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+Project Gutenberg's The Cathedrals of Northern France, by Francis Miltoun
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Cathedrals of Northern France
+
+Author: Francis Miltoun
+
+Illustrator: Blanche McManus
+
+Release Date: August 27, 2009 [EBook #29820]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRALS OF NORTHERN FRANCE ***
+
+
+
+
+Produced by Juliet Sutherland, Chuck Greif and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+
+_The Cathedral Series_
+
+_The following, each 1 vol., library 12mo, cloth, gilt top profusely
+illustrated. $2.50_
+
+_The Cathedrals of Northern France BY FRANCIS MILTOUN_
+
+_The Cathedrals of Southern France BY FRANCIS MILTOUN_
+
+_The Cathedrals of England BY MARY J. TABER_
+
+_The following, each 1 vol., library 12mo, cloth, gilt top, profusely
+illustrated. Net, $2.00_
+
+_The Cathedrals and Churches of the Rhine BY FRANCIS MILTOUN_
+
+_The Cathedrals of Northern Spain BY CHARLES RUDY_
+
+_L. C. PAGE & COMPANY
+New England Building, Boston, Mass._
+
+[Illustration: NOTRE DAME ... _de NOYON_]
+
+
+
+
+THE CATHEDRALS OF NORTHERN FRANCE
+
+By FRANCIS MILTOUN
+
+WITH EIGHTY ILLUSTRATIONS,
+PLANS, AND DIAGRAMS,
+
+By BLANCHE McMANUS
+
+[Illustration]
+
+BOSTON
+
+L. C. Page and Company
+
+MDCCCCIIII
+
+_Copyright, 1903_
+BY L. C. PAGE & COMPANY
+
+(INCORPORATED)
+
+_All rights reserved_
+
+Published October, 1903
+
+Colonial Press
+
+Electrotyped and Printed by C. H. Simonds & Co.
+
+Boston, Mass., U. S. A.
+
+
+_THIS BOOK IS DEDICATED BY THE AUTHOR AND ARTIST TO THE GENIUS OF
+RACE WHICH MADE POSSIBLE THE EXISTENCE OF THESE ARCHITECTURAL
+"GLORIES OF FRANCE"_
+
+
+
+
+APOLOGIA
+
+
+_"There are two ways of writing a book of travel: to recount the journey
+itself or the results of it." This is also the case with regard to any
+work which attempts to purvey topographical or historical information of
+a nature which is only to be gathered upon the spot; and, when an
+additional side-light is shown by reason of the inclusion, as in the
+present instance, of the artistic and religious element, it becomes more
+and more a question of judicious selection and arrangement of fact,
+rather than a mere hazarding of opinions, which, in many cases, can be
+naught but conjecture, and may, in spite of any good claim to
+authoritativeness, be misunderstood or perverted to an inutile end, or,
+what is worse, swallowed in that oblivion where lies so much excellent
+thought, which, lacking either balance or timeliness, has become
+stranded, wrecked, and practically lost to view because of its
+unappropriate and unattractive presentation._
+
+_To-day, the purely technical writer may have little hope of immortality
+unless he is broad-minded enough to take a cultivated interest in many
+matters outside the ken of his own particular sphere. The best-equipped
+person living could not produce a new "Dictionary of Architecture," and
+expect it to fill any niche that may be waiting for such a work, unless
+he brought to bear, in addition to his own special knowledge, something
+of the statistician, something of the professed compiler, and, if
+possible, a little of the not unimportant knowledge possessed by the
+maker and seller of books, meaning--the publisher. Given these
+qualifications, it is likely that he will then produce an ensemble as
+far in advance of what otherwise might have been as is the modern
+printing machine, as a factor in the dissemination of literature, as
+compared with the ancient scribes working to the same end._
+
+_The sentimentalist and rhapsodist in words and ideas is a dwindling
+factor at the present day, and a new presentation of fact is
+occasionally to be met with in the printed page. The best "book of
+travel" within the knowledge of the writer, and perhaps one of the
+slightest in bulk ever written in the English language, is Stevenson's
+"Inland Voyage"--here were imagination, appreciation, and a new way of
+seeing things, and, above all, enthusiasm; and this is the formula upon
+which doubtless many a future writer will build his reputation, though
+he may never reach the significant heights expressed by Stevenson in the
+picturesque wording of his wish to be made Bishop of Noyon._
+
+_This apparent digression into a critical estimate of the making of
+books is but another expression of the justification of the writer in
+the attempt herein made to set forth in attractive and enduring form
+certain facts and realities with regard to the grand and glorious group
+of cathedrals of Northern France._
+
+_They have appeared as demanding something more than the conventional
+guide-book, or even technical estimates as to their perfections, and the
+belief is that the gathering together, after this fashion, of the
+contemporary information not always to the hand of the general reader
+presents an attraction as appealing and deserving of a place on the
+book-shelf as would be an avowed reference work, or a volume made to
+sell on the strength of its bulk or ornateness, or, lacking these
+questionable attributes, presented in the guise of a whilom text-book,
+the sole province of which is to impart "knowledge" after a certain
+well recognized and set pattern._
+
+_It is believed that, regardless of much that has been said and written
+anent the subject, the fact remains that some considerable numbers of
+persons may be supposed to exist who would be glad of a further
+suggestion which would make possible an acquaintance with the cathedrals
+of France as a part of their own personal experience. To all such, then,
+it is to be hoped this book will appeal._
+
+F. M.
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+
+Introduction                                                          11
+
+PART I. TRANSITION EXAMPLES
+
+I. Introductory                                                       41
+
+II. Notre Dame de Laon                                                43
+
+III. Notre Dame de Noyon                                              49
+
+IV. Notre Dame de Soissons                                            54
+
+
+PART II. THE GRAND GROUP
+
+I. Introductory                                                       61
+
+II. Notre Dame d'Amiens                                               64
+
+III. St. Pierre de Beauvais                                           70
+
+IV. Notre Dame de Rouen                                               79
+
+V. Basilique de St. Denis                                             93
+
+VI. Notre Dame de Paris                                              101
+
+VII. St. Julien; Le Mans                                             113
+
+VIII. Notre Dame de Chartres                                         123
+
+IX. Notre Dame de Reims                                              132
+
+
+PART III. THE CATHEDRALS OF THE LOIRE
+
+I. Introductory                                                      147
+
+II. St. Croix d'Orleans                                              150
+
+III. St. Louis de Blois                                              156
+
+IV. St Gatien de Tours                                               163
+
+V. St. Maurice d'Angers                                              173
+
+VI. St. Pierre de Nantes                                             183
+
+
+PART IV. CENTRAL FRANCE
+
+I. St. Etienne d'Auxerre                                             191
+
+II. St. Etienne de Bourges                                           199
+
+III. St. Cyr and St. Juliette de Nevers                              209
+
+IV. St. Mammes de Langres                                            218
+
+V. Notre Dame d'Auxonne                                              220
+
+
+PART V. EAST OF PARIS
+
+I. Introductory                                                      223
+
+II. Notre Dame de Boulogne-sur-Mer                                   231
+
+III. Notre Dame de Cambrai                                           234
+
+IV. Notre Dame de St. Omer                                           237
+
+V. St. Vaast d'Arras                                                 242
+
+VI. St. Etienne de Toul                                              247
+
+VII. St. Etienne, Chalons-sur-Marne                                  251
+
+VIII. St. Dié                                                        254
+
+IX. St. Lazare d'Autun                                               257
+
+X. St. Bénigne de Dijon                                              262
+
+XI. Notre Dame de Senlis                                             266
+
+XII. St. Etienne de Meaux                                            270
+
+XIII. St. Pierre de Troyes                                           274
+
+XIV. St. Etienne de Sens                                             279
+
+
+PART VI. WESTERN NORMANDY AND BRITTANY
+
+I. Introductory                                                      285
+
+II. Notre Dame d'Evreux                                              288
+
+III. Notre Dame d'Alençon                                            296
+
+IV. St. Pierre de Lisieux                                            301
+
+V. Notre Dame de Séez                                                305
+
+VI. Notre Dame de Bayeux                                             310
+
+VII. Notre Dame de St. Lo                                            315
+
+VIII. Notre Dame de Coutances                                        321
+
+IX. St. Pierre d'Avranches                                           326
+
+X. St. Sol, Dol-de-Bretagne                                          329
+
+XI. St. Malo and St. Servan                                          335
+
+XII. Tréguier                                                        339
+
+XIII. St. Brieuc                                                     342
+
+XIV. St. Pol de Leon                                                 345
+
+XV. St. Corentin de Quimper                                          348
+
+XVI. Vannes                                                          351
+
+
+APPENDICES
+
+I. The Architectural Divisions of France                             353
+
+II. A List of the Departments of France                              356
+
+III. The Church in France                                            359
+
+IV. A List of the Larger French Churches
+    Which Were at One Time Cathedrals                                362
+
+V. Chronology of the Chief Styles and Examples of Church Building    365
+
+VI. Dimensions and Chronology                                        366
+
+VII. The French Kings from Charlemagne Onward                        383
+
+VIII. Measurements of the Cathedrals at Amiens and Salisbury         384
+
+IX. French Metres Reduced to English Feet                            385
+
+X. A Brief Glossary of Architectural Terms                           386
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                                                    PAGE
+
+Notre Dame de Noyon                                        _Frontispiece_
+
+Notre Dame de Laon                                                    43
+
+Notre Dame de Noyon                                                   47
+
+Notre Dame d'Amiens                                                   64
+
+St. Pierre de Beauvais                                                70
+
+Notre Dame de Rouen                                                   77
+
+Basilique de St. Denis                                                91
+
+Oriflamme of St. Denis                                               100
+
+Notre Dame de Paris                                                  101
+
+Notre Dame de Paris from the River                                   107
+
+St. Julien; Le Mans                                                  111
+
+Notre Dame de Chartres                                               123
+
+Notre Dame de Reims                                                  132
+
+St. Croix d'Orleans                                                  150
+
+St. Louis de Blois                                                   156
+
+St. Gatien de Tours                                                  161
+
+Flying Buttress, St. Gatien de Tours                                 170
+
+St. Maurice d'Angers                                                 171
+
+St. Pierre de Nantes                                                 183
+
+St. Etienne d'Auxerre                                                191
+
+St. Etienne de Bourges                                               197
+
+St. Cyr and St. Juliette de Nevers                                   209
+
+St. Mammes de Langres                                                218
+
+Nancy                                                                227
+
+Boulogne, St. Omer, Arras                                            229
+
+Notre Dame de Cambrai                                                236
+
+St. Etienne de Toul                                                  247
+
+St. Etienne, Chalons-sur-Marne                                       251
+
+St. Dié                                                              254
+
+St. Lazare d'Autun                                                   257
+
+St. Bénigne de Dijon                                                 262
+
+Notre Dame de Senlis                                                 266
+
+St. Etienne de Meaux                                                 270
+
+St. Pierre de Troyes                                                 274
+
+St. Etienne de Sens                                                  279
+
+Notre Dame d'Evreux                                                  289
+
+Window Framing--Evreux                                               295
+
+Notre Dame d'Alençon                                                 296
+
+St. Pierre de Lisieux                                                299
+
+Notre Dame de Séez                                                   305
+
+Notre Dame de Bayeux                                                 310
+
+Notre Dame de St. Lo                                                 315
+
+Notre Dame de Coutances                                              319
+
+St. Pierre d'Avranches                                               326
+
+Column of St. Pierre d'Avranches                                     328
+
+St. Samson, Dol-de-Bretagne                                          329
+
+St. Malo and St. Servan.--Tréguier                                   333
+
+St. Brieuc                                                           342
+
+St. Corentin de Quimper                                              348
+
+Notre Dame d'Amiens (diagram)                                        366
+
+Map of Angers                                                        367
+
+St. Etienne de Bourges (diagram)                                     370
+
+Notre Dame de Laon (diagram)                                         372
+
+St. Julien, le Mans (diagram)                                        373
+
+Map of Nantes                                                        374
+
+Notre Dame de Noyon (diagram)                                        375
+
+Notre Dame de Paris (diagram)                                        376
+
+Notre Dame de Reims (diagram)                                        377
+
+Flying Buttresses, Reims                                             377
+
+Notre Dame de Rouen (diagram)                                        378
+
+Basilique de St. Denis (diagrams)                                    380
+
+Map of Tours                                                         381
+
+Charles VII.                                                         383
+
+Ground Plan                                                          386
+
+Cross Section                                                        387
+
+Interior                                                             388
+
+Cross Section                                                        389
+
+
+
+
+_The Cathedrals of Northern France_
+
+
+
+
+INTRODUCTION
+
+
+An attempt to enumerate the architectural monuments of France is not
+possible without due consideration being given to the topographical
+divisions of the country, which, so far as the early population and the
+expression of their arts and customs is concerned, naturally divides
+itself into two grand divisions of influences, widely dissimilar.
+
+Historians, generally, agree that the country which embraces the
+Frankish influences in the north, as distinct from that where are spoken
+the romance languages, finds its partition somewhere about a line drawn
+from the mouth of the Loire to the Swiss lakes. Territorially, this
+approaches an equal division, with the characteristics of architectural
+forms well nigh as equally divided. Indeed, Fergusson, who in his
+general estimates and valuations is seldom at fault, thus divides
+it:--"on a line which follows the valley of the Loire to a point between
+Tours and Orleans, then southwesterly to Lyons, and thence along the
+valley of the Rhône to Geneva."
+
+With such a justification, then, it is natural that some arbitrary
+division should be made in arranging the subject matter of a volume
+which treats, in part only, of a country or its memorials; even though
+the influences of one section may not only have lapped over into the
+other, but, as in certain instances, extended far beyond. As the peoples
+were divided in speech, so were they in their manner of building, and
+the most thoroughly consistent and individual types were in the main
+confined to the environment of their birth. A notable exception is found
+in Brittany, where is apparent a generous admixture of style which does
+not occur in the churches of the first rank; referring to the imposing
+structures of the Isle de France and its immediate vicinity. The "Grand
+Cathedrals" of this region are, perhaps, most strongly impressed upon
+the mind of whoever takes something more than a superficial interest in
+the subject as the type which embodies the loftiest principles of
+Gothic forms, and, as such, they are perhaps best remembered by that
+very considerable body of persons known as intelligent observers.
+
+The strongest influences at work in the north from the twelfth century
+onward have been in favour of the Gothic or pointed styles, whilst, in
+the south, civic and ecclesiastical architecture alike were of a
+manifest Byzantine or Romanesque tendency. No better illustration of
+this is possible than to recall the fact that, when the builders of the
+fifteenth century undertook to complete that astoundingly impressive
+choir at Beauvais, they sought to rival in size and magnificence its
+namesake at Rome, which, under the care of the Pontiff himself, was then
+being projected. Thus it was that this thoroughly Gothic structure of
+the north was to stand forth as the indicator of local influences, as
+contrasted with the Italian design and plans of the St. Peter's of the
+south.
+
+A discussion of the merits of any territorial claims as to the inception
+of what is commonly known as Gothic architecture, under which name, for
+the want of a more familiar term, it shall be referred to herein, is
+quite apart from the purport of this volume, and, as such, it were best
+ignored. The statement, however, may be made that it would seem clearly
+to be the development of a northern influence which first took shape
+after a definite form in a region safely comprehended as lying within
+the confines of northeastern France, the Netherlands, and the northern
+Rhine Provinces. Much has been written on this debatable subject and
+doubtless will continue to be, either as an arrow shot into the air by
+some wary pedant, or an equally unconvincing statement, without proof,
+of some mere follower in the footsteps of an illustrious, but behind the
+times, expert. It matters not, as a mere detail, whether it was brought
+from the East in imperfect form by the Crusaders, and only received its
+development at the hands of some ingenious northerner, or not. Its
+development was certainly rapid and sure in the great group which we
+know to-day in northern France, and, if proof were wanted, the existing
+records in stone ought to be sufficiently convincing to point out the
+fact that here Mediæval Gothic architecture received its first and most
+perfect development. The _Primaire_: the development of the style
+finding its best example at Paris. The _Secondaire_: the
+Perfectionnement at Reims, and its Apogee at Amiens. The _Tertiaire_:
+practically the beginning of the decadence, in St. Ouen at Rouen, only
+a shade removed from the debasement which soon followed. As to the
+merits or demerits of the contemporary structures of other nations, that
+also would be obviously of comparative unimportance herein except so far
+as a comparison might once and again be made to accentuate values.
+
+The earliest art triumphs of the French may well be said to have been in
+the development and _perfectionnement_ of Mediæval (Gothic)
+architecture. Its builders planned amply, wisely, and well, and in spite
+of the interruptions of wars, of invasions, and of revolutions, there is
+nowhere to be found upon the earth's surface so many characteristic
+attributes of Mediæval Gothic architecture as is to be observed in this
+land, extending from the Romanesque types of Fréjus, Périgueux and
+Angoulême to that classical degeneration commonly called the
+Renaissance, a more offensive example of which could hardly be found
+than in the conglomerate structure of St. Etienne du Mont at Paris, or
+the more modern and, if possible, even more ugly Cathedral Churches at
+Arras, Cambrai, or Rennes in the north.
+
+There may be attractive Italian types in existence out of Italy; but
+the fact is that, unless they are undoubted copies of a thoroughly
+consistent style to the very end, they impress one as being out of place
+in a land where the heights of its own native style are so exalted.
+
+Gothic, regardless of the fact as to whether it be the severe and
+unornamental varieties of the Low Countries or the exaggerations of the
+most ornately flamboyant style, appears not only to please the casual
+and average observer, but the thorough student of ecclesiastical
+architecture as well. It has come to be the accepted form throughout the
+world of what is best representative of the thought and purpose for
+which a great church should stand.
+
+With the Renaissance we have not a little to do, when considering the
+cathedrals of France. Seldom, if ever, in the sixteenth century did the
+builder or even the restorer add aught but Italian accessories where any
+considerable work was to be accomplished. Why, or how, the Renaissance
+ever came into being it is quite impossible for any one to say, _sans
+doubt_, as is the first rudimentary invention of Gothic itself. Perhaps
+it was but the outcome of a desire for something different, if not new;
+but in the process the taste of the people fell to a low degree.
+Architecture may be said to have been all but divorced from life, and,
+while the fabric is a dead thing of itself, it is a very living and
+human expression of the tendencies of an era. The Renaissance sought to
+revive painting and sculpture and to incorporate them into architectural
+forms. Whether after a satisfactory manner or not appears to have been
+no concern with the revivers of a style which was entirely unsuited in
+its original form to a northern latitude. That which answered for the
+needs and desires of a southern race could not be boldly transplanted
+into another environment and live without undergoing an evolution which
+takes time, a fact not disproven by later events.
+
+The Italians themselves were the undoubted cause of the debasement of
+the classical style, evidences having crept into that country nearly a
+hundred years before the least vestiges were known in either France or
+Germany, the Netherlands, or England, and which, though traceable, had
+left but slight impress in Spain. It is doubtless not far wrong to
+attribute its introduction into France as the outcome of the wanderings
+in Italy of Charles VIII., in the latter years of the XV. century. As a
+result of this it is popularly supposed that it was introduced into the
+domestic architecture of the nobles who had accompanied the king. Here
+it found perhaps its most satisfying expression; in those magnificent
+châteaux of the Loire, and the neighbourhood of Tours and Blois, ever a
+subject for sentimental praise. One would not seek to pass condemnation
+upon the application of revived classic features where they were but the
+expression of an individual taste, as in a chateau whose owner so chose
+to build and embellish it. Certainly no more splendid edifices of their
+kind are known than the magnificent establishments at Blois, Chenonceau,
+Chambord, or Chaumont. The style appears, however, out of place; an
+admixture meaningless in itself and in its application when, with a
+Gothic foundation bequeathed them, builders sought to incorporate into a
+cathedral such palpable inconsistencies as was frequently done.
+
+The building of the châteaux was perhaps the first anti-Gothic step in
+France and proved to be an influence which spread not slowly, as to
+decorative detail at least, and soon of itself established a decided
+non-Gothic type.
+
+It was but natural that the cathedral builders should have followed to
+some extent this new influence. The Church was ever seeking to
+strengthen its popularity, the bishops ensconced themselves in their
+cathedral cities as snugly as did a feudal lord in his castle, and their
+emulation of wealth outside of the Church was but an effort to keep
+their status on a plane with that of the other power which also demanded
+allegiance of the people. It is to be regretted that they did not pass
+this manifestation by, or at least not encumbered an otherwise
+consistent Gothic fabric with superimposed meaningless detail. Such
+decorative embellishments as are represented by the tomb of Louis XII.
+at St. Denis, and the tombs of the cardinals at Rouen, may be considered
+characteristic, though they bear earlier dates by some twenty years than
+the south portal of Beauvais, which is thoroughly the best of Gothic, or
+St. Maclou at Rouen, which, though highly florid, is without a trace of
+anti-Gothic. The extreme (though not a cathedral church) may be seen at
+St. Etienne du Mont, wherein the effort is made to incorporate large
+masses of pseudo-classical decoration with Gothic, and, alas, with sad
+effect.
+
+For the most part, the Gothic cathedrals of France, as such, while
+closely related to each other in their design and arrangements, have
+little to do with those which lie without the confines of the country,
+either in general features or in detail. The type is distinctively one
+which stands by its own perfections. In size, while in many instances
+not having the length of nave of several in England, they have nearly
+always an equal, if not a greater, width and an almost invariably
+greater height, though not equal in superficial area to St. Peter's in
+Italy, the Dom at Cologne, or even the cathedral at Seville in Spain.
+
+Such Romanesque types as are to be seen to the northward of the Loire
+are mostly found in the smaller churches of Brittany, while the early
+transition type, so familiar throughout the Netherlands, is, in France,
+usually seen in the neighbourhood of the frontiers of the Low Countries.
+
+"Les Grandes Cathédrales" of the north are distinctly those of Paris,
+Amiens, Reims, Rouen, Beauvais, and Chartres; and it is to them that
+reference must continually be made; while the severely plain transitory
+types of Noyon or Soissons, or the more effective development of Laon,
+and the flamboyant structures of Troyes and Nantes, at least lean toward
+the decadence.
+
+The difficulty of assigning ranks to these monumental cathedrals is made
+the greater by reason of the fact that to-day it is with but one people
+that we have to reckon, so far as their temperament and environment is
+concerned. Since feudal times the movement has ever been toward one
+nation, one people, and one view, different from that presented in the
+middle ages.
+
+For centuries after the break of Roman power it had been mostly one
+local influence against another which prevented perfect cohesion to any
+national spirit, and thus it was that the tendencies of the cathedral
+builders, though Roman as to their teaching and religion, and doubtless,
+in many instances, with regard to their birth as well, followed no
+special style until the era of Gothic development. Unconsciously,
+transitory types crept in, until suddenly throughout northern Europe
+there bloomed forth within less than a century of time the so-called
+Gothic in all its splendour, and with scarce a century between the
+commencement and the completion of some of the most notable of the
+group. The Romanesque types which still lingered in Brittany, though
+well worthy of special consideration to-day, are unimportant and in a
+way insignificant when compared with the grand group.
+
+To most of us it will be impossible to conjure up any more significant
+thought with regard to mediæval church architecture than that fostered
+by the memories of acquaintanceship with these examples of north France;
+an opinion which is further strengthened when it is also recalled that
+they are representative of the first really national artistic
+expression. For this reason alone, if for no other, the hasty critics
+who have so handily claimed precedence elsewhere, might profitably
+review the facts of the circumstance which led to so universal an
+adoption of the full-blown style in the twelfth and thirteenth
+centuries.
+
+The Romanesque peoples were confined southwards of mid-France at the
+time of the withdrawal of the Roman legions, while, in the north, the
+conquering Franks sought to wipe out every vestige of their past
+influence; hence it may be considered that the new manner of building
+had everything in favour of its speedy growth. It was thus definitely
+assured of a warm welcome, and, following in the footsteps of Clovis
+himself, the rulers were more than willing to aid what they believed
+might be a strengthening influence, politically, as well as morally.
+
+The style may be justly said to be a natural and growthful expression of
+a race, and more significant than all else is the fact that nowhere,
+not even on the Rhine, which with northern France claims the origin of
+the style, is to be found any single example equalling in any like
+measure the perfections of "Les Grandes Cathédrales Françaises," though
+it be recalled that in many instances the German buildings were planned
+and often erected by French architects and artisans.
+
+Among the two thousand or more "Monuments Historiques" paternally cared
+for by the French government and under the direct control of the
+Ministry of Public Instruction and the Beaux Arts, none are of the
+relative importance, historically or artistically, of the Grand
+Cathedrals. Certain objects, classed as megalithic and antique remains,
+may be the connecting links between the past and the present by which
+the antiquarian weaves the threads of his historical lore; but neither
+these nor the _reliques_ which have been dug from the ground or untombed
+from later constructive elements, all of which are generously included
+in the general scheme by the Department of Beaux Arts, which has
+provided a fund for their preservation and care, have one tithe of the
+appealing interest which these great churches bespeak on behalf of the
+contemporary life of the times in which they were built, reflecting as
+they do many correlated events, and forming, in the interweaving of the
+history of their inception and construction, an epitome of well-nigh all
+the contemporary events of their environment, as well as the greater
+parts which they may have played in general affairs of state.
+
+The best example of a part so played is that of the cathedral at Reims,
+which saw the crowning within its walls of nearly every monarch of
+France from the time of Philippe Augustus (1173) to that of Charles X.
+(1823). The monarchs of France, a long and picturesque line, have ever
+sought to ally the Church on their side, and right well they have been
+served, not ignoring, of course, certain notable lapses. In the main,
+however, the rulers and the people alike, whatever may have been the
+periodical dissensions, combined the forces which made possible the
+projection and erection of these noble examples of an art which, in the
+Gothic forms at least, here came to its greatest and most interesting
+phase.
+
+Invasion, revolution, and the stress of weather and time, all played
+their part in the general desecrations which sooner or later followed;
+far the most serious of these visible damages reflected upon us to-day
+being the malpractices occurring at the Revolution, whether at the hands
+of a _sans culotte_ or of the most respectable of bourgeois, led away by
+the excitement of revolt. The depredations were irreparable; they razed,
+burned, or ruthlessly shattered shrines, statues, or even reliquaries,
+as at Reims, where the Sainted Ampulla, which contained the miraculous
+oil brought by a dove from heaven, now preserved in reconstructed
+fragments in the sacristy, was dashed to pieces in a fury of
+uncontrollable wrath.
+
+The paucity of sculptured decoration in certain places only too plainly
+designed for it is, too, frequently painfully apparent. Such sculptured
+decoration and glass as were easily to hand met with perhaps the most
+ready spoliation, while here and there, from some miraculous reason, a
+gem was left entire, though likely enough in a bruised and shattered
+setting.
+
+This is what befell most of the great churches, and, for this reason,
+any work treating of these architectural glories of France must make due
+allowance in hazarding opinions as to the merit or lack of merit of any
+particular example as it now exists, as compared with what it may have
+been as it once was, or had it been completed in accordance with the
+original design.
+
+In local and cathedral archives much valuable and interesting
+information exists, treating in this very manner such embellishments as
+may to-day be lacking; but unfortunately such facts are often buried in
+a mass of other irrelevant material which would make its discovery
+unusually difficult to any but a very learned local antiquarian. In this
+same connection, also, there is a dearth of illustrative material which
+can be depended upon as to minutiæ or accuracy of detail. Hence it is
+possible to deal only with such general facts as may be supported by the
+best contemporary information based upon the researches of others. It
+may be well to note here, however, a fact which is often overlooked,
+namely, that the written records of France are not only very complete
+and exhaustive, but, with respect to Paris itself, to cite an example,
+the documentary history, consecutive and exact, from the time of the
+decline of Roman power is preserved intact,--a record which is perhaps
+not so true of any other large city in Europe.
+
+In dealing with the cathedrals of the north, territorially, we have to
+consider those examples which are generally accepted as being all that
+a cathedral church should be. Of the first rank are those gathered not
+far from the confines of the mediæval Isle of France. They too, are best
+representative of the true Gothic spirit, while the southernmost
+examples, those of Dijon and Besançon, are of manifest Romanesque or
+Byzantine conception. Each, too, is somewhat reminiscent of the early
+German manner of building, the latter in respect to the double apse,
+which is often found across the Rhine, but seldom seen in France. The
+most northerly of all is at St. Omer, where are the somewhat battered
+remains of a satisfactory Gothic cathedral, although Amiens, not far to
+the south, is perhaps the ideal cathedral when considered from a general
+point merely. For the western representative, a line running due west
+from Paris almost into the Atlantic finds at Quimper, a small port
+fifteen miles from the sea, the Cathedral of St. Corentin, which, though
+not as lofty, is more of the manner of building of the Isle of France
+than one might suppose would be the case here in this outpost of
+Brittany, where are found so many evidences of Romanesque influences,
+retained long after they had been given over elsewhere.
+
+Such, then, are the extremes of latitude and of architectural style
+which combine to give variety to the interest which is always aroused by
+the contemplation of the masterworks of any of the arts, where outside
+and contiguous influences have something in common therewith.
+
+As a type to admire, there is no doubt but that the cathedral that
+possesses an apsidal termination of the easterly or choir end, as is
+nearly the universal custom in France, has charms and beauties which may
+be latent, but which are simply winning, when it comes to picturing the
+same structure with the squared-off ends so common in England.
+
+It was Stevenson, was it not, who wrote of the satisfaction with which
+one always looks upon the east end of a French cathedral, "flanging out
+as it often does in sweeping terraces, and settling down broadly upon
+the earth as though it were meant to stay." Certainly nothing of the
+sort is to be more admired than the rare view of the choir buttresses of
+Notre Dame at Paris, likened unto "kneeling angels with half-spread
+wings;" the delicate and symmetrical choir buttresses of Amiens; the
+sheer fall of Beauvais; or the triply effective termination of the
+one-time cathedral of Noyon, which falls away in three gracefully
+gentle slopes to the ground. Again Stevenson's power as a descriptive
+writer lingers in our memory. He says, of no cathedral in particular,
+"where else is to be found so many elegant proportions growing one out
+of the other, and all together in one?... Though I have heard a
+considerable variety of sermons, I have never yet heard one that was so
+expressive as a cathedral. 'Tis the best preacher itself, preaches day
+and night, not only telling you of man's art and aspirations in the
+past, but convicting your own soul of ardent sympathies; or rather, like
+all good preachers, it sets you preaching to yourself,--and every man is
+his own doctor of divinity in the last resort."
+
+To best estimate the charms and values of these architectural monuments
+one should consider; first, the history and topography of their
+environment,--_i. e._ as to why and when they may have been planned and
+built; secondly, their personality, as it were,--who were their
+founders, their patrons, their bishops; thirdly, the functions in which
+they may have partaken, any significant events which may have passed
+within their walls or centred within their sees; and fourthly, the
+artistic beauties of their fabric and its embellishments.
+
+In most cases all of these values are so interwoven and indissolubly
+linked with the growth of the structure itself from its very earliest
+foundations that it is hardly possible to detail this information in
+true chronological order. The picturesque and romantic elements, of
+which there is not a little; the sordid and baneful, of which we may
+wish there were less; and the splendid ceremonials of Church and State;
+all go to make up a chronicle which no account, of even a special
+nature, could afford to neglect.
+
+The picturesque elements of the conversion and baptism of Clovis by St.
+Remi at Reims in 496, where, on the site of the present cathedral, he
+was adjured to "revere that which thou didst burn and burn that which
+thou didst revere," and the crowning on the same spot of Charles VII. in
+1429 through the efforts of the Maid, well represent these phases. The
+meanness and the unjustness of her later trial and condemnation in the
+Abbey Church of St. Ouen at Rouen is another. The affairs of state
+consist chiefly of the coronation ceremonies which mostly took place at
+Reims, and present a splendid record. Of the monarchs from 1173 onwards
+who were not here crowned, Henry IV. was crowned at Chartres; Napoleon
+I., at Paris; Louis Philippe, Louis XVIII., and Napoleon III. were not
+crowned at all.
+
+Throughout this continuity of state events these great churches were
+performing their natural functions of the dissemination of the Word.
+Jealousies and bickerings took place, to be sure, but in the main there
+was harmony, if rivalry did exist; else it were not possible that so
+many of these splendid monuments would have endured to remind us of
+their past as well as present existence.
+
+Certain of the sees were merged into greater ones, and others were
+abandoned altogether. In this connection there is a curious circumstance
+with regard to the one-time Bishop of Bethléem, who, driven from the
+Holy Land, was given a see at Clamecy, which see comprehended only the
+village in which he resided. What remains of the former cathedral is now
+an adjunct to a hotel. The rearrangement of political divisions of
+France after the Revolution was the further excuse for establishing but
+one diocese to a department, until to-day there are but eighty-four
+sees, administered by sixty-seven bishops and seventeen archbishops.
+
+The itinerary of the conventional tour of the Continent usually keeps
+well to the beaten track, and so does the conventional traveller. He
+does not always get over to Reims, and often does not stop _en route_ at
+Amiens; seldom visits Beauvais, and, unless he specially sets out to
+"tour" Brittany, a popular enough amusement of the lean of purse in
+these days, knows little of the unique charms of Tréguier, Quimper, or
+even of Le Mans, with its sublime choir, or of Evreux. As for even a
+nodding acquaintance with Noyon or Soissons, two of the most
+convincingly beautiful and impressive transitory types, they might as
+well be in the wilds of Kamchatka, though they are both situated in a
+region well travelled on all sides; while Laon, not far distant, is
+hardly known at all, except as a way station _en route_ to Switzerland.
+The cathedrals of mid-France are, it is to be feared, even less known
+than would on first thoughts seem probable. A certain amount of
+sentimentality attaches itself to the châteaux of the Loire, and some
+acquaintance with their undeniable pleasing attributes is the portion of
+most travellers; but, again, such cathedral cities as Besançon, Nantes,
+and Langres are off the well-worn road, and their cathedrals might be
+myths so far as a general acquaintance with them is concerned; while
+the splendid churches of Bourges, Nevers, and Autun are likewise
+practically unknown to the casual traveller.
+
+Tours, Orleans, and Chartres alone appear to be the only recognized
+representatives of this section of France which have hitherto attracted
+due attention.
+
+With the southland this volume does not deal; that is a subject to be
+considered quite by itself,--and significantly, more real interest has
+been shown with respect to the architectural monuments of Avignon,
+Arles, Nîmes, Le Puy, Périgueux, Carcassonne, and Poitiers than to those
+of the Midi. Is it that the days of cheap travel and specially conducted
+tours, when ten or fifteen guineas will take one to the Swiss or Italian
+lakes, or e'en to Rome and Florence, has caused this apparent neglect of
+the country lying between? Certainly our forefathers travelled more
+wisely, but then prices and means of locomotion were on quite a
+different scale in those days, and not infrequently they were obliged to
+confine their travels and observations to more restricted areas.
+
+Perhaps the most lucid arrangement of architectural species is that
+given by De Caumont's "Abécêdaire d'Architecture," which divides the
+country ethnologically into Brittany; Normandy; Flanders, including
+Artois and Picardy; Central France (the Isle of France, Champagne,
+Orleanois, Main, Anjou, Touraine, and Berri); and Burgundy,
+comprehending the former divisions of Franche Comté, Lorraine, Alsace
+(now Belfort), Nivernois, Bourbonnois, and Lyonnois. Of the above
+divisions, only that of the Isle of France with La Brie was originally
+held by the Crown. The political divisions throughout France now number
+eighty-seven departments, taking their names from the principal
+topographical features, and replacing in 1790 the thirty-two mediæval
+provinces, each of which had their own characteristics of social and
+political life, and of which each in turn progressed, stagnated, or fell
+backward according to local or periodical conditions. Both the arts of
+peace and of war have left an ineradicable impress. In the thirteenth
+century the various provinces became welded together into one perfect
+whole under Philippe Augustus and the sainted Louis, but retained to no
+small extent, even as they do unto to-day, their distinctive local
+characteristics.
+
+Because of its cathedrals alone, the Isle of France stands preëminent
+among the provinces for each of the thirteen provincial styles of
+architecture which are allocated by the Société des Monuments
+Historiques. A comparatively small and unified province, it comprehends
+within and contiguous to its borders more of the attributes and
+principles of a consistent Mediæval architectural style than is
+elsewhere to be observed. From Rouen on the west to Reims on the east,
+northward to Amiens and southwesterly to Chartres, are grouped the show
+pieces of the world's Gothic architecture. Not alone with the respect to
+the Grand Cathedrals is this region so richly endowed, but also because
+of the smaller and less important, but no less attractive or interesting
+examples of Noyon, Senlis, Laon, Soissons, with their one-time cathedral
+churches and other varied ecclesiastical and secular edifices.
+
+Beauvais, Gisors, Gourney, Cires-les-Mello, Creil, Royamont,
+Nogent-les-Vierges, Villers-St.-Pol, indeed nearly every village and
+town within the royal domain, present values and comparisons which place
+nearly all of its contemporary structures, be they large or small, at a
+grand height above those of other less prolific sections. Lest it be
+thought that this statement is drawn largely, and that fineness and
+balance of estimate are lacking, it suffices to state that it is not
+alone from study and research, but from frequent personal intimacies
+that the region has ever proved an inexhaustible store of architectural
+values, and one which most well-known authorities, with one accord,
+place in the very first rank.
+
+Arthur Young, than whom no more perspicuous observer has ever chronicled
+his impressions, wrote (1704) that to see the best of France, the part
+most varied in topography, and resourceful and attractive in its
+monuments, one should land at Havre and follow the sinuosity of the
+Seine to Paris, thence the highroad to Moulins and on to the Rhône at
+Valence, an outline which somewhat approaches the limitations of
+territory of which this book treats. To be sure, he wrote of economic
+and agricultural conditions, and he mostly made his pertinent
+observations on land holdings, stock keeping, and hedgerows, or rather
+that lack of them which is so apparent throughout France; but these
+details of themselves only suggest more complete evidences of the
+existing forces which indicate the growth of the wealth and power which
+has made this region so rich in its architectural memorials of the
+past, and which ought to more than compensate for any lack of scenic
+grandeur.
+
+It is to be regretted, of course, that none of these larger cathedrals
+are to be seen to-day in their completely perfected forms. To what
+extent would not the glories of Reims, of Amiens, of Beauvais, or of
+Rouen, be enhanced, were it possible for us to even imagine their
+splendour, were they possessed of the symmetry and well-favoured
+situation of the Dom at Cologne? And so it is that we can but feel
+regret when we mentally note the lack of nave at Beauvais, of spires at
+Bourges, and, yet again, regret even with more pain the monstrousness of
+the cast-iron _flêche_ which has been added to the central tower at
+Rouen. But these are after all minor imperfections--seldom, if ever, in
+aught but pleasurable anticipation, do we see in the masterpieces of art
+or nature a perfect unity; so why seek to negative their virtues by
+futile criticism? It would seem to be all-sufficient that such details,
+sins of omission or commission, should be noted merely, that we may pass
+on to other charms which must compel our allegiance.
+
+When we visit the cathedrals of the Isle of France, we are at once in
+the midst of the best examples of French Gothic architecture, or of
+French Mediæval architecture, if the phrase is to be preferred.
+
+
+
+
+_PART I_
+
+_Transition Examples_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+Soissons, with Noyon and Laon, all within perhaps thirty miles of one
+another, may be said to best represent the nurturing and development of
+the early Gothic of France. These simple and somewhat plain types
+exemplify the style which was in vogue at the same time in the Low
+Countries. It is good Gothic, to be sure,--at least, good as to its
+planning,--but without that ornateness or lightness known to-day as
+characteristic of the distinctive French type, which so early developed
+boldly and beautifully.
+
+One observes the resemblances in style between the notable cathedral at
+Tournai, in Belgium, the neighbouring types of French Flanders, and the
+cathedrals of this trinity of French towns lying contiguous thereto,
+Noyon itself being for long interdependent with the see of Tournai.
+Nevertheless, it is a beautiful type which was cradled here in the
+country called, by Cæsar, Suessiones; and difficult it would be to
+attempt to assign preëminence to any one edifice.
+
+Noyon, without a doubt, has the greatest charm of environment, and is of
+itself in every way a pleasing and satisfying example of what should
+most truly inspire and impress us in a cathedral. Stevenson describes it
+as being "the happiest inspiration of mankind, a thing as specious as a
+statue at the first glance, yet, on examination, as lively and
+interesting as a forest in detail. The height of its spires cannot be
+taken by trigonometry: they measure absurdly short, but how tall they
+are to the admiring eye.... I sat outside of my hotel and the sweet
+groaning thunder of the organ floated out of the church like a
+summons";--and much more of the same sort, all of which tells us that,
+once we find ourselves on a plane of intimacy with a great church, we
+continually receive new impressions and inspirations, and it is in this
+vein that one who has known this group of simple but fascinating
+churches on their own ground, so to put it, can but seek to convey the
+idea that it is good that we have such contrasting types as a relief and
+an antidote to an appetite which otherwise might become sated.
+
+
+
+
+[Illustration: _CATHEDRAL of NOTRE DAME LAON_]
+
+II
+
+NOTRE DAME DE LAON
+
+
+For over twelve hundred years, until the see was abolished at the
+Revolution, Laon was the seat of a bishop who in point of rank was
+second only to the primate at Reims. Crowning the apex of a long
+isolated hill, upon which the entire town, now a fortress of the third
+class, is situated, the cathedral of Notre Dame de Laon, still so called
+locally, has endured since the beginning of the twelfth century, and may
+be considered a thoroughly representative transition example.
+
+The present structure is on the site of one burned in 1112, and during
+comparatively recent years has been entirely restored.
+
+Its crowning glory is in the disposition and number of its fine group of
+towers: two flank the western façade, and are rectangular at the base,
+dwindling to a smaller polygon, which is flanked with corner belfries
+and pierced by a tall lancet in the central structure, showing a
+wonderful lightness and open effect. A curious and unique feature of
+these towers is the addition of four oxen in carven stone perched high
+aloft in the belfries. These sculptured animals may be merely another
+expression of symbols of superstition, and if so are far more pleasing
+than some of the hideous and monstrous gargoyles ofttimes seen. Two
+other towers, each 190 feet in height, adjoin the transepts, to each of
+which is attached a double-storied, apsidal, ancient chapel. Two
+similarly projected towers are lacking. The lantern is square, with a
+shallow, conical, modern roof.
+
+In the transition type Romanesque influences were evidently dying hard.
+The Gothic was seldom full blown, and at Laon shows but the merest trace
+of pointedness to the arches of the western façade, either in the
+portals or in the higher openings.
+
+The lack of a circular termination to the choir is but another
+indication of a link with a transitory past; an undeniably false note
+and one very unusual in France, the choir being of the squared-off
+variety so common in England. This may be coincident with the English
+custom of the time, or it may be directly due to a local English
+influence;--most probably the latter, inasmuch as an English prelate
+held the see for a time, and the city, in the early fifteenth century,
+was for a number of years in English hands. It is significant that in
+some of the smaller churches of the diocese is to be noted the same
+treatment.
+
+The rose windows of both the eastern and western façades are Gothic in
+inception and treatment, and are unusually acceptable specimens of these
+supreme efforts of the French mediæval builders, the glass therein being
+distinctly good, though perhaps not remarkable.
+
+The transepts are rectangular and, with the ensemble of the entire
+structure, were their towers completed, there would be produced, not
+only a unique example, but a towering effect only a degree less
+interesting than the perfectly proportioned pyramidal form so much
+admired in the perfectly developed Gothic.
+
+The interior is equally attractive with the exterior, and, though the
+church is not by any means of remarkable dimensions, it presents in its
+appropriate disposition of detail a far more roomy and pleasing
+arrangement than many a larger example.
+
+The transepts are divided into a nave and side aisles, the columns which
+partition them, like those of the nave proper, being cylindrical and of
+massive proportions, which, however, lighten as they rise to the
+vaulting. They are unusually symmetrical when viewed together, the
+capitals of the lower series being ornately carved, each of a varying
+design.
+
+Above the aisles are lofty galleries. The nave chapels were added in the
+sixteenth and seventeenth centuries. The stained glass, like that of the
+rose windows, is in the nave distinctly good, particularly that of the
+lower range on the southerly side. The pulpit, of carved wood of the
+Renaissance period, is not of the importance and quality of this class
+of work to be seen across the Rhine border.
+
+The former Bishop's palace, adjoining the left of the choir, is now the
+Palais de Justice. A few remains of a former Gothic cloister are to be
+remarked, surrounded by the later construction.
+
+
+
+
+[Illustration: _Notre Dame de Noyon_]
+
+III
+
+NOTRE DAME DE NOYON
+
+
+In Notre Dame at Noyon, Notre Dame at Laon, and the cathedral at
+Tournai, is to be noted the very unusual division of the interior
+elevation into four ranges of openings, this effect being only seen at
+Paris and Rouen among the large cathedrals. Noyon and Laon borrowed,
+perhaps, from Tournai, where building was commenced at least a century
+before either of the French examples first took form. It is perhaps not
+essential that such an arrangement be made in order to give an effect of
+loftiness, which might not otherwise exist; indeed, it is a question if
+the reverse is not actually the case, though the effect is undeniably
+one of grandeur. Soissons, too, may rightly enough be included in the
+group, though the points of resemblance in this case are confined to the
+rising steps to either transept, coupled with the joint possession of
+circumambient aisles, and at least the suggested intent of circular
+apsidal terminations to the transepts; though it appears that here this
+plan was ultimately changed and one transept finished off with the usual
+rectangular ending.
+
+In this Noyon plainly excels, and there is found nowhere else in France
+the perfect trefoil effect produced by the apsidal terminations of both
+transepts and choir. So far as the transepts are concerned, they are of
+the manner affected by the builders on the Rhine, notably in the Minster
+at Bonn, at Cologne, and again at Neuss in the neighbourhood of Cologne.
+With Noyon apparently nothing is lacking either in the perfections of
+its former cathedral or in its immediate environment. The country round
+about is thoroughly agricultural, and free from the soot and grime of a
+manufacturing community. Amid a setting at once historic and romantic,
+it has for neighbours the châteaux of Coucy and Perrifonds, with
+Compiègne and Chantilly not far distant. The town is unprogressive
+enough, and the vast barge traffic of the Oise sidles by, not a mile
+away, as if it were all unconscious of the existence of any signs of
+modern civilization. As a matter of fact, it hardly is modern. The
+accommodation for the weary traveller is of a satisfying and gratifying
+quality, as the comparatively few visitors to the place well know. The
+city is an ancient foundation, having been known as the Noviodunum of
+the Romans. Here Charlemagne was crowned King of the Franks in 768, and
+Hugh Capet elected king in 987; and here, in an important stronghold of
+Catholicism, as it had long been, Calvin was born in 1509.
+
+Altogether there is much to be found here to charm and stimulate our
+imagination. As a type the cathedral stands preëminent. As to detail and
+state of preservation, they, too, leave little to be desired, though the
+appreciative author of a charming and valuable work treating of a good
+half hundred or more of the "architectural glories of France" bemoans
+the lack of a satisfying daily "Office." This may be a fault, possibly,
+if such be really the case. The fabric of the church has stood the wear
+and tear of time and stress exceeding well. Built in the eleventh and
+twelfth centuries, it is a thoroughly harmonious and pleasing whole, and
+we can well believe all that may have been said of it by the few able
+critics who have passed judgment upon its style, as well as the
+sentiment conveyed by the phrase that it is "one of the most graceful
+and lovable of all the cathedrals of France." The bishopric was
+suppressed after the Revolution, and the church is now a dependency of
+the Bishop of Beauvais.
+
+The elongated belfry towers are perhaps the first and most noticeable
+feature; secondly, the overhanging porch with its supporting frontal
+buttresses; thirdly, the before-mentioned tri-apsidal effect of the
+easterly end; and, last but not least, the general grouping of the whole
+structure in combination with the buildings which are gathered about its
+haunches, though with no suspicion of a detracting element as in some
+sordid and crowded cities, where, in spite of undeniable
+picturesqueness, is presented a squalor and poverty not creditable
+either to the city of its habitation or to the cathedral authorities
+themselves. From every point of vantage the steeples of Notre Dame de
+Noyon add the one ingredient which makes a unity of the entire
+ensemble,--a true old-world atmosphere, a town seen in not too apparent
+a state of unrepair and certainly not a degenerate.
+
+The interior presents no less striking or noble features. It is not
+stupendous or remarkably awesome; but it is grand, with a subtleness
+which is inexpressible. Round and pointed arches are intermixed, and
+there is a notable display of the round variety in the upper ranges of
+the quadrupled elevation of the nave, the lightness, which might
+otherwise have been marred, being preserved through the employment of a
+series of simple lancets in the clerestory of the choir. Rearward of the
+south transept are the chapter-house and the scanty remains of a Gothic
+cloister, where a somewhat careworn combination of the forces of nature
+and art have culminated in giving an unusually old-world charm to this
+apparently neglected gem, as well representative of early French Gothic
+as any in existence to-day.
