul Vitry, _Michel Colombe et la sculpture française de son temps_ (Paris, 1901); A. de Montaiglon, "La sculpture française à la Renaissance: la famille des Juste en France," in _Gazette des Beaux-Arts_, 1875, vol. 12, p. 394.

[380] _Congrès Archéologique_, 1856 and 1886; Guilhermy, "Monuments des bords de la Loire; Nantes," in _Annales archéol._, 1845, vol. 2, p. 87; J. Montfort, "La crypte de la cathédrale de Nantes," in _Bulletin Monumental_, 1884, vol. 50, pp. 368, 449; Paul Vitry, _Michel Colombe et la sculpture française de son temps_ (Paris, 1901); Lambin de Lignum, _Recherches historiques sur l'origine et des ouvrages de Michel Colombe_; Benj. Fillon, _Poitou et Vendée_ (1846); Travers, _Histoire ... du comté de Nantes_, 3 vols.

[381] Félix Soleil, _La danse-macabre de Kermaria-an-Isquit_ (St. Brieuc, 1882); Émile Mâle, _L'art religieux de la fin du moyen âge en France_, chap. 2, "La danse macabre" (Paris, Colin, 1910); Lucien Bégule, _La chapelle de Kermaria Nisquit et la danse des morts_ (Paris, 1911); Abbé J. M. Abgrall, _Le mobilier artistique des églises bretonnes_ (Quimper, Cotonnec, 1898).