+
+
+
+
+IV
+
+NOTRE DAME DE SOISSONS
+
+
+Soissons, the other primitive example, is at once a surprise and a
+disappointment. From the railway, on entering the town, one is highly
+impressed with the grouping of a sky-piercing, twin-spired structure of
+ample and symmetrical proportions; and at some distance therefrom is
+seen another building, possibly enough of less importance. Curiously, it
+is the cathedral which is the less imposing, and, until one is well up
+with the beautifully formed spires, he hardly realizes that they
+represent all that is left of the majestic Abbey of _St. Jean des
+Vignes_, where Becket spent nine long years. It is a mere bit of stage
+scenery, with height and breadth, but no thickness. It is a pity that
+such a charming structure as this noble building must once have been is
+now left to crumble. The magnificent rose window, or rather the circular
+opening which it once occupied, is now but a mere orifice, of great
+proportions, but destitute of glazing. The entire confines of the
+building, which crowns a slight eminence at the entrance of the town,
+are now given over to the use of the military authorities.
+
+A little to the right lies the one-time cathedral of Notre Dame,
+Soissons being another of the ci-devant bishoprics suppressed after the
+Revolution by the redistribution which gave but one diocese to a
+Department. Though not unpleasing, its façade is marred by its lack of
+symmetry, while the tower, which rises on the right 215 feet, is not
+sufficiently striking to redeem what otherwise is an ordinary enough
+ensemble. The tower to the left was never raised above where it now
+ends, and the façade, lacking the charm which the edifice might
+otherwise have had, were the towers as complete and well proportioned as
+are those of a later date which grace the remains of the old abbey, will
+be for ever wanting until this completion be carried out.
+
+Romanesque is plainly noticeable in mixture with the early Gothic. The
+three portals are not remarkable, or uniform, and are severely plain,
+and, though of a noticeable receding depth, are bare and unpeopled. A
+well-proportioned rose window, though not so large as many in the
+greater cathedrals, has graceful radiating spokes and good glass. This
+is flanked by two unpierced lancet-pointed window-frames which but
+accentuate the plainness of the entire façade. Above is an arcaded
+gallery which was intended to cross the entire front, but which now
+stops where the gable joins the northerly tower. Restoration has been
+carried on, not sparingly, but in good taste, with the result that, in
+spite of its newness at the present writing, it appears as a consistent
+and thoroughly conscientious piece of work, and not the mere patchwork
+that such repairs usually suggest.
+
+The guide-books tell one that Soissons is famous for its trade in
+haricot beans, and incidentally for the beans themselves, and for the
+great number of sieges which it has undergone, the last being that
+conducted by the Germans, who took possession in October, 1870, after a
+bombardment of three days.
+
+Fergusson makes the statement, which is well taken, that the Cathedral
+of Notre Dame de Soissons, while not in any sense meriting the term
+magnificent, presents, in its interior arrangements, at least, a most
+symmetrical and harmonious ensemble. A curious though not unpleasing
+effect is produced by the blackened pointing of the interior masonry,
+of piers, walls, and vaulting alike. An unusual feature is the
+circumambient aisles to the transepts and the suggestion that a trefoil
+apsidal termination was originally thought of, when the rebuilding was
+taken in hand in the twelfth century. The transept is so completed on
+the south side, which possesses also an ancient portal, and, with the
+two at Noyon so done, presents a feature which is as much a relief from
+the usual rectangle as are the rounded choirs of Continental churches a
+beauty in advance of the accepted English manner of treatment of this
+detail.
+
+The choir rises loftily above the transepts and nave, and, while the
+general proportions are not such as to suggest undue narrowness, the
+effect is of much greater height than really exists. This, too, is
+apparent when viewing the abside itself.
+
+The Chapel of the Rosary in the north transept is overtopped by an
+effective arrangement of perpendicular window-framing, supporting a
+beautiful rose window of the spoke variety. It is safe to say that, had
+the entire space provided been glazed, the effect of lighting would have
+been unique among the cathedrals of the world.
+
+The only other decorative embellishments are some tapestries, a few
+well-preserved tombs, and an "Adoration" supposed to be by Rubens, which
+is perhaps more likely to be genuine, because of the situation of the
+church near unto Flanders, than many other examples whose claims have
+even less to support them.
+
+
+
+
+_PART II_
+
+_The Grand Group_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+Expert opinion, so called, may possibly differ as to just what, or what
+not, cathedrals of France should be included in this term. The French
+proverb known of all guide-book makers should give a clue as to those
+which at least may not be left out.
+
+    "Clocher de Chartres, Nef d'Amiens
+    Choeur de Beauvais et Portale de Reims."
+
+Rouen, Paris, and Le Mans should be included, as well possibly as the
+smaller but no less convincing examples at Séez, Sens, Laon, and Troyes,
+as being of an analogous manner of building, and, by all that goes to
+make up the components of a really great church, Bourges might well be
+considered in the same group. For practical and divisional purposes it
+is perhaps well to compose an octette of the churches of the Isle of
+France and those lying contiguous thereto, Paris, Beauvais, St. Denis,
+Amiens, Reims, Rouen, Chartres, and Le Mans, which may be taken together
+as representative of the greatest art expression of the Gothic builders,
+as well as being those around which centred the most significant events
+of Church and State. To attempt to catalogue even briefly the charms and
+notable attributes of even the first four, would require more than the
+compass of several volumes the size of the present, whereas the attempt
+made herein is merely to lead with as little digression as possible up
+to the chief glories for which they are revered, and to suggest some of
+the many important and epoch-making events intimately associated
+therewith. More would be impossible, manifestly, unless the present work
+were to transcend the limitations which were originally planned for it,
+hence it is with no halting assertion that we enter boldly upon that
+chronology or résumé which, in a way, presents a marshalled array of
+correlated facts which the reader may care to follow in further detail
+in the list of bibliographical references included at the end of the
+volume.
+
+Certain facts relating to the history and the architectural features
+generally of these great cathedrals are known to all, and are chronicled
+with more or less completeness in many valuable and authoritative
+works, ranging from the humble though necessary guide-book to the
+extensive if not exhaustive architectural work of reference. The facts
+given herein are such, then, as are often overlooked in the
+before-mentioned classes of works, and as such are presented, not so
+much with the avowed object of imparting information, as to remind the
+reader of the wealth of interest that exists with relation to these
+shrines of religious art. This seems to be the only preamble possible to
+the chapters which attempt to even classify these magnificent buildings,
+wherein much is attempted and so little accomplished in recounting their
+varied attractions. Let this explanation stand, therefore, for any
+seeming paucity of description which may exist.
+
+
+
+
+[Illustration: _Le Bon Dieu d'Amiens_]
+
+II
+
+NOTRE DAME D'AMIENS
+
+
+The ever impressive Cathedral of Notre Dame d'Amiens is in most English
+minds the _beau ideal_ of a French cathedral. It is contemporary with
+Salisbury in period, at least, but it has little to remind one of the
+actual features of this edifice. Often associated therewith, as a
+similar type, it has little in reality in common, except that each is
+representative of a supreme style. Beyond this it is hard to see how any
+expert, archæologist, antiquary, or what not, would seek to discover
+relationship between two such distinct types. Salisbury is the ideal
+English cathedral as to situation, surroundings, and general charm and
+grace. This no one would attempt to deny; but, in another environment,
+how different might it not appear,--as for instance placed beside
+Amiens, where in one particular alone, the mere height of nave and
+choir, it immediately dwindles into insignificance. Under
+such conditions its graceful spire becomes dwarfed and attenuated. Need
+more be said?--The writer thinks not, since the present work does not
+deal with the comparative merits of any two cathedrals or of national
+types; but the suggestion should serve to demonstrate how impossible it
+is for any writer, however erudite he may be, to attempt to assign
+precedence, or even rank, among the really great architectural works of
+an era. This observation is true of many other examples of art
+expression.
+
+[Illustration: NOTRE DAME _d'AMIENS_ ...]
+
+The cathedral at Amiens is dedicated to the Virgin, and is built in the
+general form of a Latin cross. Over the principal doorway of the south
+portal, on one of the upper plinths, may be seen the inscription which
+places the date of the present edifice.
+
+     [+] En l'an`[=q]ue l'Incarnati[=o] valait mcc et xx. Ro....rs, ifu:
+     rimisit: le première piere: iasis,... le cors.... Robert...
+
+The work was undertaken by one Robert de Luzarche, in the episcopate of
+Evrard de Fouilloy, the forty-fifth Bishop of Amiens, whose tomb may be
+seen just within the western doorway, and occupies the site of other
+structures which had been variously devastated by fire or invasion in
+850, 1019, 1137, and 1218. For fifty years the work went on
+expeditiously under various bishops and their architects. "Saint" Louis,
+Blanche of Castille, Philippe the Hardy, and the city fathers all aided
+the work substantially, and the fabric speedily took on its finished
+form. Through the later centuries it still preserved its entity, and
+even during the Revolution its walls escaped destruction and defilement
+through the devotion of its adherents.
+
+In later days important work and restoration has been carried out under
+the paternal care and at the expense of the state; and the city itself
+only recently contributed 45,000 francs for the clearing away of
+obstructing buildings.
+
+A French writer has said, "It is only with the aid of a Bible and a
+history of theology that it is possible to elucidate the vast
+iconographic display of the marvellous west front of the cathedral at
+Amiens." Like Reims, its three portals of great size are peopled with a
+throng of statues. The central portal, known as the Porche du Souvenir,
+contains the statue of the Good God of Amiens; that on the right is
+called after the Mère de Dieu, and that on the left for St. Fermin the
+Martyr. Above the gables is the "Gallery of Kings," just below the
+enormous rose windows. Above rise the two towers of unequal loftiness,
+and lacking, be it said, thickness in its due proportion. The carven
+figures in general are not considered the equal in workmanship of those
+at Reims, though the effect and arrangement is similar. For a complete
+list of them, numbering some hundreds on this façade alone, the reader
+must refer to some local guide-book, of which several are issued in the
+city.
+
+The south portal, the _Portal de la Vierge dorée_ or _Portal de Saint
+Honoré_, shares company with the west façade in its richness of
+sculpture and its rose window and its gable. Here also are to be seen
+the supporting buttresses which spring laterally from the wall of the
+transept and cross with those which come from the choir.
+
+The north portal, on the side of the Bishop's Palace, does not show the
+same richness as the others, though perhaps more than ordinarily ornate.
+
+The spire above the transept crossing is a work of the sixteenth
+century, and is perhaps more remarkable than its rather diminutive
+appearance, in contrast with the huge bulk of the edifice, would
+indicate.
+
+The extreme height of nave and choir (147 feet), adds immeasurably to
+the grand effect produced by the interior, a height in proportion to
+breadth nearly double that usual in the English cathedrals. The vaulting
+is borne aloft by over one hundred columns. The natural attribute of
+such great dimension is a superb series of windows, a promise more than
+fulfilled by the three great rose windows and the lofty clerestory of
+nave and choir. The sixteenth century glass is exceedingly profuse and
+brilliant.
+
+The lateral chapels of the nave were added subsequent to the work of the
+early builders, all being of the sixteenth century, while the eleven
+choir chapels are of the thirteenth century, all with very ornate iron
+grilles, which are a feature only second to a remarkable series of
+"choir stalls," numbering over one hundred, showing a wonderful variety
+of delicate carved figures of the sixteenth century, the work of one
+Jean Turpin, the subjects being mainly Biblical.
+
+A stone screen with elaborate sculptures in high relief surrounds the
+choir, that on the south representing the legend of St. Firmin, the
+patron of Picardy, and that on the north, scenes connected with the life
+of John the Baptist. In a side chapel dedicated to St. John reposes the
+alleged head of John the Baptist. Others have appeared elsewhere from
+time to time, but as they are not now recognized as being genuine, and
+the said apostle not being hydra-headed, it is possible that there will
+be those who will choose to throw the weight of their opinions in favour
+of the claim of Amiens.
+
+The flying buttresses at Amiens are not of the singular lightness
+associated with this notably French characteristic; they are in the
+main, however, none the less effective for that, and assuredly, so far
+as the work which they have to perform is concerned, it was doubtless
+necessary that they should be of more than ordinary strength.
+
+The view of the ensemble from the river shows the massiveness and
+general proportions in a unique and superb manner. Amiens is not
+otherwise an attractive city, a bustle of grand and cheap hotels,
+decidedly a place to be taken _en route_, not like Beauvais, where one
+may well remain as long as fancy wills and not feel the too strong hand
+of progress intruding upon his ruminations.
+
+
+
+
+III
+
+ST. PIERRE DE BEAUVAIS
+
+
+Beauvais is by no means an inaccessible place, though how often have we
+known one who could not tell in what part of France it was situated. Of
+course, being "off the line" is sufficient excuse for the majority of
+hurried travellers to pass it by, but, leaving this debatable point out
+of the question, let us admit, for the nonce, that it is admirably
+located if one only chooses to spend a half-day or more in visiting the
+charmingly interesting city and its cathedral, or what there is of it,
+for it exists only as a luminous height _sans_ nave, _sans_ tower, and
+_sans_ nearly everything, except a choir of such immensity that to see
+it is to marvel if not to admire. It is indeed as Hope has said, "a
+miracle of loftiness and lightness; appearing as if about to soar into
+the air."
+
+[Illustration: ST. PIERRE ... _de BEAUVAIS_]
+
+How many readers, who recognize the charms for which the cathedral is
+most revered, know that it was intended to rank as the
+St. Peter's of the north, and like its Roman prototype, was to surpass
+all other contemporary structures in size and magnificence. This was
+marked out for it when, in the middle sixteenth century, the builders of
+its central spire, which fell shortly after, sought to rival the Italian
+church in a vast Gothic fabric which should be the dominant northern
+type in contra-distinction to that of the south. This of itself, were
+there no other contributory interests, which there are to a very great
+degree, should be all-sufficient to awaken the desire on the part of
+every one who journeys Parisward to obtain a more intimate acquaintance
+with this great work. Here was an instance of ambition overleaping
+itself,--exceeding by far the needs and conditions of its environment
+and like many another ill-planned venture, it fell to ruin through a
+lack of logic and mental balance. To-day we see a restored fabric,
+lacking all the attributes of a great church except that which is
+encompassed by that portion lying eastward of the nave proper, its frail
+buttresses knitted together by iron rods, its piers latterly doubled in
+number, and many more visible signs of an attempt to hold its walls and
+roofs up to the work they have to perform.
+
+The present structure, in so far as certain of its components go, was
+commenced within five years of Amiens (1225), which calls to mind the
+guide-book comparison, which seems so appropriate that it must really
+have previously originated from some other source,--Amiens, "a giant in
+repose;" Beauvais, "a Colossus on tiptoe."
+
+Its designer built not wisely, nor in this case too well, for before the
+end of the century the roof had fallen, and this after repeated
+miscalculations and failures. At this time the intermediate piers of the
+choir were built and a general modified plan adopted.
+
+Ruskin's favourite simile, with respect to St. Pierre de Beauvais, was
+that no Alpine precipice had the sheer fall of the walls of this
+choir,--or words to that effect, which is about as far-fetched as many
+other of his dictums, which have since been exploded by writers of every
+degree of optimism and pessimism. Certainly it is a great height to
+which this choir rises, one hundred and fifty-three feet it has been
+called, which probably exceeds that of Amiens by a dozen or more feet,
+though authorities (_sic_) vary with regard to these dimensions, as
+might be supposed; but it is no more like unto a wall of rock than it
+is to a lighthouse.
+
+With the crumbling of the sixteenth-century spire on Ascension Day,
+1573, restoration of the transepts was undertaken and work on the nave
+resumed, which only proceeded, however, to the extent of erecting one
+bay to the westward, which stands to this day, the open end filled in
+with scantling, weather proofing, and what not,--a bare, gaunt, ugly
+patch. Had it been possible to complete the work on its original
+magnificent lines, it would have been the most stupendous Gothic fabric
+the world has ever known.
+
+Not entirely without beauty, in spite of its great proportions, it is
+more with wonder than admiration that one views both its details and
+proportions. Though it is perhaps unfair to condemn its style as
+unworthy of the Augustan age of French architecture, surely the ambition
+with which the work was undertaken was a laudable one enough, and it is
+only from the fact that it spells failure in the eyes of many who lack
+initiative in their own make-up, that it only qualifiedly may be called
+a great work.
+
+The choir, which now dates from 1322, perforce looks unduly short, by
+reason of the absence of a nave to add to the effect of horizontal
+stability; and the great height of the adjoining transept; but the
+chevet and buttresses are certainly a marvel of grace and towering
+forms.
+
+The portals of the transept are of the period of Francis I., with
+flowing lines and ornate decorations--"having passed the severity and
+ethical standards of maturity, and progressed well along the path to
+senility," as a vigorous Frenchman has put it. True enough in its
+application is this livid sentiment,--perhaps,--but its jewel-like south
+portal, like the "_gemmed_" west front of Tours, forms an attractive
+enough presentment to please most observers who do not delve too deeply
+into cause and effect. The north portal is less ornate, but its
+beautifully carved doors are by the same hand as that which worked the
+opposite portal. The ornamental stonework here is unusual, suggesting an
+arrangement which may or may not have been intended as a representation
+of the "Tree of Jesse." In any case it is a remarkable work of flowing
+Gothic "branches," which, though mainly lacking its intended
+interspersed figures, is not only unique among exterior decorations,
+but appears as a singularly appropriate treatment of a grand doorway.
+
+Adjoining the choir on the right is a sacristy occupying a small
+structure, and to the westward is a fragmentary edifice known as the
+_Basse OEuvre_,--one of the oldest existing buildings in France; a
+Romano-Byzantine work, variously stated as of the sixth to eighth
+century and forming a portion of the original church which occupied the
+site of the present Cathedral.
+
+The general impressiveness of this great church--the memory which most
+of us will carry away--is caused by its immensity, its loftiness, and
+the general effect of lightness. These form an irresistible galaxy of
+features which can hardly fail to produce a new and startling sensation
+upon any observer.
+
+As to decorative embellishments, the church is by no means lacking. The
+coloured glass, typical of the best period of the art, is luxurious and
+extensive; that contained in the north and south transept rose windows
+being the exceedingly beautiful work of Le Prince, a celebrated
+sixteenth-century artist.
+
+Numerous side chapels surround the ambulatory of the choir, and on the
+west wall of the transept are hung the eight tapestries after the
+sixteenth-century Raphael cartoons now at South Kensington. These
+tapestries are, it is to be presumed, late copies, since, of the two
+early sets woven at Arras, one is preserved in the Vatican and the other
+at the Museum at Berlin. A modern fresco of Jeanne Hachette, a local
+Amazon, adorns one of the choir chapels. A modern astronomical clock,
+with numerous dials, striking figures, and crowing cocks, is placed near
+the north transept. It might naturally be supposed that in our day the
+canons of good taste would plead against such a mere "curio" being
+housed in a noble church.
+
+The former Bishop's Palace, dating from the fourteenth to sixteenth
+centuries, is now the Palace of Justice. The present episcopal residence
+is immediately to the north of the Cathedral and is modern.
+
+As a tapestry-making centre Beauvais ranks with the famous Gobelin
+Manufactory at Paris.
+
+
+
+
+[Illustration: _Notre Dame de Rouen_]
+
+IV
+
+NOTRE DAME DE ROUEN
+
+
+Rouen, of all the mediæval cities of France, is ever to the fore in the
+memories of the mere traveller for pleasure. In no sense are its charms
+of a negative quality, or few in number. Quite the reverse is the case;
+but the city's apparent attraction is its extreme accessibility, and the
+glamours that a metropolis of rank throws over itself; for it must not
+be denied that a countrified environment has not, for all, the appealing
+interest of a great city. It is to this, then, that Rouen must accredit
+the throngs of strangers which continually flock to its doors from the
+Easter time to late autumn. In addition there are its three great
+churches, so conveniently and accessibly placed that the veriest tyro in
+travel can but come upon them whichever way he strolls. Other monuments
+of equal rank there are, too, and altogether, whether it be the mere
+hurried pecking of a bird of passage, or the more leisurely attack of
+the studiously inclined, Rouen offers perhaps much greater attractions
+than are possessed by any other French city of equal rank.
+
+So closely, too, have certain events of English history been interwoven
+with scenes and incidents which have taken place here, that the wonder
+is that it is not known even more intimately by that huge number of
+persons who annually rush across France to Switzerland or Italy.
+
+Chroniclers of the city's history, its churches, and its institutions
+have not been wanting, in either French or English; and even the
+guide-books enlarge (not unduly) upon its varied charms. Once possessing
+thirty-two churches, sixteen yet remain; quite one-half of which may be
+numbered to-day as of appealing interest. _En passant_, it may be stated
+that here at Rouen, in both Notre Dame and the Abbey Church of St. Ouen,
+is found that gorgeous functionary, commonly called "the Suisse," who
+seeks your gold or a portion thereof, in return for which he will favour
+you by opening an iron wicket into the choir, an incumbrance unnoticed
+elsewhere, except at Paris and St. Denis.
+
+The late Gothic church of St. Ouen, where the Maid of Orleans received
+her fatal sentence, shows a wonderful unity of design even as to its
+modern western towers; a consistency not equally the possession of the
+neighbouring cathedral, or even of most great churches. Altogether, this
+grand building is regarded as an unparallelled example of the
+realization of much that is best of Gothic architecture at its greatest
+height. In its central tower alone--which may or may not be suggestive
+of a market-basket, accordingly as you will take Ruskin's opinion, or
+form one of your own--is the least evidence of the developed flamboyant
+found. Its interior is clean-cut and free of obstruction; the extreme
+length of its straight lines, both horizontal and perpendicular,
+entirely freed from chapel or choir screen, embrace and uphold its
+"walls of glass" in an unequalled manner.
+
+In strong contrast to this expressively graceful style is the
+ultraflorid type of St. Maclou, the other of that trinity of
+architectural splendours, which, with the Cathedral of Notre Dame, form
+the chief ecclesiastical monuments of the city. St. Maclou, which dates
+from the early fifteenth century, though not of the grand proportions of
+either of the other great churches, being rather of the type of the
+large parish church as it is known in England, holds one spellbound by
+the very daring of its ornaments and tracery, but contains no trace of
+non-Gothic. The French passion for the curved line is nowhere more
+manifest than here (and in the west front of Notre Dame), where flowing
+tracery of window, doorway, portal, and, in general, all exterior
+ornament, is startling in its audacity. To view these two contrasting
+types before making acquaintance with the Cathedral of Notre Dame
+itself, is to prepare oneself for a consideration in some measure of a
+combination of the charms of both, woven into one fabric. Nowhere, at
+least in no provincial town of France, are to be found such a
+categorical display of ecclesiastical architectural details as here.
+
+Rouen has from the second century been an important seat of
+Christianity. St. Nicaise, not to be confounded with him of the same
+name of Reims, first held a conversion here and was shortly followed by
+St. Mellor, who founded the city's first church, on the site of the
+present cathedral. In succeeding centuries this foundation gradually
+took shape and form until, with the occupation by the Norsemen under
+Rollo, was founded a dynasty which fostered the development of theology
+and the arts in a manner previously unknown. The cathedral was enlarged
+at this time, and upon his death in 930 Rollo was interred therein, as
+was also his son in 943. Richard the Fearless followed with further
+additions and enlargements, his son Richard being made its forty-third
+archbishop. From this time on, the great church-building era, Christian
+activities were notably at work, here as elsewhere, and during the
+prolific eleventh century great undertakings were in progress; so much
+so that what was practically a new church received its consecration, and
+dedication to Our Lady, in 1063, in the presence of him who later was to
+be known as the Conqueror. To-day it stands summed up thus--a grand
+building, rich, confused, and unequal in design and workmanship.
+
+The lower portion of the northwest tower, called the _Tour St. Romain_,
+is all that is left of the eleventh-century building, the remainder of
+which was destroyed by fire in 1200. Rebuilding followed in succeeding
+years and shows work of many styles. Additions, repairs, and
+interpolations were incorporated with the fragment of the tower, so that
+the structure as we now know it stood complete with the early thirteenth
+century. Viollet-le-Duc is the authority for the statement that the
+apse and transept, chapels, choir, and two doorways of the west façade
+were quite complete before the influence of the perfected Gothic of the
+Isle of France was even felt. One Enguerrand was the chief designer of
+the new church, assisted by Jean d'Andeli as master mason. The early
+century saw the nave chapels built, having been preceded by the _Portail
+aux Libraires_, a sort of cloistered north entrance, still so referred
+to, one of the most charming and quiet old-world retreats to be found
+to-day even within the hallowed precincts of a cathedral. The _Portail
+de la Calende_ did not follow until a century later, when the _Tour St.
+Romain_ was completed to its roof; at which time was also added the
+screen or arcade which separates the _Portail aux Libraires_ from the
+street.
+
+This century, too, saw the beginning of the famous _Tour de Beurre_,
+built mostly by the contributions of those who paid for the indulgence
+of being allowed to eat butter during Lent. Its foundation was laid in
+1487 under Archbishop Robert de Croixmore, and it was completed under
+Cardinal d'Amboise in 1507. A chapel at the base of the tower is
+dedicated to St. Stephen. The ornate decorations of the west front,
+added by Georges d'Amboise, are mainly of the sixteenth century and form
+no part of the original plan or design. It borders upon the style we
+have since learned to decry, but it is, at least, marvellous as to the
+skill with which its foliaged and crocketed pinnacles and elaborate
+traceries are worked. Ruskin was probably right in this estimate at
+least,--"The central gable is the most exquisite piece of pure
+flamboyant style extant." At the present day this west front is
+undergoing such restoration and general repair that the entire gable,
+rose window, and part of the flanking towers are completely covered with
+a most hideous array of scaffolding.
+
+The central spire as it exists to-day, in reality an abomination of
+abominations, is naturally enough admired by all when first viewed from
+afar. It certainly looks not dwarfed, or even fragile, but simply
+delicate, and withal graceful, an opinion which ultimate association
+therewith speedily dispels. It must be one of the very first examples of
+modern iron or steel erection in the world, dating from 1827, following
+three former spires, each of which was burned. The architect responsible
+for this monstrosity sought to combine two fabrics in incoherent
+proportions. More than one authority decries the use of iron as a
+constructive element, and Chaucer's description of the Temple of Mars in
+the Knight's Tale reads significantly:
+
+    "Wrought all of burned steel...
+      Was long and straight and ghastly for to see."
+
+The great part of the exterior of this remarkable church is closely
+hidden by a rather squalid collection of buildings. Here and there they
+have been cleared away, but, like much of the process of restoration,
+where new fabric is let into the old, the incongruity is quite as
+objectionably apparent as the crumbling stones of another age. _Notre
+Dame de Rouen_ is singularly confined, but there seems no help for it,
+and it is but another characteristic of the age in which it was
+built,--that the people either sought the shelter of churchly
+environment, or that the church was only too willing to stretch forth
+its sheltering arms to all and sundry who would lie in its shadow.
+
+In an assignment of ranking beauty to its external features, the
+decorative west front must manifestly come first; next the _Portail aux
+Libraires_, with its arcaded gateway and the remains of the booksellers'
+stalls which still surround its miniature courtyard; then, perhaps,
+should follow the _Tour St. Romain_ and the _Portail de la Calende_,
+with its charmingly recessed doorway and flanking lancet arches. The
+sculptured decorations of all are for the most part intact and
+undisfigured. The gable of the southern doorway rises pointedly until
+its apex centres with the radiated circular window above, which, by the
+way, is not of the exceeding great beauty of the other two rose windows,
+which rank with those at Reims and Chartres as the _beaux ideals_ of
+these distinctly French achievements.
+
+The interior, viewed down the nave, and showing its great length and
+that of the choir, impresses one with a graver sense of unity in the
+manner of building than is possible to conceive with regard to the
+exterior. The height and length both approximate that of St. Ouen, and,
+though the nave rises only to ninety-eight feet, an effect of greater
+loftiness is produced by the unusual quadripartite range of openings
+from pavement to vaulting: two rows of arches opening into the aisles
+before the triforium itself is reached. The lantern at the crossing
+supports the ironwork spire, and admits light to the centre of the
+church, only to a small degree, however. The south transept, like that
+of the north, with its ample double aisles, is of great width, and, were
+the framing of the great rose window of less angularity, it would indeed
+produce a remarkable effect of grandeur. The other windows, and the
+arcading of the triforium, are singularly graceful; not lacking either
+strength or firmness, though having no glass of great rarity or
+excellence. In this transept is the altar of St. Romain, a
+seventeenth-century work of little pretensions.
+
+The north transept contains two features which give it immediate
+precedence over any other, when viewed from within: its gracefully
+traceried rose window and fine glass, and the delightful stone staircase
+leading to the chapter library. Mere description cannot do this stairway
+justice. Renaissance it certainly is, and where we might wish to find
+nothing but Gothic ornament, it may prove somewhat of a disappointment;
+but it is magnificent. Its white marble balustrading gleams in the
+strong light thrown from the western transept window and gives an
+unmistakable note of richness and sonority. It was built late in the
+fifteenth century under orders of Cardinal d'Estonteville. The upper
+doorway leads to the treasury, and that of the first landing to the
+chamber in which were formerly kept the bibliographical treasures, now
+housed in the special building which forms the western wall of the
+outside court.
+
+The north and south aisles of the nave are broken into by a series of
+chapels, the chief of which are the Chapel to St. Stephen in the base of
+the _Tour de Beurre_ and _du Petit St. Romain_, where an abbé or curé
+speaking the English tongue is often to be found. On the south side is a
+chapel containing the tomb of William Longsword, second Duke of
+Normandy, and son of Rollo.
+
+The great attraction of the choir, far more than its beauties of
+architectural forms, shown in its graceful columns and deep graven
+capitals, will be, for most visitors, its array of elaborate monuments,
+including those of Pierre and Louis de Breze, of whom the former, the
+Grand Seneschal of Normandy under Charles VII., fell at Monthery, and
+was buried here in 1465. More pretentious is the tomb of Louis, his
+grandson, erected by his wife Diane de Poitiers, with a significant
+inscription which the curious may be pleased to figure out for
+themselves. This noble monument is one of those examples hesitatingly
+attributed to Jean Goujon. The _pièce de résistance_ is the Renaissance
+tomb of the Cardinals d'Amboise. Georges I. was memorialized in 1556 by
+his nephew Georges II., who in turn came to share the same tomb. Both
+their kneeling figures are beautifully chiselled, and the whole erection
+is gorgeously representative of the late sixteenth-century monumental
+work, little in keeping with the Gothic fabric which houses it, but
+characteristic of the changing thought and influence of its time. Six
+symbolical figures of the virtues form a lower course, while the canopy
+is surmounted by nineteen figures of apostles, saints, etc. In 1793 the
+ashes of these great prelates were scattered to the winds, but the
+effigies and their setting fortunately remained uninjured. Other
+archbishops of the cathedral are buried in the choir, and the heart of
+Richard Coeur de Lion once rested here, as did also the bodies of his
+brother Henry, and John, Duke of Bedford.
+
+The choir stalls, mostly the work of Flemish wood-carvers, are notable
+examples.
+
+[Illustration]
+
+[Illustration: _Basilique de St. Denis_]
+
+
+
+
+V
+
+BASILIQUE DE ST. DENIS
+
+
+The Basilica of St. Denis, so-called to-day, built over the remains of
+the martyred St. Denis, is in a way the counterpart of the Cathedral of
+Reims, in that it also is intimately associated with the Kings of
+France. In the former they were, almost without exception, crowned; and
+here, at St. Denis, are the memorials of their greatness, and in many
+cases their actual tombs. Thus far and no farther may the similarity be
+said to exist. The old Abbey of St. Denis has little in common,
+architecturally, with the grand Cathedral of Notre Dame de Reims. Of the
+two, St. Denis is much the older foundation, and from the point of view
+of romance and sentiment holds perhaps the premier place, as well.
+
+The history of the city is one of the most interesting and diversified
+of all in the domain of the Kings of France. A Benedictine abbey was
+founded here in the reign of Dagobert I., and, under the Carlovingian
+dynasty, immediately took on political as well as devout significance.
+The Abbot of St. Denis journeyed to Rome in 751 A. D. and secured for
+Pepin the papal confirmation of his kingship. Pope Stephen took refuge
+here from the Lombards in 754 A. D., during which time he anointed the
+king's sons, Charles and Charlemagne; upon the consecration of which act
+Pepin handed over to his sons the right and title to his dominions.
+
+Upon the advice of the Abbot Suger, Louis VI. adopted the _Oriflamme_,
+or standard of St. Denis, as the banner of the Kings of France, and, for
+long after, its red and gold colourings hung above the altar,--only to
+be removed when the king should take the field in person.
+
+Abélard, of famed romance, was a monk of the abbey in the twelfth
+century; and, in the absence of the sovereign (Louis VII.) in the Holy
+Land during the mid-century, the Abbé Suger administered full well the
+affairs of the kingdom. This renowned abbot and true lover of art died
+in 1151 at St. Denis.
+
+In 1429 "the Maid of Orleans" here delivered up her arms; and a century
+and a half later that sturdy Protestant, Henry, abjured the faith to
+which he had hitherto so tenaciously clung. In this church, too, the
+great Napoleon married Marie Louise in 1810; and his later namesake,
+some fifty years after, erected a mausoleum in the crypt, known as the
+_Caveau Imperial_, the burial vault of his dynasty, which, however, has
+never been so used.
+
+Such in brief is the record of some of the more important affairs of
+church and state, which are identified with this fine old cathedral. The
+usual books of reference give lengthy lists of the various tombs and
+monuments which exist. It is a pity, however, that, in spite of the
+laudable ambition of preserving here, in a sort of kingly Valhalla, the
+memory of the rulers of a past age, it has degenerated, in turn, to a
+mere show-place, with little enough of the real sentiment remaining to
+satisfy the seriously inclined, who perforce would wish to be reminded
+in some more subtle way than by a mere "rush around the exhibits," which
+is about all the half-hourly, personally conducted excursions, with
+appropriate fees to be delivered up here and there, amounts to. But for
+this, there would still be some of the charm and reverence which such a
+noble memorial should inspire, in spite of the fact that revolution and
+desecration have played more than a usual share in the general
+derangement of the original plans.
+
+Up to the time of Henry IV., the monarchs were mostly interred in
+separate tombs, but, following him, his immediate successors were buried
+in a common vault. During the Revolution, the Convention decreed that
+the royal tombs should be destroyed, and so they mostly were,--the
+bodies dug up and interred, if so the process can be called, in a common
+grave. In 1817 Louis XVIII. caused the remains of his ancestors, as well
+as Louis XVI. and Marie Antoinette, to be transferred here from the
+Madeleine, and in turn he himself was buried here, as well as the Duc de
+Berry and several of his children. The preservation of such of the tombs
+as survived the many vicissitudes to which they were put, is due to the
+fact that many of them were at one time removed to the Musée des
+Petits-Augustines, now the Palace des Beaux Arts, at Paris; but in 1817
+Louis XVIII. ordered them to be replaced in the crypt of St. Denis; not,
+however, on the sites which they formerly occupied, but in an arbitrary
+manner which only the great abilities of M. Viollet-le-Duc, who
+undertook their rearrangement and restoration, were able to present in
+some coherent manner for the marvel of future generations. There are now
+therein over fifty monuments and tombs, besides various statues,
+medallions, and other memorials.
+
+From an architectural point of view, we have to consider the _Basilique
+de St. Denis_ no longer a cathedral, as one of the earliest Gothic
+examples in France, though at first glance little enough of the true
+Gothic feeling is apparent. About the year 275 a chapel was built here
+above the grave of St. Dionysius, the first Bishop of Paris. This was
+followed by a large _basilica_, ultimately given over to the uses of
+monks of the Benedictine order. Evidences of this former construction
+are supposed by archæologists to still remain, but little, earlier than
+the structure of the Abbé Suger, meets the eye to-day. Strong is the
+trace of the development from the Romanesque façade, completed in 1140,
+to pure Gothic construction of a century later. In this church is
+commonly supposed to be exhibited for the first time, bearing in mind
+that the date of its consecration was 1144, a complete system of
+buttresses accompanying the pointed arch of the vaulting, though in
+conjunction with semicircular vaulting in the choir aisles.
+
+The west façade is the most notable part of Suger's building. It
+contains three deeply recessed round arched portals, decorated with
+sculpture, but so disfigured, or at least modified from their original
+forms in an attempt to replace the ravages of time and spoliation, that
+one can not well judge of their original merit. The south portal shows
+symbolical figures of the months and of "St. Dionysius in Prison;" the
+central doorway a "Last Judgment," and the "Wise and Foolish Virgins;"
+while the north portal depicts "St. Dionysius on His Way to Martyrdom,"
+and "The Signs of the Zodiac."
+
+A curious and unusual effect of the upper portion of this grim façade,
+like a similar work at Dol-de-Bretagne, is a range of battlements which
+were erected for defensive purposes in the fourteenth century. The nave
+rises high above this, surmounted by a statue of St. Denis. Above the
+lateral portals of the façade are two towers, that on the right rising
+two stages above the embattled crest, while that on the left stops at
+that level. The spire with which it was formerly surmounted was ruined
+by lightning early in the nineteenth century.
+
+The choir, with its radiating chapels, is of a Romanesque order, with
+the Gothic attribute of the flying buttress in a high degree of
+development.
+
+A general restoration was carried out in the thirteenth century by the
+successors of Suger, the Abbés Eudes Clement and Matthieu de Vendôme, in
+the best Gothic of the time; and it is to their excellently planned work
+that the general fine effect of the present interior arrangements may
+properly enough be accredited, though for a fact it seldom is so. A
+later restoration, the removing of the ruin wrought by the Revolution,
+did not succeed so well. It was not until the really great work of
+Viollet-le-Duc, under Napoleon III., that this grand building finally
+took on again an acceptable form.
+
+The general interior arrangements, though to-day apparently subservient
+to the common attributes of a show-house with its innumerable guides,
+functionaries, and fees, are simple and impressive so far as structural
+elements are concerned. As for decorations, they are mostly to be found
+in that gorgeous array of monuments and tombs before mentioned. The
+entrance proper, or vestibule, is of Suger's era and is gloomy and dull,
+in strong contrast with the noble and impressive nave, which contains
+thirty-seven enormously high windows and a handsome triforium gallery.
+This portion dates from the thirteenth century, or immediately following
+Suger's régime. The excellent stained glass is modern. The transepts are
+mere rudimentary elements, suggested only by the interior arrangement of
+the piers, and are simple and impressive.
+
+[Illustration: _Oriflamme of St. Denis_]
+
+
+
+
+[Illustration: NOTRE DAME _de PARIS_...]
+
+VI
+
+NOTRE DAME DE PARIS
+
+
+Of all the cathedrals of France, Notre Dame de Paris is most firmly
+impressed on the minds of English speaking people. At least, it is more
+familiarly known by all who visit that delectable land, and perhaps
+rightly so. Poets have sung its praises, and writers of all ranks have
+used it in well-nigh every possible fashion as an accessory; indeed,
+books almost without number have been written about it, and around it.
+This is as it should be, for perhaps no great church is more worthy, or
+more prolific in material. For those who would probe deeply into its
+story, there is but one way to acquire an intimate knowledge
+thereof,--to undertake a course of reading and study in some such way as
+a lawyer sets about reading up on a great case. By no other method could
+be acquired a tithe of the commonly known facts regarding its past
+history; hence the impossibility of attempting to deal fully in a few
+pages with this great church, even in a perfunctory manner. The most
+that can be safely ventured upon, is to recount some of the facts.
+
+How many have really noticed that none of the diagrams, which show the
+ground-plan of this cathedral, indicate the existence of any transepts?
+Take, for instance, that which accompanies this volume, which, it may be
+said, is drawn correctly,--beyond the omission of a couple of pillars on
+either side of the nave, there is nothing to break into the long
+parallelogram-like structure, with an apsidal termination. As a matter
+of fact, there are a pair of very beautiful transepts, as most
+photographs of the exterior, and drawings of the interior, show. They
+are, too, in no way attenuated, and are only lost in the ground-plan by
+reason of the fact that they follow the very unusual arrangement of not
+extending laterally beyond the ample width of the nave and its chapelled
+aisles. The south transept façade, with the portal dedicated to St.
+Stephen, and two magnificent rose windows, is unquestionably more
+pleasing than the west façade itself as to design and arrangement.
+
+Begun in 1163 and consecrated in 1182, the church has undergone many
+vicissitudes, changes, and restorations. It has fared ill on many
+occasions; perhaps the greatest defilement being that which befell it
+during the Revolution, when it was not only foully desecrated, its
+statues and other imagery despoiled, but the edifice was actually doomed
+to destruction. This fortunately was spared to it, but in the same year
+(1793) it became a "Temple of Reason," one of those fanatical exploits
+of a set of madmen who are periodically let loose upon the world.
+Mysticism, palaverings, and orgies unspeakable took place between its
+walls, and it only became sanctified again when Napoleon caused it to be
+reopened as a place of divine worship. Again, three-quarters of a
+century later, it fell into evil times--when it was turned into a
+military rendezvous by the Communards of '71. In turn, they too
+retreated, leaving the church, as they supposed, to the mercy of the
+flames which they had kindled. Fortunately these were extinguished and
+the building again rescued from an untoward fate.
+
+The thirteenth-century façade is usually accredited the finest part of
+the church. It comes upon one as rather plain and bare after the
+luxuriance of Amiens, Reims, or Rouen. As a model and design, however,
+it has served its purpose well, if other examples, variously
+distributed throughout England and France, are considered. Its lines, in
+fact, are superb and vary little in proportion or extent from what must
+perforce be accepted as ideal. Its portals are of good design, and so
+also is such sculpture as survived the ravages of the past, though the
+outlines of the doorways are severely plain. A series of modern
+sculptured effigies of the kings, replacing those destroyed at the
+Revolution, forms a plain horizontal band across the entire front; a
+none too graceful or pleasing arrangement of itself. A rose window
+forty-two feet in width occupies the centre of the next stage, flanked
+by two blunt-pointed windows rather bare of glass. Above is an arcaded
+gallery of small pointed arches in pairs, also extending across the
+entire front. The balustrade, above, holds a number of grotesque
+creatures carved in stone. They may be gargoyles, but are not, however,
+in this case, of the spout variety, being some of those erections of a
+superstitious age which were so frequently added to a mediæval building;
+though whether as a mere decoration, or with greater significance,
+authorities do not seem to agree. The two uncompleted square towers
+overtop all, pierced by the two great lancets, which, with respect to
+mere proportions, are unusual if not unique.
+
+The spire above the crossing is a wooden structure covered with lead,
+and dates only from the middle of the nineteenth century. Both the north
+and south transepts contain magnificent rose windows of even larger
+dimensions than that of the west façade. The doorway of the south
+transept is ornamented with effective ironwork, but otherwise the
+exterior presents no remarkable features.
+
+To the artist's eye the gem of the building is undoubtedly the fine
+grouping and ensemble of the flying buttresses at the rear of the choir.
+Most persons, so gifted, have tried their prentice, or their master,
+hands at depicting this grand marshalled array of "folded wings," and,
+but for the gruesome morgue at its foot, which ever intrudes into the
+view, one might almost say it is the most idyllic and most specious view
+of a great cathedral that it were possible to have. Were it not for this
+charming view of these buttressed walls, with the river flowing at their
+feet, the Isle de la Cité would be indeed a gloomy spot, with its lurid
+historical past, and its present gruesome association with the "house of
+the dead." Indeed, it has been questioned as to whether the choir and
+chevet of Notre Dame de Paris is not the most beautiful extant. The Isle
+de la Cité was the ancient island village of the Parisii.
+
+A sixteenth-century Dutch writer (De Sauteuil) has delivered himself of
+these few lines concerning the Seine at this point:
+
+"When first it enters the metropolis it ambitiously stays its rapid
+course, and, being truly enamoured with the place, forgets its way, is
+uncertain whither to flow, and winds in sweet meanders through the town;
+thence filling the pipes with its waters. That which was once a river,
+joys to become a fountain."
+
+To carry the suggestion of contrast still farther one should read Hugo's
+"Notre Dame" on the spot. It will give a wonderful and whimsical
+conception of those weird gargoyles and devils, which have only to be
+seen to awaken a new interest in what this great writer has put forth.
+For another sensation, pleasant or otherwise, one might look up a copy
+of Méyron's wonderful etching of the same subject, or refer to a most
+excellent monograph, written not many years since, entitled "The Devils
+of Notre Dame." The interior shows the earliest example wherein the
+double aisles of the nave are continued around the choir, and the first
+introduction of the quadruple range of openings from the pavement to
+the vaulting. The aisles and nave are of almost equal height.
+
+The choir, besides being merely apsided, is, in fact, a true semicircle,
+a sufficiently unusual arrangement in an early Gothic church to be
+remarked; and, in addition, is exceedingly narrow and lofty. The glass
+of the rose windows is of old and gorgeous quality, it having escaped
+destruction in Revolutionary times, whereas that of the lower range of
+windows was mostly destroyed.
+
+The choir stalls are of excellent wooden carving, but the high altar is
+modern, dating only from 1874. The choir screen, of the fourteenth
+century, shows twenty-three reliefs in stone, once richly gilded, but
+now tarnished and dull.
+
+[Illustration: _Notre Dame de Paris from the River_]
+
+
+ST. LOUIS DE VERSAILLES
+
+Allied with the see whose jurisdiction includes the Diocese of the
+Department of the Seine, should be considered that of Seine and Oise,
+which has its bishop's throne esconced in the Cathedral of St. Louis at
+Versailles. To all intents and purposes the town is one of those
+conglomerate units which go to make up the "traveller's Paris." More can
+hardly be said with due regard to the magnificent edifices with which
+this cathedral must naturally be classed. The other attractions of this
+"court suburb" are so appealing to the sentimentally inclined that it is
+to be feared that such will have little eye for the very minor
+attractions of the cathedral. The Trianons, the "Grandes Eaux" and the
+"Petites Eaux" are all in all to the visitor to Versailles.
+
+As a matter of fact and record, the Cathedral of St. Louis must be
+mentioned, if only to be dismissed in a word. Bourasée refers to it as
+"a thing cold, unfeeling, and without life." Truthfully, it is a
+remarkably ugly building of the middle eighteenth century, with no
+details of note and no memorials worthy of even a passing regard, except
+a monument to the Duc de Berry, who died in 1820. What embellishment is
+given to the interior, is accounted for by the exceeding ruddy glow shed
+by the contemporary coloured glass of the none too numerous windows.
+
+
+
+
+[Illustration: _St. Julien; Le Mans_]
+
+VII
+
+ST. JULIEN; LE MANS
+
+
+Le Mans, like Chartres, sprang from an ancient Celtic hill fort, and,
+through successive stages, has since grown to a Roman, a mediæval, and
+finally a modern city. It crowns the top of a very considerable
+eminence, the like of which, says Professor Freeman, does not exist in
+England. Like Chartres, too, it has always retained the balance of power
+which has made it the local civil and ecclesiastical capital of its
+province. It is, too, more closely associated in English minds than is
+Chartres, forming as it did a part of the dominion of a common
+sovereign; also by reason of being the birthplace of Henry II., and the
+burial-place of Queen Berengaria, the wife of Richard Coeur-de-Lion.
+
+Le Mans stands, without doubt, in advance of Chartres in the importance
+and number of its secondary churches, as well as its ecclesiastical,
+civil, and military establishments in general. In spite of all this,
+the city has never ranked as of supreme importance as a European city;
+nor did it ever attain the rank in Gallic times, that the events which
+have been woven around it would seem to augur. To-day it is a truly
+characteristic, large, provincial town of little or no importance to the
+outside world. Self-sufficient as to its own importance, and the events
+around which its local life circles, it gives little indication of ever
+becoming more of a metropolis than it now is; indeed the census figures
+would indicate that the department, of which it is the capital, has
+remained stationary as to the numbers of its population, since the
+Revolution.
+
+Writers have endeavoured to carry the similarity to English interests
+and conditions still farther than the events of history really go to
+prove, and have declared that Maine and England should have united in
+repelling their common invader. Endeavour has also been made to trace
+similarity between the communistic principles of days gone by, which
+took form here and at Exeter across the Channel, and have even remarked
+the similarity of the topographical features of the surrounding
+landscape, wherein the country round about differs so from other parts
+of France, being here rolling, hilly, and wooded, as in certain parts
+of England; and even stretching a point to include the hedgerows, which,
+it must be admitted, are more in evidence in Maine than elsewhere in
+France. But these observations apparently prove nothing except that the
+majority of persons probably know very little of the real conditions
+which exist in the provinces of France, preferring rather that their
+journeyings afield should follow more the well-worn road of their
+compatriots.
+
+The Cathedral of St. Julien well represents the two distinct epochs in
+which church architecture, as it remains to us to-day, was practised
+here, and shows, to well-nigh the fullest expression possible, the two
+principal transformations of Christian architecture.
+
+As the Angevin style partakes so closely of northern and southern types
+intermixed, so the distinctive architectures of Maine, if such there be,
+may be said to favour the styles of both Normandy and Anjou; at least so
+far as the cathedral at Le Mans shows a combination of Angevin and
+Norman detail. The really distinctive southern influence is to be noted
+in the Romano-Byzantine nave, the exterior of which, so far as the
+western front is concerned, is far more notable in the rigidness and
+austerity of its lines, than by any richness of ornamentation or
+decoration. Nothing could be more simply plain than this portal, and the
+wall and gable which surmount it. A large bare window, of the variety of
+that at Angers, stands above the doorway, which, itself, lacks all
+attempt at embellishment. What decoration the façade bears is after the
+true Byzantine manner, of the nature of brickwork displayed and set into
+the wall in geometrically angular fashion. What sculpture there is, two
+grotesque animals on either of the buttresses which flank the façade, is
+of minor account. This, then, is the extent of the detail of this severe
+western façade, the grand portal of the usually accepted great church
+being entirely lacking and evidently not thought of as a desirable
+detail when this portion of the structure was erected. It has nothing of
+the prodigious art expression of the frontispieces of the grand Gothic
+churches of the north, or of the less poverty-stricken Byzantine
+decoration of its own Meridional portal, which, in so far as the style
+can be said to take on richness of form, shows the transition tendencies
+of the early twelfth century. This doorway is surmounted by a tympanum,
+ornamented by a figure of the Saviour surrounded by the four
+Evangelists, a subject which has always proved itself a highly
+successful and popular ecclesiastical symbol, and one which in this
+case, as in most others, is well made use of. All the figures have
+suffered considerably from the ravages of time, but retain much of their
+interest and charm in spite of such mutilation. A tower of Romanesque
+foundation, but of fifteenth and sixteenth century completion, flanks
+this south transept.
+
+The ranking portion of this interesting church is its choir, larger in
+superficial area than the entire cathedrals of Noyon or Soissons. Both
+from inside and out, it is all that one's imagination could possibly
+invent. Its great proportions are as harmonious and graceful as the
+lines of a willow-tree; in fact, as to general effect, it may be set
+down as a thing of extraordinary grandeur, worthy to rank with Beauvais
+or Amiens, and yet different from either, of a quality its very own. At
+the commencement of the thirteenth century the canons obtained, from
+Philip Augustus, permission to extend their church beyond the city walls
+in an easterly direction, and then it was that this wonderful choir took
+shape. The work was undertaken in 1217 and was completed soon after the
+middle of the same century, and the body of St. Julien, the first
+apostle to Le Mans, for whom the church was named, was placed therein by
+Geoffroy de Loudon, then bishop, who decorated the windows of the choir
+with the magnificent glass with which they are still set.
+
+From a certain distance to the eastward the cathedral at Le Mans
+presents a view of the choir, unique in all the world. Other greater
+ones there are, if mere height be concerned, and others with more
+perfect appendages; but none give the far-spreading effect of encircling
+chapels, or are possessed of high springing buttresses of more grace or
+beauty than are seen here. He was a rash man who ranked the flying
+buttresses as a sign of defective construction, indicating structural
+weakness, meaningless and undecorative ornament, and what not. Few have
+agreed with this dictum, and few ever will after they have seen Paris,
+Beauvais, and Le Mans.
+
+The interior is one of great interest; the nave, even in its early
+forms, is none the less attractive because of its austerity. It is, as a
+matter of fact, far more interesting here than in its exterior, the
+swarthy circular pillars holding aloft arches with just a suspicion of
+the ogival style, with narrow, low, and disproportionately small
+windows in the aisles, where are also a series of strengthening pillars
+of black and white stone, presenting again a reminiscence of the
+southern manner, or at least recalling the slate and stone of Angers. In
+the choir, with its girdling chapels and double ambulatory, we come upon
+the most impressive portion of all. Slightly orientated from the east
+and west, it presents by itself, like Beauvais, nearly all of the
+attributes of a great church. The columns, arcades, and windows
+throughout are all of an unusual elegance and grace, the vaulting rising
+with much daring to a remarkable height, which must approach one hundred
+and ten or more feet, and the equal of certain other "popularly notable"
+buildings.
+
+The rose window of the south of the transept is a remarkable example of
+these masterpieces of the French builder. The framing and the glass with
+which it is set is of the richest quality, though it dates only from the
+fifteenth century. The organ case is here found in the south transept,
+an unusual arrangement in a French church, where it is usually placed
+over the western doorway. The vaulting, too, is much loftier here than
+in the nave. The aisles of this remarkable choir have the further
+unusual attribute of three ranges of openings, while the clerestory,
+only, rises above, but with great and imposing beauty. There are a few
+funeral monuments of more than ordinary interest, including that of
+Queen Berengaria, wife of Richard, the Lion-Hearted, brought from the
+Abbey de l'Epau in 1821; a sarcophagus and statue in white marble of
+Charles of Anjou, Count of Maine, King of Jerusalem and Sicily (d.
+1472), and the mausoleum of Langey du Bellay. In the north aisle are a
+number of fifteenth or sixteenth century tapestries. The former bishop's
+palace was burned by the Germans in 1871.
+
+
+
+
+[Illustration: _Notre Dame de Chartres._]
+
+VIII
+
+NOTRE DAME DE CHARTRES
+
+
+Aside from their wonderful, though non-similar, cathedrals, Chartres and
+Le Mans, its neighbour, have much in common. Both have been possessed of
+a brilliant array of counts and prelates, both grew from a Celtic
+village to their present grand proportions through a series of
+vicissitudes, wars, and conquests, until to-day each is preëminent
+within its own sphere, and has become not only a centre of
+ecclesiastical affairs, but of civil life as well.
+
+The Counts of Chartres and of Blois, in the middle ages, were a powerful
+race of men, and should ever be associated with profound respect in
+English minds by the fact that here was the birthplace of Adela, the
+mother of King Stephen of Blois, and of Henry, Bishop of Winchester.
+
+As for local conditions to-day, Chartres, while having grown to the
+state which it now occupies through events which have made it a city of
+mark, remains a somnolescent, sparsely built town, with little
+suggestion of the progress of modernity. More frequently mentioned in
+the note-books of the traveller than Le Mans, it offers perhaps no
+greater charms. To be sure, its cathedral, by reason of its open
+situation and the charming quality and effect produced by its spires and
+its one hundred and thirty windows of coloured glass, at once places it
+at the very head amongst the great "show pieces" of France; but it is in
+connection with Le Mans, scarcely eighty miles away and so little known,
+that it ought really to be studied and considered; which as a matter of
+fact it seldom is. The city is hardly in keeping with what we are wont
+to associate with the environment of a great cathedral, though this of
+itself in no way detracts from its charms. The weekly cattle-market
+takes place almost before its very doors, and the battery of hotels
+which flank the open square present the air of catering more to the need
+of the husbandman than to the tourist;--not a wholly objectionable
+feature, either.
+
+Beyond such evidences as an occasional sign-board announcing the fact
+that the hostelry possesses a _garage_, _fosse_, or what not for the
+necessitous requirements of the automobilist, the inns remain much as
+they always were, mere _bourgeoise_ caravansaries.
+
+The Cathedral of Notre Dame de Chartres jumps full into view immediately
+on leaving the railway station, though here it is to be noted that no
+delineation has ever been made by modern hand which shows its façade in
+its entirety. The roofs of the houses and shops around its base indicate
+no special squalor or poverty, as is the case with regard to some
+Continental churches, and there is a picturesque grouping of firs and
+poplars to the left which adds considerably to an already pleasing
+prospect. The whole grouping is, perhaps, none the less attractive than
+if the façade, with those extraordinarily beautiful non-contemporary
+spires, stood quite unobstructed. In fact, it is doubtful if many a
+monumental shrine might not lose considerably, were it taken from its
+environment and placed in another which might not suit its graces so
+well.
+
+These really fascinating spires, famed of all writers, archæologists,
+and painters alike, are the _clef_ by which the whole harmony is
+sounded. One cannot but echo, and reëcho, all that has been said of
+them, though in a quandary as to which of the two is the more
+beautiful: the plain, simple, symmetrical, older spire, or that
+wonderful work of Texier's, replacing another burned in 1506, which
+rises in gently sculptured and tapered ranges to a height which exceeds
+its companion by some twenty-five feet. No more appropriate or
+convincing wording could be given of it than by quoting Fergusson's
+estimate, which sums it up as being "the most beautifully designed spire
+in Europe, surpassing even Strasburg and Antwerp."
+
+It is rather a pity that from no suitably near-by point can one obtain a
+full view of the effect of the western façade. One poor little house
+seems ever to thrust itself into the ensemble, though it is to-day
+apparent that certain others, which must have cut into the front still
+more, have been cleared away. Clearly, with all its charm and beauty of
+detail, it is for its great and general excellencies that the cathedral
+at Chartres most impresses itself upon the memory.
+
+Visitors to-day will have no easy task in locating Lowell's "little
+pea-green inn," in which he indited the lines, "A Day in Chartres;" as
+appreciative and graceful an estimate of an inanimate thing as ever was
+made in verse:
+
+    "The Grecian gluts me with its perfectness
+    Unanswerable as Euclid, self-contained,
+    The one thing finished in this hasty world.
+      But ah! this other, this that never ends,
+    Still climbing, luring fancy still to climb,
+    As full of morals, half divined, as life,
+    Graceful, grotesque, with ever new surprise
+    Of hazardous caprices, sure to please,
+    Heavy as nightmare, airy light as fern,
+    Imagination's very self in stone."
+
+Among the other attractions of the west façade is the Porte Royale, so
+called, the central doorway which was only opened for the entrance of
+the sovereign. It is decorated with the "signs of the zodiac" and
+"symbols of the months." Next in point of richness are the grandly
+effective north and south porches, with their triple doorways or
+portals, setting back some twenty feet from their jambs, which, as at
+Noyon, and in the smaller church at Louviers, are pierced with a
+transverse passage.
+
+The north porch, with its range of three open-sided and deeply recessed
+doorways, has unmistakably debased tendencies, but is filled with
+sculptured statuary of more than ordinarily effective disposition, more
+remarkable for magnitude and ornateness than for finesse of skill and
+workmanship, or even as a detail of good taste.
+
+The life-size statues of all three recesses are held aloft by pedestals,
+on pillars of twisted and of spiralled trunks, a formation reviled by
+Ruskin, but producing an effect much more pleasing than some galleries
+of effigies we have seen, where the figures appear as if hung up by the
+hair of their heads, or are clinging to the walls by invisible spurs at
+their heels, or, as is not infrequently the case, are standing or hung
+on nothing, as though they were graven of some bewitched magnetic stone.
+Here for the first time is seen, in the sculptured figures of the three
+great portals, the plastic forms which were to add so greatly to the
+Gothic architecture: male and female saints, Evangelists, and Apostles
+in great array, all somewhat more than life-size. Only one adverse
+impression is cast: that of petrifaction. The figures, almost without
+exception, appear as integral parts of the architectural fabric, rather
+than as added ornament. They are most ungainly, tall, stiff, and
+column-like, much more so than similar works at Reims, or at Amiens,
+where the sculpture has something of the vigour and warmth of life.
+
+The south porch, erected in the reign of Henry I. by Jean Cormier,
+partly from donations of Matilda, queen of the Norman Conqueror,
+contains a series of _basso relievos_,--seen also in the arches of the
+choir,--manifestly not of good Gothic principle, and one which is the
+very antithesis of the northern spirit, as the name itself implies.
+
+The earliest portion of the existing church, the crypt, is that of a
+timber-roofed structure burned in 1020. It was erected early in the
+eleventh century by Fulbert, the famous Bishop of Chartres, also
+remembered--possibly revered--as being the prolific letter-writer of his
+time.
+
+John of Salisbury was bishop in the next century, and under him were
+built the lower stages of the western façade and towers. In this church
+Edward III. called for the help of Heaven to aid his plans, and here
+Henry of Navarre was crowned King of France, a change of venue from
+Reims, where so many previous and subsequent coronations were held.
+
+The interior gives a deal of the thrill for which one should always be
+prepared. The gloom, so apparent at first, slowly brightens as the eye
+becomes accustomed to the finely filtered light, which penetrates
+through the gorgeous coloured glass, a feature which ranks with the
+spires as a vivid impression to be carried away. Nearly all of this
+glass is of equal worth and attractiveness, being, with the exception of
+three windows of a late date, and a few uncoloured ones, all of the
+gorgeous thirteenth-century variety.
+
+The whole mass of the clerestory throughout gives the effect of windows
+heavily hung with tapestries through which the outside light pierces in
+minute rays. This comparison is made advisedly, inasmuch as, regardless
+of the quality and value of the glass, it is composed mainly of those
+minute and fragmentary particles often more rich in colour than design.
+
+There is little doubt but that the result of the deep rich blue, claret,
+and orange gives a first effect of insufficient lighting which would try
+an artist or photographer sorely, though not a detracting element in
+churches which would often appear cold and unconvincing were such an
+attribute lacking. There are also three magnificent rose windows of
+great size (thirty to forty feet), containing equally good glass.
+
+A double ambulatory surrounds the seven-chapeled choir, which is further
+enclosed by a magnificent sculptured stone screen begun in the sixteenth
+century by Texier, who designed the marvellous north spire. The _Vierge
+du Pilier_ of the north choir aisle, a fifteenth-century shrine, is the
+subject of great local veneration. The treasury contains a _relique_ in
+the form of the veil of the Virgin, supposed to have been presented by
+Charlemagne to Princess Irene.
+
+Other interior details of note are an eleventh-century font; the large
+crypt beneath the choir; the unequal level of the pavement of nave and
+choir; and the maze, which still exists in the nave. This last feature
+is a winding circular path some forty odd feet in diameter, and, in all,
+perhaps a thousand feet long. As a penance in place of a pilgrimage to
+Jerusalem, "the journey of the maze" was performed by the penitent on
+his knees--taking perhaps an hour or more, according to the size and
+length of the path, which varied with different churches where they
+formerly existed. The other most notable example in France is at St.
+Quentin, northeast of Paris.
+
+
+
+
+IX
+
+NOTRE DAME DE REIMS
+
+
+The very ancient city of Reims, now the capital of the Department of the
+Marne, was a large centre of population when it first fell under the
+sway of the Romans. During Cæsar's occupation it was known as
+Duroctorum, in the Præfecture of the Gauls.
+
+A powerful metropolis and a faithful adherent of the Romans, the city
+early attained prominence as a centre of Christianity. St. Sixte
+preached the word here shortly after the first bishopric was founded,
+after capture by the Vandals in 406 A. D. The city was practically razed
+by Attila, who afterward met defeat at Chalons. During the Roman Empire
+it was the most important town of the Province of Belgica Secunda, later
+becoming known as the capital of the Remi, the name given to the people
+inhabiting the country round about.
+
+[Illustration: NOTRE DAME _de REIMS_ ...]
+
+In 508 A. D. the Franks under Childeric captured the city, and in 720 A.
+D. Charles Martel captured it from Bishop Rigobert. Here, too, Pope
+Stephen had his famous interview with Pepin, and attended the crowning
+of Louis le Débonnaire in 816 A. D. In 744 it was made an archbishop's
+see, with suffragans at Amiens, Beauvais, Chalons, and Soissons. It is
+to-day the ecclesiastical capital of France--the Archbishop of Reims
+being the metropolitan prelate.
+
+Clovis, son of Childeric, King of the Ripuarian Franks, in 496 A. D.
+conquered the last Roman stronghold at Soissons, and, having married a
+Burgundian princess, Clotilda, was induced to accept Christianity. He
+was accordingly baptized here by St. Remi on Christmas Day, 496 A. D.
+
+Leo III. met Charlemagne here; a council was held in 1119 A. D. by
+Calixtus II. in an attempt to reconcile Henry I. and Louis le Gros; and,
+later, another, to excommunicate another Henry.
+
+Succeeding years saw a continuity of archbishops, who achieved by their
+religious works a world-wide fame and glory. In these early days they
+held the temporal as well as spiritual power of the cities, and in some
+instances even coined their own specie.
+
+In spite of the changes of the times and conditions of life, the
+ancient capital of Belgica Secunda still remains the chief city of the
+Departments of the Marne, Ardennes, and Aisne. Its ecclesiastical and
+secular monuments, headed by the grand Cathedral of Notre Dame, form an
+array which is well worthy of such extended consideration as the
+traveller or student can give. The Benedictine Abbey, the Church of St.
+Remi, is likewise notable in all of its dimensions and details. Its
+construction dates from 1162-1506, though the remains of a former
+tenth-century structure are made use of therein. Its chief treasure is
+the tomb of St. Remi, a wonderful Renaissance funeral monument of
+imposing proportions. Another monumental feature of more than unusual
+note, is the magnificent Roman arch of the former fortress of Porte
+Mars. This truly majestic specimen of the work of the Roman builder is
+supposed to have been erected by Agrippa in 25 B. C., in honour of
+Augustus, although another authority puts it as late as the period of
+Julian, 361 A. D. At any rate, it has stood the rigours of a northern
+clime as well as any Roman memorial extant; indeed, has seen fall all
+its contemporaries of the city, for at one time Reims was possessed of
+no less than three other gateways, bearing the pagan nomenclature of
+Ceres, Mars, and Venus.
+
+The various other memorials of the city are on a no less grand scale,
+but the average person will hardly have eyes and ears for more than a
+contemplation of the wealth of splendour to be seen in its overpowering
+cathedral. Of the glorious group of monumental churches of northern
+France, the Cathedral of Notre Dame de Reims, if not admittedly the most
+beautiful and memorable Gothic edifice in all France, needs but little
+qualifying comment. It has a preëminence which has been generally
+conceded, and even elaborately endorsed, by most observers qualified to
+pass opinion hereon. Contemplation of the wealth of detail, and of the
+disposition of its wonderful west front, no less than of its general
+excellencies, can but compel the decision that in its exterior, at
+least, the Cathedral of Reims is the peer of any existing Gothic fabric.
+Though less huge than Strasburg or Cologne, and lacking the doubled tier
+of flying buttresses of the latter, it is altogether the most splendid
+and well-proportioned Gothic mass extant. The diminishing or pyramidal
+effect of the towers and gable of this west façade is an exemplification
+of the true symmetry of Gothic form. Lofty, and not closely hemmed in
+by surrounding structures, it looms, from any adjacent view-point, fully
+two-thirds of its decorated splendour above the general skyline round
+about. Aside from modern adulation we have the praise of an early
+historian, who delivers himself thus:
+
+_"Decor et majestes praeclarissime hugus structurae omnem scribendi
+peritiam longe superat, ob elegantum omnibus est admirationi, at que
+sibi similem non habet in tota Gallia."--Met. Rememsis Hist. Dom.
+Guliol. Marlot S. Nicasii Rem. Prioris, Tom ii. p. 470._
+
+Following the preaching of St. Remi, and the murder of St. Nicaise, who
+founded a church on this site in 400 A. D., Ebo, bishop in 818 A. D.,
+laid the foundations of a new church, Louis I. granting that such
+material as might be needed be taken from the city wall. To assist, the
+sovereign also sent his architect, Rumaldi. In 847 A. D. Archbishop
+Nicman secured a renewal of the privileges, and in the presence of the
+king the building was consecrated in 862 A. D. The western entrance was
+ornamented with graven statues of Louis I., the patron, Pope Stephen,
+and the archbishop himself.
+
+This entire fabric succumbed to fire on the 6th of May, 1210, and the
+present structure rests merely on the remains of the ancient crypt,
+which in a measure survived. Few visible remains of this ancient
+foundation are to-day visible. The new church reared itself rapidly
+under the immediate supervision of the Archbishop Alberic de Humbert.
+The choir, begun within two years of the fire, made such progress as to
+allow of the high altar being ceremoniously dedicated within three
+years; and, before the middle of the century, the records tell us that
+the main body of the church was entirely completed. The right tower was
+uncompleted at this time, but was finished by Cardinal Philastre in
+1430, up to which time intermittent labour had evolved a superlative
+combination of constructive and decorative excellencies. The extreme
+lightness of the west front is brought more and more to impress itself
+upon one by reason of the consistent disposition of the excellency and
+delicacy of its sculptured ornament.
+
+This western front, from the grand portals upward, is the _apogee_ of
+French Gothic ornament,--at once the admiration and boast of all France.
+Here is no mixture or confusion of style, in design or decoration. The
+pointed arches of window and doorway are of the accepted "best manner,"
+the heavy detail is placed low and rises gracefully to the "Gallery of
+Kings," a grand succession of stone effigies of royalties from Clovis to
+Charles VII., a decorative arrangement not made use of elsewhere to
+anything like a similar extent, a fact which of itself stamps the
+cathedral as the royal church of France. Conceived by one Gaucher, the
+portals are not only superior to all others in richness, depth, and
+quality of the sculpture shown in the hundreds of figures with which
+they are peopled, but are of exceedingly true and appropriate
+dimensions, taken in relation with the other parts of their setting.
+Immediately above the gable of the central portal is a wonderful rose
+window, of the spoke variety, containing thirty-four sections,--of
+immense size and nearly forty feet across. This "most perfect rose,"
+designed by Bernard de Soissons, may well be credited as one of the
+masterworks of architectural decoration in all the world. Flanking this
+great window on either side are two open lancet arches, while above is
+the "Gallery of Kings" before mentioned. The twin mullioned towers on
+either side rise for two hundred and sixty-seven feet. Light and airy,
+they depend for their effect of grace and symmetry entirely upon
+structural design, lacking sculptured ornament of any kind. Formerly
+they possessed spires of a great height, which, however, were destroyed
+by fire in the fifteenth century.
+
+"Were all its original attributes complete," says Fergusson, "we should
+have the _beau ideal_, externally, of a cathedral." This is probably an
+adaptation of Viollet-le-Duc's estimate, which he expresses thus: "This
+west façade is the most splendid conception of the thirteenth
+century,--Paris, like Laon, being really a transition example, Amiens
+representative of different epochs, Chartres a mere reunion of
+fragments, and Bourges and Rouen a _mélange_ of three centuries."
+
+The south transept portal, which is of great breadth, contains statues
+of the Archbishops of Reims, and one of Clovis. A similar doorway on the
+north side, though now walled up, contains, in the tympanum, a fine
+sculptured "Last Judgment," while the transept itself houses one of
+those great clocks so frequently met with in Continental churches,--in
+this instance said to be the oldest running time-piece in existence.
+
+Seven flying buttresses, between the transept and the west front, flank
+the nave, each holding aloft an elegantly canopied niche containing a
+full-length winged figure, a further unique arrangement being a similar
+figure which caps or pinnacles the outer piers, from which the
+buttresses spring. Above the point of contact of the buttresses with the
+main body, runs an effective balustrade of small pointed arches, while
+the abside shows, again, a wonderful combination of the buttress as a
+decorative and utile feature, combined.
+
+The exterior may be summed up briefly as being the most gorgeously
+peopled and decorated structure of its age--as though it were expressly
+designed to show off this great throng of statues to the best possible
+advantage. Taken collectively, the series forms, says one writer, "the
+most complete and magnificent collection of mediæval iconography
+extant." The figures were originally perhaps as many as five thousand,
+representing nearly all the families of mankind.
+
+In size the Cathedral of Reims ranks third among the four largest in
+France, being exceeded only by Amiens and Chartres, while Paris is
+slightly smaller.
+
+The interior presents by no means the awe-inspiring grandeur of the
+exterior mass, and is possibly inferior to both Amiens and Chartres,
+and though well disposed, lacks the lightness of Cologne or Beauvais. A
+first impression rather indicates large proportions of length, breadth,
+and height in the nave, though these dimensions are not actually of the
+greatest. The transepts, including their aisles, are, however, of an
+extreme width, but very short; and the absence of side chapels, either
+here or in the nave, produces a regularity of outline unusually
+convincing.
+
+The nave piers, of which there are ten on either side, with two window
+piercings, are of a manifestly heavy order, the capitals unusually so,
+being very deep and weighty with carving in high relief. The triforium
+is severely plain, being a mere shallow gallery of small pointed arches.
+The nave itself is, moreover, somewhat gloomy, when contrasted with the
+brilliant lighting of the aisles, caused by the peculiar arrangement of
+plain and coloured glass, the former filling the windows of the
+clerestory and the latter those of the aisles, the reverse being the
+case with the opposite ranges. The aisles have no chapels between the
+rather low windows, but groups of clustered columns against the walls.
+The vaulting is deep, with simple ribs, coloured with a blue ground
+spangled with stars and _fleurs-de-lys_. The choir is surrounded by
+seven chapels.
+
+There are ten columns in the choir, all with beautifully wrought
+capitals. The pavement here is composed of marble taken from Libergier's
+abbey church of St. Nicaise, from which edifice, since destroyed, was
+transferred the tomb of Jovinus, the Roman prefect of Reims, who became
+converted in 366 A. D. The sarcophagus consists of a huge block of
+marble, nine feet by four, with a figure of Jovinus, "lion hunting on
+horseback," carved in high relief. The roof of the choir is curiously
+constructed of wood, of chestnut, say the authorities, as no spiders are
+found. The high altar, as reconstructed by Poncelet Paroissien in 1550,
+was a very beautiful affair if old prints, usually none too reliable as
+to detail, are regarded. It was, however, destroyed during the middle of
+the eighteenth century.
+
+The glass of the rose window dates in part from the period of the
+greatest richness (thirteenth century).
+
+The sepulchral monuments, aside from the sarcophagus of Jovinus, are
+to-day practically _nil_, having been swept away during the terrors of
+the Revolution. Two interesting effigies still remain, however, near
+the western doorway, a figure of a mailed knight and an abbess.
+
+Among the real riches of the Cathedral are the remarkable and unique
+tapestries; well preserved, and of the finest quality of design and
+texture. Fourteen, by Lenoncourt, date from 1530-70; those in the south
+aisle, the Pepersacks, the gift of Abbé Lorraine, from 1640; and the
+modern Gobelins of the nineteenth century, the gift of the government.
+The "Tresor," which includes the church plate, most of which appears to
+have endured the ravages of invasion and wars, is truly magnificent and
+intrinsically of great value. The chief of these are: the chalice of St.
+Remi, of the eleventh century; a reliquary containing a thorn from the
+Holy Crown; the marble font in which Clovis was baptized in 496 A. D.;
+the chasuble of Louis XIII., and the _Sainte Ampoule_, which contained
+the holy oil brought by a dove from heaven for use at the conversion of
+Clovis, now a mere fragment enclosed in a modern setting, after having
+been ruthlessly shattered by a _sans-culotte_ in 1793.
+
+Adjoining the Cathedral, on the right, is the Episcopal Palace, which,
+with its dependencies, occupies a hectare or more of ground. In the
+first courtyard is the modern library building, which houses the
+cathedral's rich bibliographical treasures. Further, through a gateway,
+is a structure, in itself a grand building, of the time of Louis XIV.
+The right wing was constructed by Le Tellier in 1690. This portion is
+now occupied as a dwelling by the archbishop. At the end of the furthest
+courtyard is "The House of the Kings," a truly grand establishment, so
+called in the official documents because it was the _logement_ of the
+monarchs who visited the city on affairs of state. This recalls to mind
+not the least notable of the functions performed by the great cathedral
+itself.
+
+With four exceptions all the Kings of France, from Clovis to Charles X.,
+here first entered into their kingly state. The monarchs of France were
+a long and picturesque line, and the ceremonies attendant upon their
+coronations were accordingly imposing and magnificent. The culmination,
+for theatrical splendour and effect, was doubtless that of Charles VII.,
+who, through the efforts of the "Maid," here came into his own. It was a
+splendid, if gaudy, pageant, and the most memorable event among that
+long series which only ended with the coronation of Charles X. in 1823.
+
+
+
+
+_PART III_
+
+_The Cathedrals of the Loire_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+The Loire Valley for its whole length may, in every sense, be well
+considered the dividing-line between northern and southern influences.
+The romance and sentiment which cradled itself here could only have
+emanated from the more languid south, and from vastly differing
+conditions to those of the colder north. The admiration usually bestowed
+upon the attractions of its domestic architectural forms is, no doubt,
+fully merited; albeit that the cathedrals of these wealthy and powerful
+communities are, no one can possibly deny, if not of a mongrel type, at
+least of a degenerate one. It is perhaps hardly fair to note such an
+expression without qualification where it is applied to St. Gatien at
+Tours, which is really a delightfully picturesque structure; or to St.
+Maurice, at Angers, which is unique as to its charm of situation, and
+one of the most interesting churches anywhere to be found. But the fact
+is that the general plan and design is not only open here to much just
+criticism, but is not of the order of consistency which alone entitles
+an architectural monument to rank as truly great. In no instance, from
+Orleans to Nantes, are the cathedrals of these cities possessed of the
+consistent array of charms which would entitle them to a proportionate
+share of the admiration which is usually accorded to the great domestic
+establishments, the Chateaux of Blois, Chenonceau, Chambord, Langeais,
+or Loches.
+
+The climatic conditions of this region hardly more than intimate the
+suggestion of the southland, but there is to be seen in the vineyards,
+and indeed in things that grow, generally, a notable tendency toward a
+luxuriance that is not found northward of this valley. Productive,
+prosperous, influential, and possessed of historical and sentimental
+associations as a touring ground far beyond any other section of France,
+the Valley of the Loire at once takes rank as the land _par excellence_
+where the traveller can be sure of a maximum of pleasure and profit; and
+one worthy in every way of as prolonged study and sojourn as one's
+possibilities and circumstances will allow.
+
+The towns group themselves naturally _en suite_ in the following order:
+Orleans, Blois, Tours, Angers, and Nantes, and are so considered in the
+pages that follow.
+
+
+
+
+[Illustration: _CATHEDRAL of Ste CROIX ORLEANS_]
+
+II
+
+ST. CROIX D'ORLEANS
+
+
+The association of Orleans, in English minds, mostly rests upon the
+events connected with the siege. Its history in the past has been mainly
+that of bloody warfare and massacre. As the Genabum of Gallia, it was
+burned by Cæsar in 52 B. C. in revenge for a previous massacre of the
+Romans. By Aurelian it was rebuilt and named Aurelianum, the progenitor
+of its present nomenclature. St. Aignan in 451 secured the safety of the
+city to the cause of Christianity by warding off Attila's attack.
+Clovis captured it in 498, but at his death it became the capital of an
+independent kingdom which was afterward, in 613, united with that of
+Paris. Activities no less extensive or vivid followed, till the English
+besieged the city in 1429, only retiring before the conquering hosts led
+by the Maid of Orleans on the 7th of May; the Huguenots held it as a
+stronghold under Coligny; and latterly the Germans occupied it, were
+driven out, and again reoccupied it as a base in 1870-71. Such, in
+brief, is a partial record of its troubles and trials, with scarce a
+reference to a Christian or religious motive, if we except Attila's
+unsuccessful attack and Coligny's Protestant fervour.
+
+The almost legendary part played by Jeanne d'Arc should suffice to
+impress indelibly upon the mind the chief event in connection with any
+city with which her name and fame were associated.
+
+In the third century seven bishops were sent out from Rome, to extend
+the influence of the Church, to Tours, Orleans, Toulouse, Narbonne,
+Paris, Limoges, and Auvergne; though, in spite of the success with which
+they met, and the zeal with which they worked, their meetings were
+chiefly held in the houses of their more opulent converts, and church
+building at the time appears not to have been so much desired as the
+dissemination of the Word itself. Since its occupation by the Germans in
+"'71," great contrasting elements have sprung up. Nowhere, not even in
+the "up-to-date" Rhine cities of Germany, is better exemplified the
+trend of the age in which we live. There are notable indications of its
+modernity in the architecture of public and private buildings, many
+streets and boulevards of the city being laid out anew and bisecting the
+older portions.
+
+The Cathedral of St. Croix, of widely contrasting styles and eras, forms
+a pleasing enough key-note to it all, in spite of its garish crudities.
+At its best, when viewed from the bridge which spans the well-nigh dry
+bed of the Loire, it composes well with what is at all times a pleasing
+prospect, and is set off to great advantage by the fringe of green
+boulevard along the river bank,--a fine enough setting for an
+architectural monument of whatever rank, be it new or old, consistent or
+conglomerate. As for the classification of the architectural style of
+the cathedral itself, it is an unprincipled mixture of components, but
+little related to each other. The southern influence is apparent, alike
+in the scanty remains of the Romanesque, and the restored Renaissance
+portions, while Gothic peeps out here and there, in no mean proportions,
+as though it were misplaced and out of its true environment. The
+cathedral, which was destroyed in 1567 by the Huguenots, in spite of the
+admonitions of the Condés, is still visible in the fragments of the
+choir aisles, the fourteenth-century chapels appearing to have been
+uninjured. This much remains of the Gothic of Henry IV.'s time. The late
+seventeenth-century work is a manifest expression of the debasement of
+Gothic, and such other additions as were made in the reigns of the Louis
+carry the vulgarities still further, the acme being reached in the
+pseudo-classical north and south porches, which are sepulchral-looking
+of themselves, and not even of the most admired variety of the species.
+The most that can be remarked, considering all the distinctive features,
+is the fact that this cathedral is the only Gothic church, so ranking,
+that is not of Mediæval growth, a fact which may well account for its
+unsatisfactory style.
+
+The façade follows the usual enough arrangement of three portals, though
+very ugly ones, flanked by rising towers on either side. In this case
+these doorways are of the nondescript variety commonly accepted as base
+Gothic, but hardly warranting even such a term of endearment. They are
+in fact flamboyant as to their lines, though of a remarkable poverty as
+to further embellishment, if we bar a series of misplaced armorial
+blazonings.
+
+Topping the gables of the portals are a series of circular apertures,
+with framing of a sort, but without glass,--a poor imitation of what a
+rose window might be at its worst. Above is an arcaded gallery of nine
+graceful arches, the first really attractive ornament of this debased
+façade. The towers, finished so late as 1789 by M. Paris, the king's
+architect, rise loftily some two hundred and eighty feet, with ranges of
+slight columns and perpendicular lines, which give the grand and
+imposing effect of height of which the cathedral is undeniably
+possessed, and which, when viewed from down the Rue Jeanne d'Arc, is
+without doubt impressive,--far more so than greater intimacy will
+sustain.
+
+The nave, of a height of one hundred feet, is flanked by double aisles,
+and in appearance is every way superior to the exterior.
+
+No remarkable art treasures are to be seen, if we except a series of
+sculptured Stations of the Cross beneath the windows, and the Gothic
+altars of the transepts.
+
+
+
+
+[Illustration: _CATHEDRAL of S. LOUIS BLOIS_]
+
+III
+
+ST. LOUIS DE BLOIS
+
+
+Regardless of the sentiment which attaches itself to Blois by reason of
+its magnificent chateau, and in spite of its undeniably picturesque and
+interesting environment, it hardly takes sufficient rank as a cathedral
+city to warrant more than a passing consideration. As it is, one cannot
+get from under the shadow of its overpowering attraction, and, in spite
+of the poverty and depressing qualities of the Cathedral of St. Louis,
+perhaps no place in the Loire valley has more claim upon the attention
+of the enthusiastic tourist. The wonderful chateau is all that has been
+said of it, and more. The picturesqueness of the city's streets of
+stairs, and its general up and down hill situation, offering charming
+vistas, unique in a city of the north, are, except for its size, really
+more suggestive of Genoa or Naples. In the general ensemble of the city,
+the Loire is an attraction of itself, when viewed from across that
+wonderful stone bridge, the first public work endowed by Louis XV. But
+even then, the awkward and uninteresting cathedral does not enter into
+the view with that liveliness and impressiveness which we are wont to
+associate with such an environment. In short, it must be set down that
+in the lack of pleasing qualities in its cathedral, is found Blois'
+greatest disappointment.
+
+The tourist _pur sang_ will care little about this. He usually rushes in
+and out during the daylight, and recalls but little except the
+fascinating staircase of the chateau attributed, as to its spiral
+formation, to Da Vinci; the ornamental chimney-pieces; and the fact that
+historical events of the past have intermingled inextricably the
+gruesome stories of the royal houses which bore respectively the arms of
+hedgehog and salamander. This only, with perhaps the memory that at one
+time or another a certain event took place involving the use of some
+forty odd daggers.
+
+Perhaps, after all, it would be an embarrassment of riches did the town
+possess a cathedral, or even other monuments, to vie with this
+spectacular attraction which, from every view-point realizes the ideal
+of our imagination, as to just what a chateau and its history might be.
+
+From near or far the cathedral shows no charm of outline. Its ridgepole
+is marred by three unusually obtrusive "lightning conductors," which
+could hardly have been more offensive had they been turned into those
+lath-like crosses which are seen elsewhere. Its tower is a monstrosity,
+with an egg-shaped protuberance which is neither shapely nor impressive,
+while the southern range of the nave and aisle, when viewed laterally,
+shows a bareness and poverty of design unusual and painful. The
+ensemble, from this point, is one of a certain impressiveness. It could
+hardly be otherwise, with the situation which it commands, even were it
+the grossest thing that ever took shape in architecture. Its
+irregularities and inconsistencies, and the great variety of outline
+shown by the roof-tops of the town, perhaps, make up in a measure for
+the lack of individual beauties in the church itself.
+
+There is this much to be said, however, for the functions which this
+church performs. If all were as much made use of by the market-day
+peasants, streaming in from the surrounding country, who, with their
+jugs, market-baskets, and what not, in their hands, enter the building,
+say a short prayer or two, and toddle out again, there would doubtless
+be fewer churches with a poverty-stricken air and more of a better and
+more prosperous class.
+
+The greater part of the cathedral which originally stood on this site
+was destroyed during the Revolution, and that which was afterward reared
+here was merely a restoration by Mansard, who, it is to be presumed,
+made such use as was possible of what remained.
+
+The interior, most will agree, is no more remarkable than the exterior
+adornments; in fact the same paucity of plan and of detail appears from
+one end to the other, inside and out. The aisles are astonishingly low;
+the choir and nave, each unusually short. There are no transepts, and
+there is no triforium whatever, no chapels of any remarkable beauty, and
+little glass that is even passable. On the walls of the nave, beneath
+the low clerestory windows, are a series of four carven Renaissance
+marble panels, with other blanks suggesting the ultimate addition of
+similar sepulchral-looking ornaments. Such, in brief, is a résumé of the
+attractions, or rather the lack of them, as it will strike the average
+person. It is perhaps no small wonder that the traveller who desires to
+study architectural forms, or to sketch them, should prefer the less
+holy precincts of the chateau, where every facility is offered for the
+pursuance thereof, to that more "blessed ground," covered by the
+cathedral, which offers little enough in itself, and that little under a
+surveillance which makes one regret that the feudal times are not still
+with us,--when we might vent our spleen and anger upon any who offend
+us.
+
+
+
+
+[Illustration: _St. Gatien de Tours_]
+
+IV
+
+ST. GATIEN DE TOURS
+
+
+The _soi-disant_ provincial metropolis of Mr. James' appreciative
+favour, the capital of old Touraine, is possessed of great and many
+charms for the seeker after new things. He may be passionately fond of
+churches; if so, the trinity here to be seen, and the history of their
+founders and prelates, and the important part which they played in
+church affairs, will edify him greatly. If romance fills his or her
+mind, there is no more convenient centre than Tours from which to "_do_"
+the châteaux of the Loire. If it be French history, or the study of
+modern economic or commercial conditions, the past activities and
+present prosperity of the city will give much food for thought. If to
+literature one's mind turns, there is the association with Balzac's
+birth in the Rue Royale, and his delightful picturings of the city's
+environment in the "Curé de Tours," "Le Lys dans la Vallée," and "La
+Grenadière." Says Balzac of the habitant: "...He is a listless and
+unobliging individual." But the sojourner for a day will probably not
+notice this, and, if he should, must simply make allowance, and think
+with Henry James of the other memories of "this land of Rabelais,
+Descartes, and Balzac; of good dinners, good company, and good houses."
+To link the city still closer with letters, the first printing-press in
+Touraine was set up here in 1496. Nicolas Jensen, famed as the foremost
+Venetian printer of his time, was born in the neighbourhood and was at
+one time "Master of the Mint" at Tours. Christopher Plantin, the head of
+the famous Antwerp family of printers, likewise was born in the near-by
+suburb of St. Avertin près Tours.
+
+Climatically, Touraine appears to linger between the rigours of the
+north and the mildness of the southland; at least we are conscious of
+another atmosphere, made apparent by such evidences as palms and prunes
+growing in the open.
+
+Tours, says her historian, has ever employed the pure French in her
+spoken and written word; "patois and provincialisms have no place
+here."
+
+St. Martin of Tours erected a church here, in honour of St. Peter and
+Paul, as a sort of antidote to the many pagan temples which he had
+caused to be destroyed. His successors built several others round about
+the city, but they appear to have been all of small size until, in the
+fifth century, Perpetus, Bishop of Tours in the reign of Childeric,
+caused to be built a more splendid church to replace that which Briceius
+had erected over the tomb of St. Martin. This, in turn, was rebuilt by
+the celebrated Gregory of Tours, or so ordered by him; until finally in
+the seventh century the abbey church of St. Martin of Tours became a
+place of pilgrimage for all the Turones. To-day, nought remains of this
+great church but the two towers, which have been bisected by the running
+of a street throughout the old nave of the church; and thus they stand
+as silent sentinels of the means through which Tours arose to its
+ecclesiastical dignity. The Tour St. Martin or "de l'Horloge" is of the
+twelfth century, and the other, called the Tour de Charlemagne, being
+the burial-place of his wife Luitgarde, is, in its lower portions, of
+the eleventh century.
+
+The Cathedral of St. Gatien, which should be greatly endeared to the
+English people, was commenced by Henry II. in 1170, the choir being the
+earliest portion. The transepts followed in the next century, and the
+façade as late as the fifteenth, or the beginning of the sixteenth,
+century. Of manifestly Renaissance tendency, this façade for sheer charm
+and picturesqueness must rank with the best, with the qualifying
+statement added that it offends against many consistent artistic and
+architectural principles. It is certainly an effective type, although
+perhaps not warranting the statement of a certain monarch, whose art
+training may to some degree have been wanting, that it was a "jewel in a
+gemmed setting." An exceedingly picturesque and attractive pair of
+towers rise, through no less than three different styles, to the
+inverted egg-cups, which in a purer example might perhaps prove less
+pleasing, but which in the present case seem at least to be imbued with
+something of the Oriental or Mediterranean influence, not yet fallen
+before the actual decadence. Another peculiarity of this charmingly
+toned west front is that the rose window is of a peculiar lozenge shape,
+"neither square nor round," as one authority puts it. This, of itself,
+is decidedly not a graceful arrangement; but the proportions are ample
+and the glass is good, so its deficiencies may in a measure be said to
+be overbalanced by its merits; and, for that matter, as it is only seen
+in its minutia of detail from the inside, where the excellent coloured
+glass is seen at its best, it hardly detracts from the general fine
+effect of the exterior façade. The western doorways are thoroughly
+Renaissance, both inside and out, while the portals themselves offer a
+livid suggestion as to what they might have been, were all the bare
+niches and blocks filled and mounted with worthy statues. The effect
+would have been an undeniable approach to the best matured Gothic, and
+would have enhanced greatly this already highly interesting façade. The
+buttresses of the choir follow the accepted forms of grace and
+effectiveness, and, while not numerous or remarkable as to size, each
+springs to a supporting pier gracefully pinnacled and gargoyled. One
+instance of the functions of this valuable adjunct to the towering forms
+taken by most Gothic structures, is a buttress which springs,
+unsymmetrically enough, from the north transept. This rather ungainly
+limb flies out like the tentacles of an octopus, grasps a small building
+on the opposite side of a narrow roadway, and forms a support to the
+irregular construction of the north transept. This was perhaps
+necessary as a means of bracing the transept wall, which it might not
+have been possible to accomplish otherwise.
+
+The interior presents the unusual feature of the omission of the organ
+case from over the western doorway, the organ being in this instance in
+the south transept, as at Le Mans. The wall space centered upon the nave
+proper is entirely given over to the lozenge-shaped "rose," which, in
+spite of its rather heavy framing and kaleidoscopic and patchworky
+glass, is withal effective beyond many more gracefully formed openings,
+where the glass is either too severely plain, or worked into a supposed
+design, which, by reason of its minute particles, is undecipherable. The
+design and arrangement of a series of lancets supporting the lozenge
+would be remarkable, were it in company with the best glass of the
+middle ages. It depicts an "Adoration" in which kings, saints, and
+bishops are modelled brilliantly, and with evidence of much good
+drawing, a detail often wanting in old, or, for that matter, modern
+glass.
+
+The glass of the choir, on the other hand, is far better in arrangement,
+and shows deep, rich particles which are only at their best in the work
+of the early period here shown. In this glass are depicted the arms of
+St. Louis, Blanche of Castile, and of the City of Tours. The choir
+itself widens out from the crossing of the transept, causing that
+deviation between the piers of nave and choir which made necessary the
+ungainly flying buttress of the north wall.
+
+The aisles of the nave are of no great width and are fringed with a
+series of chapels of which only one, that of the Sacred Heart, is in any
+way remarkable. The radiating chapels of the choir are more interesting,
+notably the lady-chapel, which contains old glass removed thither from
+the church of St. Julien, the subject of one of Turner's rhapsodies in
+his "Seine and Loire."
+
+The clerestory of the nave consists of plain glass only; and on the
+triforium alone, of exceedingly graceful arcaded columns, depends the
+beauty of the upper ranges.
+
+The chief treasure of artistic value and moment is unquestionably the
+tomb of the children of Charles VIII. and Anne of Brittany, by whose
+early deaths the throne passed to the Valois branch of the Orleans
+family. This remarkable monument is of the early sixteenth century and,
+according to the report of the _Commission des Monuments Historiques_,
+is the work of Guillaume Regnault, a statement which is much more likely
+to be correct than the usual guide-book information, which in some
+instances credits it to Goujon, and in others to a local apprentice of
+his, named Juste. On a Renaissance sarcophagus lie the two tiny
+effigies, in white marble, surrounded by guardian angels and other
+symbolical figures. The base bears escutcheons of the Dauphins of
+France, the arms and two inscriptions referring to the princes and their
+birth.
+
+[Illustration: _Flying Buttress, St. Gatien de Tours_]
+
+
+
+
+[Illustration: _St. Maurice d'Angers_]
+
+V
+
+ST. MAURICE D'ANGERS
+
+
+Historically and romantically, Angers, the former capital of Anjou, is
+possessed of a past (which may be said to have actively commenced in
+989) that cannot fail to arrest and hold one's attention. Capital of the
+Dukes of Anjou, and the home of Margaret of Anjou, daughter of René, who
+married Henry VI. of England; likewise the cradle of the first
+Plantagenets; and immortalized by Shakespeare's King John, who
+soliloquizes anent "The flinty ribs of this contemptuous town." With all
+this, Angers has perhaps a supreme claim for English consideration. In
+spite of all this, and the added attraction of a "real castle," such as
+is seldom found outside the children's fairy-tale books, not to mention
+the Cathedral of St. Maurice,--of which more anon,--Angers leaves one
+with the impression that very much is wanting in order to merit
+preëminence in the classification of those memories which a traveller
+is wont to store up as a result of his travels and observations. Perhaps
+it is the city's pitiful attempt to be gay, to be modern, to undertake
+pretentious improvements,--all of which appear to fail utterly in their
+purpose. These things cannot be unless they are of a spontaneous growth,
+which here they apparently are not. Not that the city still merits the
+opprobrious (_sic_) term of "Black Angers" with which most writers and
+all makers of guide-books are pleased to refer to it,--it hardly does.
+In fact it is doubtful as to just what the term originally meant.
+Perhaps it was merely a reference to the gloom caused by the extensive
+use in the construction of its buildings of the black slate in which the
+neighbourhood abounds;--at any rate the expression is one of undoubted
+antiquity.
+
+The two chief attractions are the cathedral and the castle, both
+"historical monuments." The latter, as before noted, is the ideal
+military stronghold of our early imagination; and if age, magnitude, and
+the general air of good preservation, count for anything, it must be one
+of the most impressive monuments of its class still to be seen.
+Originally its wall, now minus battlements, fronted close upon the
+river. It is surrounded by a dry yawning _fosse_, formerly a moat, and
+possesses no less than seventeen enormous and perfectly formed towers,
+each perhaps eighty feet in height, banded near the top in white and
+black stripes. Hardly more than a circling wall to-day, it has stood
+well the test of time since it was erected by Philip Augustus and
+completed under St. Louis in 1180. Little remains of the Renaissance
+portion originally occupied by the Counts of Anjou. Its charm lies
+rather in its exterior, the interior confines resembling more a
+lumber-yard than anything else,--not worth spending one's time upon,
+under the present facilities which are offered for its inspection. One
+small structure within the walls is notable as being that in which King
+René was born. It is recorded that Wellington received a part of his
+military education in Angers. If so, it is probable that he studied this
+military defence with some care and minuteness. To us, at least, who
+have not been educated with respect to military fortification, it seems
+to fill all demands that are likely to be made upon a building of its
+class. Doubtless it could have been besieged successfully, and even
+battered through to the extent of allowing the outside foe to enter, but
+it would probably have been at a fearful cost, and it is possible that
+the attempt would be given up before any surrender took place. Such
+would appear to an outsider to be the lines on which these magnificent
+works of feudal times were built.
+
+One should not speak slightingly of the Cathedral of St. Maurice, though
+it comes upon one who journeys from the north, as a thing apart from
+anything he has met before; so much so that he is hardly likely to be
+able to judge it dispassionately until he has turned his impressions of
+it many times over in his mind.
+
+The Angevine style, seen here, is representative of but a very
+restricted area. The _Société des Monuments Historiques_ defined it as
+"a small district on both sides of the Loire between Normandy and
+Acquitaine." It is suggestive of the Roman manner, far more than the
+Gothic; though the primitiveness shown in the long, upright lines of the
+west front of this cathedral marks it at once as something different
+from either Romanesque or Transition,--though Transition it must be,
+unless we delimit the confines of that useful term. In any case, it
+points unto heaven in a truly devout manner, is not debased in any
+particular, and, if not a consistent style, has many of the good
+qualities of both. The Cathedral of St. Maurice is best seen from a
+point of view which will exaggerate its height, its slimness, and its
+straight and upright lines; but even this does not appear to work out to
+its disadvantage, in spite of the new note it strikes. It is an
+interesting work when viewed from any distance sufficient to throw its
+outline well into the air. From across the Maine, it is charming; from
+the foot of the stairwayed street which runs downwards from its western
+portal, it is picturesque and irresistible, while from any other
+view-point in the town, it is grand.
+
+The easterly end is dwarfed by close-lying houses, picturesque enough in
+themselves; but the gracefulness of the buttress is wanting. The south
+side is, here and there, broken into by additions and interpolations,
+none apparently of a contemporary era. It offers a grand effect for an
+artist who would study gray walls and crumbling roofs, but the lack of
+uniformity will offend most people.
+
+The façade of the west is the most effective feature, so far as
+genuineness is concerned. It towers to the sky, its needle-pointed
+spires overtopping a crooked street which rises sharply from the river.
+There is but one portal, and that is centred with a curious Romanesque
+arch half-way across its height, above which is a bas-relief of great
+size. The sculpture of this portal, while not as excellent as that seen
+in the Isle of France, is of an unusual richness and execution. The next
+range is unique among west fronts, being a large central window, but
+slightly pointed and little removed from the Romanesque. It is bare of
+coloured glass, and is decidedly not an attractive feature. On each side
+of this great window are a series of blunt pointed lancets, which form a
+sort of arcade which otherwise relieves the bareness which would exist.
+Immediately above is a row of niches which hold eight armour-clad
+knights of the fifteenth century, inferior perhaps, in execution, to the
+sculpture of the portal, but producing an effect, when viewed from the
+ground, undeniably fine. It is a detail as interesting, in its way, as
+the long "Gallery of the Kings" at Reims. Above rise the slim spires,
+with an octagonal cupola superimposed over a central structure, which
+looks to this day as though it were originally intended as one of a
+battery of three uniform spires. The general plan of this façade is the
+masterpiece of design of the building, and, except for the ludicrously
+diminutive clock-face, could withstand nobly the cavil of the most
+exacting pedant who ever read or studied architectural forms, solely out
+of books. In the immediate foreground falls the before mentioned street
+of steps. Many old tumble-down houses have recently been cleared away,
+and, at the present writing, the view from this point is one which has
+apparently not previously existed, and one which it is to be hoped will
+not be marred by the erection of any so-called modern improvements.
+
+The interior fills no accepted formula of architectural expression, save
+that it is of the manner common to Anjou, the borderland between the
+Gothic aisled and the great and aisle-less southern naves, but it holds
+one's interest none the less. Perhaps, after all, it is the quality to
+interest, quite as much as that to please, which is the standard by
+which one makes estimates and forms opinions. There is a not very long
+nor very wide nave and choir, neither with aisles, and both with a
+vaulting which gives the appearance of being much lower than it really
+is, quite the contrary impression to that received from contemplation of
+the exterior. The bishop's throne sets midway on the right of the nave.
+Each bay of the side walls of the nave is composed of a wide pointed
+arch resting immediately upon the ground and filled with stone instead
+of glass; reminiscent of a similar effect in the Church of Notre Dame de
+la Cloture at Le Mans. The true windows of the nave rise in pairs above
+this arch, and contain rich, though somewhat fragmentary, glass of the
+thirteenth century. As characteristic of the Angevine style, there is no
+triforium or clerestory, and hence, it is claimed, no necessity for
+flying buttresses, the support being accomplished by less graceful, if
+as effective, heavy square piers built into the outer wall.
+
+The transepts are not pronounced as to length or breadth, their chief
+beauty being their rose windows.
+
+The choir, of the twelfth century, shows an interpolated and elaborately
+flamboyant doorway of a much later period.
+
+An ornate oaken pulpit of none too good Renaissance carving is in the
+nave, and the organ case over the western doorway is supported on the
+shoulders of a series of huge, grotesque, but monstrously human, wooden
+caryatides. This, with the gigantic, high canopied carven wood pulpit,
+one of the most extraordinary in the country, forms a relief to coldly
+chiselled stone, certainly;--but few will consider their charms such as
+would warrant counting them amongst ecclesiastical treasures.
+
+The fourteenth-century tapestries from Arras (or Paris) were made for
+King René and by him given to the cathedral. They represent scenes from
+the Apocalypse, and, though having suffered somewhat from the
+depredations of the Revolution, still exhibit evidences of rare
+qualities of workmanship in their design and colouring.
+
+The _bénitier_ of _verd-antico_ marble supported by figures of lions is
+a Byzantine work of the eastern empire, given to the cathedral by King
+René.
+
+The Dukes of Anjou and Margaret of Anjou were buried here, but the tomb
+of the latter was desecrated and destroyed during the Revolution. Aside
+from these, no other monuments of note are to be seen.
+
+The Bishop's Palace, of the twelfth century, standing high beside the
+cathedral, was restored by Viollet-le-Duc and reflects a mediæval
+splendour unseen elsewhere in the city, with respect to any great or
+small domestic establishment.
+
+The Maison Barrault in the Logis Barrault, built by a former mayor of
+the city, one time Chancellor of Brittany, was the scene of the
+magnificent entertainment offered Cæsar Borgia in 1497. Afterwards it
+became the residence of Marie de Medicis; later, a monastic
+establishment, then a seminary, and lately simply an ordinary private
+school. Says one writer, "No wonder its remains should be so scanty and
+ill preserved."
+
+
+
+
+[Illustration: _CATHEDRAL of St. PIERRE NANTES_]
+
+VI
+
+ST. PIERRE DE NANTES
+
+
+As a city of commercial and strategic importance, no one will deny that
+Nantes is supreme in the Loire valley; that its relations with the
+affairs of Church and State are equally important, is a debatable point.
+True, the edict in favour of Protestant worship, fathered by Henry IV.,
+was a momentous and significant event; but the revocation, and the
+subsequent massacres of the rascally Carrier, well-nigh wiped that out.
+The history of the city is one long record of warfare and bloodshed.
+Though holding the command of the Loire, the city has ever been more
+closely identified with Brittany. Here, in its frowning tenth-century
+castle, which fronts upon the river immediately in the foreground of the
+Cathedral of St. Pierre, with which it forms an unusual grouping of
+ecclesiastical and military architecture (M. H.), lived at one time or
+another, most of the Kings of France, from Charles VIII. downward. Here,
+too, Anne of Brittany was born, and here she married Charles VIII., thus
+uniting the Duchy of Brittany with the crown of France. Her subsequent
+marriage, in the chapel of the castle, with Louis XII., made for ever
+impossible the future independence of the city.
+
+Following the edict came the Revolution; and, as if the preliminary
+horrors of massacres and atrocities, which spread to Orange in Vaucluse
+and to Arras in Picardy, were not of sufficient stringency, the
+"Noyades," or drownings, carried off the poor unfortunates, a boatload
+at a time, until it is estimated that perhaps nine thousand were thus
+cruelly murdered,--women, children, royalty, and the clergy alike. The
+wrath which spent itself seemed to know no rank. The guillotine,
+disease, and famine finished the work, so that the population of the
+city was, at the beginning of the nineteenth century, immeasurably
+inferior in numbers to what it had been a decade before. The details of
+these significant events are recounted quite fully enough by historians
+generally; but, in reality, it has little to do with the aspect of the
+city as it exists to-day, which, if not one of great splendour, partakes
+in no small measure of the attributes of a large metropolis, amply
+planned, beautifully laid out, and possessing, in addition to the
+characteristics of Brittany with which it has been so long identified,
+not a little of the influences and attributes of the south.
+
+Immediately to the rear of the chateau is the Cathedral of St. Pierre,
+ancient as to its foundation, and grand as to its general effect, both
+inside and out, though its exterior is marred by its uncompleted towers.
+Lofty, but of heavy proportions, St. Pierre de Nantes would, at first
+sight, appear to offer much that goes to make a satisfying
+ecclesiastical building. As a matter of fact, it fails in many
+particulars to realize any ideal which we have come to admire. The
+western façade is more indebted to the rich and reasonably ornate
+portals for its undeniable impressiveness, than to the gable of towers,
+which have crumbled exceedingly from the effects of wind and weather,
+rather than of great age, since they date only from the fifteenth
+century.
+
+The choir rests on the remains of an older church, hardly to be seen
+to-day in any appreciable evidence, in that restoration and rebuilding
+have been so extensively carried on.
+
+The windows throughout are but weak decorative elements, and lack
+tracery and glass of a decorative quality, an obvious detraction in any
+great architectural work. The south transept shows indications of four
+successive periods of construction, and contains the best glass in the
+church; otherwise it is severely plain.
+
+The interior is by no means as incoherent as the exterior, the height of
+the nave, one hundred and thirty feet, giving an otherwise
+unapproachable grandeur; though this admirable dimension is qualified to
+no small degree by a triforium of a luxurious florid growth, little in
+keeping with the other attributes of firmness and strength.
+
+The chapels throughout are bare and uninteresting so far as their altars
+or decorative embellishments are concerned,--what they may be at some
+future time, if the _Art Nouveau_ gets a foothold in church decoration,
+is fearful to contemplate. Paintings, none too common in French
+churches, are here somewhat in excess of customary numbers, though, as
+to quality or interest, in no church in France can they vie with those
+of the great churches of Italy or Flanders.
+
+Like the neighbouring city of Tours, Nantes has in its cathedral, for
+its _pièce de résistance_, a magnificent sepulchral monument, the tomb
+of François II., the last Duc de Bretagne, and Marguerite de Foix, his
+second wife, erected to their memory by their daughter Anne. This
+remarkable mausoleum was executed in 1502-07, after designs of Jehan
+Perréal, by Michel Colomb and his pupils, Regnault and Jean de Chartres,
+with the assistance of Jérôme de Fiesole, who contributed the ornamental
+portion. It fortunately escaped demolition at the Revolution, and was
+brought hither and placed in the south transept from the Eglise des
+Carmes in 1817. It is a wonderful exemplification of the very best
+quality of Renaissance. The main portion of the tomb is of marble, with
+black mouldings somewhat shattered in places, but not so much so as to
+affect the contour or design. The effigies lie recumbent upon a slab,
+their feet resting on a lion and a greyhound, upheld by a series of
+miniature figures of the twelve apostles in niches of red marble. At
+the corners are four nearly life-size figures, depicting Justice, with
+sword and scales, said to be a portrait of the Duchess Anne; Power,
+strangling the dragon of Heresy; Prudence, a double face, showing also
+Wisdom, with mirror and compass; and Temperance, bearing a curb-bit and
+a lantern. A tablet at the head bears the figures of St. Louis and
+Charlemagne, and one at the foot, those of St. Francis of Assisi and
+Ste. Marguerite, the patrons of the duke and duchess.
+
+
+
+
+_PART IV
+
+Central France_
+
+
+
+
+[Illustration: ST. ETIENNE _d'AUXERRE_]
+
+I
+
+ST. ETIENNE D'AUXERRE
+
+
+The entrance to the Burgundian city of Auxerre is more or less confused
+if one would, at the first glance, attempt to recognize its cathedral
+from among the three fine churches which in true mediæval fashion loom
+up over the river Yonne; not that the entrance is not pleasing: the
+reverse is actually the case, though one's way into the town lies
+through newly made roads. However, upon contemplation of the pleasant
+prospect of town and river, he would be an uninspired person indeed who
+would not be able to pick out the Cathedral of St. Etienne, with its
+singular reddish brown roof, from among its less imposing neighbours. It
+is the central building of the three, and it rises majestically above
+all, enhanced by the fine grouping of its one lone tower.
+
+As a type to admire, the cathedral, be it said, is not of a superlative
+quality; but as a thing of beauty in many of its details and because of
+its aforesaid commanding situation, it is one not to be ignored when the
+really fine gems of mediæval treasures are catalogued. It is another of
+those types, so far as its choir is concerned, which rise to a loftiness
+of soaring height, which, in later days, degenerated, or were lost
+altogether in the fabric of the transepts and nave. The height of the
+choir is perhaps not so great as it really appears, when gauged by its
+sheer rise from the river level; but such is the suggestion, at least,
+which, after all, is what the eye and certain other of our senses
+admire, quite as much as a professed expert classification.
+
+The western front is of unusual appearance in that the southern tower
+glances off into the angle of the gable in most curious fashion; not
+beautiful, nor as originally intended to remain, but so it is, and
+offers at least a comparison of how a lofty gable looks when it lacks
+towers of an appropriate height. At the right of this low tower of the
+façade, hidden behind a wall, is a thoroughly Pagan doorway, which might
+well pass unobserved, did one not actually stumble upon it unawares. It
+is a curious reminder of other days and other ways, and how it became an
+adjunct of this mediæval church the local records fail to state. The
+three main portals of the façade, as that of the transept, are somewhat
+bare of ornament, though the main tympanum and the spring of the arch
+are fairly filled. These portals are of the late thirteenth century, and
+exhibit no traces of the debasement which subsequently entered into the
+upper ranges of the tower and lateral portals.
+
+Both the transepts and the west front contain rose windows of good,
+though not remarkable design, and each is exceedingly generous in size.
+The interior, generally, does not give the effect of the great height
+suggested from the rear view of the choir overhanging the river front;
+but both nave and choir are of unusual width, and so also is the
+clerestory, which is lofty, and set with rare old glass of the most
+splendid and valuable quality, in the main the gift of Bishop de
+Villeneuve in 1220.
+
+The choir terminates with the usual apse, which is further elongated by
+the far-reaching lady-chapel, which adjoins the main fabric in a
+graceful and unusual manner. The north tower was completed as late as
+the sixteenth century, and that of the south was left unfinished,--as it
+is to-day. The gable and its portals are highly decorated with statues,
+niches, and crockets.
+
+Around the aisles of nave and choir is a curiously suggested arcade with
+an overhanging balustrade ornamented with a series of indifferently
+sculptured heads. The bosses of many of the intersecting groins of the
+vaults are coloured with questionable effect. There are also many
+visible evidences of coloured wall decorations, which might perhaps as
+well have been left covered, inasmuch as they have suffered exceedingly
+in the attempted restoration; so much so, that it is impossible to say
+whether they ever approached acceptable perfection; possibly not, as
+they are supposed to date only from the period when much of this class
+of work was of none too good a quality.
+
+The triforium of the nave is gracefully balustraded, and the choir
+stands apart from the nave, separated by an elaborate eighteenth century
+iron _grille_. The ambulatory of the choir sets three steps lower than
+the nave, though the platform is on the same level. The crypt beneath
+the choir, so often the only existing remains of an earlier church, is
+here grandly in evidence, and dates from the eleventh century at least.
+
+There are a few interesting tombs of former Bishops of Auxerre and
+others of local celebrity.
+
+On the whole the charm of Auxerre and its cathedral must be admitted to
+lie in its general surroundings and immediate environment, quite as much
+as because of any remarkably distinctive features of a superlative
+quality in the cathedral itself, though an undeniable wealth of
+picturesque detail exists.
+
+The conventional guides speak of it as "highly interesting," and so it
+is, with its Romanesque remains, its ungainly façade, its three fine but
+weather-worn doorways, and its charming river view.
+
+Beside the cathedral stands the old-time Episcopal Palace with its fine
+arcaded Romanesque gallery overlooking the river, where the prelates
+took their "constitutionals," safely guarded from wind and weather.
+To-day this grand building represents the officialdom of the local
+Préfecture.
+
+Two other noble ecclesiastical monuments are to be seen here, the Church
+of St. Germain, or rather, the fragment which was spared by the
+Huguenots, now being used as an adjunct to a hospital; and the Church of
+St. Pierre. The latter is the most appalling example of a Renaissance
+building which one is likely to meet with, and shows in its remarkable
+façade, in sheer perversion of misdirected labour, the grossness of
+pseudo-classicism, which quite entitles it to rank with that other
+equally abominable example in Paris, St. Eustache.
+
+The _portail_ of this remarkable church, locally so called, though in
+reality it is only a detached gateway, far from the church building
+itself, is a wonderful Italian suggestion, now mellowed and weathered
+and undeniably charming in colour in spite of its being so manifestly
+out of its environment.
+
+
+
+
+[Illustration: _St. Etienne de Bourges_]
+
+II
+
+ST. ETIENNE DE BOURGES
+
+
+The Cathedral of St. Etienne de Bourges partakes of the same honours
+which are accorded to the premier quartette of the Isle of France.
+Nearly contemporary with Paris and Laon, this cathedral steps into its
+rank with a grandeur and firmness that in a less stolid or more ornate
+edifice is often wanting. It retains certain of its Romanesque features,
+perhaps unduly pronounced; likewise it has certain attributes of
+Burgundian luxuriance; but withal it presents the highly developed
+Gothic tendency to a far greater degree than either. Although not far to
+the south of Paris, Bourges is thoroughly of another climatic
+environment, which not only shows itself in the changed conditions of
+life, but in the manner of building as well.
+
+The great transeptless church of St. Etienne is another of those soaring
+monuments which rise skyward and hold the eye whenever one is in its
+vicinity. Standing on an eminence of not very great height, it
+dominates, from every point of view, the plain which surrounds the city
+and reminds one of Noyon or Laon in its comparative isolation. Not
+because its domicile is not a place of some magnitude, but rather
+because the neighbouring houses lie so huddled in a valley or plain,
+does the city give the impression of being of less size than it really
+is.
+
+The view from the railway on entering the town is, as it has been called
+by some imaginative Frenchman, "but the _hors d'oeuvre_ of the
+architectural feast to follow," and on drawing still closer, it composes
+grandly with the swift-flowing little river lined with the tall slim
+trees which are so distinguished a feature of a French landscape.
+
+Like Beauvais, Amiens, and, in only a slightly lesser degree, Le Mans,
+the sheer fall of the nave and choir from ridge to ground startles one
+by its exaggeration of perpendicular lines. Though by no means of the
+great height of these other examples, its great size first impresses one
+as its distinguishing feature. It sits, too, on the edge of a beautiful
+wooded park which, in conjunction with the modern Episcopal Palace,
+forms an ensemble of stone and verdure not often to be seen as the
+environment of a French cathedral. The gardens are quite open to the
+public and are set forth with clipped hedges, trees, and monumental
+stone work of no mean order.
+
+Bourges is another of those ancient foundations of mid-France where
+Romish influences died hard, and Gothic, as a perfected type, never, as
+it were, attained its majority. Here, the mixture of style is notable;
+pointed and rounded arches intermingled, apparently indiscriminately,
+with thoroughly Gothic supports, mullions, and piers. These, with the
+characteristically Renaissance north and south porches, with their
+carven doorways, all go to complete a series of typically fashioned
+details, each true to its own age. Such a combination of varying virtues
+should give the student, or the seeker after new sensations, something
+more to think about than a mere catalogue of consistent charms; for it
+cannot be denied that this church, standing aloof from any other single
+type, is a marvel of grandeur and impressiveness, whatever may be its
+failings when dessicated by the theorist or the archæologist.
+
+It is unlikely that Saracen or even Moorish influences were ever at work
+so far north as this; but there is an unquestionable tendency in much
+of the debased decoration of this church to more than suggest a
+similarity to both. It is, of course, not Gothic, as we know it, nor
+Byzantine, _pur sang_, and it is certainly not Italian, but something
+quite different. It is, perhaps, worthy of record that the inverted
+horseshoe arch more nearly approximates what is commonly considered the
+Moorish form; or, to give it a wider _locale_, Mediterranean, at least.
+The polygonal turrets which flank the towers and the chapels of the
+abside look, too, not unlike a sub-tropical feature, possibly Saracen.
+Such details are markedly noticeable here, and it is because of features
+such as these that one is minded to consider the church as something
+quite different from anything seen elsewhere.
+
+To carry the argument still farther, if these details are to be
+considered in any sense Gothic, or any outgrowth thereof, it certainly
+augurs much for the possibility of this style having come originally
+from the East, or at least the Mediterranean countries. It has been
+claimed before now by English and French writers alike, that it may have
+developed from the arts of the Moors of Spain, or that it may have grown
+up from a primitive style in vogue in the Far East. The comment is given
+without further elaboration; but here, at least, we see some basis for
+the claim that Gothic is but a transplanted flower after all, and that
+it developed so boldly only from the seed's having been blown hither
+from some other land, and finding a favourable soil in which to take
+root and flourish.
+
+Without transepts, the long flank of the nave and choir is singularly
+beautiful, broken into at regular intervals by buttresses which, if not
+remarkable examples, are at least graceful, though so light that they
+have been visibly stayed by iron rods, as is frequently the case
+elsewhere, at Beauvais particularly, where the whole fabric appears to
+be hung together by wires.
+
+The actual inception of the cathedral is attributed to Rudolphe de
+Turenne, forty-sixth Archbishop of Bourges. Of his known work only the
+round-arched crypt remains, upon which foundation the present grand pile
+was reared.
+
+The west front possesses a quintette of portals, deeply recessed, but of
+a decidedly mixed Gothic and Renaissance treatment as to decoration.
+Such a range of elaborated doorways is hardly to be found in such
+luxuriance elsewhere, though the fact that there are five in all,
+standing grandly in a row, is perhaps not unique of itself. They are
+profusely decorated with sculptured forms of angels, saints, and kings.
+The tympanum of the central portal contains a "Last Judgment,"
+remarkable alike for its magnitude and workmanship. Throughout, these
+portals vary in date of their construction, their treatment, and their
+excellencies, but in general they are homogeneous and convincing. In the
+gables of three are circular piercings which open into a sort of
+vestibule or porch; but these are entirely without glass. Another unique
+feature of this western front is a curious lofty double-storied
+structure, a chapel-like building, of whose functions most will remain
+in ignorance. It is connected with the main body of the church by a long
+tentacle-like ligature through which, says Henry James, "the groaning of
+the organ or the pealing of bells must be transmitted with distressing
+clearness."
+
+The hybrid tower on the extreme left, with many round-arched windows and
+much florid ornament, is familiarly called the "Tour de Beurre," and, as
+its compeer at Rouen, was built from the contributions of those who were
+willing to forego themselves the luxury of butter. To the right is a
+much less imposing tower, but one that is much more true as to its
+style. It rises scarcely above the central gable, and helps to
+exaggerate the lack of uniformity of the façade, a condition much
+deplored by the true Gothic builder, though whether such varying detail
+does not after all make a more interesting, and perhaps as edifying a
+work for pleasurable contemplation, is an open question. There is, in
+any event, a marvellous power in this massive west front to confirm
+one's opinion that it is a comprehensive and yet varied thing. Another
+curious feature of this front is a pair of overlying buttresses of no
+apparent purpose as to staying power, since the wall space which they
+flank is of no inordinate height. The window space, though, is ample;
+and, though mostly in blank to-day, at a future time those blanks might
+be broken out; hence the necessity for these extra props.
+
+The interior gives, likewise, a grand impression, one of vaster
+magnitude than in reality exists. The length is probably exaggerated by
+reason of the lack of transepts; but its breadth, including nave and
+aisle, is unusually great, and the height is further magnified by the
+fact that the aisles themselves have three ranges of openings, above
+which, in the nave, rise the triforium and clerestory,--surely alone a
+sufficiently unusual arrangement to account the church as of remarkable
+planning. Its great beauty may be said to be the magnificent proportions
+throughout, rather than the preëminent intrinsic value of any specific
+detail.
+
+The rose window of the west end, though of grand proportions, appears to
+fail utterly as a supreme effort because of the flatness and depression
+given to its circumferential outline. Like that of St. Gatien at Tours
+it is of an uncertain lozenge shape, while the effect is further
+lessened by the mediocrity of its glass and framing.
+
+The general appearance of the interior is one of symmetrical grandeur,
+wherein the effect of each dimension is probably enlarged, but with a
+fine and consistent proportion. Its conventional embellishments are not
+unduly ornate; though, for that matter, they do not give the impression
+of being wanting to any great degree either in quality or quantity. In
+no particular, however, is the sculptured form of figure or foliage of
+that excellence and magnitude of that of the cathedral at Reims or at
+Amiens.
+
+The magnificent proportions of the choir well merit the term of
+"Burgundian opulence." Its termination opens with an amplitude often
+wanting in even a larger building, the piers being wide apart, without
+screening, which heightens still more its generous proportions.
+
+The two picturesque cardinal's hats, with cord and tassels, have long
+been pendant from the vault of the choir, and are now dimmed in colour
+and thick deep with dust, seemingly destined to fall of sheer old age
+and decrepitude. Further particulars concerning this picturesque detail
+are wanting only from the lack of any one in attendance from whom one
+might get this information,--perhaps some reader of these lines may be
+more fortunate.
+
+On the pavement of the nave is a brass rule, inlaid diagonally from the
+north to the south wall. Its original use appears to be clothed in some
+obscurity, one informative person stating that it is the line of
+departmental division, and another that it marks the meridian of Paris,
+which is shown on all French navigation charts. Its real purpose is
+evidently topographical rather than of religious or symbolical
+significance.
+
+An ardent French writer deplores the fact that there is no monument
+here to show respect for Louis XI., who was born at Bourges and baptized
+in the cathedral; a pity, perhaps, and certainly a subject worthy of the
+consideration of "the powers that be."
+
+
+
+
+[Illustration: _CATHEDRAL of S. CYR & Ste. JULIETTE NEVERS_]
+
+III
+
+ST. CYR AND ST. JULIETTE DE NEVERS
+
+
+A unique experience is one's first contemplation of the "gay little city
+of Nevers" from the Pont du Loire, with the none too large Cathedral of
+St. Cyr and St. Juliette crowning, as it were, the apex of a series of
+steep rises from the Loire, which, even at this distance from the sea,
+still retains its ample breadth. Said Arthur Young in his plain and bald
+phraseology, "Nevers makes a fine appearance." Here, on the very
+threshold of the southland, it is something of a shock to be brought at
+once into intimate association with Italian influences and types of
+architecture; for, be it recalled, Nevers has been truly "an Italian
+stronghold in the midst of France," with little to remind one, but its
+speech, that it is merely a provincial French market-town. Nevers was
+the seat of the Italian Dukes and Counts of Nièvre, who built the ducal
+palace, the _ci-devant_ chateau, now the Palace of Justice. Here, later,
+dwelt the nephew of the great Mazarin, who said his king "had a heart
+more French than his speech." Through his efforts the Nivernais was
+incorporated with the French crown in 1669.
+
+This fine turreted, towered, and decorated building, with its sculpture
+attributed to Goujon, is to-day, in appearance at least, what it was in
+the past,--the typical urban domestic establishment of grand proportions
+and splendid appointments; though it may hardly be said to vie with such
+masterpieces as Chambord, Chenonceau, or Blois. Nor, for that matter, is
+the town itself entitled to rank, as to its events of historical
+importance or the fame or personality of its bishops or counts, with
+either Chartres or Le Mans, both of which it somewhat approaches in
+point of size.
+
+Aside from its many and varied charms, which have been duly set forth
+by most writers on the French provinces who have had anything whatever
+to say about it, Nevers should be doubly endeared to all makers of
+guide-books and students of ecclesiastical architecture, from the fact
+that the Abbé Bourassé, Honorary Canon of Nevers, here wrote and
+dedicated to his bishop, Mgr. Dufêtre, a work treating of the French
+cathedrals which will ever rank as one of the most delightfully written
+and useful books of its class. This fact perhaps is hardly to be
+reckoned as of historical moment, but pertinent to the plan of the
+present work nevertheless.
+
+Nowhere, not even in Provence or Acquitaine, are to be noted more
+significant tendencies toward a southern influence in the matter of
+civil and ecclesiastical building. True, many of the minor structures
+have to-day descended unto base uses, and many of their perfections and
+beauties are therefore sunk below the surface. For instance, where a
+palace has become a warehouse, or a church been turned into a stable, or
+been given over to the uses of a wine factor.
+
+Before even considering the cathedral itself,--dedicated to the hero of
+the legendary tale concerning St. Cyrus, who, depicted as a naked child
+riding astride a wild boar, was able to turn the infuriated beast from a
+certain King Charles (further designation not given) and preserve him
+from danger,--it is well to know that most authorities agree in giving
+habitation here to one of the most perfect Romanesque churches in all
+northern Europe, that of St. Etienne, built in 1063-96, and consecrated
+in the latter year by Ivor, Bishop of Chartres. Of the century
+contemporary with this fine work, as yet hardly spoiled by any offensive
+restorations, are two columns, in the easterly portion of the Cathedral
+of St. Cyr, which bear the date of 1024. From this foundation the lover
+of churches will rear for himself an exceedingly interesting and
+uncommon type.
+
+Not of the first rank, St. Cyr has the power to hold one's attention far
+more closely and interestingly than many of greater worth and magnitude;
+and its environment, from every point of view, composes itself into a
+picture which it would be hard to duplicate. The grouping of the chevet
+of the choir with the low roofs of the town lying at its base, and the
+gardens of the ducal chateau in the immediate foreground, forms an
+unusually varied combination of the picturesque.
+
+The wealth of Nevers in architectural monuments would be notable in a
+town many times its size. The Port de Paris, a not especially attractive
+Renaissance gateway, guards the northerly, and the Port du Croux the
+westerly, end of the town. This latter groups nobly with the west end
+and tower of the cathedral, and is of itself a monument of the first
+rank, being so designated by the _Commission des Monumentes
+Historiques_. A feudal defence, square, broad-based, turreted, flanked
+with circular watch-towers, and still further strengthened by a barbican
+which once held a portcullis, this wonderfully effective barrier more
+than suggests the mediæval stronghold. Two other towers of the ancient
+_enceinte_ still remain, the Tour Gougin, and the Tour St. Eloi.
+
+Intimate acquaintance with the cathedral shows a blending, not
+offensive, but in no slight manner, of the Romanesque, early and late
+Gothic, and finally Renaissance styles. Nevertheless there is an
+apparent cohesiveness often lacking in a larger work, or in one built
+within a shorter period of time. One distinctly northern feature there
+is; namely, the singular effect given by the double apse of the nave and
+choir, reminiscent mainly of the Rhine builders, that of the eastern
+end being much the older. The half-obliterated frescoes of the domed
+vaulting of the western apse indicate that it was completed after the
+pure Italian manner at a considerably later time than the opposite end.
+It is hardly a beautiful or even a necessary feature to either the
+exterior or interior of a great church, and, fortunately, is unusual in
+France, though common enough in Germany, notably at Mainz, Worms, and
+Treves. The most remarkable interior effect, aside from this western
+apse, is that of the lofty Gothic arches, springing high above the
+Romanesque arches of the nave, and naturally of a much later date.
+Certainly this must be, so far as the respective proportions of each are
+concerned, an entirely unique feature. Notable evidences are to be seen
+of frescoes, probably the work of some Italian hand, both on the screen
+and in the domed apse. They have apparently been whitewashed over many
+times, but remorse, if tardily, has evidently come lately, and such
+restoration or renovation as has been possible, has been undertaken.
+
+A dainty and diminutive spiral stairway, suggestive of having been
+modelled on the lines of the grand spirals at Chambord or Blois, and
+half enclosed in the surrounding wall, leads to the Chapter Room above.
+The eastern apse, and the crypt beneath, are the earliest parts readily
+to be observed and are probably the remains of the Romanesque structure
+built by Hugh II. early in the eleventh century, after the common type
+of the Auvergnat and Angevine churches.
+
+Perhaps the best workmanship to be noted is that of the
+thirteenth-century chapels surrounding the choir. Reclus, a French
+authority, has declared that the ornamental foliage here is not only
+really admirable as to itself, but is the "perfection of imitation," and
+extends this commendation also to the work on the pillars and capitals
+of the north doorway by which the church is usually entered.
+
+The interior generally is brilliant and pleasing, though good glass is
+mostly wanting, and the uninterrupted flood of light detracts measurably
+from the warmth and geniality suggested by the memory of Bourges,
+Chartres, or Auxerre. The rose window over the western apse is pitifully
+weak and quite lacking in effectiveness.
+
+A canopied _baldacchino_ rises above the altar and, being of stone
+treated in a graceful Gothic manner, is an ornament much more in good
+taste than the hideous mahogany or oaken serpentine atrocities which are
+often erected.
+
+It is impossible to come into close contact with the exterior of this
+cathedral except by approaching it from the eastern end. West front
+there is none. As one has said, "It possesses merely a western end." The
+western tower, of two non-contemporary orders of Gothic (fourteenth and
+fifteenth centuries), whether viewed from near or far, is far more
+pleasing than any other general exterior feature. The chevet of the
+choir extends, as it were, well into the nave, there being no transepts.
+This is evidently a local custom, recalling the neighbouring cathedrals
+at Bourges and Auxerre.
+
+The sculptured decoration of the later portion is exceedingly well
+disposed, and of such magnitude and numbers as to lack that poverty in
+the ensemble often apparent in a more pretentious work.
+
+The Church of St. Etienne in Nevers, so thoroughly Roman in inception of
+design and execution of detail, indicates more vividly than any other
+example that might possibly be taken, the shortness of time in which the
+Gothic development actually took place. With Notre Dame at Paris full
+in mind, it is well to recall that these accepted perfect examples of
+two contrasting types are scarce a hundred and fifty miles apart, and,
+in point of time, but sixty years. What an exemplification this surely
+is of the transition which came to the art of church building in the
+twelfth century; what extraordinary rapidity of conception and
+development, and how narrow were the confines of the true Gothic spirit,
+indigenous only to the royal domain, which alone produced the churches
+which fully merit the concisely expressed definition of Gothic: "A
+manner of building maintained (sustained) by a system of thrust and
+counter thrust."
+
+
+
+
+[Illustration: _CATHEDRAL of S. MAMMÈS LANGRES_]
+
+IV
+
+ST. MAMMES DE LANGRES
+
+
+Langres is reminiscent of but one other cathedral city in the north of
+France; like Laon, it occupies and fortifies the crest of a long drawn
+out hill, or, to give it dignity, it had perhaps best be called in the
+language of the native "de la montagne de Langres," since from its apex,
+it is truly dominant of a wide expanse of horizon.
+
+Of the Burgundian transition type, the Cathedral at Langres, dedicated
+to St. Jean the Evangel and St. Mammes, is in many ways a remarkable
+architectural work, but contaminated beyond cure by two overbearing
+Greco-Roman towers and a portal of the mid-eighteenth century. As a
+relief, there adjoins the main body of the church, on the southeast, one
+of those masterworks of the supreme Gothic era,--a canon's cloister of
+an exceeding thirteenth-century beauty. In other respects, the exterior
+is of little note except as to its wonderful degree of prominence in the
+general grouping of the roofs of the town, when the city is viewed from
+below.
+
+The interior spreads itself out in severe and imposing lines with hardly
+a remarkable feature in either transepts or nave. The organ-loft, a
+Calvary, and a marble statue of the Virgin, by Lescornel, a sculptor of
+Langres, and a few modern sculptured monuments, are the only decorative
+attributes to be seen, if we except the Renaissance Chapelle des Fonts
+Baptismaux with its sculptured vaulting on the left.
+
+The symmetrical choir is in itself the true charm of St. Mammes. It has
+a fine ambulatory, and a range of eight monolithic columns, removed,
+says tradition, from an ancient Pagan temple. Their capitals are
+ornamented with carven foliage, grimacing heads, and fantastic animals.
+
+A sixteenth-century screen surrounds the choir, but is more like unto a
+triumphal arch than a churchly accessory.
+
+The high altar is a comparatively modern work, as may be supposed, and
+dates only from 1810.
+
+On the right of the choir is an elaborate Roman doorway, and preserved
+in the Chapter Room are five paintings depicting the "Chaste Susanne." A
+remarkable collection of reliques is shown by the sacristan, in the
+Chapelle des Reliques.
+
+
+
+
+V
+
+NOTRE DAME D'AUXONNE
+
+
+The small town of Auxonne, lying between Dijon and Besançon, is seldom
+thought of in connection with a cathedral church. There is little there
+to compel one's attention beyond the fact that the Church of Notre Dame,
+of the fourteenth-sixteenth century, is an interesting enough example of
+a minor edifice which at one time was classed as a cathedral.
+
+The church is mainly Gothic and has the unusual arrangement of a
+Romanesque tower rising above the transept.
+
+
+
+
+_PART V
+
+East of Paris_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+No arbitrary territorial arrangement can be made to include with
+exactness each and every ecclesiastical division, but, since the Royal
+Domain and the immediately adjacent territory includes the major portion
+of what are commonly accepted as the Grand Cathedrals, it has been
+thought permissible, in the present case, to make a further subdivision
+which shall include Boulogne and St. Omer, north of Paris; eastward to
+the Rhine and southward to include Dijon and Besançon. A topographer
+might not make such a division or arrangement of territory; but no other
+seems possible which shall include the region lying between the extremes
+of Besançon and Boulogne.
+
+The local characteristics or architectural types differ widely within
+these limits, both as to style and excellence. In one way, only, have
+they advanced under conditions of unity, that of the establishment of a
+Christian church, but, otherwise, now favouring the northern influence
+and now the southern. The frontier provinces have, as a natural course,
+been subject to many retarding influences which have been wanting
+elsewhere; for invasion from without may be depended upon to be as
+baneful for the preservation of a nation's art treasures as a revolution
+from within. The Christian element early forced its way among the
+Franks, and Clovis, at the solicitation of his Christian queen and her
+bishop, was not averse to adopting what he might otherwise have regarded
+as a superstition. His conversion at Reims not only fostered and
+propagated Christianity, but gave an impetus to the foundation and
+building of churches in a most generous fashion.
+
+The region to the eastward of Paris, which has played no unimportant
+part in the history of France, while prolific as to varied types of
+church building, possesses but one example of the very first rank,--and
+that, as a style which typifies Gothic art, may be said to rank supreme
+over all others,--Notre Dame de Reims. As the seat of the Metropolitain,
+and the City of Coronations, it was allied closely with early affairs of
+Church and State.
+
+The principles and manner adopted by Guillaume of Sens in his great
+works early affected the style here, as seen by the many transition
+examples, just as the influence of the Monk of St. Bénigne of Dijon
+caused the round-arched species of the west of France. At all events the
+primitive Gothic influences were early at work and in a measure absorbed
+the Romanesque tendencies which had flourished previously.
+
+The most notable exception, an example of the distinctly southern type,
+is at Besançon, which has a remarkable array of contrasting style, with
+the Romanesque, though not of the best, predominating.
+
+With the cathedrals in the extreme northerly section we have little to
+do,--in fact there is little that can be said. St. Omer is possessed of
+a wonderful old church which at one time ranked as a cathedral, and
+which has glimpses here and there of very good Gothic. There are also,
+in this otherwise not very interesting city, two other church buildings
+worthy of more than an ordinary amount of attention, the ruins of the
+Abbey of St. Bertin and the Church of St. Denis.
+
+Boulogne-sur-Mer has a modern pseudo-classical structure built well into
+the nineteenth century. It is more notable as a monument to the
+industry of the man who brought about its erection, taking the place of
+a former structure burnt during the Revolution, than as a satisfactory
+example of a great church. The same may be said with equal truth of the
+atrocious Renaissance and Pagan structures to be seen at Cambrai and
+Arras, though the conditions under which they were built differ. At
+Cambrai, however, the present building replaces a former structure
+levelled by fire.
+
+Chalons-sur-Marne,--dear to every French patriot as being renowned for
+the manufacture of flags, a suffragan of Reims, has a remarkable
+cathedral of Romanesque foundation of the fifth to the seventh
+centuries. Its warlike record, from 273 A. D., when Aurelian vanquished
+Tetricus, to the occupation by the Germans in 1871, is one long
+succession of military affairs. To-day the city is the domicile of the
+most important army corps of France.
+
+These towns, with Nancy, Toul, and St. Dié in the valley of the Moselle,
+complete the list of those cities which by any stretch of territorial
+boundaries could be classed under the head of "East of Paris."
+
+It may be a debatable point as to whether Strasbourg and Metz might not
+have been included; the writer is inclined to think that they might have
+been, though their interests and influences have always been more
+Teutonic than Gallic,--still, they are thoroughly Germanized to-day,
+and, as we cannot interrupt the march of time, and the present volume
+will otherwise approach the limits originally set out for it, they must
+perforce be omitted.
+
+[Illustration: _CATHEDRAL NANCY_]
+
+
+
+
+[Illustration: _BOULOGNE_]
+
+[Illustration: _St. OMER_]
+
+[Illustration: _ARRAS_]
+
+II
+
+NOTRE DAME DE BOULOGNE-SUR-MER
+
+
+Boulogne-sur-Mer is one of those neglected tourist points through which
+the much travelled person usually rushes en route to some other place.
+It perhaps hardly warrants further consideration except for the history
+of its past, and its intimate association with certain events which
+might seriously have affected the history of England. It is, however, an
+interesting enough place to-day, if one cares for the bustle and rush of
+a seaport and fishing town,--not very cleanly, and overrun with
+tea-shops and various establishments which cater only to the cockney
+abroad, who gathers here in shoals during the summer months. There is,
+too, a large colony of resident English, probably attracted by its
+nearness to London, and possibly for purposes of retrenchment, for there
+is no question but that the franc, of twenty per cent. less value than
+the shilling, accomplishes quite as much as a purchasing power. This
+must be quite a consideration with _pater-familias_ with a limited
+income derived from Consols or some other traditionally "excellent
+investment."
+
+Most travellers are familiar with what attractions Boulogne really does
+offer, but few if any would consider its very modern and ugly cathedral
+one of them.
+
+Perched in the centre of the _Haute-Ville_, overlooking the city and
+port, the Cathedral of Notre Dame exists to-day more as a monument to
+the energy and devotion of its founder than as a notable architectural
+work. It follows no particular style, except that it is Italian of the
+most debased general type, though no doubt parts of it meet the
+dimensions and formulas laid down by accepted good examples in its
+native land. There is no doubt but that its domed cupola is manifestly
+out of place, though this detail is the only feature which gives the
+cathedral any distinction.
+
+A Gothic church stood here up to the Revolution, and the building of the
+present structure was devotedly undertaken to replace its loss by a
+doubtless earnest man, who, in his zeal, sought to build after what he
+considered a newer if not a better style. Parts of the crypt are of the
+ancient twelfth century church; but the structure above dates from
+1827-66.
+
+Its façade, of a poor classical order, is flanked by two slight cupola
+towers equally meaningless and insignificant. Surmounting the central
+dome is a colossal statue of the Virgin.
+
+The interior is in no way remarkable or interesting. There are a few
+monuments and a gorgeous high altar of precious marbles, mosaic, and
+bronze, the gift of Prince Alex Torlonia. The lady-chapel is still
+resorted to as a place of pilgrimage by the seafaring and fisher folk of
+the neighbourhood.
+
+A modern reproduction of a sarcophagus from the catacombs at Rome forms
+the tomb of Mgr. Haffreingue (1871).
+
+
+
+
+III
+
+NOTRE DAME DE CAMBRAI
+
+
+Cambrai is one of that quartette of cathedral cities of northern France
+which in no sense take rank as ecclesiastical shrines of even ordinarily
+interesting, much less beautiful, attributes. Of the other three, Arras,
+St. Omer, and Boulogne, St. Omer alone is possessed to-day of anything
+approaching the great Gothic churches which were spread broadcast
+throughout France during the five centuries of church building in the
+middle ages.
+
+In manners and customs, and indeed in speech to some extent, these
+cities all partake somewhat of the _locale_ of those of the Low
+Countries. These attributes, which have retained their original
+identities across the borders, were for many centuries, and even so late
+as the seventeenth century, existent in French Flanders. Curiously
+enough, in none of these cities are any of the primitive Gothic types to
+be noted in the cathedral churches, though many possess their
+olden-time belfries and watch towers, preserved to-day with something of
+the local pride which evinces itself elsewhere with respect to
+cathedrals. It is possible that this is due to the fact that this great
+industrial centre of northern France is more given to the arts of
+manufacture than to the devotion of church-going or even of church
+building. Another notable and almost universal feature of these cities
+are the Renaissance or Romanesque gateways,--silent reminders to-day of
+the mediæval communities which they once protected, and of the warlike
+invasions of the past.
+
+The Cathedral of Notre Dame de Cambrai is on the site of an older abbey
+church, which was of the same ugly style as the present edifice itself,
+but which dated, however, only from the early eighteenth century. The
+present building is said to furnish a replica, of the vintage of 1859,
+of the tasteless and crude style of the earlier building. There are
+statues therein of Fenelon, Bishop Belmas, by David d'Angers, and of
+Cardinal Regnier; and a series of grisaille windows, after originals by
+Rubens, by Geeraerts of Anvers.
+
+The chimes of Cambrai rank among the most noted in Europe. They are
+composed of thirty-nine bells and produce a carillon, "very agreeable,"
+says a French authority. They certainly do,--the author can endorse this
+from a personal knowledge,--and they have not as yet descended to such
+banalities as popular military marches. The largest bell, given by
+Fenelon in 1786, weighs 7,500 kilos.
+
+
+
+
+[Illustration: Notre Dame de Cambrai]
+
+IV
+
+NOTRE DAME DE ST. OMER
+
+
+Under Baldwin of Hainault, Artois, including St. Omer, was ceded to the
+kingdom of France as late as the mid-seventeenth century. Few minor
+churches are possessed of the galaxy of charms and attractions of the
+_ci-devant_ Cathedral of Notre Dame at St. Omer. Hardly in the accepted
+forms of good taste are the Byzantine slabs of marble stuck upon the
+walls here and there, as in a museum; the Renaissance screens; the
+overpowering organ case; the votive offerings and tablets without
+number; and the alleged wonderful astronomical clock, with its colossal
+wooden figures of the sixteenth century,--all of which go to compose a
+heterogeneous mass more interesting as to occasional detail than as a
+thorough expression of saintly temperament.
+
+The decorative scheme is carried still further by the large number of
+paintings with which the church is hung; a tribute none too common in
+France, and more usually associated with the Flemish churches of nearly
+every rank. A reflection of their preëminence in this respect is
+naturally enough visible in French Flanders.
+
+"The Descent from the Cross," attributed to Rubens, appears likely
+enough to be a genuine master, but it has been so roughly restored by
+overpainting, that it is to-day of impaired value.
+
+St. Omer, among all the group of northeast France, presents a true
+Gothic example in its great Basilique de Notre Dame, and it is a pity
+that its further development was along lines which indicate a trend, at
+least, toward debasement. This is plainly to be noted in the tracery of
+the lower and clerestory windows of nave and aisles.
+
+Its enormous tower covers nearly the entire western end of nave and
+aisles, in much the same way as those of some of the fortified churches
+of the south. Its Gothic is of the true perpendicular style, however,
+and, with the general grand proportions of the building, gives that
+immensity and massiveness which is associated only with a church of the
+first rank. The _arcs-boutant_ of the nave are hardly deserving of
+mention as such, though they are manifestly sturdy props which perform
+their functions in perhaps as efficacious a manner as many more graceful
+and delicate specimens elsewhere. There is just a suggestion of a
+central tower, which, as is often the case in France, has dwindled to a
+mere cupola, if it had ever previously grown to a greater height. The
+transepts are of imposing dimensions, that on the south having an
+enormous rose of perhaps thirty-five feet in diameter, with an
+elaborately carved portal below, which contains a "Last Judgment" in the
+tympanum. The choir, chevet, and chapels, while existent to a visible
+and very beautiful degree, are somewhat overshadowed by the great size
+of the transepts. There is this to be said, however: that the choir, a
+restoration of our own day, presents, as to style, the type of Gothic
+purity at its height. It has five radiating chapels, not including that
+of Notre Dame des Miracles, which adjoins the south transept and
+contains innumerable votive tablets. For the rest, except for the fact
+that the interior partakes of a mere collection of curios and relics, it
+is in general no less imposing in its proportions than the exterior. The
+clerestory windows, however, are of ill proportions for so grand a
+structure, being short and squat; and here, as elsewhere throughout the
+building, is to be found only modern glass.
+
+The great bell of the western tower weighs 8,500 kilos.
+
+Chief among the notable accessories and reliques is the monolithic tomb
+of St. Erkembode, bishop of the one-time see of Thérouanne, period
+725-37. The sarcophagus itself, dating from the same century, was
+brought here from the original site. The tomb of St. Omer was restored
+in the thirteenth century and shows a remarkable sculptured group of
+Christ, the Virgin, and St. John, called the "Great God of Thérouanne."
+It was saved from the ruin of the church at Thérouanne, which was
+destroyed with the greater part of the town in 1533 by Charles V., in
+revenge for the "loss of three bishoprics," as history states. At this
+time the sees of St. Omer and Boulogne were founded.
+
+The near-by Palace of Justice, built by Mansart in 1680 and enlarged for
+its present use in 1840, was the former Episcopal Palace.
+
+St. Omer has also two other grand churches, St. Sepulchre, of the
+fourteenth century, and the ruins of St. Bertin (1326-1520), which,
+before the Revolution, with St. Ouen at Rouen, and the collegiate church
+at San Quentin, was reckoned as one of the most beautiful Gothic abbeys
+in France. To-day it is a magnificent ruin, its huge tower (built in
+1431) and portions of the nave and crossing being all that remain. It
+was considered the finest church in the Low Countries, and for size,
+purity, and uniformity of style it ranked with the best of its
+contemporaries.
+
+
+
+
+V
+
+ST. VAAST D'ARRAS
+
+
+The capital of ancient Flanders was removed from Arras to Ghent when
+Artois was ceded to France, and thus it was that the city became French,
+as it were, but slowly, its Low Country traditions and customs clinging
+closely to it until a late day. The former Cathedral of Notre Dame
+ranked as a grand example of the ogival style of the fourteenth century,
+in which it was built, and gave to the city of the "tapestry makers" the
+distinction of possessing a church composed of much that was best of the
+architecture of a fast growing art. Such was the mediæval rank to which
+the cathedral at Arras had attained. The new Cathedral of St. Vaast,
+dating from 1755 to 1833, is of the Grecian style of temple building,
+little suited to the needs of a Christian church. The crucial plan
+consecrated by catholic usages of centuries is not however wholly
+abandoned. There is something of a suggestion of the Latin cross in its
+design, but its abside faces toward the southeast rather than due south,
+with its principal entrance to the northwest, a sufficiently unusual
+arrangement, where most French churches are duly orientated, to be
+remarked, particularly as there is little that can be said in praise of
+the structure. The interior follows the general plan of the Corinthian
+order; the windows, neither numerous nor of sufficiently ample
+dimensions to well serve their purpose, number nine only in the choir,
+and five on each side of the nave.
+
+There are, to the abside, seven collateral chapels, some of which
+contain passable sculptured monuments, removed from the old abbey of St.
+Vaast, a foundation erected in the sixth century and reconstructed by
+Cardinal de Rohan in 1754. The remains of the old abbey buildings have
+been built around and incorporated in the present Episcopal Palace, the
+extensive Musée, and Bibliotheque; and are situated immediately to the
+right of the façade of the cathedral.
+
+The grisaille glass seen in the interior is unusual, but mediocre in the
+extreme.
+
+There are, however, some good statues in white marble in the Chapelle de
+St. Vaast, while in another chapel, given by Cardinal de la Tour
+d'Auvergne, is one equally good of Charles Borromée.
+
+There are four great statues at the extremities of the transepts,
+representing the four evangelists; and three others in the choir, of
+Faith, Hope, and Charity.
+
+In the north transept, also, are two triptychs of the Flemish school, by
+Bellegambe, a native of Douai (1528).
+
+The Abbé Bourassé, in his charming work on the cathedrals of France,
+says, plainly, and without fear or favour: "We have tried to speak
+impartially of all species of architecture--but why do we not admire the
+Cathedral of Arras? It is against all traditions of '_notre art
+catholique_.' We contend that this is not good. What, say you, can we
+praise? It is a great work--of the stone-mason; you should study it from
+some distance. It is without life, without movement, without dignity."
+
+Whatever may be the faults of its cathedral, Arras is, nevertheless, an
+interesting city,--modernized, to be sure, by boulevards laid out along
+the old fortifications. The Citadel of Vauban (1670), called ironically
+"_la belle inutile_," may be classed as a worthless, if not wholly
+unpicturesque, ruin, though ranking, when built, as among the most
+wonderful fortifications of the times. The wave of Renaissance which
+swept northward has left its ineradicable marks here. The Hôtel de Ville
+is a remarkable specimen of that art of overloading ornament upon a
+square hulk, and making it look like a wedding-cake; though, truth to
+tell, coming upon it after the chilliness of the cathedral itself, it is
+a cheerful antidote. Dating from 1510, at which time was built the
+curious Gothic façade of seven arches, each different as to size and
+spring. The added wings in elaborate Renaissance are of the late
+sixteenth century and rank among the most effective examples of the
+style in France. A belfry surmounts all, 240 feet in height, the
+"_joyeuse_" of which weighs nearly nine tons.
+
+Arras may perhaps be most revered for its tapestries, its workers taking
+rank with those of the famous manufactories at Paris and Beauvais.
+Indeed, it would appear as though experts knew not to which of these
+three centres to assign precedence, both Arras and Paris claiming the
+honour of having set up the first looms. It is an ancient art, as the
+work of craftsmen goes, and more than one writer who has studied deeply
+the fascinating intricacies of _haute_ and _basse lisse_, of colour,
+texture, design, and what not, has not hesitated to proclaim the city as
+having been the grandest centre of tapestry-making which the world has
+ever known; and regret can but be universal that it came to an end when
+its citizens were put to the sword by Louis XI.
+
+
+
+
+[Illustration: _TOUL_]
+
+VI
+
+ST. ETIENNE DE TOUL
+
+
+Annexed to France, in company with Metz and Verdun, in 1556, Toul,
+situated on the left bank of the Moselle, is to-day ranked as a fortress
+of the first order. "Can be seen in two hours"--such is the description
+usually given by the guide-books to the city which contains, in its
+one-time Cathedral St. Etienne, an example which, with respect to the
+decorative tracery of its façade savants have declared the equal even of
+Reims.
+
+One of the three former bishoprics of Lorraine, Toul is none too ample
+to merit the cognomen of a large town. It once held within its walls,
+beside the Cathedral, the Church of St. Gengoult, and several parish
+churches and monasteries. Shorn to-day of some of these dignities, with
+its bishopric removed to Nancy, it ranks as a military and strategic
+stronghold rather than a centre of churchly domination. Since Metz and
+Strasbourg were given over to the Germans, Toul's former fortress has
+been greatly strengthened.
+
+The cathedral itself may truly be said to bear the characteristics of
+both the German and French manner of building, the western or later end
+being a superb front, after the French manner, and the easterly or
+earlier end having a simple apse and long narrow windows, in the German
+fashion. A comparison has been made by Professor Freeman between the
+western façade of this church and Notre Dame de Reims. He says, "We are
+daring enough to think that, simply as a design, the west front of Toul
+outdoes that of Reims; though it will be hardly needful to prove that,
+as a whole, Reims far outdoes that of Toul." Quite non-committal, to be
+sure, as was this charming writer's way; but, of itself, a sort of
+preparation to the observer for the beauties which he is to behold. Here
+is the case of a superb richness having been added to a plainer body,
+and by no means inharmoniously done. The gable is nearly perfect as to
+its juxtaposition. The towers are higher in proportion than at Reims,
+giving the effect of being the finished thing as they stand, though
+lacking spires or pinnacles. The walls are of those just proportions in
+relation to the window piercings which is again French, as contrasted
+with a neighbouring example at Metz, where the reverse is the case.
+
+The city was the seat of a bishop as early as the sixth century, and its
+government was under his control until 1261, when it became a free
+commune. Finally it was conquered by Henry II., and its future assured
+to France by the Treaty of Westphalia.
+
+The cathedral dates in part from Romanesque remains of the tenth
+century, but its entire interior arrangements were much battered during
+the Revolution.
+
+The choir and transept are of the best of thirteenth-century building,
+while the nave and side aisles are of the century following. Two towers,
+which flank the magnificent façade, rise for nearly two hundred and
+fifty feet, and are the work of Jacquemin de Commercy in the fifteenth
+century. Adjoining the right aisles are the very beautiful Gothic
+cloisters of the thirteenth and fourteenth centuries. They form a
+rectangular enclosure, 225 feet by 165 feet, and are made up of
+twenty-four sections of four arches, each with clustered columns.
+
+A fine sculptured altarpiece, "The Adoration of the Shepherds," is in
+the Chapelle de la Creche, entered from the cloister.
+
+The present Hôtel-de-Ville was formerly the bishop's palace.
+
+
+
+
+[Illustration: _North Portal Cathedral Chalons-sur-Marne_]
+
+VII
+
+ST. ETIENNE, CHÂLONS-SUR-MARNE
+
+
+Chalons is perhaps first of all famed as the scene of Attila's great
+defeat in the fifth century, one of the world's fifteen decisive
+battles.
+
+The Cathedral of St. Etienne is not usually considered to be a
+remarkable structure; but it is thoroughly typical and characteristic of
+a _locale_, which stamps it at once with a mark of genuineness and
+sincerity. Of early primitive Gothic in the main, it shares interest
+to-day with the four other churches of the city, not overlooking Notre
+Dame de l'Epine, some five miles distant to the northward, one of the
+most perfectly designed and appointed late Gothic churches which the
+world has ever known. It has been called a "miniature cathedral," using
+the term, it may be supposed, in the sense of referring only to a
+magnificently ornate church. It is indeed worth a pilgrimage thither to
+see this true gem of architecture in a wholly undefiled countrified
+setting.
+
+The Cathedral at Chalons-sur-Marne follows somewhat the traditions of
+the German manner of building, at least so far as a certain plainness
+and lack of ornate decoration in the main body of the church is
+concerned; likewise in the arrangement of its towers, which lie to the
+eastward of the transepts; and further with respect to its decidedly
+Teutonic arrangement of the rounded columns, or, more properly, pillars,
+of its nave.
+
+In general this thirteenth-century church is in the best style of its
+era; but the west front presents an incongruous seventeenth-century
+addition in the whilom classical style of that day, bad as to its art,
+and apparently badly welded into conjunction with the older portion. The
+aisles and clerestory windows are of the later decorated period of
+Gothic, and present, whether viewed from without or from within, an
+exceedingly fine appearance.
+
+Probably the finest and most pleasing impression of the whole structure
+is that obtained of the interior, with its pillars of nave and choir, of
+the massive order made familiar in the Rhine churches. A reasonable
+share of twelfth to sixteenth century glass is still left as its
+portion, and the general arrangement of the choir, prolonged, as it is,
+well into the nave, gives a certain majesty to this portion of the
+church which is perhaps not warranted when we take into consideration
+that it must perforce dwarf the nave itself. The arrangement, though not
+common, is by no means an unusual one, and it is recalled also, that it
+is so employed at Reims.
+
+Situated near the frontier, Chalons-sur-Marne has ever been subject to
+that inquietude which usually befalls a border city. German influences
+have ever been noticeable, and, even to-day, the significant fact is to
+be noted that a curé will hear confessions in German, and that services
+are held in that tongue on "Saturdays in St. Joseph's Chapel."
+
+The Episcopal Palace, behind the cathedral, contains a collection of
+some sixty paintings, the gift, in 1864, of the Abbé Joannes.
+
+
+
+
+[Illustration: _S. DIÉ_]
+
+VIII
+
+ST. DIÉ
+
+
+St. Dié gets its name, by the corruption of Dieudonné, from St.
+Deodatus, who founded a monastery here in the seventh century. It was
+built, as was many another great cathedral, in accordance with the
+custom of erecting a church over the body or relic of a saint whom it
+was especially desired to honour; usually one of local importance, a
+patron or a devotee.
+
+The town is perhaps the most inaccessible and "out-of-the-way" place
+which harbours a cathedral in all northern France. We might perhaps
+except St. Pol-de-Leon and Tréguier in Brittany, neither of which is on
+a railway, whereas St. Dié is, but at the very end. When you get there
+and want to go on, not back, you simply journey on foot, or awheel if
+you can find a conveyance, and take up with another "loose end" of
+railway some fifteen miles away, which will take you southward, should
+you be going that way. If not, there appears to be nothing for it, but
+to retrace your steps whence you came.
+
+The cathedral (locally "La Grande Eglise," it only having been made a
+cathedral so recently as 1777) has a fine Romanesque nave of the
+eleventh century, with choir and aisles of good Gothic, after the
+accepted Rhine manner of building.
+
+The portal, of red sandstone, is of inferior thirteenth-century
+workmanship, with statues of Faith and Charity on either side. The
+façade is flanked by two square towers.
+
+The interior is curiously arranged with a cordon of sculpture, high in
+the vaulting. The capitals of the pillars are likewise ornamented with
+highly interesting and ornately sculptured capitals. The choir, as is
+most usual, is the masterpiece of the collection, the windows, in
+particular, being of the purest ogival style.
+
+In the first chapel, on the right, is a painting, "The Martyrdom of St.
+Sebastian," and behind the choir is an ancient work commemorative of
+"_Le Peste de St. Dié_."
+
+
+
+
+[Illustration: ST. LAZARE _d'AUTUN_]
+
+IX
+
+ST. LAZARE D'AUTUN
+
+
+This ancient episcopal city has ever been devoted to the cause of
+Christianity. "Nowhere," says a French historian, "has the Church
+enjoyed more repute than here." The Dukes of Burgundy, its bishops and
+people alike, joined in a fervour of labour and zeal to assure its
+permanence and progress. In addition, the Gallo-Roman remains point to a
+former city of proud attainments. The fine Roman walls, beautifully
+jointed, _sans_ cement, are distinctly traceable for a circuit of
+perhaps three miles around the city. Other interesting remains are two
+fine gateways, commonly referred to as triumphal arches, which they
+probably were not, the Porte d'Arroux and the Porte St. Andre; the ruins
+of an amphitheatre; and a tower assigned to a former temple of Minerva.
+All these, and more, are found inside the old walls; while, without, are
+remains of an aqueduct, of a tower dedicated to Janus, and a Roman
+bridge crossing the river Torenai. It may be interesting for an
+Englishman to recall that the Bishop of Autun, who often presided over
+the National Assembly, pleaded in vain with George III. for the
+adoption, in England, of the French metric system.
+
+During the destruction of a former building, St. Nazaire, which at one
+time performed the functions of a cathedral, the bishops held their
+offices in the chapel of the chateau of the Dukes of Burgundy; but, upon
+the removal of the residence of the house of Burgundy to Dijon,
+transferred their services to the present edifice, which had by that
+time been completed.
+
+The Cathedral of St. Lazare is a charmingly graceful, though not great,
+structure, mainly of the style "_ogivale premier_," its early Lombard
+work of the nave and west front being of the foundation of Robert I.,
+Duke of Burgundy. This vast western portal is encased in a great
+projective porch, a feature indigenous apparently to Burgundy, and
+commonly referred to as the "Burgundian narthex." Following come the
+chapels and spires, of exceeding grace and beauty, of the third
+_ogivale_ style.
+
+The interior enrichments, like the western doorway, with its Romanesque
+sculptures, take rank with the best in Burgundy. The delicately carved
+rood-loft, or jube, the small sculptures of the choir and nave, and the
+flamboyant chapels of the fifteenth to seventeenth century, challenge
+minute attention from those who would study decorative detail _in
+extenso_. The capitals of certain columns in the nave have fluted
+pilasters in imitation of the antique, but are most curiously ornamented
+with grotesque and fantastic human figures on a background of foliage.
+
+The choir, of early pointed style, in its actual disposition and
+arrangement, may be included in that classification which comprehends
+some of its more important northern compeers, though, as a matter of
+fact, it lacks their magnitude. Indeed, the building is one of the
+smallest cathedrals in all France. The exterior offers an imposing and
+picturesque ensemble, with its crocketed spire rising some two hundred
+and fifty or more feet above the roof-tops of the ancient city.
+
+Nearer inspection shows a certain incoherence of construction,
+particularly in reference to the evidences of garish crudities in the
+work done under Robert I. in 1031-76, in contrast to the later pointed
+work.
+
+The doorway of the lateral southern wing is ornamented with a series of
+grossly exaggerated columns, in imitation of the antique, with the
+addition of an apse, which contrastingly shows work of a late flamboyant
+order.
+
+The spire itself is the masterwork of the entire structure, and, unlike
+those which surmount many another church, appears not to have suffered
+the dangers of fire. As a fifteenth-century work, it merits special
+mention. Rising abruptly from a heavy square base, the pyramid is very
+acute, and is ornamented at the angles with foliaged crockets, basely
+called stone cauliflowers by unimaginative persons. One might say, with
+the gentle Abbé Bourassé, that the "ornamentation breaks into sky and
+cloud with an exceedingly agreeable effect, far beyond that of a
+straight line." The inconsistency lies only in the juxtaposition of the
+two western transition towers, which have hardly enough of the Gothic in
+them to merit the name.
+
+The lower windows of the nave are of good flamboyant style, with a sort
+of Romanesque triforium, and a simple round-headed window in each bay of
+the clerestory, which is the more poor in treatment and effect in that
+it holds no notable glass. There are none of those distinctly northern
+accessories, the great rose windows, and the whole reeks of distinctly a
+milder atmosphere. There is a luxuriance of decoration in the many
+chapels of different epochs.
+
+The exterior, in general, is of excessive simplicity; but, if it is not
+to be placed among those cathedrals and churches accredited the most
+notable and most beautiful, it will, at least, take rank as one of the
+most ancient to be seen to-day, and has the further benefit of a
+glorious environment and association with the past.
+
+
+
+
+[Illustration: _CATHEDRAL of S. BÉNIGNE DIJON_]
+
+X
+
+ST. BÉNIGNE DE DIJON
+
+
+The power and wealth of the Dukes of Burgundy, whose influence extended
+northward to the Netherlands, where they often held court at Ghent and
+Bruges, were, in a way, responsible for the opulence and splendour of
+the life of the day. So, too, Burgundian architecture became a term
+synonymous for the amplitude and grandeur with which many of its
+institutions were endowed.
+
+The reign of Philippe le Bon, with that of Charles the Bold, the most
+ambitious prince who ever graced his line, was the Augustan age of
+Burgundian art. It was the dream of the latter to reincarnate the old
+Burgundian kingdom by annexing Lorraine and subduing the advancing Swiss
+Confederacy, an ambition which failed, like many others as, or more,
+worthy. The conquered duke was killed at Nancy, and was finally buried
+in Notre Dame at Bruges.
+
+The Cathedral of St. Bénigne is an outgrowth from the old abbey church,
+from which the Italian monk, Guillaume, set forth to found that
+remarkable series of monasteries in Normandy and Brittany. It is said,
+too, that he crossed the Channel, and had a large share in the works
+which were erected at that period in the south of England. The bishop's
+throne has been established in this church only since the Revolution,
+caused by the destruction of his former cathedral. The early foundations
+of the old abbey date far back into antiquity, but the present cathedral
+dates only from the thirteenth century. Commonly considered as of Gothic
+style, it is in every way more suggestive of the late Romano-Byzantine
+type, or at least of the early transition. There is, to be sure, no
+poverty of style; but there is an air of stability and firmness of
+purpose on the part of its builders, rather than any attempt to either
+launch off into something new or untried, or even to consistently remain
+in an old groove.
+
+As a fact, it is not a very grand building. Its choir is small, and its
+transepts short. In its plan, at least, it resembles the Byzantine form
+much more than the elongated Gothic, where every proportion seems to
+reach out to its utmost extent.
+
+The west façade is truly fine in the disposition of its parts and
+arrangements. It suggests, more than anything, a traditional local
+style, favouring nothing else to any remarkable degree except the German
+solidity so often to be noted in eastern France. The towers are firmly
+set with unfrequent pointed openings. The central portal and vestibule
+are deep, and rich with a sculptured "Martyrdom of St. Peter" and a
+delightfully graceful arcade just above the portal arch, and another
+crossing the gable and joining the towers in a singularly effective
+manner. A somewhat heavy but rich pointed window of three lights,
+surmounted by a quatrefoil rose, with a slight needle-like spire which
+rises just above the gable, completes the ensemble.
+
+The earlier work, seen at its best in the interior, is that of the choir
+and transepts, where again the distinguishing features are local. In
+the transepts the arches open directly on the side chapels, the southern
+arm being gorgeous with brilliant glass. The windows of choir and
+transepts throughout are richly traceried and set. The choir itself is
+destitute of either ambulatory or chapels.
+
+A lantern is placed at the crossing, supported by gracefully foliaged
+shafts.
+
+The nave is of a much later period, and is not of the richness of the
+portion lying to the eastward. The windows of the clerestory, in
+particular, will not be considered of the excellence of those of either
+transept or choir.
+
+The south tower encloses the tombs of Jean sans Peur and Philippe le
+Hardi. The crypt contains the tomb of St. Bénignus.
+
+
+
+
+[Illustration: _CATHEDRAL of NOTRE DAME SENLIS_]
+
+XI
+
+NOTRE DAME DE SENLIS
+
+
+"Truly rural" is a term which may well be applied to the situation of
+Senlis, the ancient Civitas Sylvanectensium of the Romans. Quaint and
+attractive to the eye is the entrance to the town from the railway, with
+its low-lying roofs, over which tower the spires of the ancient
+Cathedral of Notre Dame and the Church of St. Pierre. It forms a
+heterogeneous mass of stone, to be sure, and one which looks little
+enough, at first glance, like the delicate and graceful cathedral which
+makes up the mass in part. It is, in reality, a confused jumble of
+towers and turrets which meets the eye, and it takes some little
+acquaintance with the details thereof to separate the cathedral from the
+adjacent church.
+
+The proximity of the sees of Beauvais, Amiens, and Paris perhaps
+accounts for the lack of importance attached to this cathedral. As for
+the structure itself, among the minor cathedrals of France, Senlis, with
+Séez and Coutances, must ever rank as the peers of that order, with
+respect to the grace and beauty of their spires. It may be doubted if
+even the spires of Chartres are to be considered as more beautiful than
+the diminutive single example to be seen here, particularly when grouped
+with its surrounding environment. Individually, as well, its grace and
+beauty might even take that rank. The demarcation between the base of
+the tower and the gently dwindling spire is almost entirely eliminated,
+without the slightest tendency toward debasement in the steeple, which
+too often is merely a series of superimposed, meaningless, and
+unbeautiful details. Latter-day builders, who want a model for the spire
+of a moderate-sized Gothic church, could, it would seem, hardly do
+better than to make a replica of this graceful example.
+
+In its façade, the Cathedral of Notre Dame de Senlis partakes largely of
+the characteristics of the primitive lowland types, reminiscent, at
+least, of Noyon or Soissons, and, as such, it may properly be considered
+and compared with them.
+
+The transepts of the north and south are not grand members, but they are
+compact and graceful, and the façade of the southern arm is of a highly
+ornate character, bespeaking a wealth of ambition, if not of ability, on
+the part of the architect.
+
+The interior, in spite of the lack of sculptured ornament, shows no
+paucity of style, and, except that it is of the bijou variety, might
+take rank at once as representative of Gothic style at its best. Under
+these conditions, the nave is naturally confined, and lacks a certain
+grandeur both as to width and height.
+
+The choir is of true, though not lofty, proportions, the aisles
+appearing perhaps too low, if anything, for the height of the nave,
+which otherwise appears exceedingly generous with respect to the extent
+of its triforium and clerestory.
+
+The transepts, though shallow, are possessed of unusually amplified
+aisles, there being, as a matter of fact, two in that portion which
+adjoins the nave on the west, a sufficiently unusual arrangement to
+warrant comment. The rose windows of the transepts have graceful design
+and good framing, though the glass is not of the splendour which we
+associate with the most pleasing examples seen elsewhere.
+
+
+
+
+XII
+
+ST. ETIENNE DE MEAUX
+
+
+To the eastward of Paris, one first finds the true country atmosphere at
+Meaux, famous for its bishops, its grist-mills, and its generally
+charming environment.
+
+The picturesque little city is situated on the Marne, some thirty miles
+from Paris, amid a verdure which, if not luxuriant, is, at least, a
+"fringe of green" that is appealing alike to local pride, and to the
+artist or stranger within the gates. It is an ancient bishopric (now
+suffragan of Paris), founded in 375 A. D.
+
+[Illustration: ST. ETIENNE _de MEAUX_]
+
+The Cathedral of Saint Etienne de Meaux is called by the French the
+"Child of Amiens," and it would have all the dignity of its mother had
+but the nave received the same development as the choir. Its general
+dimensions are restrained, and it shows in no way any remarkable
+architectural ensemble; but, for all that, its power to please is none
+the less great. Lacking a certain symmetry, in itself no great fault,
+the exterior gives the impression of being to-day much less grand and
+imposing than was really planned. Battled by wind and weather, its outer
+walls have that scarred and aged look which is a beauty in itself. There
+are two towers, one of which is unfinished and capped with an ugly and
+angular slate roof, so low that it hardly exists at all, so far as
+forming a distinct feature of the façade is concerned. Its companion,
+however, rises boldly and in graceful lines to a generous height above
+the gable.
+
+The interior plan is regular and simple, with a nave of five bays, the
+first two from the west being divided into the infrequent quadruple
+range of openings, while the remainder consist of the usual triforium
+and clerestory only. The double aisles of the nave are of unusual
+height, in order to admit of this double range of openings.
+
+The transepts, if transepts they can be considered, are very shallow,
+being merely the depth of the double aisles of the nave and choir, and
+are bare and unadorned so far as any notable sculpture or glass is
+concerned, though the arched windows which hold the plain glass are of
+grand proportions and excellent design as to their framing.
+
+The triforium, throughout, is an arcaded cloister-like effect of slight
+arches, supported by slender columns, with a series of glazed windows
+behind. It would be a notable and wholly charming arrangement were the
+glass of these windows rich in colour, or even old in design.
+
+There is an air of singular lightness, if not actually of grace,
+throughout the entire nave and choir, superinduced, perhaps, by the
+recent whitening and pointing of the masonry; but the not infrequent
+bulging piers, particularly those nearest to the transept crossing, give
+a suggestion of ungainliness if not of actual insecurity.
+
+The columns of the choir, supporting a series of firm and gracefully
+poised arches, are of unusual height, something over forty feet, it
+would appear,--producing a harmony of form and elegance which again
+reminds one of Amiens.
+
+There are here copies of the nine Raphael tapestry cartoons, the
+originals of which are preserved at South Kensington, also of frescoes
+by Guido Reni and Domenichino.
+
+The chief artistic, if not architectural, charm to be seen within the
+purlieus of the cathedral is that of the ancient chapter-house, across a
+narrow way, to the right of the church itself. This gem of mediæval
+building is perhaps not remarkable as to any of the principles which it
+sets forth in its manner of construction, but it takes one back some
+hundreds of years, a sheer plunge far beyond the age of the most
+prominent features of the main church, and gives a thrill somewhat akin
+to the emotion which one feels when he comes across a single leaf torn
+from an old illuminated manuscript. This charming ruin, for it is hardly
+more than that, being a mere lumber-room, shows in the weathered look of
+its covered stairway nearly all of the qualities which the painter loves
+to depict,--colour, texture, and, above all, that indescribable charm
+which artistic folk, and others who can see as they do, call life.
+
+Clearly, the Cathedral of St. Etienne de Meaux, as an interesting
+shrine, may be classed well at the head of the secondary cathedrals of
+the third Gothic period.
+
+
+
+
+[Illustration: CATHEDRAL OF SAINT PIERRE TROYES]
+
+XIII
+
+ST. PIERRE DE TROYES
+
+
+To the thorough student of English history, Troyes is perhaps first
+recalled as being the birthplace of the treaty "_decreeing for ever a
+common sovereign for England and France_," a treaty which, it is minded,
+"stood no while." Again, some dubious antiquary has put it forward as
+the home of that variety of weights "which are not avoirdupois."
+
+The Counts of Champagne had, in the once well-walled city, both a castle
+and a palace. Olden-time houses, good Gothic woodwork and Renaissance
+stonework, are here in abundance; also, according to the authority of
+Fergusson, a well-nigh perfect Gothic church in St. Urbain; likewise a
+great cathedral,--rather ugly as to its general outline. All these are
+possessed by Troyes, and to-day the reminders and remains of each and
+all are exceedingly vivid and substantial.
+
+Certain cathedrals of France show plainly the different phases and
+developments of the art of building through which they have passed;
+others indicate little, if any, deviation from a certain accepted style.
+St. Pierre de Troyes is of the first category. Here is Gothic in all its
+variations. Its environment, too, is characteristic of the many varying
+moods through which its constituency has passed. A truly mediæval city
+in the picturesqueness of its older portions, Troyes is famed alike in
+affairs of Church and State. The dimensions of the Cathedral at Troyes,
+which approach those of the grand group, and the general majesty of its
+interior only further this opinion.
+
+The main body covers the none too frequent arrangement of five aisles,
+which, following through the transept, continue, with the double pair on
+each side, to likewise girdle the choir. The splendour of immensity is
+further enhanced by its large windows, including two rose openings set
+with old glass, and the general richness of its sculptured decorations.
+The abside of the choir is ranked among the best Gothic works of the
+time.
+
+The choir, begun in 1206, is composed of thirteen arcades, symbolical of
+Christ and the twelve apostles, from the chief of whom the cathedral
+takes its name. The windows of the triforium are large and divided into
+four compartments. The general disposition of the choir, with its
+radiating chapels, is superb; and it is exactly this satisfying, though
+perhaps undefinable, quality that is ofttimes lacking in an originally
+well-planned work which fails to inspire one. The choir contains an iron
+_grille_ of the thirteenth century, of very beautiful workmanship, and
+is surrounded by five hexagonally sided chapels.
+
+The principal portion of the nave, erected in the fourteenth, fifteenth,
+and sixteenth centuries, interrupted now and again by war and civil
+distractions, bears indelible impress of its continued centuries of
+growth.
+
+The principal façade of the fifteenth century--accredited to one Martin
+Chambige and erected just after the nave took form--is of the richness
+of Gothic only just previous to its decline. There are three portals,
+which are bare of sculptured figures, as indeed is the whole west front.
+In arrangement, it resembles the frontispieces of certain of the grand
+cathedrals, and, though lacking their sculptured ornateness, is
+thoroughly satisfying as a decorative frontage. Had it been executed
+fifty years later, it would be hard to imagine to what depths its lines
+might not have fallen. As it is, the upper ranges of the tower suggest
+the thought. The windows of the aisle and of the clerestory of the nave,
+when viewed from the exterior, are grandly traceried and gracefully
+coupled by a series of light, firm buttresses, which rise, only from the
+gables of the lower set, over the low-lying roof to the spring of the
+arch of the upper range. St. Pierre de Troyes suggests, in a mild way,
+the "sheer glass walls" so frequently referred to by adulous French
+critics when chanting the praises of the highly developed lightness of
+their indigenous style. This is further accentuated when one notes the
+glazed triforium, a decorative feature reminiscent of that at Séez,
+Nevers, Tours, and St. Ouen at Rouen.
+
+Troyes is one of those prominent cathedral cities of Catholic France
+whereof the churchman deplores the fact that its men are not of the
+church-going class, and that its congregations are mostly of the fair
+sex. Be this as it may, except in Brittany, where the whole population
+appears unusually devout, the stricture is probably true in a great
+measure of all of the north of France; and, be it here said, recent
+political edicts will doubtless not tend to increase the propaganda of
+piety.
+
+The north gable, with its portal and rose window, is of the fifteenth
+century, and, with the "lustrous rose" of the south transept, forms a
+pair of brilliant jewels which are hardly excelled elsewhere, not even
+by the encircled splendour of the forty-foot openings at Reims and
+Amiens, the equally extensive one of the north transept at Rouen, or,
+most splendid of all, the galaxy at Chartres. These marvels of French
+ingenuity and invention are nowhere more splendidly proportioned or
+embellished than at Troyes, and are equally attractive viewed from
+either within or without.
+
+The chief "_tresor_" consists of a series of wonderful mediæval
+enamels.
+
+
+
+
+[Illustration: CATHEDRAL OF SAINT ETIENNE SENS]
+
+XIV
+
+ST. ETIENNE DE SENS
+
+Says the Abbé Bourassé, "One of the most beautiful titles to glory in a
+church is the antiquity of its foundation," hence, most French
+antiquaries who have written upon the subject of the celebrated
+Cathedral of St. Etienne of Sens have enlarged upon its "glorious
+antiquity." To prove or verify the fact as to whether St. Savinien or
+St. Potentien was the first to preach Christian religion here would be a
+laborious undertaking. Evidences and knowledge of Roman works are not
+wanting, and early Christian edifices of the Romanesque order must
+naturally have followed. One learns that an early church on this site
+was entirely destroyed by fire in 970, and that a new edifice had
+progressed so far that it was dedicated in 997. This, in turn, was
+mostly rebuilt, and, two hundred years later (1168), took the form of
+the present cathedral. It was completed, in a rather plain and heavy
+ogival style, under the capable direction of the William who came to
+Canterbury, in response to a call, to rebuild the choir of that English
+church in 1174. It is this link, and possibly a sight of the vestments
+of À Becket, now preserved among the "_tresor_" of Sens, that binds its
+memory with English contemporary life. Whatever may be the contentions
+waged as to the claims of English Gothic, it is universally and
+unimpeachably admitted that Guillaume de Sens rebuilt that famous choir
+of Canterbury, and built it well, and of a newer order of design than
+any previous work in England. So let it stand.
+
+Taken by itself, the Cathedral at Sens is a high example of Christian
+art. When, however, it is compared with the grand group, it is relegated
+immediately to the second rank. The interior, far more than the
+exterior, shows a visible disparity of unified style. Romano-Byzantine,
+transition, and ogival are all found in the nave and choir, with the
+flamboyant, of the fifteenth century, in the ornamental tracery of the
+windows of the transepts.
+
+Some visible remains of the earlier structure are shown, built into the
+eleventh century walls. Of the same period are other evidences of a
+former erection, to be noted in the aisles. The transept and the greater
+part of the nave are of the century following, and of the early
+thirteenth, and finally the three arcades, by which the nave is entered,
+are something very akin to the full-blown Renaissance of the fifteenth
+century.
+
+The general plan is symmetrical, and severe, only the twenty chapels
+being ungracefully disposed. Ten of these are in the choir and ten in
+the nave. For the antiquary, versed in religious archæology, the
+Cathedral of Sens would appear, from the very inconsistencies and
+exuberance of its style, to be of great interest. The fragments that
+remain of its former magnificent glass, the sculptured monuments, and
+the tombs and curiosities of the "_tresor_," which escaped Revolutionary
+spoliation, all combine in a glorious attraction for one who has the
+time and inclination to delve into the reminiscence of history and
+association of a past age.
+
+The glass of the choir, and of the chapel of St. Savinien, is of the
+thirteenth century. The colour is exceedingly brilliant, lively, and
+harmonious, with the iridescence of a mosaic of precious stones.
+
+The sixteenth-century glass, none the less than the framing itself, of
+the grand rose windows of the north and south transepts, is equally
+remarkable as to design and colour. The former represents the
+"Glorification of Jesus Christ," and the latter "Events in the Life of
+St. Etienne."
+
+The "_tresor_" of the cathedral is very numerous and is considered the
+richest in all France. The most notable are a reliquary of gold, set
+with sapphires and pearls, containing a fragment of the True Cross,
+given by Charlemagne in the year 800; four magnificent tapestries of the
+time of Charles V., representing the "Adoration of the Magi;" and the
+pontifical robes of St. Thomas (à Becket), chasuble, aube, stole,
+manipule, cordon, two mitres, and two collars. This courageous
+archbishop, persecuted by Henry II., took refuge in Sens in 1162. An
+elaborate tomb (of the eighteenth century), by Constant, is the
+mausoleum of the Dauphin, father of Louis XVI.
+
+
+
+
+_PART VI_
+
+_Western Normandy and Brittany_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+Most people who have read Ruskin, and most people have done so--in the
+past, will undoubtedly concur with his dictum that Rouen's "associated
+Norman cities," Bayeux, Caen, Coutances, St. Lo, Lisieux, and Dieppe,
+run the entire gamut of mediæval architectural notes; or, as Ruskin
+himself has put it, "from the Romanesque to the flamboyant." He might
+well have added, the Renaissance and the pseudo-classicism of a later
+day.
+
+Beauties there are in this region, galore; and the examples which no
+longer exist, but of which the records tell, point to a still larger
+aggregate.
+
+Who thinks to-day of Coutances as of being a "cathedral town?" And yet,
+there is within it, as to the general effect of situation and the
+magnitude of its towering pinnacles, an edifice which perhaps outranks
+all but the very greatest. Most likely no thought is given it at all,
+except that Coutances is somewhere on the railway line between Cherbourg
+and Paris, or that it is near unto Bayeux; also possessed of a
+magnificent cathedral, but whose greatest fame lies in a certain false
+sentiment associated with its famous tapestry. Not that this great work
+is to be decried,--far from it, but the spirit with which it is so often
+viewed should be a matter of scorn for every broad-minded traveller.
+
+Lisieux, too, has a wealth of attraction for those who fondly admire
+reeking picturesqueness and old timbered houses, though its cathedral
+will not please.
+
+Pugin could not resist depicting many of these delightful old houses of
+Lisieux in his book on Normandy, though, unlike Ruskin, he had no eye
+for its cathedral; most of us will not have.
+
+So much, then, as a plea for a more sincere and thorough appreciation of
+the charms of western Normandy. It is cheap; accessible, and has a
+practically inexhaustible store of treasure for the traveller or student
+of limited time or money, but who will not make of it the usual mere
+"bank-holiday" scamper. The same applies also to Brittany, which is
+treated elsewhere, with this proviso, that the tourist afoot or awheel
+is far better equipped than he who has to depend upon steam and the
+rail, two at least of Brittany's cathedrals being "off the line."
+
+
+
+
+II
+
+NOTRE DAME D'EVREUX
+
+
+The Cathedral at Evreux is another of those edifices which gives one its
+best impression when first seen upon entering the city. Charmingly,
+possibly romantically, situated, it lies in a shallow valley with all
+the picturesqueness of its varied style limned against the sky in truly
+impressionistic fashion. This impression, when viewed from the slight
+eminence by which the railway enters the town, is a vista of rambling
+roofs and a long, sloping street running gently down to the very foot of
+the structure, which, set about and interspersed with verdure, as it is
+in the spring and summer months, warrants one in counting his
+introduction to this charmingly attractive, though non-consistent, type
+of church, as one of the events which will live in memory for years.
+
+[Illustration: _Notre Dame d'Evreux_]
+
+If towering spires and pinnacles were a _sine qua non_ for a great and
+imposing architectural style, this church would at once rank as one
+of the most delightful examples extant; for these very features, albeit
+they are mostly of what we have come to accept as a debased form of art,
+are nevertheless possessed of a grandeur and magnificence which in many
+worthy examples are entirely lacking. The pair of western towers, of
+Romanesque foundation, were developed, not in what one knows as Gothic,
+but of the manifest and offensive pseudo-classic order. They are capped,
+however, with something more akin to Moorish or an Eastern termination
+than Italian. The spire which surmounts the central crossing is, without
+question, a reminiscence of much that has been accepted as good Gothic
+form in the great central-towered English churches. Up to a certain
+point this can hardly be denied; but this rather weak, effeminate spire,
+which forms such an unusual attribute of a French cathedral, more than
+qualifies its right to a place in the first rank of spires. As for the
+rest of the exterior, it is a _mélange_ of nearly every known
+architectural style. Undeniably fine in parts, like "the curate's egg,"
+if a time-worn simile may be permitted, it forms an ensemble which would
+preclude its ever being accorded unqualified praise from even the most
+liberal-minded and optimistic enthusiast.
+
+By far the most coherent view to be had near by is that from the gardens
+of the Archbishop's Palace immediately to the rearward of the choir.
+Here the clipped trees, the warm coloured wall, along which the vines
+are trained, and what was once a canal, or moat, in the foreground,
+combine to present a singularly artistic and pleasing composition.
+
+The north transept, of Bishop le Veneur, is of the superlative degree of
+its era (early sixteenth century), bordering upon the profusion of
+splayed ornament which so soon after turned to dross, but standing, as
+it does, of itself, clearly defined. The gulf was finally crossed when,
+less than a half-century later, the incongruous west front with its
+ill-mannered towers was built,--in itself a subject worth a deal of
+study from the artist who would picture graven stone, but contrasting
+unfavourably enough with the heights to which French ecclesiastical
+architecture had just previously soared. Here is offered the one unified
+Renaissance façade of a French cathedral, welded, as it were, in
+unworthy fashion, to a fabric with which it has nothing in common. The
+stone-mason here superseded the craftsman; and, with the termination of
+the reign of François I., and following with that of Henry II., came the
+flowering rankness of a degenerate weed, leaving, as evidence of its
+contaminating influence in this one example alone, traces of nearly
+every classical order, from the simple Doric column to a hybrid which
+shall be unnamed.
+
+The interior presents a general array of incongruities quite as
+remarkable as those of the exterior. The nave is very narrow; but the
+choir widens out perhaps a dozen feet on either side, adding
+immeasurably to an effect which is far more impressive than might
+otherwise be supposed.
+
+The nave itself shows many varieties of building, ranging from the
+Gothic of the early twelfth to the late fifteenth centuries; the lower
+part and the easterly bays are Romanesque, or what perhaps has been
+popularly accepted as Norman, and date from 1125; the remainder and the
+triforium are of a century later.
+
+The choir is of the decorated species of the early fourteenth century,
+with its arcaded triforium glazed, whereas in the nave it is without
+glass. The lady-chapel, of the time of Louis XI., shows that inevitable
+mark of degeneracy, the "_fleur-de-lys_," in the elaborated tracery of
+the window framing. The glass here is, however, excellent, in effect at
+any rate, with its gorgeous figures of knights, angels, and peers of
+France, drawn with a masterly skill which is often lacking in even more
+precious glass.
+
+The chapel screens, some twenty in all, are wondrously turned and carved
+of wood. This leads one to venture the thought that the similar
+decorative embellishments of the Renaissance châteaux of the Loire
+country were slowly creeping northward, and leaving their impress upon
+the work of the ecclesiastical builder and decorator. Certainly, the
+numerous fine examples of the art of the wood-carver, to be seen in this
+cathedral, bespeak much for the decorative quality of wood, when used
+considerately in conjunction with stone.
+
+There are two rose windows, of the petal species, unquestionably fine as
+to framing, but leaving little space for the effect of the glass, which
+they hold only in small proportion.
+
+The "treasury," alone, is enclosed with iron bars, and a _grille_ of
+graceful late flowing ironwork forms the screen of the choir. Altogether
+the Cathedral at Evreux will be remembered quite as much for its
+wonderful array of wooden and iron _grilles_ as for any other of the
+specific details among its mass of general attributes.
+
+[Illustration: _Window Framing--Evreux_]
+
+
+
+
+[Illustration: _Notre Dame d'Alençon_]
+
+III
+
+NOTRE DAME D'ALENÇON
+
+
+This former capital of the duchy of the same name is a sleepy,
+countrified French town, with little but its reputedly valuable and
+beautiful lace to commend it to the average observer.
+
+As a cathedral town, of even secondary rank, it will fall far short of
+any preconceived ideas which one may be possessed of concerning it,
+though its Cathedral of Notre Dame is in many ways one of those
+irresistible shrines, which at least promise, and often fulfil, a great
+deal more than their lack of magnitude indicates.
+
+Its façade, lacking the conventional towers, advances well into the
+roadway, as a sort of forward porch; as at Louviers near by. This porch
+is very ornate, with decorations of the late Gothic period of flowing
+tracery.
+
+After all, it is an incongruous sort of a building, in that only this
+porch and its squat central tower, which is nought but a mere cupola,
+are in the least decorative.
+
+The nave, the choir and chevet, and chapels, are all of a bareness which
+only exaggerates the floridness of these other appendages. The nave
+itself is but one hundred and ten feet long, and perhaps a scant thirty
+wide, and dates from the fourteenth century. It contains good glass of
+the same period, which luckily escaped the spoliation of the Revolution.
+
+The choir is more modern, and much plainer in treatment, and is but
+fifty-five feet in length and of the same width as the nave.
+
+There are no transepts; in short, the chief and most interesting
+features of the church are the before mentioned details, which,
+unquestionably bordering upon the debasement of Gothic art, are in every
+way attractive, with lightness and colour, if such an expression may be
+applied to gray stone.
+
+Certainly the play of sunlight on gracefully carven stone is indicative
+of a brilliancy which might be termed an effect of colour; and it is
+with respect to that quality that the west façade of Notre Dame
+d'Alençon appeals; more than as an otherwise grand or even highly
+interesting structure.
+
+
+
+
+[Illustration: _St. Pierre de Lisieux_]
+
+IV
+
+ST. PIERRE DE LISIEUX
+
+
+Lisieux, the city of the Lexavii, taken by Cæsar and besieged by
+Geoffrey Plantagenet; its old houses; its crooked streets and
+picturesque decay; with its former Cathedral of St. Pierre (M. H.),
+memorable as the marriage place of Henry III. and Eleanor of Guienne;
+all go to make up the formula of one of the stock sights of Normandy.
+
+It is scarcely an attractive town, in spite of its picturesque
+sordidness, made the more so by the smoke arising from many belching
+factory chimneys. In fact, one has difficulty in thinking of it as a
+cathedral town at all; and, as such, it hardly claims more than a brief
+résumé of its important features. A much more interesting, impressive,
+and commanding church is that of St. Jacques, which at least has the
+stamp of a personality, which in the cathedral itself is entirely
+wanting, so far as one's latent sympathies are concerned. In spite of
+the purity of that which is Gothic in its fabric, it has little of that
+quality which arouses admiration, and which, regardless of the edict of
+a certain seer and prophet, is mostly that for which we revere a great
+monument,--its power to sway us impressively.
+
+Mr. Ruskin has taken great pains to commend the southern portal as being
+"one of the most quaint and pleasing doors in all Normandy,"--a
+non-committal enough statement, most will admit, and one with which we
+are not obliged to agree. A broader-minded observer would have said that
+the main body of the church presents a unity of design, very unusual in
+a mediæval work,--excelled by no other example in France. The greater
+part of the nave, choir, and transepts is the work of one epoch only;
+and, as some writers have it, of one man, Bishop Odericus Vitalis, who
+died shortly after its completion, in the latter part of the eleventh
+century. As a style, it may be said to be either the last of the
+transition or of the very earliest Gothic. Certainly this is something
+in its favour; but the general charm of its immediate surroundings is
+lacking, and the effect of its interior, with the diminutive windows of
+the nave and clerestory, does not tend to satisfy, or even gratify, one
+with the sense of pleasure which perhaps its more creditable features
+deserve. These are not wholly wanting; for, of course, one must not
+forget that doorway of Ruskin's nor the quite idyllic proportions of the
+nave with its uniform massive pillars.
+
+The lady-chapel was founded in the fifteenth century by the rascally
+Cauchon, Bishop of Beauvais, who, with his brother, prelate of
+Winchester, so gleefully burned Joan of Arc. This much he did in
+expiation of "_his false judgment_," though, except as a memorial of his
+significant remorse, the chapel itself would hardly be remarkable. The
+clerestory of nave and choir is considerably later. The transepts vary
+as to their windows, and the triforium arches are here at a different
+level from those in the nave.
+
+The general exterior view of the cathedral is hardly satisfactory from
+any point. On three sides it is almost entirely hemmed in by surrounding
+structures, and the frontage, on the great open Place Thiers, is the
+first and the last opportunity of an unobstructed view. As the Abbé
+Bourassé wrote of the Cathedral at Arras, it is best seen from a
+distance, about that, we should say, from which the accompanying drawing
+was made. The gardens of the Sous-Prefecture, formerly the Bishop's
+Palace, should form in a way a cool green setting for the church; but,
+as a matter of fact, they do nothing of the sort, since the enormous
+mass of a none too good Renaissance façade extends along quite
+two-thirds of the length of the cathedral on the north, and blankets it
+thoroughly, scarcely more than the rather stubby tower of the west front
+being visible above the roof of the other structure.
+
+Lisieux apparently never ranked as an important see, but depended for
+the prominence which it attained previous to the Revolution, when the
+see was abolished, on its association with Rouen, to which it was
+attached. The neighbouring Cathedrals of Séez, Bayeux, and Coutances far
+outrank St. Pierre de Lisieux in size, beauty, and importance.
+
+
+
+
+[Illustration: NOTRE DAME _de SÉEZ_ ...]
+
+V
+
+NOTRE DAME DE SÉEZ
+
+
+The ancient Civitas Sagiorum of the Romans is now a bishopric, suffragan
+of Rouen. This ancient Gallic stronghold, which fared hardly in the
+Anglo-Norman wars, presents to-day the impression of being a town
+somewhat smaller than the usual small town of France. It also has this
+advantage,--it is comparatively unknown to tourists, and likewise to
+some map-makers; all of which is decidedly in its favour. Seldom is Séez
+included in the itinerary of the tourist, even though it is situated in
+the heart of the "popular province."
+
+Except for the fact that its charming cathedral is not of the generous
+proportions first impressed upon one, it is difficult to realize that
+such a noble architectural memorial should so often be overlooked and
+apparently neglected by those who might find a great deal of pleasure,
+and incidental profit, from a contemplation thereof.
+
+As a town of celebrated history, Séez is of far more relative rank than
+its cathedral, which, in spite of its many beauties and charm of detail,
+has suffered perhaps more than any other in France, and yet kept a
+fairly pure early Gothic style; referring to the many additions and
+repairs made necessary by crumbling walls and sinking foundations.
+
+The worst that has arisen from this unhappy state of affairs is, not
+that there has been any serious admixture of style, but rather that one
+gross interpolation has been foisted upon an otherwise symmetrical
+whole,--the enormous advancing buttresses which flank the portal of the
+western façade; an addition of the fourteenth century, neither graceful
+nor decorative, and only made necessary by a tottering wall. A pity it
+is that some other equally effective method was not adopted.
+
+The cathedral is, in a way, a satisfying representation of the cathedral
+of our imagination. From a distance, at least, and in comparison with
+the low-lying structures round about, it certainly appears as of great
+proportions, uniform and complete in itself. Immediate contact with it
+somewhat dispels these charms.
+
+All things considered, one finds here, in this idyllic, countrified
+setting, a very attractive and fairly consistent Mediæval Gothic church
+of the epoch contemporary with that of the best work of the northern
+builders, showing unmistakable evidence of having been laid down on good
+lines, and after a good design, in spite of the structural defects of
+its foundations. From any direction it may be viewed across a quarter of
+a mile of ploughed fields. The great national highroad, from the Channel
+to Bordeaux, passes straight as a die through the town, and the
+cross-country line of the _Chemin de-Fer de Ouest_ ambles slowly
+northward or southward; with little occurring to break the quietude of
+local ease. The native is for the most part engaged in garnering from
+his truck farm, or in carrying its product to the railway, to be
+transported to market, and pays little attention to the stray traveller
+who occasionally wanders in to study the architectural offering of the
+town.
+
+A completed church was here in 1050, having been erected by a monk, Azon
+by name. This was burned to the ground in an attempt to drive out a
+robber band which had taken shelter therein. Leo IX. engaged Yves, Count
+of Bellêne and the Bishop of Alençon, to rebuild it, and restore its
+former splendour. This was in the twelfth century, but, later, owing to
+the insecure foundations, it was pulled down and rebuilt again. Now
+nothing remains of the former twelfth and thirteenth century work but
+the lady-chapel of the choir.
+
+The interior of the nave is, at present, entirely filled with
+scaffolding, which looks as though it might not be removed for years. As
+a restorative policy this is commendable and was necessary, but it
+detracts from one's intimate acquaintance with details. About the only
+lasting impression of the nave that can now be obtained is that its
+proportions are superb, and that its cylindrical pillars, with their
+foliaged capitals, would be notable anywhere.
+
+In general effect the choir is charming, having gone through the
+restorative process and apparently suffered little thereby. It presents
+the unusual basilica form of setting the altar forward on a platform
+raised a few steps.
+
+The transepts are of quite idyllic proportions, each possessing an ample
+rose window which makes up in design and framing what it may lack in the
+quality of glass with which it is set. These transepts, too, have
+undergone the usual restoration, and have come safely through with
+little sad effect. It is to be hoped that these continued restorations
+will be carried out with the same good taste, and in a like consistent
+manner. If so, there will be presented for the delectation of
+generations of the near future one of the most pleasing of the smaller
+cathedrals in all France. The triforium of the choir, and of the nave so
+far as it can be observed through the obstructing scaffolding, is
+singularly light and graceful, and the window framing throughout, though
+entirely lacking notable glass, is of manifest good design.
+
+In fine, then, the general effect of the Cathedral of Notre Dame de Séez
+is one of lightness and grace, and it may be considered as an
+extraordinarily fine architectural monument, in spite of the anomalies
+of its west front.
+
+The twin spires rise gracefully for perhaps two hundred and fifty feet,
+and are after the best manner of the great Gothic builders; of true
+proportions, and of the dwindling pyramidal form so much approved.
+
+The façade, between the towers and the extraordinary buttresses, is
+completely filled with an ample Gothic portal, which, though entirely
+destitute of sculpture, or indeed carving of any sort, offers a
+significant opportunity for some future efforts in this direction.
+
+
+
+
+[Illustration: _CATHEDRAL of NOTRE DAME BAYEUX_]
+
+VI
+
+NOTRE DAME DE BAYEUX
+
+
+The magnificently impressive Cathedral of Notre Dame is perhaps less
+intimately associated with Bayeux in the average mind than is the
+wonderful story-telling tapestry which is domiciled in the same city. As
+for this treasure of the past, it is a subject so vast, and of such
+great significance, in both history and art, that it has many times been
+made the subject of weighty consideration. A well-known English amateur,
+the Honourable E. J. Lowell, has stated that popular tradition has
+credited it as the handiwork of Matilda, Queen of William the
+Conqueror, who worked it to commemorate his glorious achievements. If
+this be really so, the queen was probably assisted largely by the ladies
+of her court, as the extensive work, measuring some hundred and sixty
+odd feet, could hardly have been accomplished single-handed. Professor
+Freeman assigns it to a similar period, but worked, as he thinks, by
+English workmen, for Odo, Bishop of Bayeux, the Conqueror's
+half-brother.
+
+A previous acquaintance with the great cathedrals of the Isle of France
+will tend somewhat to nullify the effect which is produced by Notre Dame
+de Bayeux, although, in point of size and general arrangements, at
+least, it fulfils its functions perhaps more acceptably than many a more
+renowned edifice. Its situation, on the side of a steep slope, produces
+a curious effect, first, with respect to the choir chevet, which is thus
+shown as rather gaunt and bare in its lower elongated stages, though
+undeniably a fine work in itself; secondly, in the general interior view
+where, from the western entrance, one comes upon the nave pavement a
+dozen or more steps below the portal, and again meets with the same
+effect further on at the transept crossing. There would appear to have
+been no other way but this of placing above ground what might otherwise
+have been the crypt; adding immeasurably to the fine appearance of the
+interior, the nave and choir appearing to lengthen out interminably by
+reason of the western elevation from which they are viewed.
+
+A portion of the western towers, and the crypt which is beneath the
+choir, are thought to date from as early as the eleventh century, having
+been built by Odo, the half-brother of William the Norman. The
+splendidly proportioned Norman nave, with its decorated spandrels and
+archivolts, a worthy decorative embellishment developed before the days
+of coloured glass, possesses that bright and fresh appearance which is
+usually associated with a recent work, whereas, as a matter of fact, it
+can hardly be, in its five circular arches at least, later than the late
+eleventh or early twelfth century. If it were true that modern
+restorative processes commonly disfigured no more than this, it is a
+pity that the dust and cobwebs, and a little of the grime of ages, were
+not more often removed. Here is the very excess of dog-tooth, arabesque,
+and grotesque carving, never found in connection with a building which
+is constructively decorative. Here also is an ornate frieze of no great
+depth and possessing none of the beauties of the two other distinct
+elements. As there is no triforium in the nave proper, this decoration
+is, of course, intended merely as a relief to a bareness which, on
+account of the generous height, would otherwise exist.
+
+In the choir, the triforium, which is omitted in the nave, springs into
+being in beautiful and ornate form. The lower arches, with the supports,
+the attributed work of an English architect, are of the usual Gothic
+form, in contra-distinction to the rounded heads of those of the nave.
+The clerestory, though delicate and graceful, is somewhat curtailed from
+the dimensions of that of the west end of the church.
+
+The transepts are unusually bright and cheerful, with a series of
+windows more beautifully designed than those of either the choir or
+nave. The choir stalls are of oak, carved in the best manner of the
+Renaissance.
+
+The charming tower group of this cathedral is as effective, perhaps, as
+any among all the northern churches. The central belfry, albeit of a
+base, though pretentious, rococo design, follows no accepted style, but
+adds imposingly to the general outline. (Its height is over three
+hundred feet.) In this tower, as in the window tracery, the
+_fleur-de-lys_, always a sign of the decadent in Gothic style, is to be
+seen. The western towers, with their spires, follow the truest pyramidal
+form, and, though carrying both pointed and round-arched openings, are
+in every way representative of the best work of their period. The
+northwesterly tower has an elongated turret, extending from the lower
+ranges, which, when seen from a distance over the roof of the nave,
+appears as a protuberance not unlike a dove-cote. This contains the
+spiral staircase up which visitors are earnestly implored, by the
+caretaker, to wend their way and participate in the view from the
+heights above. This view, though undeniably wider in range than are most
+elevated view-points, is hardly of interest to one who seeks the
+beauties of the structure itself. There are three porches on the west
+façade, all fairly well filled with foliaged ornament and bas-reliefs.
+They are of the thirteenth century, and of a thoroughly florid order.
+
+Included in the "_tresor_" are two gifts from St. Louis, the chasuble of
+St. Regnobert, and an ivory and enamel casket.
+
+
+
+
+[Illustration: _CATHEDRAL of NOTRE DAME SAINT LO_]
+
+VII
+
+NOTRE DAME DE ST. LO
+
+
+This picturesquely situated city of the Cotentin, St. Lo, is so named
+from the Bishop St. Laud, who lived in the neighbourhood in the sixth
+century. Later, it became a Huguenot stronghold, and was ably, though
+unsuccessfully, defended by Colombiers. It forms, with its former
+Cathedral of Notre Dame crowning its height, another of those ensembles
+which will always linger in the memory of the traveller who first comes
+upon it clad in spring and summer verdure. The rippling Vire at its very
+feet gives at once the note; it not only binds and enwraps it like the
+setting of a precious stone, but adds that one feature which, lacking,
+would be a chord misplaced. Perhaps no other cathedral in all France,
+with regard to its bijou setting, certainly no other so accessible to
+the English tourist, has more dainty charm than this not very grand, but
+graceful, church at St. Lo. Its towers, though not uniform as to size,
+are of apparently the same gradual proportions, and, if not the most
+impressive, are at least the most beautiful in Normandy. They rise high
+above the wooded crest which encircles their base in true picture-book
+fashion. The attraction of the river, here, is unusual, in that it
+presents no accustomed "slummy" picturesqueness, but winds slowly, amid
+its green, to the very base of the cliff which upholds the chief portion
+of the town and its cathedral.
+
+The façade presents a _mélange_ of the work of at least three epochs, a
+not unusual feature in some of the smaller cathedrals. It has a mean
+little house built into its northwest corner, a crude and ugly
+clock-face stuck unmeaningly on its façade, and a general air of
+dilapidation, with respect to the statues originally contained in its
+archivolts and niches, which, to say the least, is not creditable to
+those who have been responsible for its care. It would seem that so
+lively and important a centre of local activity might have devoted a
+little more thought and care to the maintenance of this charming
+building.
+
+Built up from a foundation of which but little, if any portion, visibly
+remains, Notre Dame shows a debasement of design and decoration of its
+façade which is not only not admirable, but is, in addition, sadly
+disfigured. The one detail, for the most part good in style, is a not
+unduly florid arcade, which plainly indicates its superiority over the
+rest of the building.
+
+On the north side is an open-air pulpit of stone overhung with a canopy,
+a highly interesting detail, though, of course, not a unique one. Unable
+to command admiration as an absolute novelty, it is assuredly a charming
+feature, and is delicately and profusely sculptured. It suggests much in
+conjunction with the busy life of the rather squalid neighbouring
+market-place, whose only picturesque attribute is when it is crowded
+with the gaiety of a market or a fête day. By far the most compelling
+interest in the building, after an inspection of its interior, is the
+view to be had from a distance.
+
+The nave is late Gothic, and widens out in curious fashion toward the
+east; otherwise the interior arrangements are not remarkable. One
+bulbous chapel on the south side supplants the usual transept.
+
+There is no triforium either in choir or nave, the lighting principally
+being effected by the large windows of the aisles.
+
+It is pertinent to recall here that one of Charlemagne's own foundations
+of the ninth century, destroyed by the barbarians, was situated near by,
+the famous Abbey of St. Croix.
+
+
+
+
+[Illustration: _Notre Dame de Coutances_]
+
+VIII
+
+NOTRE DAME DE COUTANCES
+
+
+Like many another town of western Normandy, like Falise, Domfront, St.
+Lo, Granville, Avranches, and Mont St. Michel itself, Coutances rises
+high above the surrounding plain and stands dominant in the landscape
+for miles on either hand. Of perhaps more magnitude, as to area, than
+any of the other examples, the city has the added attribute of three
+towered ecclesiastical edifices, which rise nobly in varying stages far
+over the neighbouring roof-tops of the town itself and the tree-clad
+slopes which embank it.
+
+The oldest of the Norman Gothic cathedrals, and that which partakes the
+most of local character, is Notre Dame de Coutances. Certain French
+archæologists have said that the main body of the church is actually
+that of the eleventh century. It is more likely, however, that none of
+the building at present in view is earlier than the thirteenth century,
+the epoch during which contemporaneous Gothic first grew to its
+maturity. In any event, such building and construction was going on from
+1208 to 1233 as would indicate that it was the entire present edifice
+which was being planned at that time. In this case it is quite possible
+that the rebuilding was going on slowly, foot by foot, in a manner which
+not only encompassed and absorbed the older building, but in reality
+eradicated every vestige of it. Says a French writer of enthusiasm, "The
+Cathedral of Coutances, as it now stands, is one of the most noble and
+grand religious edifices in France, with all the qualities of a monument
+of the first order, of perfect dimension, beauty of plan, unity of
+workmanship, and distinction of form." Any one of these attributes, were
+it literally so, might well turn a commonplace structure into an
+unapproachable masterpiece. In a measure, all of his eulogy is quite
+true, and the pity is that more do not know of its fascination and
+charm.
+
+The façade of the Cathedral of Notre Dame is of the indigenous
+Norman-Gothic type. The fine towers, in addition to combining the
+symmetrical elements of Gothic, have, each, as well, a flanking
+towerlet, attached to their outer sides, enclosing a spiral stairway.
+These extend to quite the full height of the tower proper; and, though
+by no means a wholly attractive feature, are not as offensive as might
+at first be supposed. It is doubtful, in fact, if the general strength
+and impressiveness of the entire structure would not be impaired were
+the arrangements otherwise.
+
+The present ogival structure is built on the remains of a Romanesque
+church erected by a famous Bishop of Coutances, Geoffroy de Montbray,
+with funds supplied by Guillaume Bras-de-Fer, Odon, Roger, Onfroy, and
+Robert, sons of Tancrede-de-Hauteville, the Norman conquerors of Sicily
+and Calabria, whose names have been given fabled prominence in more than
+one epic poem. The early structure was consecrated in 1056, in the
+presence of William, then Duke of Normandy, a few years before he became
+the Conqueror. Supposedly none of this former church remains; in fact,
+what fragments, if any, exist, are doubtless covered in the present
+foundations.
+
+Mainly, the present structure is thirteenth-century work, with a
+lady-chapel of the fourteenth century.
+
+An unusual, and exceedingly beautiful, effect is given by the Gothic
+window mullions, between the chapels, in reality a series of
+geometrical window-frames, without glass. No florid ornament either
+inside or out is to be found to offend against accepted ideals. In
+short, "the whole is of a piece complete." The parapets of triforium and
+clerestory, with foliaged carvings, are about the only ornate
+decorations to be seen.
+
+The central tower, of great proportions, but incomplete as to the
+addition of a spire, is a marvel of strength and power. Its interior,
+elaborately decorated, forms a lantern at the crossing. Here, as at
+Bayeux, the choir is raised a few steps above its aisles, giving a
+certain impressiveness beyond what might otherwise exist.
+
+The interior, generally, is admirable. Clustered columns, as they are
+commonly called,--in reality they are clustered pillars, if word
+derivations are to be considered,--separate both nave and choir from the
+aisles; and, in case of the choir, a series of elongated circular
+pillars are coupled, one behind the other, an unquestionably unique
+arrangement.
+
+The transepts are practically non-existent, as the widening does not
+extend beyond the extent of the nave chapels. This leaves the
+ground-plan, at least, a mere parallelogram with a rounded eastern end.
+
+Notre Dame de Coutances is one of the few really great Gothic churches
+not possessing an example of those French masterworks, the rose window.
+
+Again referring to the fine tower group, it is probably true that, were
+the huge central tower properly spired, the ensemble would rival Laon in
+regard to its impressive situation and elaborate pinnacles.
+
+St. Pierre, of the fifteenth century, and St. Nicolas, of the
+fourteenth, complete the trinity of fine churches which Coutances
+possesses. The latter contains the unusual arrangement in a Continental
+church of pews in place of chairs, although formerly, it is said, this
+feature was not uncommon in Normandy.
+
+The somewhat considerable remains of a Roman acqueduct, near by, are
+sufficiently remarkable to warrant passing consideration, even by the
+"mere lover of churches."
+
+[Illustration]
+
+
+
+
+
+IX
+
+ST. PIERRE D'AVRANCHES
+
+
+There is little to recount concerning the See of Avranches. Its
+bishopric and its cathedral were alike destroyed during the parlous
+times of the bickerings and ravages of Royalists and Republicans of the
+Revolutionary period. All that remains to-day is a trifling heap of
+stones which would hardly fill a row-boat,--a fragment of a shaft on
+which is a tablet reading:
+
+               "ON THIS STONE,
+  HERE AT THE DOOR OF THE CATHEDRAL OF AVRANCHES,
+       AFTER THE MURDER OF THOMAS À BECKET,
+           ARCHBISHOP OF CANTERBURY,
+                  HENRY II.,
+      KING OF ENGLAND AND DUKE OF NORMANDY,
+            RECEIVED ON HIS KNEES,
+         FROM THE LEGATES OF THE POPE,
+           THE APOSTOLIC ABSOLUTION,
+            ON SUNDAY, 22D MAY 1172."
+
+At its feet is another slab, the aforementioned door-step, on which,
+before the papal legate, the remorseful monarch did penance before his
+later expiation at Canterbury.
+
+A little farther on is a small heap consisting of shafts and capitals of
+columns, a stone sarcophagus and a brass plate stating that they are the
+"Derniers restes de la cathédrale d'Avranches; commencée vers 1090 et
+consacrée par l'eveque Turgis en 1121." The nave having fallen in, the
+rest of the edifice had to be taken down in 1799.
+
+Because of its picturesque environment and situation, Avranches is
+perhaps a more than ordinarily attractive setting for a shrine, and it
+is well worthy of the attention of the passing traveller, in spite of
+its ancient cathedral being now but a heap of stones. Apart from this
+it is of little interest, and hence, to most, it will probably remain,
+in the words of a French traveller, a mere "silhouette in the distance."
+
+[Illustration]
+
+
+
+
+[Illustration: _CATHEDRAL of S. SAMSON DOL_]
+
+X
+
+ST. SAMSON, DOL-DE-BRETAGNE
+
+
+The one-time Cathedral of St. Samson, at Dol, is, says an unusually
+expressive Frenchman, "a grand, noble, and severe church, now widowed of
+its bishops. Its aspect is desolate and abandoned, as if it were but a
+ruin _en face sur la grande place_, of itself, but a mere desert of
+scrub." This is certainly a vivid and forceful description of even a
+wholly unprepossessing shrine. This St. Samson is not, and due allowance
+should be made for verbal modelling which, in many cases, is but the
+mere expression of a mood _pro tempo_. There is, however, somewhat of
+truth in the description. About the granite walls there is a grimness
+and gauntness of decay; of changed plans and projects; of devastation;
+of restoration; and, finally, of what is, apparently, submission to the
+inevitableness of time.
+
+The enormous northwesterly tower is stopped suddenly, with the daylight
+creeping through its very framework. Its façade is certainly bare of
+ornament, and gives a thorough illustration of paucity of design as well
+as of detail. There is, indeed, nothing in the west façade to compel
+admiration, and yet there is a fascination about it that to some will be
+irresistible.
+
+A sixteenth-century porch, of suggested Burgundian style, forms the main
+entrance to the church, and is situated midway along the south side.
+Almost directly opposite, on the north, is the curiously contrasting
+feature of a crenelated battlement, a reminder of the time when the
+church was doubtless a temporal as well as a spiritual stronghold.
+
+The interior, as the exterior, is gloomy and melancholy. One has only to
+contemplate the collection of ludicrously slender clustered columns of
+the nave, bound together with markedly visible iron strands, to realize
+the real weakness of the means by which the fabric has been kept alive.
+
+The nave itself is of true proportions, and, regardless of the severity
+of its lines, and the ludicrous pillars, is undeniably fine in effect.
+
+A curiously squared choir-end, but with the small apsed lady-chapel
+extending beyond, is another of those curious details which stand out in
+a way to be remarked in a French church. In this squared end, and above
+the arch made by the pillars of the choir aisle, is a large pointed
+window filled with ancient glass which must have been inserted soon
+after the church was reconstructed after the fire in the twelfth
+century.
+
+The general effect of the nave and aisles is one of extreme narrowness,
+which perhaps is not so much really the case when actual measurements
+are taken.
+
+In general, the church is supposed by many to resemble the distinct type
+of Gothic as it is known across the Channel; and, admitting for the
+nonce that possibly many of the Brittany structures were the work of
+English builders, this church, in the absence of any records as to who
+were its architects, may well be counted as of that number.
+
+The stalls of the choir are of delicately carved wood, before which is
+placed a monumental bishop's throne, with elaborate armorial
+embellishments. A Renaissance tomb of the sixteenth century, by a pupil
+of Michel Colomb, now much injured in its sculptured details of angels
+and allegorical figures, is locally considered the "show-piece" of the
+church.
+
+
+
+
+[Illustration: _S. MALO & S. SERVAN_]
+
+[Illustration: _TRÉGUIER_]
+
+XI
+
+ST. MALO AND ST. SERVAN
+
+
+Welshmen throughout the world rejoice that it was one of their
+countrymen, a monk of the sixth century, who gave his name as founder to
+the "walled city of St. Malo by the sea." With its outlying and
+contiguous towns of St. Servan, Dinan, and Paramé, St. Malo is a
+paradise for the mere lover of pleasure resorts. Further, with respect
+to the first three places mentioned, there is present not a little of
+the romance and history of the past, reflected as it were in a modern
+mirror. Not but that the old town of St. Malo, within the walls, is
+ancient and picturesque enough, and dirty, too, if one be speciously
+critical; but the fact is that the modern Pont Roulant, and the omnific
+toot of the steam-tram, ever present in one's sight and hearing, are
+forcible reminders of the march of time.
+
+St. Servan, so far as its cathedral is concerned, may be dismissed in a
+word. The ancient see of St. Pierre d'Aleth had, at one time, its
+dignity vested in a bishop who enthroned himself in a cathedral, the
+remains of which exist to-day only as a fragment built into the
+fortifications. The bishopric was removed in 1142 to St. Malo.
+
+With St. Malo a difference exists. Its cathedral, now degenerated to a
+parish church, is a Gothic work mainly of the fifteenth century, and,
+regardless of its unimposing qualities, is one of those fascinating old
+buildings which, in its environment and surroundings, appeals perhaps
+more largely to us as a component of a whole than as a feature to be
+admired by itself. The church, safely sheltered from the ravage of gale
+and storm, sits amid narrow winding streets, whose buildings are so
+compressed as to rise to heights unusual in the smaller Continental
+towns.
+
+The edifice is mainly of the fifteenth century, but has been variously
+renovated and restored. Gothic, Renaissance, and the transition between
+the two are plainly discernible throughout. Perhaps the best art to be
+noted is that found in the interior of the choir, with its fine
+triforium and clerestory windows above. Here, again, is to be observed
+the squared east end of the English contemporary church, a further
+reminder, if it be needed, of the influences which were bound to be more
+or less exchanged with regard to the arts and customs of the time, on
+both shores of _La Manche_.
+
+A few features of passing interest are here, an ivory crucifix, a few
+tombs, and some indifferent paintings.
+
+The spire is modern, but gives a suggestion, at least, in viewing the
+city from a distance, of something of what a mediæval walled seaport,
+with its population huddled close beneath the shadow of the church, and
+within the city walls, must have been like. The best example of this
+which ever existed in mediæval France, and which exists to-day in a more
+than ordinary remarkable state of preservation, is the famous Mount St.
+Michel, a few miles only to the eastward, and famed of all, historian,
+ecclesiast, artist, and mere pleasure-seeker, alike. Most writers are
+pleased to refer to the confiding attitude of mine host, who conducts
+the principal hostelry on the Mount, and who guilelessly asks the wary
+traveller (ofttimes they _are_ wary) what he has partaken of during his
+stay, and makes up the account accordingly. This is, perhaps, not the
+least of attributive charms, though it should be a minor one where this
+wonderful and real Mount, which takes its name from legendary St.
+Michel, is concerned. Indeed, leaving the cathedrals at Rouen, Chartres,
+and Le Mans out of the question, it is doubtful if the Abbey of Mont St.
+Michel is not the chief remaining architectural glory of the middle
+ages, west of Paris.
+
+It is but a short distance from St. Malo to St. Servan, but what a
+difference! It is called by the French themselves the daughter of St.
+Malo,--the "faubourg grown into a city."
+
+Rabida's "Bretagne" states that there are "nombreux des Anglais à St.
+Servan, des jeunes gens vivant dans les pensions brittaniques--des
+familles venant l'été faire en Bretagne une cure d'economies pour
+l'hiver." Continuing, this discerning author says: "Bathers, bicyclists,
+golfists, promenaders, and excursionists abound." Better then let them
+hold forth here to their hearts' content; there is little that the lover
+of churches will gain from what remains to-day of the town's former
+Cathedral of St. Pierre.
+
+
+
+
+XII
+
+TRÉGUIER
+
+
+This old cathedral city, at the junction of two small streamlets, a
+short distance from the sea, lies perhaps a dozen miles away from the
+nearest railway. With St. Pol de Leon and St. Brieuc it is, in local
+characteristics and customs alike, a something apart from any other
+community in northern France. The Bretons are commonly accredited as
+being a most devout race, and certainly devotion could take no more
+marked turn than the many evidences here to be seen in this "land of
+Calvaries." St. Brieuc is a bishopric, suffragan of Rennes, whose
+cathedral is a hideous modern structure of the early nineteenth century
+quite unworthy as a shrine; but Tréguier's power waned with the
+Revolution. Its fourteenth-century church, however, is sufficiently
+remarkable by reason of its situation and surroundings, none the less
+than in its fabric, to warrant a deviation from well-worn roads in
+order to visit it. Chiefly of a late period, it possesses in the Tour de
+Hasting, named after the Danish pirate (though why seems obscure), which
+enfolds the north transept, a work of the best eleventh-century class.
+This should place the church, at once, within the scope of the
+designation of a "transition" type. In this tower the windows and
+pilasters are of the characteristic round variety of the period. The
+south porch is the most highly developed feature as to Mediæval style,
+but the attraction lies mainly in its ensembled massiveness, with its
+two sturdy towers and a ridiculously spired south _clocher_. Beyond a
+certain grimness of fabric the church fails, not a little, to impress
+one with even simple grandeur, even when one takes into consideration
+the charms of its florid but firmly designed cloister, which, with the
+church itself, is classed by the _Département des Beaux Arts_ as one of
+the twenty-three hundred "_Monumentes Historiques_." Nevertheless, the
+building proves more than ordinarily gratifying, though by no stretch of
+the imagination could it be classed as grand.
+
+Loftiness and grandeur are equally lacking in the interior, and there is
+great variation of style with respect to the pillars of nave and choir.
+This is also the case with the windows, which play the gamut from the
+severe round-headed Romanesque to the latest flamboyant development, a
+feature which not only disregards most conventions, but, as every one
+will admit, most flagrantly offends, with sad results, against the
+general constructive elements. A plain triforium, in the nave, blossoms
+out, in the south transept and choir, in no hesitating manner, into
+exceeding richness. The choir has an apsidal termination and contains
+carved wooden stalls which are classed as work of the mid-seventeenth
+century, though appearing much more time-worn.
+
+The really popular attribute of the church lies in the reconstructed
+monument to St. Yves, the patron saint of advocates, and commonly
+considered the most popular in all the Brittany calendar.
+
+Born near Tréguier in 1253, St. Yves' "unheard-of probity and
+consideration for the sick and the poor" gained such general respect
+that, with his death on the nineteenth of May, 1303, there was
+inaugurated a great feast which to-day is yearly celebrated, and all
+grieving against a real or fancied wrong have recourse promptly to the
+supposedly just favour of this universal patron of the law.
+
+
+
+
+[Illustration: S. BRIEUC]
+
+XIII
+
+ST. BRIEUC
+
+
+Unlike many of the smaller towns which contain cathedral churches, St.
+Brieuc is a present day bishopric; hence the Cathedral takes on,
+perhaps, more significance than it would, were it but an example of a
+Mediæval church.
+
+In reality it is not a very wonderful structure, and the guide-books
+will tell one practically nothing about it. The town itself is a dull
+place, a tidal port, at some little distance from the sea, which flushes
+in upon it twice during the round of the clock.
+
+A monastery was founded here in the fifth century by St. Brieuc, from
+whom the town itself and the present cathedral take their name. He was a
+Celtic monk from Wales, who, upon being expelled from his native land,
+located his establishment here, on the site of a former Gallo-Roman
+town. The patronal feast of St. Brieuc is held each year on the first of
+May and is a curious survival of a mediæval custom.
+
+Some remains of an early church are built into the choir walls, but in
+the main this not very grand edifice is of the thirteenth and fourteenth
+centuries.
+
+The tower, with its loopholes, would supposedly indicate that the church
+was likewise intended as somewhat of a fortification. The apse is
+rounded in the usual form, and on either side extend transepts to the
+width of two bays.
+
+Within, the Cathedral is more attractive than without. The elements of
+construction and embellishment, while perhaps not ranking with those of
+the really great churches, are sufficiently vivid and lively to indicate
+that the work was consciously and enthusiastically undertaken. The
+lady-chapel is of the thirteenth century, and the transept rose is of
+the fifteenth, as is also the Chapel of St. Guillaume, named for the
+monk of Dijon who built so many of the monasteries throughout Brittany
+and who, it is to be presumed, planned or built the original structure,
+the remains of which are found in the present choir.
+
+The windows throughout are either of not very good modern glass, or of
+plain leaded lights, which, in the majority of cases, may be considered
+as no less an attraction. An elaborate rose is in the western gable.
+
+There are, in the church, various monuments and tombs to former
+bishops.
+
+
+
+
+XIV
+
+ST. POL DE LEON
+
+
+In the midst of that land which furnishes the south of England with most
+of its cauliflowers, artichokes, onions, and asparagus, truly off the
+beaten track, in that it is actually off the line of railway, is the
+strange and melancholy city of St. Pol de Leon, its _clochers_
+dominating, by day at least, both land and sea. It contains the famous
+"Kreisker," a name which sounds as though it were Dutch or North German,
+which it probably is along with other place names on the near-by coast,
+such as Grouin, St. Vaast, Roscoff, and La Hougue.
+
+The tower and spire of this wonderful "Kreisker" rise boldly, from the
+transept crossing, in remarkable fashion, and as a marvel of
+construction may be said to far outrank the cathedral structure itself.
+"Curious and clever" well describes it. As for the former cathedral over
+which the Kreisker throws its shadow, it is one of those majestic
+twin-towered structures not usually associated with what, when compared
+with the larger French towns, must perforce rank as a mere village.
+
+There is much to be said in favour of these little-known near-by places,
+namely, that the charm of their attractions amply repays one for any
+special labour involved in getting to them, with the additional
+advantage, regardless of the fact that a stranger appears somewhat to
+the native as a curiosity, that they are "good value for the money
+paid." Perhaps the cheapest Continental tour, of say three weeks, that
+could be taken, amid a constantly changing environment, if one so
+choose, would comprehend this land of Calvaries.
+
+The two cathedral towers of early Gothic flank a generous porch. There
+is good glass throughout the church, the circular "rose" of the transept
+being a magnificent composition in a granite framing. The nave is of
+thirteenth-century Gothic, from the south aisle of which projects a
+large chapel dedicated to St. Michael. The double-aisled choir is
+garnished with sculptured stalls of the fifteenth century, and,
+separated from its aisles by a stone screen, is of much larger
+proportions than the nave, and likewise of a later epoch of building.
+The apse is flamboyant, as are also the windows of the south transept.
+In the chapels are various vaults and tombs, remarkably well preserved,
+but of no special moment. In one of these chapels, however, is a curious
+painting in the vaulting, representing a "Trinity" possessing three
+faces, disposed in the form of a trefoil with three eyes only. A ribbon
+or "_banderalle_" bears an inscription in Gothic characters; in the
+Breton tongue, "_Ma Donez_" (Mon Dieu).
+
+
+
+
+XV
+
+ST. CORENTIN DE QUIMPER
+
+
+"C'est Quimper, ce mélange du passé et du présent." A true enough
+description of most mediæval cities when viewed to-day; but with no
+centre of habitation is it more true than of this city by the
+sea,--though in reality it is not by the sea, but rather of it, with a
+port always calm and tranquil. It takes rank with Brest as the western
+outpost of modern France.
+
+For centuries unconquered, and possessing an individuality of its very
+own, this now important prefecture has much to remind us of its past.
+History, archæology, and "mere antiquarian lore" abound, and, in its
+grandiose Cathedral of St. Corentin, one finds a large subject for his
+appreciative consideration.
+
+[Illustration: ST. CORENTIN _de QUIMPER_ ...]
+
+It is of the robust and matured type that familiarity has come to regard
+as representative of a bishopric; nothing is impoverished or
+curtailed. Its fine towers with modern spires, erected from the proceeds
+of a "butter tax," are broad of base and delicately and truly
+proportioned. Its ground-plan is equally worthy, though the choir is not
+truly orientated. Its general detail and ensemble, one part with
+another, is all that fancy has told us a great church should contain,
+and one can but be prepared to appreciate it when it is endorsed, and
+commented on, by such ardent admirers as De Caumont, Viollet-le-Duc,
+Corroyer, and Gonsé, those four accomplished Frenchmen, who probably
+knew more concerning Mediæval (Gothic) architecture than all the rest of
+the world put together.
+
+From the thirteenth to the fifteenth century there grew up here a work
+embracing the ogival and the flamboyant, neither in an undue proportion,
+but as well as in any other single structure known. This well shows the
+rise, development, and apogee of the style which we commonly call
+Gothic, but which the French prefer to call "ogival," and which should
+really, if one is to fairly apportion credit where it is due, be best
+known as French Mediæval architecture.
+
+Its west façade, with its generous lines, is strongly original. The two
+towers, pierced with enormously heightened lancets, are indubitably
+graceful and impressive, while a flanking pair of flying buttresses,
+with their intermediate piers, form an unusual arrangement in the west
+front of a French cathedral.
+
+Above the western gable is a curiously graven effigy of King Grollo in
+stone.
+
+Considered as a whole, the exterior is representative of the best
+contemporary features of the time, but contains few if any which are so
+distinctly born of its environment as to be otherwise notable.
+
+The interior vies with the outer portion of the fabric in the general
+effect of majesty and good design. The triforium is remarkably beautiful
+and is overtopped by a range of clerestory windows which to an
+appreciable extent contain good early glass. The easterly end is the
+usual semicircular apse.
+
+Among the relics of the Cathedral is a crucifix which is supposed to
+emit drops of blood when one perjures himself before it. It is, perhaps,
+significant that the people of Finistère, the department which claims
+Quimper as its capital, have the repute of being honest folk.
+
+The Bishops of Quimper were, by virtue of the gift of _le roi Grodlon le
+Grave_, the only seigneurs of the city during the middle ages.
+
+
+
+
+XVI
+
+VANNES
+
+
+Vannes was the ancient capital of the Celtic tribe of the Veneti, its
+inhabitants being put to rout by Cæsar in 57 B. C. Afterward it became
+the Roman town of Duriorigum, and later reverted back to a corruption of
+its former name. Christianity having made some progress, a council was
+held, and a bishop appointed to the city, and from that time onward its
+position in the Christian world appears to have been assured. For
+centuries afterward, however, it was the centre of a maelstrom of
+internal strife, in which Armoricans, Britons, Franks, and Romans appear
+to have been inextricably involved. Then came the Northmen, who burned
+the former Cathedral of St. Peter. This was rebuilt in the eleventh
+century, and in no small measure forms the foundation of the present
+structure, which to-day is the seat of a bishop, suffragan of Rennes.
+
+From this early architectural foundation, to the most florid and
+flamboyant of late Gothic, is pretty much the whole range of Mediæval
+architectural style. By no means has a grand or even fine structure
+resulted. The old choir, suffering from the stress of time, was pulled
+down and rebuilt as late as 1770. Thus, this usually excellently
+appointed and constructed detail is here of no worthy rank whatever. The
+nave and transepts were completed within the hundred years following
+1452, and show the last flights of Gothic toward the heights from which
+it afterward fell. Transformation and restoration have frequently been
+undertaken, with the result that nowhere is to be seen perhaps greater
+inconsistencies. The latest of these examples of a perverted industry is
+seen in the nineteenth-century additions to the tower and the west
+façade. The result is not, be it said, to the credit of its projectors.
+
+
+THE END.
+
+
+
+
+_Appendices_
+
+
+
+
+I
+
+_The Architectural Divisions of France_
+
+
+It is quite possible to construct an ethnographic map of a country from
+its architectural remains,--but there must always be diverse and varying
+opinions as to the delimitation of one school, as compared with another
+lying contiguous thereto.
+
+One may wander from province to province, and continually find
+reminders, of another manner of building, from that which is recognized
+as the characteristic local species. This could hardly be otherwise. In
+the past, as in the present, imitators were not few, and if the adoption
+of new, or foreign, ideas was then less rapid, it was no less sure.
+Still, in the main, there is a cohesiveness and limitation of
+architectural style in France; which, as is but natural to suppose, is
+in no way more clearly defined than by the churches which were built
+during the middle ages, the earliest types retaining the influence of
+massive forms, and the later again debasing itself to a heavy classical
+order, neither a copy of anything of a pre-Gothic era, or a happy
+development therefrom. Between the two, in a period of scarcely more
+than three hundred years, there grew up and developed the ingenious and
+graceful pointed style, in all its fearlessness and unconvention.
+
+Political causes had, perhaps, somewhat to do with the confining of a
+particular style well within the land of its birth, but on the other
+hand, warfare carried with it invasion and conquest of new sections, and
+its followers, in a measure, may be said to have carried with them
+certain of their former arts, accomplishments, and desires; and so grew
+up the composite and mixed types which are frequently met with.
+
+There are a dozen or more architectural styles in what is known as the
+France of to-day. The Provençal (more properly, says Fergusson, it
+should be called "Gallia Narbonese,") one of the most beautiful and
+clearly defined of all; the Burgundian, with its suggestion of
+luxuriance and, if not massiveness, at least grandeur; the Auvergnian,
+lying contiguous to both the above, with a style peculiarly its own,
+though of an uncompromising southern aspect; Acquitanian, defining the
+style which lies between Provence, the Auvergnat and the Pyrénées, and a
+type quite different from either. The Angevinian, which extends
+northward from Limoges to Normandy and Brittany, and northeasterly
+nearly to Orleans, is a species difficult to place--it partakes largely
+of southern influence, but is usually thought to merit a nomenclature of
+its own, as distinct from the type found at Anjou. Turning now to the
+northern or Frankish influence, as distinct from the Romance countries;
+Brittany joins to no slight degree influences of each region; Normandy
+partakes largely of the characteristics of the type of Central France,
+which is thoroughly dominated by that indigenous to the Isle of France,
+which species properly might include the Bourbonnais and Nivernoise
+variants, as being something of a distinct type, though resembling, in
+occasional details, southern features. This list, with the addition of
+French Flanders, with its Lowland types, completes the arrangement, if
+we except Alsace and Lorraine, which favour the German manner of
+building rather more than any of the native French types.
+
+
+
+
+II
+
+_A List of the Departments of France, and of the Ancient Provinces from
+which they have been evolved._
+
+
+_Provinces and date of        _Départements_       _Chefs-Lieux_
+union with France_
+
+Ile de France, with La         Seine                Paris
+Brie, etc. Always held         Seine-et-Oise        Versailles
+by the Crown                   Seine-et-Marne       Melun
+                               Oise                 Beauvais
+                               Aisne                Laon
+
+Picardie. Louis XIV, 1667      Somme                Amiens
+
+Artois and Boulonnais.         Pas-de-Calais        Arras
+1640
+
+Flandre and Hainault           Nord                 Lille
+Français. Louis XIV.
+1667-1669
+
+Normandie. Philippe            Seine-Inférieure     Rouen
+Auguste, 1204                  Eure                 Evreux
+                               Calvados             Caen
+                               Orne                 Alençon
+                               Manche               Saint-Lo
+
+Bretagne. François I.          Ille-et-Vilaine      Rennes
+1532                           Côtes-du-Nord        Saint-Brieux
+                               Finisterre           Quimper
+                               Morbihan             Vannes
+                               Loire-Inférieure     Nantes
+
+Orléanais. Louis XII.          Loiret               Orleans
+1498                           Loir-et-Cher         Blois
+
+Beauce and Pays Chartrain      Eure-et-Loire        Chartres
+
+Maine. Louis XI. 1481          Sarthe               Le Mans
+                               Mayenne              Laval
+
+Anjou. Louis XI. 1481          Maine-et-Loire       Angers
+
+Touraine. Henri III. 1584      Indre-et-Loire       Tours
+
+Poitou. Charles VI. 1416       Vendée               Bourbon-Vendée
+                               Deux-Sèvres          Niort
+                               Vienne               Poitiers
+
+Berri. Philippe I. 1100        Indre                Châteauroux
+                               Cher                 Bourges
+
+Marche. François I. 1531       Creuse               Guéret
+
+Limousin. Charles V.           Haute-Vienne         Limoges
+1370                           Corrèze              Tulle
+
+Angoumois. Charles V.          Charente             Angoulême
+1370
+
+Saintonge and Aunis.           Charente-Inférieure  La Rochelle
+1370
+
+Guienne and Gascogne.          Dordogne             Périgueux
+  Charles VII. 1451            Gironde              Bordeaux
+                               Lot-et-Garonne       Agen
+                               Lot                  Cahors
+                               Tarn-et-Garonne      Montauban
+                               Aveyron              Rodez
+                               Gers                 Auch
+                               Hautes-Pyrénées      Tarbes
+                               Landes               Mont-de-Marsan
+
+Béarn and French Navarre.      Basses-Pyrénées      Pau
+  Louis XIII.
+
+Comté de Foix. Louis XIII.     Ariège               Foix
+
+Roussillon. 1659               Pyrénées-Orientales  Perpignan
+
+Languedoc. John, 1361          Haute-Garonne        Toulouse
+                               Tarn                 Albi
+                               Aude                 Carcassonne
+                               Hérault              Montpellier
+                               Gard                 Nîmes
+
+Vivarais                       Ardèche              Privas
+
+Gévaudan                       Lozère               Mende
+
+Velay                          Haute-Loire          Le Puy
+
+Comtat Venaissin, Orange,      Vaucluse             Avignon
+  etc. Louis XIV. 1713
+
+Provence. Louis XI. 1481       Bouches-du-Rhône     Marseille
+                               Var                  Draguignan
+                               Basses-Alpes         Digne
+
+Dauphiné. Philippe de          Isère                Grenoble
+  Valois, 1343                 Drôme                Valence
+                               Hautes-Alpes         Gap
+
+Lyonnais and Beaujolais        Rhône                Lyon
+
+Forez                          Loire                St. Etienne
+
+Auvergne. Philippe Auguste,    Puy-de-Dôme          Clermont
+1210                           Cantal               Aurillac
+
+Bourbonnais. Louis XII.        Allier               Moulins
+1505
+
+Nivernais. Charles VII.        Nièvre               Nevers
+1457
+
+Bresse, Bugey, etc.            Ain                  Bourg
+
+Bourgogne (duché). Louis       Saône-et-Loire       Mâcon
+XI. 1477                       Côte-d'Or            Dijon
+                               Yonne                Auxerre
+
+Comté de Bourgogne, or         Doubs                Besançon
+Franche-Comté. Peace           Jura                 Lons-le-Saulnier
+of Nimeguen, 1678              Haute-Saône          Vesoul
+
+Champagne. Philippe le         Aube                 Troyes.
+Bel, 1284                      Marne                Chalons-sur-Marne
+                               Haute-Marne          Chaumont
+                               Ardennes             Mézières
+
+Lorraine.[*] On the death      Meurthe and Moselle  Nancy
+of Stanislas Leczinsky,        Meuse                Bar-le-Duc
+1766                           Vosges               Epinal
+
+Alsace.[*] Louis XIV. 1648     Territory of Belfort Belfort
+                               Haut-Rhin            Colmar
+
+Corsica. 1794.                 Corse                Ajaccio
+
+Comté de Nice. 1861            Alpes Maritimes      Nice
+
+Savoy                          Savoie               Chambéry
+                               Haute-Savoie         Annecy
+
+[*] The greater part of these provinces as they formerly stood
+were ceded to Germany, May 10, 1871.
+
+
+
+
+III
+
+_The Church in France_
+
+
+_La France Catholique_ is to-day divided into eighty-four dioceses,
+administered, as to spiritual affairs, by seventeen archbishops and
+sixty-seven bishops. To each diocese is attached a seminary for the
+instruction of those who aspire to the priesthood. Each chief town of a
+canton has its _curé_, each parish its _desservant_.
+
+_Archbishops and Bishops_    _Dioceses_
+
+PARIS                         Seine
+
+  Chartres                    Eure-et-Loire
+
+  Meaux                       Seine-et-Marne
+
+  Orleans                     Loiret
+
+  Blois                       Loir-et-Cher
+
+  Versailles                  Seine-et-Oise
+
+CAMBRAI                       Nord
+
+  Arras                       Pas-de-Calais
+
+LYON-ET-VIENNE                Rhône, Loire
+
+  Autun                       Saône-et-Loire
+
+  Langres                     Haute-Marne
+
+  Dijon                       Côte-d'Or
+
+  Sainte Claude               Jura
+
+  Grenoble                    Isère
+
+BOURGES                       Cher-et-Indre
+
+  Clermont                    Puy-de-Dôme
+
+  Limoges                     Haute-Vienne et Creuse
+
+  Le Puy                      Haute-Loire
+
+  Tulle                       Corrèze
+
+  Saint Flour                 Cantal
+
+ALBI                          Tarn
+
+  Rodez                       Aveyron
+
+  Cahors                      Lot
+
+  Meude                       Lozère
+
+  Perpignan                   Pyrénées-Orientales
+
+BORDEAUX[*]                   Gironde
+
+  Agen                        Lot-et-Garonne
+
+  Angoulême                   Charente
+
+  Poitiers                    Vienne-et-Deux Sèvres
+
+  Périgueux                   Dordogne
+
+  La Rochelle                 Charente-Inférieure
+
+  Luçon                       Vendée
+
+AUCH                          Gers
+
+  Aire                        Landes
+
+  Tarbes                      Hautes-Pyrénées
+
+  Bayonne                     Basses-Pyrénées
+
+TOULOUSE-NARBONNE             Haute-Garonne
+
+  Montauban                   Tarnè-et-Garonne
+
+  Pamiers                     Ariège
+
+  Carcassonne                 Aude
+
+ROUEN                         Seine-Inférieure
+
+  Bayeux                      Calvados
+
+  Evreux                      Eure
+
+  Séez                        Orne
+
+  Coutances                   Manche
+
+SENS ET AUXERRE               Yonne
+
+  Troyes                      Aube
+
+  Nevers                      Nièvre
+
+  Moulins                     Allier
+
+REIMS                         Arr. de Reims-et-Ardennes
+
+  Soissons                    Aisne
+
+  Chalons-sur-Marne           Marne except Arrond. de Reims
+
+  Beauvais                    Oise
+
+  Amiens                      Somme
+
+TOURS                         Indre-et-Loire
+
+  Le Mans                     Sarthe
+
+  Angers                      Maine-et-Loire
+
+  Nantes                      Loire-Inférieure
+
+  Laval                       Mayenne
+
+AIX, ARLES, AND EMBRUN        Bouches-du-Rhône except Marseilles
+
+  Marseilles                  Arr. de Marseilles
+
+  Fréjus and Toulon           Var
+
+  Digne                       Basses-Alpes
+
+  Gap                         Hautes-Alpes
+
+  Nice                        Alpes-Maritimes
+
+  Ajaccio                     Corse
+
+BESANÇON                      Doubs et Haute-Saône
+
+  Verdun                      Meuse
+
+  Belley                      Ain
+
+  St. Dié                     Vosges
+
+  Nancy                       Meurthe
+
+AVIGNON                       Vaucluse
+
+  Nîmes                       Gard
+
+  Valence                     Drôme
+
+  Viviers                     Ardèche
+
+  Montpellier                 Hérault
+
+RENNES                        Ille-et-Vilaine
+
+  Quimper                     Finisterre
+
+  Vannes                      Morbihan
+
+  St. Brieuc                  Côtes-du-Nord
+
+CHAMBÉRY
+
+  Annecy                      Haute-Savoie
+
+  Tarentaise                  Val-de-Tarentaise (Savoie)
+
+  Maurienne                   Val-de-Maurienne (Savoie)
+
+[*] The Archbishop of Bordeaux has three suffragans outside
+France: St. Denis and La Reunion, St. Pierre and Fort de France
+(Martinique), Basseterre (Guadaloupe).
+
+
+
+
+IV
+
+_A List of the Larger French Churches which were at one time Cathedrals
+and usually referred to as such._
+
+
+NOTE.--Those marked H. M. are classed as Les Monuments Historiques by La
+Commission de la Conservation des Monuments Historiques.
+
+Agde            _Hérault_                             H. M.
+
+Alais           _Garde_
+
+Alençon         _Orne_             Notre Dame         H. M.
+
+Alet            _Aude_             Notre Dame         H. M.
+
+Apt             _Vaucluse_                            H. M.
+
+Arles           _Bouches-du-Rhône_ St. Trophimus      H. M.
+
+Arras                              St. Vaast
+
+Auxerre         _Yonne_            St. Etienne        H. M.
+
+Auxonne         _Côte-d'Or_        Notre Dame
+
+Avranches       _Manche_           (remains only)     H. M.
+
+Bazas           _Gironde_          St. Jean           H. M.
+
+Bethléem                           (There was once a Bishop of
+                                   Bethléem whose see was the
+                                   village of Clamecy only, but
+                                   no cathedral.)
+
+Béziers         _Hérault_          St. Nazaire        H. M.
+
+Boulogne        _Pas-de-Calais_    Notre Dame
+
+Bourg           _Ain_              Notre Dame
+
+Brioud          _Haute-Loire_                         H. M.
+
+Cambrai                            Notre Dame
+
+Carcassonne     _Aude_             St. Nazaire        H. M.
+
+Carpentras      _Vaucluse_         St. Siffrein       H. M.
+
+Castres         _Tarn_             St. Benonit
+
+Cavaillon       _Vaucluse_         St. Véran          H. M.
+
+Condom          _Gers_                                H. M.
+
+Conserons       _Ariège_           (See St. Lizier)
+
+Die             _Drôme_                               H. M.
+
+Dinan           _Côtes-du-Nord_    St. Saveur         H. M.
+
+Dol             _Ille-et-Vilaine_  St. Samson         H. M.
+
+Elne            _Pyrénées-Orientales_                 H. M.
+
+Embrun          _Hautes-Alpes_                        H. M.
+
+Glandèves       _Basses-Alpes_     (Bishopric transferred
+                                    to Entrevaux)
+
+Grasse          _Alpes-Maritimes_  (Bishopric in XIVth
+                                      century)
+
+Laon            _Aisne_            Notre Dame         H. M.
+
+Lavaur          _Tarn_             (Bishopric in XIVth
+                                      century)
+
+Lectours        _Gers_             (Bishopric in Xth century)
+
+Lescar          _Basses-Pyrénées_                     H. M.
+
+Lisieux         _Calvados_         St. Pierre
+
+Lodeve          _Hérault_          St. Fulcran        H. M.
+
+Lombez          _Gers_                                H. M.
+
+Mâcon           _Saône-et-Loire_   St. Vincent        H. M.
+
+Mallezais       _Vendée_
+
+Mirepoix        _Ariège_           (Bishopric in XIVth
+                                    century)
+
+Noyon           _Oise_             Notre Dame         H. M.
+
+Oloron          _Basses-Pyrénées_                     H. M.
+
+Orange          _Vaucluse_         Notre Dame
+
+Périgueux       _Dordogne_         St. Etienne
+
+St. Bertrand    _Haute-Garonne_                       H. M.
+de Comminges
+
+St. Dié         _Vosges_
+
+St. Lizier      _Ariège_                              H. M.
+
+St. Lo          _Manche_          Notre Dame          H. M.
+
+St. Malo        _Ille-et-Vilaine_
+
+Ste. Marie      _Basses-Pyrénées_
+
+St. Omer        _Pas-de-Calais_   Notre Dame          H. M.
+
+St. Papoul      _Aude_                                H. M.
+
+St. Paul Trois  _Drôme_                               H. M.
+Chateaux
+
+St. Pol de Leon _Finisterre_                          H. M.
+
+St. Servan      _Ille-et-Vilaine_  St. Pierre d'Aleth
+
+Sarlat          _Dordogne_                            H. M.
+
+Séez            _Orne_             Notre Dame         H. M.
+
+Senez           _Basses-Alpes_                        H. M.
+
+Senlis          _Oise_             Notre Dame         H. M.
+
+Sisteron        _Basses-Alpes_
+
+Soissons        _Aisne_            Notre Dame         H. M.
+                                   St. Gervais
+                                   St. Protais
+
+Tarbes          _Hautes-Pyrénées_  Eglise de la Séde  H. M.
+
+Toul            _Meurthe_          St. Etienne        H. M.
+
+Toulon          _Var_              Ste. Marie-Majeur
+
+Tréguier        _Côtes-du-Nord_                       H. M.
+
+Uzès            _Gard_             St. Thierry
+
+Vabres          _Aveyron_
+
+Vaiso           _Vaucluse_                            H. M.
+
+Versailles      _Seine-et-Oise_    St. Louis
+
+Vence           _Alpes-Maritimes_                     H. M.
+
+Vienne          _Isère_            St. Maurice        H. M.
+
+
+
+
+V
+
+_Chronology of the chief styles and examples of church building in the
+north of France from the Romano-Byzantine period to that of the
+Renaissance_
+
+
+1050-1075 Nevers    St. Etienne               Distinct round-arch
+1075-1100 Bayeux    Notre Dame                style
+          Caen      St. Etienne
+
+1125-1150 Autun     St. Lazare                Pointed arch in
+          St. Denis (choir)                   vaulting and
+1150-1175 Angers    St. Maurice               larger works, with
+          Paris     Notre Dame                the retaining of
+          Sens      St. Etienne               the round in the
+                                              smaller
+
+1200-1225 Reims     Notre Dame                General adoption
+          Auxerre   St. Etienne               of the ogival
+          Troyes    Sts. Peter and Paul       style
+
+1225-1250 Amiens    Notre Dame                The completed
+          Dijon     St. Bénigne               ogival style
+          Bourges   St. Etienne
+1250-1275 Noyon     Notre Dame (cloisters)
+1300-1325 Rouen     Notre Dame (lady-chapel)
+1350-1375 Chartres  Notre Dame
+
+1425-1450 Auxerre   St. Etienne (N. transept) Introduction of
+                                              Renaissance detail
+1450-1475 Evreux    Notre Dame (transepts     in Italy and
+                    and tower)                elaboration of
+                                              Gothic in France
+
+1475-1500 Rouen     Notre Dame (S. W.         Renaissance firmly
+                    tower)                    grafted in Italy
+          Nevers    St. Etienne (S. porch)    and gradually
+1500-1525 Beauvais  St. Pierre (S. transept)  appearing in the
+          Chartres  Notre Dame (N. W.         Gothic of France
+                    spire)
+
+1525-1550 Beauvais  St. Pierre (N. transept)
+          Amiens    Notre Dame (flêche)
+
+1550-1575 Beauvais  St. Pierre (central tower Renaissance firmly
+                    since destroyed)          established
+1600-1625 Orleans   Ste. Croix
+
+
+
+
+VI
+
+_Dimensions and Chronology_
+
+
+NOTRE DAME D'AMIENS
+
+[Illustration: _Notre Dame d'Amiens_]
+
+_Dimensions_
+
+Length of nave and choir, 469 feet
+
+Width including transepts, 214 feet
+
+Width of nave, 59 feet
+
+Width of aisles, 33-1/2 feet
+
+Height of nave, 141 or 147 feet, estimated variously
+
+Height of aisles, 65 feet
+
+Length of choir, 135 feet
+
+Width of nave including aisles, 150 feet
+
+Length of transepts, 194 feet
+
+Width of transepts, 36 feet, 6 inches
+
+Height of spire, 422 feet
+
+Superficial area, 70,000 square feet (approx.)
+
+_Chronology_
+
+Nave and choir, 1220-1288
+
+Choir stalls, 1520
+
+Western towers completed, 1533
+
+Lateral chapels of nave, XVIth century
+
+Choir chapels, XIIIth century
+
+
+ST. MAURICE D'ANGERS
+
+[Illustration]
+
+_Dimensions_
+
+Length of nave and choir, 300 feet
+
+Width of transepts, 40 feet
+
+Height of transepts, 80 feet
+
+Height of nave, 110 feet
+
+Width of nave, 53 feet
+
+Height of spires, 225 feet
+
+_Chronology_
+
+Lower walls, Romano-Byzantine
+
+Main body completed, 1240
+
+Choir, XIIth century
+
+Bishop's Palace, XIIth century
+
+Arras tapestries, XIVth century
+
+Choir doorway, XIIIth century
+
+(Recently restored by Viollet-le-Duc)
+
+
+ST. VAAST D'ARRAS
+
+_Dimensions_
+
+Length of nave and choir, 302 feet
+
+Height of nave, 66-1/2 feet
+
+Width of nave, 49 feet
+
+Height of tower, 154 feet
+
+_Chronology_
+
+Former Cathedral of Notre Dame begun, end of XIIth century
+
+Former Cathedral of Notre Dame completed, 1499
+
+Present Cathedral of St. Vaast, 1755-1833
+
+Triptych of Bellegambe in present Cathedral, 1528
+
+Former Abbey of St. Vaast, now Episcopal Palace since 1754
+
+
+ST. LAZARE D'AUTUN
+
+_Dimensions_
+
+Height of spire, 325 feet
+
+_Chronology_
+
+Transition portion constructed by Robert I.,
+Duke of Burgundy, 1031-1076
+
+Spire, XVth century
+
+Sculpture of choir, XVIth century
+
+Flamboyant chapels, XVIth century
+
+
+AUXERRE
+
+_Chronology_
+
+Crypt (remains of early work), XIth century
+
+Choir and glass, 1215-1234
+
+Western portals, XIIIth century
+
+Nave, 1334-1373
+
+North transept, 1415-1513
+
+N. W. tower, 1525-1530
+
+Iron _grille_ of choir, XVIIIth century
+
+
+NOTRE DAME DE BAYEUX
+
+_Dimensions_
+
+Central belfry, 300 feet
+
+Length interior, 335 feet
+
+Height interior, 74 feet, 9 inches
+
+Height of western towers, 252 feet
+
+_Chronology_
+
+Odo's crypt, XIth century
+
+Circular arches of nave, late XIth or early XIIth century
+
+Portals of west façade, XIIIth century
+
+Chasuble of St. Regnobert, gift of St. Louis, 1226
+
+Date of tapestry (in inventory of church property), 1476
+
+
+ST. PIERRE DE BEAUVAIS
+
+_Dimensions_
+
+Height of nave, 150 feet
+
+Height of original spire, which fell in 1573, 486 feet
+
+Area of choir, about 28,000 square feet
+
+_Chronology_
+
+The Basse OEuvre, VIth to VIIIth centuries
+
+Present building begun, 1225
+
+Dedicated, 1272
+
+Roof fell, 1284
+
+South transept begun, 1500
+
+North transept begun, 1530
+
+North transept finished, 1537
+
+Central spire fell, 1573
+
+Ancient Bishop's Palace, now Palais de Justice,
+XIVth to XVIth centuries
+
+
+ST. ETIENNE DE BOURGES
+
+[Illustration: _St. Etienne de Bourges_]
+
+_Dimensions_
+
+Length, 405 feet
+
+Width, 135-1/2 feet
+
+Height of nave, 124-1/2 feet
+
+Height of inner aisle, 66 feet
+
+Height of outer aisle, 28 feet
+
+Height north tower, 217-1/2 feet
+
+Height south tower, 176 feet
+
+Superficial area, 73,170 square feet (approx.)
+
+_Chronology_
+
+Dedicated, 1324
+
+Sepulchre, 1336
+
+Crypts, XIIth century
+
+North tower, 1508-1538
+
+Tower St. Etienne completed, 1490
+
+Tower St. Etienne fell, 1506
+
+Choir stalls, 1760
+
+
+ST. ETIENNE DE CHÂLONS-SUR-MARNE
+
+_Chronology_
+
+Tower next north door, Romano-Byzantine
+
+Part of nave and choir, Ogival primaire
+
+Aisle and chapels of apse, XIVth century
+
+Apse restored, after fire, in 1672
+
+
+NOTRE DAME DE CHARTRES
+
+_Dimensions_
+
+Length nave and choir, 430 feet
+
+Width, 110 feet
+
+Length nave only, 121 feet
+
+Width nave, 46 feet
+
+Width nave aisles, 19 feet
+
+Height nave, 106 feet
+
+Length transepts, 202 feet
+
+Width transepts, 70 feet
+
+Height of north spire, 403 feet
+
+Height of south spire, 365 feet
+
+Rose window, diameter, 40 to 43 feet
+
+Area, 65,000 square feet (approx.)
+
+_Chronology_
+
+Wooden church burned, 1020
+
+Crypt under chevet of choir, 1029
+(only remains of original church)
+
+Work of rebuilding stopped, 1048
+
+South portal erected, 1060
+
+Work aided by Matilda, queen of William I., 1083
+
+Lower portion of main body built, 1100-1150
+
+Western towers, 1145
+
+Fire damaged greater part, 1194
+
+Vaulting completed, 1220
+
+Porches of transepts added, 1250
+
+Building consecrated, October 17, 1260
+
+Sacristy and screen in crypt, XIIIth century
+
+North spire burned, 1506
+
+Texier's spire erected, 1507-1515
+
+Texier's spire repaired, 1629
+
+South spire repaired, 1754
+
+Belfry and roof burned (vaulting unharmed), 1836
+
+
+NOTRE DAME D'EVREUX
+
+_Dimensions_
+
+Length, 368 feet, 6 inches
+
+Transept, length, 112 feet
+
+Transept, width, 23 feet
+
+_Chronology_
+
+Church consecrated, 1076
+
+Church burnt, 1119
+
+Northwest tower foundations laid, 1352
+
+Northwest tower completed, 1417
+
+North transept, XVIth century
+
+Nave, early XIIth to late XVth century
+
+Choir, XIVth century
+
+Lady-chapel, XIIIth century
+
+
+NOTRE DAME DE LAON
+
+[Illustration: _Laon_]
+
+_Dimensions_
+
+Length of nave and choir, 351 feet
+
+Height of nave, 80 feet
+
+Width of nave, 67 feet, 7 inches
+
+Length of transepts, 174 feet
+
+Width of transepts, 35 feet, 9 inches
+
+Height of western towers, 173 feet
+
+Height of southwest tower and spire (formerly), 328 feet
+
+Western circular window, 26 feet
+
+Superficial area, 44,000 square feet (approx.)
+
+_Chronology_
+
+Original church burned, 1112
+
+New edifice begun, 1114
+
+Entirely rebuilt, 1190
+
+General restoration, 1851
+
+
+ST. JULIEN, LE MANS
+
+[Illustration: _LE MANS_]
+
+_Dimensions_
+
+Length of nave and choir, 369 feet
+
+Width of nave and aisles, 78 feet
+
+Width of choir, 123 feet
+
+Height of choir, 108 feet
+
+Area of choir, 30,000 square feet (approx.)
+
+Length of transept, 178 feet
+
+Width of transept, 32 feet
+
+_Chronology_
+
+West façade, XIth century
+
+Transition, south portal, XIIth century
+
+Nave and transepts reconstructed, XIIth century
+
+Church extended beyond city walls, XIIIth century
+
+Choir rebuilt, 1200
+
+Choir restored, 1858
+
+Coloured glass, XIIIth, XIVth, XVth centuries
+
+Rose window, south transept, XVth century
+
+Former Bishop's Palace destroyed by Germans, 1871
+
+
+ST. ETIENNE DE MEAUX
+
+_Dimensions_
+
+Height of nave, 109 feet
+
+Length of nave, 275 feet
+
+Length of transepts, 120 feet
+
+_Chronology_
+
+Bishopric founded, 375 A.D.
+
+Choir in part, XIIth century
+
+Restored, 1852
+
+
+ST. PIERRE DE NANTES
+
+[Illustration]
+
+_Dimensions_
+
+Height of western towers, 270 feet
+
+Height of nave, 130 feet
+
+_Chronology_
+
+Remains of choir contains, XIIth century
+
+Romanesque church rebuilt, XVth century
+
+West front, 1434-1500
+
+North transept and choir only completed in XIXth century
+
+Tomb of François II. and Marguerite de Foix, 1507
+
+Later restoration, 1852
+
+
+NOTRE DAME DE NOYON
+
+[Illustration: _Noyon_]
+
+_Dimensions_
+
+Length, 338 feet
+
+Width of nave and aisles, 64 feet, 10 inches
+
+Height of nave, 74 feet, 6 inches
+
+Height of aisles, 28 feet, 9 inches
+
+Height of choir, 26 feet, 3 inches
+
+Height of towers, 200 feet
+
+Superficial area, 30,000 square feet (approx.)
+
+_Chronology_
+
+First constructed, 989
+
+Burnt, 1131
+
+Rebuilding undertaken, 1137-1150
+
+Choir, transepts, and nave completed, 1167-1200
+
+Timber work burnt, 1293
+
+Chapter-house built, XIIIth century
+
+Five bays of cloister built, XIVth century
+
+Restored under governmental supervision, 1840
+
+
+ST. CROIX D'ORLEANS
+
+_Dimensions_
+
+Height of towers, 280 feet
+
+Height of nave, 100 feet
+
+_Chronology_
+
+First bishops sent from Rome, IIIrd century
+
+Cathedral destroyed by Huguenots, 1567
+
+Chapels of nave which still remain, XIVth century
+
+Late Gothic mainly of XVIIth century
+
+Western towers completed, 1789
+
+
+NOTRE DAME DE PARIS
+
+[Illustration: _Paris_]
+
+_Dimensions_
+
+Length, 390 feet
+
+Width, 144 feet
+
+Height of nave, 102 feet
+
+Diameter of rose windows in transept, 36 feet
+
+Superficial area, 64,100 square feet
+
+_Chronology_
+
+Founded by Bishop de Sully, 1160-1170
+
+High altar dedicated, 1182
+
+Interior completed (approx.), 1208
+
+West front, 1223-1230
+
+Western towers, 1235
+
+Transept portals, 1257
+
+
+NOTRE DAME DE REIMS
+
+[Illustration: _Reims_]
+
+[Illustration: _Flying Buttresses, Reims_]
+
+_Dimensions_
+
+Western towers, 267 feet
+
+Area, 65,000 feet (approx.)
+
+_Chronology_
+
+First stone laid, 1212
+
+First portion dedicated, 1215
+
+Chapter takes possession of choir, 1244
+
+Nave commenced, 1250
+
+Transept and abside ornamented, 1295
+
+South tower begun and completed, 1380-1391
+
+Coronation of Charles VII., 1427
+
+Southwest tower completed by Philastre, 1430
+
+Tapestries added to choir, 1444
+
+Belfry of the Angel built, 1497
+
+Gable of the Assumption and Zodiac, 1408
+
+Reëstablishment of grand altar, 1547
+
+Repairs to portals and vaulting, 1610
+
+Cathedral becomes national property, 1790
+
+Exterior repairs and restoration, 1811
+
+General restorations, 1840
+
+2,083,411 francs voted by Chamber for restorations, 1875
+
+Gifts of Gobelin tapestries, 1848
+
+
+NOTRE DAME DE ROUEN
+
+[Illustration: _Notre Dame Rouen_]
+
+_Dimensions_
+
+Length of nave and choir, 450 feet
+
+Width, including transepts, 177 feet
+
+Width of nave and aisles, 105 feet
+
+Length of choir only, 118 feet
+
+Height of nave, 92 feet
+
+Height of central spire, 480 feet
+
+Height of Tour de Beurre, 252 feet
+
+Height of Tour St. Romain, 246 feet
+
+Area (originally), 53,000 square feet
+
+_Chronology_
+
+First church founded on site of cathedral by St. Mellar, VIIth century
+
+Cathedral enlarged under Rollo, who was buried therein in 930
+
+Consecrated and dedicated, 1063
+
+Tour St. Romain, remains of, XIth century
+
+Destroyed by fire, 1200
+
+New building completed, XIIIth century
+
+Portail de la Calende, XIVth century
+
+Tour de Beurre laid, 1487
+
+Tour de Beurre completed, 1507
+
+Flamboyant west front, XVIth century
+
+Altar of St. Romain, XVIIth century
+
+Tomb of the Cardinals, 1556
+
+Central spire, 1823
+
+Restoration of west front, 1897
+
+
+ST. ETIENNE DE SENS
+
+_Dimensions_
+
+Length, 384 feet
+
+Width, 124 feet
+
+Height, 98 feet
+
+Area, 44,000 square feet
+
+_Chronology_
+
+Relique of True Cross given by Charlemagne, 800 A. D.
+
+Early church destroyed by fire, 970
+
+New church dedicated, 997
+
+Present building completed, 1168
+
+Choir rebuilt, 1174
+
+Present transept and nave, XIIth and XIIIth centuries
+
+Glass in chapel of St. Savinien, XIIIth century
+
+Glass of rose windows, XVIth century
+
+Mausoleum of the Dauphin, XVIIIth century
+
+
+BASILIQUE DE ST. DENIS
+
+_Dimensions_
+
+Length of nave and choir, 354 feet
+
+Width, 133 feet
+
+Clerestory windows (height), 33 feet
+
+_Chronology_
+
+Chapel first built above grave of St. Dionysius the martyr, 275 A. D.
+
+Benedictine abbey first founded here in reign of Dagobert, 628
+
+Pope Stephen took refuge here, 754
+
+Romanesque façade, 1140
+
+Consecration of the building, 1144
+
+Nave, XIIIth century
+
+Abbot Suger died, 1151
+
+General restoration by Suger's successors, XIIIth century
+
+Crenelated battlement added to façade, XIVth century
+
+Spire burned by lightning, XIXth century
+
+General restoration by Viollet-le-Duc, 1860
+
+Louis XVI. and Marie Antoinette reinterred here (removed from
+the Madeleine), 1817
+
+[Illustration: CRYPT S. DENIS]
+
+[Illustration: S DENIS]
+
+
+NOTRE DAME DE ST. OMER
+
+_Dimensions_
+
+The great bell of tower weighs 8,500 kilos.
+
+_Chronology_
+
+Bishopric founded, 1533
+
+Astronomical clock, XVIth century
+
+Tomb of St. Erkembode, VIIIth century
+
+Tomb of St. Omer restored, XIIIth century
+
+Former Episcopal Palace, now Palais de Justice, 1680
+
+
+ST. GATIEN DE TOURS
+
+[Illustration]
+
+_Dimensions_
+
+Length of nave and choir, 256 feet
+
+Width, 95 feet
+
+_Chronology_
+
+Choir begun, 1170
+
+Tour Charlemagne, XIth century
+
+Tour St. Martin, XIIth century
+
+Transepts, 1316
+
+West façade, 1430-1500
+
+Southwest tower, 1507
+
+Tomb of children of Charles VIII., 1483
+
+
+ST. PIERRE DE TROYES
+
+_Dimensions_
+
+Length, 394 feet
+
+Width, 168 feet
+
+Height, 96 feet
+
+Height northwest tower, 202 feet
+
+_Chronology_
+
+Apse and chapels, 1206-1223
+
+Choir and transepts, 1314-1315
+
+Iron _grille_ of choir, XIIIth century
+
+Church consecrated, 1430
+
+West façade, XVth century
+
+Nave constructed during XIVth, XVth, XVIth centuries
+
+North gable, XVth century
+
+Tower St. Pierre, 1559-1568
+
+Northwest tower demolished by lightning, 1700
+
+Vaulting of transepts fell, 1840
+
+Restoration of choir and transepts, 1840
+
+
+
+
+VII
+
+_The French Kings from Charlemagne Onward_
+
+
+                                 A. D.
+
+Charlemagne                       768
+
+Louis le Débonnaire               814
+
+Charles le Chauve                 840
+
+Louis II., le Bègue               877
+
+Louis III.                        879
+
+Carloman                          879
+
+Charles le Gros                   884
+
+Eudes                             887
+
+Charles III., the Simple          893
+
+Robert I.                         922
+
+Rodolf of Burgundy                923
+
+Louis IV., the Stranger           936
+
+Lothaire                          954
+
+Louis V., le Fainéant             986
+
+Hugh Capet                        987
+
+Robert II., the Wise              996
+
+Henry I.                         1031
+
+Philip I., l'Amoureux            1060
+
+Louis VI., le Gros               1108
+
+Louis VII., le Jeune             1137
+
+Philip Augustus                  1180
+
+Louis VIII., the Lion            1223
+
+Louis IX., the Saint             1226
+
+Philip III., the Hardy           1270
+
+Philip IV., the Fair             1285
+
+Louis X., Hutin                  1314
+
+John I.                          1316
+
+Philip V.                        1316
+
+Charles IV., le Bel              1322
+
+Philip VI., de Valois            1328
+
+John II., the Good               1350
+
+Charles V., le Sage              1364
+
+Charles VI., the Beloved         1380
+
+Charles VII., the Victorious     1422
+
+Louis XI.                        1461
+
+Charles VIII.                    1483
+
+Louis XII., of Orleans           1498
+
+Francis I.                       1515
+
+Henry II.                        1547
+
+Francis II.                      1559
+
+Charles IX.                      1560
+
+Henry III.                       1574
+
+Henry IV., the Great             1589
+
+Louis XIII., the Just            1610
+
+Louis XIV., le Grand             1643
+
+Louis XV.                        1715
+
+Louis XVI.                       1774
+
+Revolutionary Tribunal           1793
+
+Directory                        1795
+
+Napoleon, Consul                 1799
+
+Napoleon I., Emperor             1804
+
+Louis XVIII.                     1814
+
+Charles X.                       1824
+
+Louis Philippe                   1830
+
+Republic                         1848
+
+Napoleon III., Emperor           1852
+
+Republic                         1870
+
+[Illustration: CHARLES VII]
+
+
+
+
+VIII
+
+_Measurements of the Cathedrals at Amiens and Salisbury_
+
+(_Whittington_)
+
+
+                                            _Amiens_       _Salisbury_
+                                          _French feet_   _English feet_
+
+Length east to west                           415                    452
+Length west door to choir                     220                    246
+Length behind choir, including lady-chapel     63                     65
+Length transepts north to south               182                    210
+Width nave                                     42.9                   34.5
+Width transept                                 42.9
+Width side aisles                              18                     17.5
+Width windows                                  41                     48
+Width nave and side aisles                     78.9                  102
+Width west front                              150                    115
+Height vault, nave                            132                     84
+Height vault, choir                           129
+Height west towers                            210
+Height chapels                                 60
+Height side aisles, nave                       60.8
+Height side aisles, choir                      57.8                   38
+Distance between pillars                       16
+Height grand arches                            78                     78
+Number of pillars                              46
+Number of chapels                              25
+Length of choir                               130                    140
+
+(The old French foot is the equal of 1.06576 English feet.)
+
+The above comparative measurements are given as being of the
+contemporary types of English and French cathedrals, being nearly
+approximate to each other as to the date of their erection and
+measurements. The figures themselves are transcribed from a little-known
+but thoroughly conscientious work by G. D. Whittington, entitled
+"Contributions to an Ecclesiastical Survey of France."
+
+
+
+
+IX
+
+_French Metres Reduced to English Feet_
+
+
+Metres  English feet and  Metres  English feet and  Metres  English feet and
+         decimal parts             decimal parts             decimal parts
+
+  1        3.281           20         65.618         300        984.270
+
+  2        6.562           30         98.427         400       1312.360
+
+  3        9.843           40        131.236         500       1640.450
+
+  4       13.123           50        164.045         600       1968.539
+
+  5       16.404           60        196.854         700       2296.629
+
+  6       19.685           70        229.663         800       2624.719
+
+  7       22.966           80        262.472         900       2952.809
+
+  8       26.247           90        295.281        1000       3280.899
+
+  9       29.528          100        328.090
+
+ 10       32.809          200        656.180
+
+
+
+
+X
+
+_A Brief Glossary of architectural terms, with popular definitions, as
+applied to the components which compose the principal features of a
+cathedral church_
+
+
+[Illustration: NO. 1. GROUND PLAN]
+
+A Lady-chapel            The principal chapel, usually behind the
+                         high altar, at the extremity or eastern end
+                         of choir, dedicated to Our Lady (Notre
+                         Dame)
+
+B Transept               The middle portion of a church, which projects
+                         at right angles with the main body
+                         of nave and choir
+
+C Porch                  Usually the vestibule or receding doorway
+
+D Lantern or crossing    Where the transept crosses and joins choir
+                         and nave, usually with windows, if a lantern
+                         proper
+
+E Choir                  That portion of the edifice in which are
+                         stalls for the choristers, and chapter, also
+                         containing the _Maître d'Autel_
+
+F Ambulatory             The aisles or colonnade which surround
+                         the choir
+
+G Chapels                Literally a small place of worship containing
+                         an altar. In a great church, which
+                         may contain several, they are usually
+                         dedicated to male and female saints
+
+H Nave                   The main body of a church, extending from
+                         the choir to the principal façade; _i. e._
+                         that part between the outer aisles
+
+I Aisles                 The lateral passage on either side of the
+                         nave and separated therefrom by piers
+                         or pillars
+
+J Portal                 Literally, the framework of a doorway
+
+K Abside                 The domed easterly end of a church
+
+L Sacristy               The apartment in which is kept the church
+                         plate and vestments
+
+[Illustration: NO. 2. CROSS SECTION]
+
+A Nave aisle vaulting    The arched roof of stone
+
+B Nave vaulting          The arched roof of stone
+
+C Flying buttress        A supporting outside prop of the thrust
+                         variety. Notably a distinguishing feature
+                         of mediæval Gothic architecture
+
+D Side aisle             The passage which flanks the nave
+
+E Buttress pier          The outer support of a flying buttress
+
+F Pinnacle               On towers, buttress piers, gables, etc.
+
+G Gargoyle               A projecting water-spout carved grotesquely
+
+H Niche                  A recess in a wall, or surmounting a pier;
+                         primarily to hold a statue
+
+[Illustration: NO. 3. INTERIOR]
+
+A Clerestory             The upper range of windows of the nave;
+                         rising above the adjoining portions
+
+B Triforium              Literally, a blind window--a range of
+                         openings, or possibly an arcade-effect
+                         only, coming below the clerestory and
+                         above the lower arches of the nave
+
+C Arch (between nave and ai
+                         Joining the piers or pillars which separate
+                         nave from aisles
+
+D Pillars (of nave)      Commonly called pillars, columns, and
+                         piers, but more often are literally pillars,
+                         being made up of blocks of stone one
+                         upon another
+
+E Vaulting               The stone arched roof
+
+F West wall              Here, in the true Gothic church, is usually
+                         found a rose window, though often obscured
+                         by the organ case
+
+G Arcaded gallery        A feature frequently seen in the interior of
+                         great churches, as distinct from the triforium.
+                         Either decorative or of practical
+                         value
+
+H Pavement               The floor, always of stone, and often of
+                         marble or mosaic
+
+[Illustration: NO. 4. CROSS SECTION]
+
+A Flying buttresses      A thrust support, or prop, extending from
+                         the main fabric to an outer pier
+
+B Timber roof            The timber or scantling above the nave,
+                         which supports the outer tiled or leaden
+                         roofing
+
+C Nave                   The main body of a church
+
+D Aisle                  The passage which flanks the nave
+
+E Outer aisle            A second or outer passage flanking the nave
+
+F Stairway to roof of aisle
+                         Stairways from the interior pavement, leading
+                         to triforium, belfry, or roof
+
+G Crypt                  In reality a lower or subterranean church
+                         or chapel; from _crypta_, to hide
+
+H Buttress pier          The outer support of a flying buttress, or
+                         one lying directly against the wall which
+                         it strengthens
+
+
+
+
+INDEX
+
+
+Abélard, 94.
+
+Acquitaine, 176, 211.
+
+Adela, mother of King Stephen of Blois, 121.
+
+Agrippa, 134.
+
+Aisne, Department of the, 134.
+
+Alençon, Bishop of, 307.
+
+Alençon, Notre Dame d', 296-298.
+
+Amboise, Cardinal d', 84, 90.
+
+Amboise, Georges d', 85, 90.
+
+Amiens, 32, 35, 37, 61, 62, 117, 129, 133, 200, 267, 272, 278.
+
+Amiens, Bishop of, 65.
+
+Amiens, Cathedral at, 140, 141, 384.
+
+Amiens, Flying buttresses at, 67.
+
+Amiens, Notre Dame d', 64, 69, 72, 366, 367.
+
+"Ampoule, Sainte," The, 25, 143.
+
+Angers, 119, 149.
+
+Angers, Bishop's Palace at, 181.
+
+Angers, Castle at, 175.
+
+Angers, David d', 235.
+
+Angers, St. Maurice d', 147, 173-182, 367, 368.
+
+Angevine Churches, The, 215.
+
+Angevine details at Le Mans, 115.
+
+Angevine style of architecture, The, 176, 180.
+
+Angoulême, 15.
+
+Anjou, 115.
+
+Anjou, Counts of, 175.
+
+Anjou, Dukes of, 173, 181.
+
+Anjou, Margaret of, 173.
+
+Anne of Brittany, 169, 184.
+
+Anne, Duchess (_see also_ Anne of Brittany), 188.
+
+Antwerp, 126.
+
+Architectural divisions of France, 34.
+
+Ardennes, Department of the, 134.
+
+Arles, 33.
+
+Arras, 15, 184, 226.
+
+Arras, Belfry at, 245;
+  Citadel of, 244;
+  Hôtel de Ville, 245.
+
+Arras, St. Vaast d', 242-246, 368.
+
+Artois, 237, 242.
+
+Assisi, St. Francis of, 188.
+
+Attila, 132.
+
+Attila, Attack on Aurelianum, 150.
+
+Attila, Defeat at Chalons, 251.
+
+Augustus, 134.
+
+Aurelian, 150, 226.
+
+Autun, 33, 257, 258.
+
+Autun, St. Lazare d', 257-261, 368.
+
+Auvergne, 151.
+
+Auvergnat Churches, The, 215.
+
+Auxerre, 215.
+
+Auxerre, Bishops of, 194.
+
+Auxerre, Episcopal Palace at, 195.
+
+Auxerre, St. Etienne d', 191-196, 369.
+
+Auxonne, Notre Dame d', 220.
+
+Avignon, 33.
+
+Avranches, 321.
+
+Avranches, Notre Dame de, 326-328.
+
+Azon, 307.
+
+
+Baldwin of Hainault, 237.
+
+Balzac, 164.
+
+Bayeux, 285.
+
+Bayeux, Odo, Bishop of, 311, 312.
+
+Bayeux, Notre Dame de, 310-314, 369.
+
+Bayeux, Tapestry of, 310, 311.
+
+Beauvais, 13, 19, 20, 32, 35, 37, 61, 69, 117-119, 133, 200, 267.
+
+Beauvais, Bishop of, 52, 303.
+
+Beauvais, Romano-Byzantine work at, 75.
+
+Beauvais, Cathedral of St. Pierre, 28, 70-76, 140, 369.
+
+Beaux Arts, Département de, 23, 340.
+
+Beaux Arts, Palais des, 96.
+
+Becket, St. Thomas à, 54, 280, 282, 327.
+
+Bedford, Duke of, 90.
+
+Belgica, Secunda, 132.
+
+Bellegambe, 244.
+
+Bellêne, Count of, 307.
+
+Belmas, Bishop, 235.
+
+Benedictine Abbey at St. Denis, 93.
+
+Berengaria, Queen, 113, 120.
+
+Bernard de Soissons, 138.
+
+Berry, Duc de, 96, 108.
+
+Besançon, 27, 32, 223, 225.
+
+Bethléem, Bishop of, 31.
+
+Bishop's Palace, The (Amiens), 67.
+
+Bishop's Palace, The, at Beauvais, 76.
+
+"Black Angers," 174 (_see_ Shakespeare on Angers).
+
+Blanche of Castile, 66, 169.
+
+Blois, 18, 149, 210, 215.
+
+Blois, Chateau of, 157.
+
+Blois, Counts of, 121.
+
+Blois, King Stephen of, 121.
+
+Blois, St. Louis de, 156.
+
+Bonn, Minster at, 50.
+
+Borgia, Cæsar, 182.
+
+Borromée, 244.
+
+Boulogne-sur-Mer, 223, 225.
+
+Boulogne-sur-Mer, Notre Dame de, 231-233.
+
+Bourassé, Abbé, 108, 211, 260, 279, 303.
+
+Bourges, 33, 37, 61, 215.
+
+Bourges, St. Etienne de, 139, 199-208, 370.
+
+Brest, 348.
+
+Bretagne, Duc de, 187.
+
+Briceius, 165.
+
+Brittany, 12, 20, 27, 32.
+
+Brittany, Chancellor of, 182.
+
+Brittany, Duchy of, 184.
+
+Bruges, 262.
+
+Burgundy, 258, 259, 262.
+
+Byzantine influences at Bourges, 202.
+
+Byzantine tendencies, 13;
+  conception, 27.
+
+
+Caen, 285.
+
+Cæsar, burned Orleans, 150.
+
+Calixtus II., 133.
+
+Calvin (John), 51.
+
+Cambrai, 15, 226.
+
+Cambrai, Notre Dame de, 234-236.
+
+Capet, Hugh, 51.
+
+Carcassonne, 33.
+
+Carlovingian Dynasty, The, 94.
+
+Carrier, 183.
+
+Cathedrals, The Grand, 23.
+
+Cathedrals of the North, 26.
+
+"Caveau Imperial," The, at St. Denis, 95.
+
+Chalons (sur Marne), 132, 133, 226.
+
+Chalons-sur-Marne, St. Etienne de, 251-253, 371.
+
+Chambidge, Martin, 276.
+
+Chambord, 18, 210, 214.
+
+Champagne, Counts of, 274.
+
+Chancellor of Brittany, 182.
+
+Chantilly, Chateau of, 50.
+
+Charlemagne, 51, 133, 282.
+
+Charlemagne, Tour de, 165.
+
+Charles of Anjou, 120.
+
+Charles the Bold, Duke of Burgundy, 262-263.
+
+Charles (King), 212.
+
+Charles V., 240, 282.
+
+Charles VII., 30, 138, 144.
+
+Charles VIII., 17, 169, 184.
+
+Charles X., 24, 144.
+
+Chartres, 20, 30, 33, 35, 61, 62, 113, 210, 215, 278, 338.
+
+Chartres, Celtic foundation of, 124.
+
+Chartres, Counts of, 121.
+
+Chartres, Details at, 87.
+
+Chartres, Jean de, 187.
+
+Chartres, Notre Dame de, 121, 139, 140, 141, 371.
+
+Chartres, Spires of Cathedral at, 125, 267.
+
+Chaste Susanne, Painting of, 220.
+
+Chateau of the Italian Dukes (at Nevers), 210.
+
+Chateaux of the Loire, 18, 32, 148.
+
+Chaucer's "Temple of Mars," 86.
+
+Chaumont, 18.
+
+Chenonceau, 18, 210.
+
+Childeric, 132, 133.
+
+Cires-les-Mello, 35.
+
+Clamecy, 31.
+
+Clement, Eudes, 99.
+
+Clotilda, wife of Clovis, 133.
+
+Clovis, 22, 30, 138, 139, 143, 144, 224.
+
+Clovis, Baptism of, 133.
+
+Coligny, 151.
+
+Cologne, Apse-sided transepts at, 50.
+
+Cologne, Cathedral at, 20, 37, 135, 141.
+
+Colomb, Michel, 187, 332.
+
+Colombiers, 315.
+
+Commercy, Jacquemin de, 250.
+
+Commission des Monuments Historiques, 35, 170, 176, 213.
+
+Compiègne, Chateau of, 50.
+
+Condés, The, 153.
+
+Constant, 282.
+
+Cormier, Jean, 129.
+
+Corroyer, 349.
+
+Coucy, Chateau of, 50.
+
+Coutances, 267, 285, 286, 321.
+
+Coutances, Notre Dame de, 321-325.
+
+Creil, 35.
+
+Croixmore, Abp. Robert de, 84.
+
+Crusaders, The, 14.
+
+
+Dagobert I., 93.
+
+D'Arc, Jeanne, 151, 303.
+
+Dauphins of France, The, 170.
+
+Da Vinci, 157.
+
+De Breze, Louis, 89.
+
+De Breze, Pierre, 89.
+
+De Caumont, "Abécêdaire'd Architecture," 33, 349.
+
+De Sauteuil, 106.
+
+Descartes, 164.
+
+Descent from the Cross, The (by Rubens), 239.
+
+Devils of Notre Dame, The, 106.
+
+Dieppe, 285.
+
+Dijon, 27, 223, 258.
+
+Dijon, St. Bénigne of, 225, 262-265.
+
+Dinan, 335.
+
+Dol-de-Bretagne, Façade at, 98.
+
+Dol-de-Bretagne, St. Samson de, 329-332.
+
+Domenichino, 272.
+
+Domfront, 321.
+
+Douai, 244.
+
+Du Bellay Langey, 120.
+
+Dufêtre, Mgr., 211.
+
+Duroctorum, 132.
+
+
+East of Paris, 221.
+
+Eastern influences at Bourges, 202.
+
+Ebo, Bishop of Reims, 136.
+
+Edict of Nantes, The, 183.
+
+Edward III., 129.
+
+English characteristics of Gothic, 45, 68.
+
+Estonteville, Cardinal d', 88.
+
+Evreux, 32.
+
+Evreux, Notre Dame d', 288-295, 372.
+
+Exeter, 114.
+
+
+Falise, 321.
+
+Fenelon, 235, 236.
+
+Fergusson, quoted, 12, 56, 126, 139.
+
+Fiesole, Jérôme de, 187.
+
+Flemish school of painting, 244.
+
+Flemish wood-carving, 90.
+
+Florence, 33.
+
+Flying buttresses, Notre Dame de Paris, 28;
+  Notre Dame d'Amiens, 28;
+  Tours, 167.
+
+Foix, Marguerite de, 187.
+
+Fouilloy, Evrard de, 65.
+
+France, Architectural divisions of, 34.
+
+France, Ecclesiastical capital of, 133.
+
+France, Kings of, 24, 93, 383.
+
+Francis I., 74.
+
+Francis II., Tomb of, 187.
+
+Franks, The, 22.
+
+Franks, The Ripuarian, 133.
+
+Franks, Invasion of, 132, 133, 224.
+
+Frankish influence, 11.
+
+Freeman, Prof. Aug., 113, 248, 311.
+
+Fréjus, 15.
+
+French Flanders, 41.
+
+French Gothic Architecture, 38.
+
+French Mediæval Architecture, 38.
+
+French Revolution, The, 31, 43, 44, 52, 55, 96, 99, 103, 142, 184, 226.
+
+Fulbert, Bishop of Chartres, 129.
+
+
+"Gallery of Kings," at Amiens, 67.
+
+Gallery of Kings, The (at Reims), 138, 178.
+
+Gaucher, 138.
+
+Geeraerts (of Antwerp), 235.
+
+Genabum (of Gallia), 150.
+
+Genoa, 157.
+
+German manner of building, 27.
+
+Ghent, 242, 262.
+
+Gisors, 35.
+
+Gobelin Tapestries, 76, 143.
+
+Gonsé, 349.
+
+Good God of Amiens, The, 66.
+
+Gothic, Development of, 14, 24;
+  Rudimentary, 16;
+  Anti, 18;
+  Non, 18.
+
+Goujon, Jean, 89, 170.
+
+Gourney, 35.
+
+Grand Cathedrals, The, 12, 20, 35, 61-63.
+
+Granville, 321.
+
+Grouin, 345.
+
+Guillaume of Sens, 225.
+
+Guillaume Bras-de-Fer, 323.
+
+
+Hachette, Jeanne, 76.
+
+Haffreingue, Mgr., 233.
+
+Henry I., 129, 133.
+
+Henry II. (of France), 113, 166, 249.
+
+Henry II. (of England), 282, 301, 325.
+
+Henry IV., 30, 96, 133, 153, 183.
+
+Henry of Navarre, 129.
+
+House of the Kings, The, 144.
+
+Hugh II., 215.
+
+Hugo's "Notre Dame," 106.
+
+Huguenots, The, 153, 195.
+
+Humbert, Alberic de, 137.
+
+
+Irene, Princess, 130.
+
+Isle de la Cité, 105, 106.
+
+Isle of France, 12, 27, 61.
+
+Italian influences, 17.
+
+Ivor (Bishop of Chartres), 212.
+
+
+James (Henry), 163, 204.
+
+Jean sans Peur, 265.
+
+Jensen, Nicolas, 164.
+
+Joannes, Abbé, 253.
+
+John, Duke of Bedford, 90.
+
+John the Baptist, 69.
+
+Jovinus, Tomb of, 142.
+
+Juste, 170.
+
+
+"Kreisker," The (at St. Pol de Leon), 345.
+
+
+La Hougue, 345.
+
+Langres, 32.
+
+Langres, La Montagne de, 218.
+
+Langres, St. Mammes de, 218-220.
+
+Laon, 20, 32, 41, 61, 325.
+
+Laon, Notre Dame de, 43-46, 49, 139, 372-373.
+
+Laon, Palais de Justice, 46.
+
+Last Judgment, The (at Bourges), 204.
+
+Le Mans, 32, 61, 62, 120, 121, 124, 168, 200, 210, 338.
+
+Le Mans, German invasion of, 120.
+
+Le Mans, Notre Dame de la Cloture, 180.
+
+Le Mans, St. Julien, 113-120, 373, 374.
+
+Leo III., 133.
+
+Leo IX., 307.
+
+Le Puy, 33.
+
+Lescornel, 219.
+
+Le Tellier, 144.
+
+Le Veneur, Bishop, 292.
+
+Libergier, 142.
+
+Limoges, 151.
+
+Lisieux, 285, 286, 301.
+
+Lisieux, St. Pierre de, 301-304.
+
+Loire, Cathedrals of the, 145.
+
+Loire, Valley of the, 147, 148.
+
+Loire, Chateaux of, 18, 32, 147.
+
+Longsword, William, 89.
+
+Lorraine, Abbé, 143.
+
+Loudon, Geoffroy de, 118.
+
+Louis le Débonnaire, 133.
+
+Louis le Gros, 133.
+
+Louis I., 136.
+
+Louis VI., 94.
+
+Louis XI., 208, 246.
+
+Louis XII., 184.
+
+Louis XII., Tomb of, at St. Denis, 19.
+
+Louis XIV., 144.
+
+Louis XVI., 96, 282.
+
+Louis XVIII., 31, 96, 143.
+
+Louis Philippe, 31.
+
+Louviers, 127, 297.
+
+Low Countries, The, 16, 20.
+
+Lowell (James Russell), "A Day in Chartres," 126.
+
+Lowell, Hon. E. J., 310.
+
+Luitgarde, 165.
+
+Luzarche, Robert de, 65.
+
+
+Madeleine, The, 96.
+
+Maid of Orleans, The, 81, 94, 144, 151.
+
+Maine, 114.
+
+Maine, Count of, 120.
+
+Mainz, 214.
+
+Mansard, 159, 240.
+
+Margaret of Anjou, 173, 181.
+
+Marie Antoinette, 96.
+
+Marie de Medicis, 182.
+
+Marie Louise, 95.
+
+Marne, Department of, 132, 134.
+
+Marne, River, 270.
+
+Martel, Charles, 133.
+
+Matilda, queen of William the Conqueror, 129, 310, 311.
+
+Mazarin (Cardinal), 210.
+
+Meaux, 270.
+
+Meaux, St. Etienne de, 270-273, 374.
+
+Medicis, Marie de, 182.
+
+Mère de Dieu, 66.
+
+Metz, 227, 248, 249.
+
+Méyron, Etchings of, 106.
+
+Montbray, Geoffroy de, 323.
+
+Monthery, 89.
+
+Mont St. Michel, 321, 337, 338;
+  Abbey of, 338.
+
+Monuments, Historical, 23, 340.
+
+Moorish type of architecture at Bourges, 201.
+
+Moors of Spain, The, 202.
+
+Moselle, Valley of the, 226.
+
+Moulins, 36.
+
+Musée des Petits Augustines, 96.
+
+
+Nancy, 226.
+
+Nancy, Cathedral at, 227.
+
+Nantes, 20, 32, 148, 149.
+
+Nantes, Edict of, 183.
+
+Nantes, St. Pierre de, 183, 374, 375.
+
+Naples, 157.
+
+Napoleon I., 31, 103;
+  Marriage of, 95.
+
+Napoleon III., 31, 99.
+
+Narbonne, 151.
+
+"Narthex, Burgundian," 258.
+
+Netherlands, The, 14.
+
+Neuss, Apse-sided transepts at, 50.
+
+Nevers, 33, 277.
+
+Nevers, St. Cyr and St. Juliette de, 209.
+
+Nevers, St. Etienne de, 212, 216.
+
+Nevers, The Pont du Loire, 209.
+
+Nevers, Tour Gougin, 213;
+  Tour St. Eloi, 213.
+
+Nicman, Archbishop, 136.
+
+Nièvre, Counts of, 210.
+
+Nîmes, 33.
+
+Nivernais, The, 210.
+
+Nogent-les-Vierges, 35.
+
+Normandy, 115, 176.
+
+Normandy, Duke of, 89.
+
+Norsemen, The, 82.
+
+Notre Dame d'Alençon, 296-298.
+
+Notre Dame d'Amiens, 64-69, 72, 366, 367.
+
+Notre Dame d'Auxonne, 220.
+
+Notre Dame de Bayeux, 310-314, 369.
+
+Notre Dame de Boulogne-sur-Mer, 231-233.
+
+Notre Dame de Cambrai, 234-236.
+
+Notre Dame de Chartres, 121, 139-141, 371.
+
+Notre Dame de Coutances, 321-325.
+
+Notre Dame d'Evreux, 288-295, 372.
+
+Notre Dame de la Cloture (Le Mans), 180.
+
+Notre Dame de Laon, 43-46, 372.
+
+Notre Dame de l'Epine, 251.
+
+Notre Dame de Noyon, 29, 49-53, 199, 375, 376.
+
+Notre Dame de Paris, 28, 49, 101-107, 139, 140, 199, 376, 377.
+
+Notre Dame de Reims, 132-144, 248, 249.
+
+Notre Dame de Rouen, 37, 49, 79-90, 139, 338, 378, 379.
+
+Notre Dame de St. Lo, 315-318.
+
+Notre Dame de St. Omer, 237-241, 380.
+
+Notre Dame de Senlis, 266-269.
+
+Noviodunum, 51.
+
+Noyades, The, 184.
+
+Noyon, 20, 32, 41, 117, 127, 268.
+
+Noyon, Notre Dame de, 29, 49-53, 199, 375, 376.
+
+
+Odericus Vitalis, Bishop, 302.
+
+Odon, 323.
+
+Oise, The River, 50.
+
+Onfroy, 323.
+
+Orange, 184.
+
+Oriflamme, The, 94.
+
+Orleans, 33, 148, 149.
+
+Orleans, Captured by Clovis, 151, 152.
+
+Orleans Family, The, 169.
+
+Orleans, German occupation of, 151.
+
+Orleans, St. Croix d', 150-155, 376.
+
+Orleans, The Maid of, 81, 94, 144, 151.
+
+
+Palais de Justice, Beauvais, 76.
+
+Paramé, 335.
+
+Paris, 20, 61, 267.
+
+Paris, Documentary history of, 26.
+
+Paris, East of, 221.
+
+Paris, Notre Dame de, 28, 49, 101-107, 139, 140, 199, 217, 376, 377.
+
+Paroissien, Poncelet, 142.
+
+Pepersack Tapestries at Reims, The, 143.
+
+Pepin, 94, 133.
+
+Périgueux, 15, 33.
+
+Perpetus, Bishop of Tours, 165.
+
+Perréal, Jehan, 187.
+
+Perrifonds, Chateau of, 50.
+
+Philastre, Cardinal, 137.
+
+Philippe Augustus, 24, 34, 117.
+
+Philippe le Bon, 262.
+
+Philippe le Hardi, 66, 265.
+
+Picardy, 184.
+
+Picardy, Patron Saint of, 69.
+
+Plantagenets, Cradle of the, 173.
+
+Poitiers, 33.
+
+Poitiers, Diane de, 89.
+
+Pont du Loire, Nevers, 209.
+
+Pope Stephen, 94.
+
+Portal de St. Honoré (Amiens), 67.
+
+Portal de la Vierge Dorée (Amiens), 67.
+
+Porte d'Arroux, Autun, 257.
+
+Porte St. Andre, Autun, 257.
+
+Provence, 211.
+
+
+Quimper, 27, 32, 348.
+
+Quimper, St. Corentin de, 348-350.
+
+
+Rabelais, 164.
+
+Rabida, "Bretagne" of, 338.
+
+Raphael, Tapestry cartoons at S. Kensington, 76.
+
+Reclus, 215.
+
+Regnault, 187.
+
+Regnier, Cardinal, 235.
+
+Reims, 32, 35, 37, 128, 129, 224, 226, 278.
+
+Reims, Baptism of Clovis at, 30.
+
+Reims, Capture of, by Vandals, 132.
+
+Reims, Cathedral at, 24.
+
+Reims, Details at, 87.
+
+Reims, Devastation at, 25.
+
+Reims, Notre Dame de, 93, 132-144, 248, 249.
+
+Reims, Portals of Cathedral, 66.
+
+Reims, Roman remains at, 134.
+
+Reims, St. Nicaise of, 82.
+
+Remi, Capital of the, 132.
+
+Renaissance, The, 16.
+
+Renaissance Architecture at Bourges, 201.
+
+Renaissance façade at Tours, 166, 167.
+
+Renaissance wood-carving, 46.
+
+René, King, 173, 175, 181.
+
+Reni, Guido, 272.
+
+Rennes, 15.
+
+Revolution, The French, 31, 43, 44, 52, 55, 96, 99, 103, 142, 184, 226.
+
+Rhine, The, 23, 27, 223.
+
+Rhine Provinces, The, 14.
+
+Rhône, The, 36.
+
+Richard Coeur-de-Lion, 90, 113, 120.
+
+Richard the Fearless, 83.
+
+Rigobert, Bishop, 133.
+
+Robert I., Duke of Burgundy, 258, 260.
+
+Robert, son of Tancrede-de-Hauteville, 323.
+
+Roger, son of Tancrede-de-Hauteville, 323.
+
+Rohan, Cardinal de, 243.
+
+Rollo, 82, 89.
+
+Romanesque tendencies, 13, 27, 44;
+  types, 20, 21.
+
+Roman power, Decline of, 26.
+
+Roman remains at Reims, 134.
+
+Romans, The, at Genabum (Orleans), 150.
+
+Romano-Byzantine work  at Beauvais, 75.
+
+Romano-Byzantine nave at Le Mans, 115.
+
+Rome, 33.
+
+Rosary, Chapel of the (Soissons), 57.
+
+Roscoff, 345.
+
+Rouen, 19, 35, 37, 61, 62.
+
+Rouen, Cathedral at, 37, 49, 79-90, 139, 338, 378, 379.
+
+Rouen, Notre Dame de, 37, 49, 79-90, 139, 338, 378, 379.
+
+Rouen, Tour de Beurre, 204.
+
+Royal Domain, The, 223.
+
+Royale, Rue (Tours), 163.
+
+Royamont, 35.
+
+Rubens, 235, 238.
+
+Rubens, "Adoration" by (Soissons), 58.
+
+Rumaldi, 136.
+
+Ruskin on Rouen Cathedral, 85.
+
+Ruskin, quoted, 72, 81, 128, 285, 302.
+
+
+St. Aignan, 150.
+
+St. Bénigne (Monk of Dijon), 225.
+
+St. Bénigne (Cathedral), 262-265.
+
+St. Bertin, Abbey of (St. Omer), 225, 240.
+
+St. Brieuc, 339, 342.
+
+St. Brieuc, Cathedral of, 342-344.
+
+St. Corentin, Cathedral of, 27.
+
+St. Corentin de Quimper, 348-350.
+
+St. Croix, Abbey of, 318.
+
+St. Croix d'Orleans, 150-155, 376.
+
+St. Cyr and St. Juliette de Nevers, 209.
+
+St. Denis, 19, 61.
+
+St. Denis, Abbey of, 93.
+
+St. Denis, Abbot of, 94.
+
+St. Denis, Basilique de, 93-100, 379.
+
+St. Denis, Church of (at St. Omer), 225.
+
+St. Denis, Crypt of, 96.
+
+St. Deodatus, 254.
+
+St. Dié, 226, 254-256.
+
+St. Dié (Cathedral), 255, 256.
+
+St. Dionysius, 97, 98.
+
+St. Etienne d'Auxerre, 191-196, 369.
+
+St. Etienne de Bourges, 199-208, 370.
+
+St. Etienne (Chalons-sur-Marne), 251-253, 371.
+
+St. Etienne de Meaux, 270-273, 374.
+
+St. Etienne du Mont (Paris), 15, 19.
+
+St. Etienne de Nevers, 212, 216.
+
+St. Etienne de Sens, 279-282, 379.
+
+St. Etienne de Toul, 247-250.
+
+St. Eustache, Church of, Paris, 196.
+
+St. Fermin the Martyr, 67, 68.
+
+St. Francis of Assisi, 188.
+
+St. Gatien de Tours, 147, 163, 206, 381.
+
+St. Gengoult, Church of (Toul), 248.
+
+St. Germain, Church of (at Auxerre), 195.
+
+St. Jean the Evangel, 218.
+
+St. Jean des Vignes, Abbey of, 54.
+
+St. John, 69.
+
+St. Julien, Church of (at Tours), 169.
+
+St. Julien, Le Mans, 113-120, 373, 374.
+
+St. Laud, Bishop, 315.
+
+St. Lazare d'Autun, 257-261, 368.
+
+St. Lo, 285, 321.
+
+St. Lo, Notre Dame de, 315-318.
+
+St. Louis, 34, 66, 188, 314.
+
+St. Louis, Arms of, 169.
+
+St. Louis de Blois, 156.
+
+St. Louis de Versailles, Cathedral of, 108.
+
+St. Maclou, Church of (Rouen), 19, 81.
+
+St. Malo, 335, 338.
+
+St. Malo, Cathedral of, 336-338.
+
+St. Mammes de Langres, 218-220.
+
+Ste. Marguerite, 188.
+
+St. Martin (of Tours), 165.
+
+St. Martin, Tour de (at Tours), 165.
+
+St. Maurice d'Angers, 147, 173-182, 367, 368.
+
+St. Nazaire (Autun), 258.
+
+St. Nicaise, 82, 136, 142.
+
+St. Nicolas de Coutances, 325.
+
+St. Mellor, 82.
+
+St. Omer, 27, 223, 225.
+
+St. Omer, Notre Dame de, 237 241, 380.
+
+St. Ouen, Church of (Rouen), 15, 30, 80, 87, 241, 277.
+
+St. Peter's, at Rome, 20.
+
+"St. Peter's of the North," 71.
+
+"St. Peter's of the South," 13.
+
+St. Peter and Paul, Church of (at Tours), 165.
+
+St. Pierre d'Aleth, 336.
+
+St. Pierre de Beauvais, 28, 70-76, 140, 369.
+
+St. Pierre de Coutances, 325.
+
+St. Pierre de Lisieux, 301-304.
+
+St. Pierre de Nantes, 183, 374, 375.
+
+St. Pierre de Troyes, 274-278, 381, 382.
+
+St. Pol de Leon, 255, 339, 345.
+
+St. Pol de Leon, Cathedral of, 345-347.
+
+St. Potentien, 279.
+
+St. Quentin, Maze at, 131.
+
+St. Remi, 31, 133, 134, 136.
+
+St. Samson, 329-332.
+
+St. Savinien, 279, 282.
+
+St. Sepulchre, Church of (at St. Omer), 240.
+
+St. Servan, 335, 338.
+
+St. Sixte, 132.
+
+St. Urbain, 275.
+
+St. Vaast d'Arras, 242-246, 345, 368.
+
+St. Yves, 341.
+
+"Sainte Ampoule," The, 25, 143.
+
+Salisbury, Cathedral at, 64, 384.
+
+Salisbury, John of, 129.
+
+Saracen type of architecture at Bourges, 201.
+
+Séez, 61, 267, 277, 305.
+
+Séez, Notre Dame de, 305-309.
+
+Seine, The, 36, 106.
+
+Seine and Loire (by J. M. W. Turner), 169.
+
+Seine, Department of, 108.
+
+Senlis, 266.
+
+Senlis, Notre Dame de, 266-269.
+
+Sens, 61, 279.
+
+Sens, Guillaume of, 225, 280.
+
+Sens, St. Etienne de, 279-282, 379.
+
+Seville, Cathedral at, 20.
+
+Shakespeare on Angers (in "King John"), 173.
+
+Societé des Monuments Historiques, 35, 170, 176.
+
+Soissons, 20, 32, 41, 117, 133, 268.
+
+Soissons, Bombardment of, by the Germans, 56.
+
+Soissons, Notre Dame de, 54-58.
+
+South Kensington, 272.
+
+Stephen, Pope, 136.
+
+Stevenson (Robert Louis), 28, 42.
+
+Strasbourg, 248.
+
+Strasburg, Cathedral at, 126, 135, 227.
+
+Suger, Abbot, The, 94, 97.
+
+"Suisse, The," 80.
+
+
+Tancrede-de-Hauteville, 323.
+
+Tapestries at Angers, 181.
+
+Tapestries at Bayeux, 310-311.
+
+Tapestries at Le Mans, 120.
+
+Tapestries at Reims, 142, 143.
+
+Tapestries at Soissons, 58.
+
+Tapestries from Raphael's cartoons (at Beauvais), 76.
+
+Tapestry-making at Beauvais, 76;
+  at Paris; at Arras, 76, 242, 245, 246.
+
+Tetricus, 226.
+
+Texier, 126, 131.
+
+"Thérouanne, The Great God of," 240.
+
+Torenai River, 258.
+
+Torlonia, Prince Alex, 233.
+
+Toul, 226, 247-250.
+
+Toul, St. Etienne de, 247-250.
+
+Toulouse, 151.
+
+Tour d'Auvergne, Cardinal de la, 244.
+
+Tour de Beurre (Rouen), 84, 89.
+
+Tour de Charlemagne (at Tours), 165.
+
+Tour de Hasting (at Tréguier), 340.
+
+Tour Gougin (at Nevers), 213.
+
+Tour de l'Horloge (at Tours), 165.
+
+Tour St. Eloi (at Nevers), 213.
+
+Tour de St. Martin (at Tours), 165.
+
+Touraine, Old, 163.
+
+Tournai, 41.
+
+Tours, 18, 33, 277.
+
+Tours, Church of St. Peter and Paul, 165.
+
+Tours, St. Gatien de, 147, 163, 206, 381.
+
+Tours (St. Martin of), 165.
+
+Tours, West front of St. Gatien, 74.
+
+Transition examples, 39.
+
+Transition Style of Architecture, The, 176.
+
+Tréguier, 32, 255, 339.
+
+Tréguier, Cathedral of, 339-341.
+
+"Tresor," The, at Reims, 143.
+
+"Tresor," The, at Troyes, 278.
+
+"Tresor," The, at Sens, 282.
+
+"Tresor," The, at Bayeux, 314.
+
+Treves, 214.
+
+Trianons, The, 108.
+
+Troyes, 20, 61, 274, 275.
+
+Troyes, St. Pierre de, 274-278, 381, 382.
+
+Turner (J. M. W.), "Seine and Loire," 169.
+
+
+Valence, 36.
+
+Valois Branch of the Orleans Family, 169.
+
+Vannes, 351.
+
+Vannes, Cathedral of, 351, 352.
+
+Vauban, 244.
+
+Vaucluse, 184.
+
+Vendôme, Matthieu de, 99.
+
+Versailles, Fountains at, 108.
+
+Versailles, St. Louis de, 108.
+
+Villeneuve, Bishop de, 193.
+
+Villers-St.-Pol, 35.
+
+Viollet-le-Duc, 83, 96, 99, 139, 181, 349.
+
+Vire, River, 315.
+
+
+Wellington, Duke of, 175.
+
+Westphalia, Treaty of, 249.
+
+William, Duke of Normandy, 323.
+
+Winchester, Henry, Bishop of, 121.
+
+Winchester, Prelate of, 303.
+
+Wood-carving (at Amiens), 68.
+
+Worms, 214.
+
+
+Yonne, The River, 191.
+
+Young, Arthur, 36, 209.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Cathedrals of Northern France, by 
+Francis Miltoun
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRALS OF NORTHERN FRANCE ***
+
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+      The Project Gutenberg eBook of The Cathedrals of Northern France by Francis Miltoun.
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+<pre>
+
+Project Gutenberg's The Cathedrals of Northern France, by Francis Miltoun
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Cathedrals of Northern France
+
+Author: Francis Miltoun
+
+Illustrator: Blanche McManus
+
+Release Date: August 27, 2009 [EBook #29820]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRALS OF NORTHERN FRANCE ***
+
+
+
+
+Produced by Juliet Sutherland, Chuck Greif and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+</pre>
+
+<hr class="full" />
+
+<table summary="note"
+cellpadding="10" style="background-color: #ccccff;
+border:4px double gray;text-align:center;
+font-size:100%;margin:5% auto 5% auto;">
+  <tr>
+    <td valign="top">
+      Many of the images of this ebook may be viewed full-size by clicking on them.<br />(note of transcriber)
+  </td>
+  </tr>
+</table>
+
+<div class="image top" style="width: 374px;">
+<a href="images/cover.png">
+<img src="images/cover.jpg" width="250" height="374" alt="cover" />
+</a>
+</div>
+
+<div class="frame">
+<p class="c"><span class="lg">The Cathedral Series</span></p>
+
+<p class="c sml">The following, each 1 vol., library 12mo, cloth, gilt top profusely
+illustrated. $2.50</p>
+
+<p class="c">The Cathedrals of Northern France<br /><span class="smcap">BY FRANCIS MILTOUN</span></p>
+
+<p class="c">The Cathedrals of Southern France<br /><span class="smcap">BY FRANCIS MILTOUN</span></p>
+
+<p class="c">The Cathedrals of England<br /><span class="smcap">BY MARY J. TABER</span></p>
+
+<p class="c sml">The following, each 1 vol., library 12mo, cloth, gilt top, profusely
+illustrated. Net, $2.00</p>
+
+<p class="c">The Cathedrals and Churches of the Rhine<br /><span class="smcap">BY FRANCIS MILTOUN</span></p>
+
+<p class="c">The Cathedrals of Northern Spain<br /><span class="smcap">BY CHARLES RUDY</span></p>
+
+<p class="c">
+L. C. PAGE &amp; COMPANY<br />
+<span class="sml">New England Building, Boston, Mass.</span></p>
+</div>
+
+
+<div class="image" style="width: 300px;"><a name="FRONT" id="FRONT"></a>
+<img src="images/frontis.png" width="289 " height="500" alt="NOTRE DAME ... de NOYON" />
+</div>
+
+
+
+<h1>THE CATHEDRALS OF<br />
+NORTHERN FRANCE</h1>
+
+<h3 class="top5 spc3">By FRANCIS MILTOUN<br />
+
+<span class="c smcap">
+<span class="spc2">with eighty illustrations,</span><br />
+plans, and diagrams,</span><br />
+By BLANCHE McMANUS</h3>
+
+<hr class="double" />
+
+<div class="image" style="width: 264px;">
+<img src="images/titlepage.png" width="264" height="335" alt="image not available" />
+</div>
+
+<hr class="double" />
+<p class="c lg">BOSTON<br />
+<b>L. C. Page and Company</b><br />
+MDCCCCIIII<br />
+</p>
+
+<p class="c top15">
+<i>Copyright, 1903</i><br />
+<span class="smcap">By L. C. Page &amp; Company</span><br />
+(incorporated)<br />
+<i>All rights reserved</i><br />
+<br />
+Published October, 1903<br />
+<br />
+<b>Colonial Press</b><br />
+
+Electrotyped and Printed by C. H. Simonds &amp; Co.<br />
+
+Boston, Mass., U. S. A.<br />
+</p>
+
+
+<table summary="dedication"
+style="margin:20% auto 20% auto;font-weight:800;
+font-style:italic;font-size:95%;">
+<tr><td><span class="letter">T</span>
+&nbsp; HIS BOOK IS DEDICATED<br />&nbsp; BY THE AUTHOR AND ARTIST<br />TO THE GENIUS OF
+RACE WHICH<br />MADE POSSIBLE THE EXISTENCE OF THESE<br />ARCHITECTURAL
+"GLORIES OF FRANCE"</td></tr>
+</table>
+<p><span class='pagenum'><a name="Page_v" id="Page_v">v</a></span></p>
+
+<h3>APOLOGIA</h3>
+
+
+<p><i>"There are two ways of writing a book of travel: to recount the journey
+itself or the results of it." This is also the case with regard to any
+work which attempts to purvey topographical or historical information of
+a nature which is only to be gathered upon the spot; and, when an
+additional side-light is shown by reason of the inclusion, as in the
+present instance, of the artistic and religious element, it becomes more
+and more a question of judicious selection and arrangement of fact,
+rather than a mere hazarding of opinions, which, in many cases, can be
+naught but conjecture, and may, in spite of any good claim to
+authoritativeness, be misunderstood or perverted to an inutile end, or,
+what is worse, swallowed in that oblivion where lies so much excellent
+thought, which, lacking either balance or timeliness, has become
+stranded, wrecked, and practically lost to view because of its
+unappropriate and unattractive presentation.</i><span class='pagenum'><a name="Page_vi" id="Page_vi">vi</a></span></p>
+
+<p><i>To-day, the purely technical writer may have little hope of immortality
+unless he is broad-minded enough to take a cultivated interest in many
+matters outside the ken of his own particular sphere. The best-equipped
+person living could not produce a new "Dictionary of Architecture," and
+expect it to fill any niche that may be waiting for such a work, unless
+he brought to bear, in addition to his own special knowledge, something
+of the statistician, something of the professed compiler, and, if
+possible, a little of the not unimportant knowledge possessed by the
+maker and seller of books, meaning&mdash;the publisher. Given these
+qualifications, it is likely that he will then produce an ensemble as
+far in advance of what otherwise might have been as is the modern
+printing machine, as a factor in the dissemination of literature, as
+compared with the ancient scribes working to the same end.</i></p>
+
+<p><i>The sentimentalist and rhapsodist in words and ideas is a dwindling
+factor at the present day, and a new presentation of fact is
+occasionally to be met with in the printed page. The best "book of
+travel" within the knowledge of the writer, and perhaps one of the
+slightest in bulk ever written in the English language, is Stevenson's
+"Inland Voyage"&mdash;here<span class='pagenum'><a name="Page_vii" id="Page_vii">vii</a></span>
+were imagination, appreciation, and a new way of
+seeing things, and, above all, enthusiasm; and this is the formula upon
+which doubtless many a future writer will build his reputation, though
+he may never reach the significant heights expressed by Stevenson in the
+picturesque wording of his wish to be made Bishop of Noyon.</i></p>
+
+<p><i>This apparent digression into a critical estimate of the making of
+books is but another expression of the justification of the writer in
+the attempt herein made to set forth in attractive and enduring form
+certain facts and realities with regard to the grand and glorious group
+of cathedrals of Northern France.</i></p>
+
+<p><i>They have appeared as demanding something more than the conventional
+guide-book, or even technical estimates as to their perfections, and the
+belief is that the gathering together, after this fashion, of the
+contemporary information not always to the hand of the general reader
+presents an attraction as appealing and deserving of a place on the
+book-shelf as would be an avowed reference work, or a volume made to
+sell on the strength of its bulk or ornateness, or, lacking these
+questionable attributes, presented in the guise of a whilom text-book,
+the sole province of
+<span class='pagenum'><a name="Page_viii" id="Page_viii">viii</a></span> which is to impart "knowledge" after a certain
+well recognized and set pattern.</i></p>
+
+<p><i>It is believed that, regardless of much that has been said and written
+anent the subject, the fact remains that some considerable numbers of
+persons may be supposed to exist who would be glad of a further
+suggestion which would make possible an acquaintance with the cathedrals
+of France as a part of their own personal experience. To all such, then,
+it is to be hoped this book will appeal.</i></p>
+
+<p class="r">F. M.</p>
+<p><span class='pagenum'><a name="Page_ix" id="Page_ix">ix</a></span></p>
+
+<hr />
+<h3>CONTENTS</h3>
+
+
+<table summary="contents"
+cellspacing="0"
+cellpadding="3"
+style="font-size:90%;">
+<tr><td align="right" colspan="2">&nbsp;</td><td align="right"><span class="smcap">PAGE</span></td></tr>
+
+<tr><td colspan="2">Introduction</td><td align="right"><a href="#Page_11">11</a></td></tr>
+
+<tr><td class="part" align="center" colspan="3"><a href="#PART_I">Part I.</a> Transition Examples</td></tr>
+
+<tr><td align="right">I.</td><td>Introductory</td><td align="right"><a href="#Page_41">41</a></td></tr>
+
+<tr><td align="right">II.</td><td>Notre Dame de Laon</td><td align="right"><a href="#Page_43">43</a></td></tr>
+
+<tr><td align="right">III.</td><td>Notre Dame de Noyon</td><td align="right"><a href="#Page_49">49</a></td></tr>
+
+<tr><td align="right">IV.</td><td>Notre Dame de Soissons</td><td align="right"><a href="#Page_54">54</a></td></tr>
+
+
+<tr><td class="part" align="center" colspan="3"><a href="#PART_II">Part II.</a> the Grand Group</td></tr>
+
+<tr><td align="right">I.</td><td>Introductory</td><td align="right"><a href="#Page_61">61</a></td></tr>
+
+<tr><td align="right">II.</td><td>Notre Dame d'Amiens</td><td align="right"><a href="#Page_64">64</a></td></tr>
+
+<tr><td align="right">III.</td><td>St. Pierre de Beauvais</td><td align="right"><a href="#Page_70">70</a></td></tr>
+
+<tr><td align="right">IV.</td><td>Notre Dame de Rouen</td><td align="right"><a href="#Page_79">79</a></td></tr>
+
+<tr><td align="right">V.</td><td>Basilique de St. Denis</td><td align="right"><a href="#Page_93">93</a></td></tr>
+
+<tr><td align="right">VI.</td><td>Notre Dame de Paris</td><td align="right"><a href="#Page_101">101</a></td></tr>
+
+<tr><td align="right">VII.</td><td>St. Julien; Le Mans</td><td align="right"><a href="#Page_113">113</a></td></tr>
+
+<tr><td align="right">VIII.</td><td>Notre Dame de Chartres</td><td align="right"><a href="#Page_123">123</a></td></tr>
+
+<tr><td align="right">IX.</td><td>Notre Dame de Reims</td><td align="right"><a href="#Page_132">132</a></td></tr>
+
+
+<tr><td class="part" align="center" colspan="3"><a href="#PART_III">Part III.</a> the Cathedrals of the Loire</td></tr>
+
+<tr><td align="right">I.</td><td>Introductory</td><td align="right"><a href="#Page_147">147</a></td></tr>
+
+<tr><td align="right">II.</td><td>St. Croix d'Orleans</td><td align="right"><a href="#Page_150">150</a></td></tr>
+
+<tr><td align="right">III.</td><td>St. Louis de Blois</td><td align="right"><a href="#Page_156">156</a></td></tr>
+
+<tr><td align="right">IV.</td><td>St Gatien de Tours</td><td align="right"><a href="#Page_163">163</a></td></tr>
+
+<tr><td align="right">V.</td><td>St. Maurice d'Angers</td><td align="right"><a href="#Page_173">173</a></td></tr>
+
+<tr><td align="right">VI.</td><td>St. Pierre de Nantes</td><td align="right"><a href="#Page_183">183</a></td></tr>
+
+
+<tr><td class="part" align="center" colspan="3"><a href="#PART_IV">Part IV.</a> Central France</td></tr>
+
+<tr><td align="right">I.</td><td>St. Etienne d'Auxerre</td><td align="right"><a href="#Page_191">191</a></td></tr>
+
+<tr><td align="right">II.</td><td>St. Etienne de Bourges</td><td align="right"><a href="#Page_199">199</a></td></tr>
+
+<tr><td align="right">III.</td><td>St. Cyr and St. Juliette de Nevers</td><td align="right"><a href="#Page_209">209</a></td></tr>
+
+<tr><td align="right">IV.</td><td>St. Mammes de Langres</td><td align="right"><a href="#Page_218">218</a></td></tr>
+
+<tr><td align="right">V.</td><td>Notre Dame d'Auxonne</td><td align="right"><a href="#Page_220">220</a></td></tr>
+
+<tr><td class="part" align="center" colspan="3"><a href="#PART_V">Part V.</a> East of Paris</td></tr>
+
+<tr><td align="right">I.</td><td>Introductory</td><td align="right"><a href="#Page_223">223</a></td></tr>
+
+<tr><td align="right">II.</td><td>Notre Dame de Boulogne-sur-Mer</td><td align="right"><a href="#Page_231">231</a></td></tr>
+
+<tr><td align="right">III.</td><td>Notre Dame de Cambrai</td><td align="right"><a href="#Page_234">234</a></td></tr>
+
+<tr><td align="right">IV.</td><td>Notre Dame de St. Omer</td><td align="right"><a href="#Page_237">237</a></td></tr>
+
+<tr><td align="right">V.</td><td>St. Vaast d'Arras</td><td align="right"><a href="#Page_242">242</a></td></tr>
+
+<tr><td align="right">VI.</td><td>St. Etienne de Toul</td><td align="right"><a href="#Page_247">247</a></td></tr>
+
+<tr><td align="right">VII.</td><td>St. Etienne, Châlons-sur-Marne</td><td align="right"><a href="#Page_251">251</a></td></tr>
+
+<tr><td align="right">VIII.</td><td>St. Dié</td><td align="right"><a href="#Page_254">254</a></td></tr>
+
+<tr><td align="right">IX.</td><td>St. Lazare d'Autun</td><td align="right"><a href="#Page_257">257</a></td></tr>
+
+<tr><td align="right">X.</td><td>St. Bénigne de Dijon</td><td align="right"><a href="#Page_262">262</a></td></tr>
+
+<tr><td align="right">XI.</td><td>Notre Dame de Senlis</td><td align="right"><a href="#Page_266">266</a></td></tr>
+
+<tr><td align="right">XII.</td><td>St. Etienne de Meaux</td><td align="right"><a href="#Page_270">270</a></td></tr>
+
+<tr><td align="right">XIII.</td><td>St. Pierre de Troyes</td><td align="right"><a href="#Page_274">274</a></td></tr>
+
+<tr><td align="right">XIV.</td><td>St. Etienne de Sens</td><td align="right"><a href="#Page_279">279</a></td></tr>
+
+
+
+<tr><td class="part" align="center" colspan="3"><a href="#PART_VI">Part VI.</a> Western Normandy and Brittany</td></tr>
+
+<tr><td align="right">I.</td><td>Introductory</td><td align="right"><a href="#Page_285">285</a></td></tr>
+
+<tr><td align="right">II.</td><td>Notre Dame d'Evreux</td><td align="right"><a href="#Page_288">288</a></td></tr>
+
+<tr><td align="right">III.</td><td>Notre Dame d'Alençon</td><td align="right"><a href="#Page_296">296</a></td></tr>
+
+<tr><td align="right">IV.</td><td>St. Pierre de Lisieux</td><td align="right"><a href="#Page_301">301</a></td></tr>
+
+<tr><td align="right">V.</td><td>Notre Dame de Séez</td><td align="right"><a href="#Page_305">305</a></td></tr>
+
+<tr><td align="right">VI.</td><td>Notre Dame de Bayeux</td><td align="right"><a href="#Page_310">310</a></td></tr>
+
+<tr><td align="right">VII.</td><td>Notre Dame de St. Lo</td><td align="right"><a href="#Page_315">315</a></td></tr>
+
+<tr><td align="right">VIII.</td><td>Notre Dame de Coutances</td><td align="right"><a href="#Page_321">321</a></td></tr>
+
+<tr><td align="right">IX.</td><td>St. Pierre d'Avranches</td><td align="right"><a href="#Page_326">326</a></td></tr>
+
+<tr><td align="right">X.</td><td>St. Sol, Dol-de-Bretagne</td><td align="right"><a href="#Page_329">329</a></td></tr>
+
+<tr><td align="right">XI.</td><td>St. Malo and St. Servan</td><td align="right"><a href="#Page_335">335</a></td></tr>
+
+<tr><td align="right">XII.</td><td>Tréguier</td><td align="right"><a href="#Page_339">339</a></td></tr>
+
+<tr><td align="right">XIII.</td><td>St. Brieuc</td><td align="right"><a href="#Page_342">342</a></td></tr>
+
+<tr><td align="right">XIV.</td><td>St. Pol de Leon</td><td align="right"><a href="#Page_345">345</a></td></tr>
+
+<tr><td align="right">XV.</td><td>St. Corentin de Quimper</td><td align="right"><a href="#Page_348">348</a></td></tr>
+
+<tr><td align="right">XVI.</td><td>Vannes</td><td align="right"><a href="#Page_351">351</a></td></tr>
+
+
+<tr><td class="part" align="center" colspan="3"><a href="#Appendices">Appendices</a></td></tr>
+
+<tr><td align="right">I.</td><td>The Architectural Divisions of France</td><td align="right"><a href="#Page_353">353</a></td></tr>
+
+<tr><td align="right">II.</td><td>A List of the Departments of France</td><td align="right"><a href="#Page_356">356</a></td></tr>
+
+<tr><td align="right">III.</td><td>The Church in France</td><td align="right"><a href="#Page_359">359</a></td></tr>
+
+<tr><td align="right">IV.</td><td>A List of the Larger French Churches Which Were at One Time Cathedrals
+ &nbsp; &nbsp;</td><td align="right"><a href="#Page_362">362</a></td></tr>
+
+<tr><td align="right">V.</td><td>Chronology of the Chief Styles and Examples of Church Building</td><td align="right"><a href="#Page_365">365</a></td></tr>
+
+<tr><td align="right">VI.</td><td>Dimensions and Chronology</td><td align="right"><a href="#Page_366">366</a></td></tr>
+
+<tr><td align="right">VII.</td><td>The French Kings from Charlemagne Onward</td><td align="right"><a href="#Page_383">383</a></td></tr>
+
+<tr><td align="right">VIII.</td><td>Measurements of the Cathedrals at Amiens and Salisbury</td><td align="right"><a href="#Page_384">384</a></td></tr>
+
+<tr><td align="right">IX.</td><td>French Metres Reduced to English Feet</td><td align="right"><a href="#Page_385">385</a></td></tr>
+
+<tr><td align="right">X.</td><td>A Brief Glossary of Architectural Terms</td><td align="right"><a href="#Page_386">386</a></td></tr>
+
+<tr><td colspan="2">Index</td><td align="right"><a href="#INDEX">391</a>
+<span class='pagenum'><a name="Page_xi" id="Page_xi">xi</a></span></td></tr>
+</table>
+
+<hr />
+<h3>LIST OF ILLUSTRATIONS</h3>
+
+
+<table summary="illustrations"
+cellspacing="0"
+cellpadding="3"
+style="font-size:90%;">
+
+<tr><td>&nbsp;</td><td align="right"><span class="smcap">PAGE</span></td></tr>
+
+
+<tr><td>Notre Dame de Noyon</td><td align="right"><a href="#FRONT"><i>Frontispiece</i></a></td></tr>
+
+<tr><td>Notre Dame de Laon</td><td align="right"><a href="#Page_43">43</a></td></tr>
+
+<tr><td>Notre Dame de Noyon</td><td align="right"><a href="#Page_47">47</a></td></tr>
+
+<tr><td>Notre Dame d'Amiens</td><td align="right"><a href="#Page_64">64</a></td></tr>
+
+<tr><td>St. Pierre de Beauvais</td><td align="right"><a href="#Page_70">70</a></td></tr>
+
+<tr><td>Notre Dame de Rouen</td><td align="right"><a href="#Page_77">77</a></td></tr>
+
+<tr><td>Basilique de St. Denis</td><td align="right"><a href="#Page_91">91</a></td></tr>
+
+<tr><td>Oriflamme of St. Denis</td><td align="right"><a href="#Page_100">100</a></td></tr>
+
+<tr><td>Notre Dame de Paris</td><td align="right"><a href="#Page_101">101</a></td></tr>
+
+<tr><td>Notre Dame de Paris from the River</td><td align="right"><a href="#Page_107">107</a></td></tr>
+
+<tr><td>St. Julien; Le Mans</td><td align="right"><a href="#Page_111">111</a></td></tr>
+
+<tr><td>Notre Dame de Chartres</td><td align="right"><a href="#Page_123">123</a></td></tr>
+
+<tr><td>Notre Dame de Reims</td><td align="right"><a href="#Page_132">132</a></td></tr>
+
+<tr><td>St. Croix d'Orleans</td><td align="right"><a href="#Page_150">150</a></td></tr>
+
+<tr><td>St. Louis de Blois</td><td align="right"><a href="#Page_156">156</a></td></tr>
+
+<tr><td>St. Gatien de Tours</td><td align="right"><a href="#Page_161">161</a></td></tr>
+
+<tr><td>Flying Buttress, St. Gatien de Tours</td><td align="right"><a href="#Page_170">170</a></td></tr>
+
+<tr><td>St. Maurice d'Angers</td><td align="right"><a href="#Page_171">171</a></td></tr>
+
+<tr><td>St. Pierre de Nantes</td><td align="right"><a href="#Page_183">183</a></td></tr>
+
+<tr><td>St. Etienne d'Auxerre</td><td align="right"><a href="#Page_191">191</a></td></tr>
+
+<tr><td>St. Etienne de Bourges</td><td align="right"><a href="#Page_197">197</a></td></tr>
+
+<tr><td>St. Cyr and St. Juliette de Nevers</td><td align="right"><a href="#Page_209">209</a></td></tr>
+
+<tr><td><span class='pagenum'><a name="Page_xii" id="Page_xii">xii</a></span>
+St. Mammes de Langres</td><td align="right"><a href="#Page_218">218</a></td></tr>
+
+<tr><td>Nancy</td><td align="right"><a href="#Page_227">227</a></td></tr>
+
+<tr><td>Boulogne, St. Omer, Arras</td><td align="right"><a href="#Page_229">229</a></td></tr>
+
+<tr><td>Notre Dame de Cambrai</td><td align="right"><a href="#Page_236">236</a></td></tr>
+
+<tr><td>St. Etienne de Toul</td><td align="right"><a href="#Page_247">247</a></td></tr>
+
+<tr><td>St. Etienne, Châlons-sur-Marne</td><td align="right"><a href="#Page_251">251</a></td></tr>
+
+<tr><td>St. Dié</td><td align="right"><a href="#Page_254">254</a></td></tr>
+
+<tr><td>St. Lazare d'Autun</td><td align="right"><a href="#Page_257">257</a></td></tr>
+
+<tr><td>St. Bénigne de Dijon</td><td align="right"><a href="#Page_262">262</a></td></tr>
+
+<tr><td>Notre Dame de Senlis</td><td align="right"><a href="#Page_266">266</a></td></tr>
+
+<tr><td>St. Etienne de Meaux</td><td align="right"><a href="#Page_270">270</a></td></tr>
+
+<tr><td>St. Pierre de Troyes</td><td align="right"><a href="#Page_274">274</a></td></tr>
+
+<tr><td>St. Etienne de Sens</td><td align="right"><a href="#Page_279">279</a></td></tr>
+
+<tr><td>Notre Dame d'Evreux</td><td align="right"><a href="#Page_289">289</a></td></tr>
+
+<tr><td>Window Framing&mdash;Evreux</td><td align="right"><a href="#Page_295">295</a></td></tr>
+
+<tr><td>Notre Dame d'Alençon</td><td align="right"><a href="#Page_296">296</a></td></tr>
+
+<tr><td>St. Pierre de Lisieux</td><td align="right"><a href="#Page_299">299</a></td></tr>
+
+<tr><td>Notre Dame de Séez</td><td align="right"><a href="#Page_305">305</a></td></tr>
+
+<tr><td>Notre Dame de Bayeux</td><td align="right"><a href="#Page_310">310</a></td></tr>
+
+<tr><td>Notre Dame de St. Lo</td><td align="right"><a href="#Page_315">315</a></td></tr>
+
+<tr><td>Notre Dame de Coutances</td><td align="right"><a href="#Page_319">319</a></td></tr>
+
+<tr><td>St. Pierre d'Avranches</td><td align="right"><a href="#Page_326">326</a></td></tr>
+
+<tr><td>Column of St. Pierre d'Avranches</td><td align="right"><a href="#Page_328">328</a></td></tr>
+
+<tr><td>St. Samson, Dol-de-Bretagne</td><td align="right"><a href="#Page_329">329</a></td></tr>
+
+<tr><td>St. Malo and St. Servan.&mdash;Tréguier</td><td align="right"><a href="#Page_333">333</a></td></tr>
+
+<tr><td>St. Brieuc</td><td align="right"><a href="#Page_342">342</a></td></tr>
+
+<tr><td>St. Corentin de Quimper</td><td align="right"><a href="#Page_348">348</a></td></tr>
+
+<tr><td>Notre Dame d'Amiens (diagram)</td><td align="right"><a href="#Page_366">366</a></td></tr>
+
+<tr><td>Map of Angers</td><td align="right"><a href="#Page_367">367</a></td></tr>
+
+<tr><td>St. Etienne de Bourges (diagram)</td><td align="right"><a href="#Page_370">370</a>
+<span class='pagenum'><a name="Page_xiii" id="Page_xiii">xiii</a></span></td></tr>
+
+<tr><td>Notre Dame de Laon (diagram)</td><td align="right"><a href="#Page_372">372</a></td></tr>
+
+<tr><td>St. Julien, le Mans (diagram)</td><td align="right"><a href="#Page_373">373</a></td></tr>
+
+<tr><td>Map of Nantes</td><td align="right"><a href="#Page_374">374</a></td></tr>
+
+<tr><td>Notre Dame de Noyon (diagram)</td><td align="right"><a href="#Page_375">375</a></td></tr>
+
+<tr><td>Notre Dame de Paris (diagram)</td><td align="right"><a href="#Page_376">376</a></td></tr>
+
+<tr><td>Notre Dame de Reims (diagram)</td><td align="right"><a href="#Page_377">377</a></td></tr>
+
+<tr><td>Flying Buttresses, Reims</td><td align="right"><a href="#Page_377">377</a></td></tr>
+
+<tr><td>Notre Dame de Rouen (diagram)</td><td align="right"><a href="#Page_378">378</a></td></tr>
+
+<tr><td>Basilique de St. Denis (diagrams)</td><td align="right"><a href="#Page_380">380</a></td></tr>
+
+<tr><td>Map of Tours</td><td align="right"><a href="#Page_381">381</a></td></tr>
+
+<tr><td>Charles VII.</td><td align="right"><a href="#Page_383">383</a></td></tr>
+
+<tr><td>Ground Plan</td><td align="right"><a href="#Page_386">386</a></td></tr>
+
+<tr><td>Cross Section</td><td align="right"><a href="#Page_387">387</a></td></tr>
+
+<tr><td>Interior</td><td align="right"><a href="#Page_388">388</a></td></tr>
+
+<tr><td>Cross Section</td><td align="right"><a href="#Page_389">389</a></td></tr>
+
+</table>
+
+<hr />
+
+<p><span class='pagenum'><a name="Page_11" id="Page_11">11</a></span></p>
+
+<h2><i>The Cathedrals<br />of Northern France</i></h2>
+
+
+
+<h3>INTRODUCTION</h3>
+
+
+<p>An attempt to enumerate the architectural monuments of France is not
+possible without due consideration being given to the topographical
+divisions of the country, which, so far as the early population and the
+expression of their arts and customs is concerned, naturally divides
+itself into two grand divisions of influences, widely dissimilar.</p>
+
+<p>Historians, generally, agree that the country which embraces the
+Frankish influences in the north, as distinct from that where are spoken
+the romance languages, finds its partition somewhere about a line drawn
+from the mouth of the Loire to the Swiss lakes. Territorially, this
+approaches an equal division, with the characteristics of architectural
+forms well nigh as equally divided. Indeed, Fergusson,<span class='pagenum'><a name="Page_12" id="Page_12">12</a></span> who in his
+general estimates and valuations is seldom at fault, thus divides
+it:&mdash;"on a line which follows the valley of the Loire to a point between
+Tours and Orleans, then southwesterly to Lyons, and thence along the
+valley of the Rhône to Geneva."</p>
+
+<p>With such a justification, then, it is natural that some arbitrary
+division should be made in arranging the subject matter of a volume
+which treats, in part only, of a country or its memorials; even though
+the influences of one section may not only have lapped over into the
+other, but, as in certain instances, extended far beyond. As the peoples
+were divided in speech, so were they in their manner of building, and
+the most thoroughly consistent and individual types were in the main
+confined to the environment of their birth. A notable exception is found
+in Brittany, where is apparent a generous admixture of style which does
+not occur in the churches of the first rank; referring to the imposing
+structures of the Isle de France and its immediate vicinity. The "Grand
+Cathedrals" of this region are, perhaps, most strongly impressed upon
+the mind of whoever takes something more than a superficial interest in
+the subject as the type which embodies the loftiest <span class='pagenum'><a name="Page_13" id="Page_13">13</a></span>principles of
+Gothic forms, and, as such, they are perhaps best remembered by that
+very considerable body of persons known as intelligent observers.</p>
+
+<p>The strongest influences at work in the north from the twelfth century
+onward have been in favour of the Gothic or pointed styles, whilst, in
+the south, civic and ecclesiastical architecture alike were of a
+manifest Byzantine or Romanesque tendency. No better illustration of
+this is possible than to recall the fact that, when the builders of the
+fifteenth century undertook to complete that astoundingly impressive
+choir at Beauvais, they sought to rival in size and magnificence its
+namesake at Rome, which, under the care of the Pontiff himself, was then
+being projected. Thus it was that this thoroughly Gothic structure of
+the north was to stand forth as the indicator of local influences, as
+contrasted with the Italian design and plans of the St. Peter's of the
+south.</p>
+
+<p>A discussion of the merits of any territorial claims as to the inception
+of what is commonly known as Gothic architecture, under which name, for
+the want of a more familiar term, it shall be referred to herein, is
+quite apart from the purport of this volume, and, as such, it were best
+ignored. The statement, <span class='pagenum'><a name="Page_14" id="Page_14">14</a></span>however, may be made that it would seem clearly
+to be the development of a northern influence which first took shape
+after a definite form in a region safely comprehended as lying within
+the confines of northeastern France, the Netherlands, and the northern
+Rhine Provinces. Much has been written on this debatable subject and
+doubtless will continue to be, either as an arrow shot into the air by
+some wary pedant, or an equally unconvincing statement, without proof,
+of some mere follower in the footsteps of an illustrious, but behind the
+times, expert. It matters not, as a mere detail, whether it was brought
+from the East in imperfect form by the Crusaders, and only received its
+development at the hands of some ingenious northerner, or not. Its
+development was certainly rapid and sure in the great group which we
+know to-day in northern France, and, if proof were wanted, the existing
+records in stone ought to be sufficiently convincing to point out the
+fact that here Mediæval Gothic architecture received its first and most
+perfect development. The <i>Primaire</i>: the development of the style
+finding its best example at Paris. The <i>Secondaire</i>: the
+Perfectionnement at Reims, and its Apogee at Amiens. The <i>Tertiaire</i>:
+practically the <span class='pagenum'><a name="Page_15" id="Page_15">15</a></span>beginning of the decadence, in St. Ouen at Rouen, only
+a shade removed from the debasement which soon followed. As to the
+merits or demerits of the contemporary structures of other nations, that
+also would be obviously of comparative unimportance herein except so far
+as a comparison might once and again be made to accentuate values.</p>
+
+<p>The earliest art triumphs of the French may well be said to have been in
+the development and <i>perfectionnement</i> of Mediæval (Gothic)
+architecture. Its builders planned amply, wisely, and well, and in spite
+of the interruptions of wars, of invasions, and of revolutions, there is
+nowhere to be found upon the earth's surface so many characteristic
+attributes of Mediæval Gothic architecture as is to be observed in this
+land, extending from the Romanesque types of Fréjus, Périgueux and
+Angoulême to that classical degeneration commonly called the
+Renaissance, a more offensive example of which could hardly be found
+than in the conglomerate structure of St. Etienne du Mont at Paris, or
+the more modern and, if possible, even more ugly Cathedral Churches at
+Arras, Cambrai, or Rennes in the north.</p>
+
+<p>There may be attractive Italian types in<span class='pagenum'><a name="Page_16" id="Page_16">16</a></span> existence out of Italy; but
+the fact is that, unless they are undoubted copies of a thoroughly
+consistent style to the very end, they impress one as being out of place
+in a land where the heights of its own native style are so exalted.</p>
+
+<p>Gothic, regardless of the fact as to whether it be the severe and
+unornamental varieties of the Low Countries or the exaggerations of the
+most ornately flamboyant style, appears not only to please the casual
+and average observer, but the thorough student of ecclesiastical
+architecture as well. It has come to be the accepted form throughout the
+world of what is best representative of the thought and purpose for
+which a great church should stand.</p>
+
+<p>With the Renaissance we have not a little to do, when considering the
+cathedrals of France. Seldom, if ever, in the sixteenth century did the
+builder or even the restorer add aught but Italian accessories where any
+considerable work was to be accomplished. Why, or how, the Renaissance
+ever came into being it is quite impossible for any one to say, <i>sans
+doubt</i>, as is the first rudimentary invention of Gothic itself. Perhaps
+it was but the outcome of a desire for something different, if not new;
+but in the process the taste of the people fell to a low degree.
+Architecture may be said to<span class='pagenum'><a name="Page_17" id="Page_17">17</a></span> have been all but divorced from life, and,
+while the fabric is a dead thing of itself, it is a very living and
+human expression of the tendencies of an era. The Renaissance sought to
+revive painting and sculpture and to incorporate them into architectural
+forms. Whether after a satisfactory manner or not appears to have been
+no concern with the revivers of a style which was entirely unsuited in
+its original form to a northern latitude. That which answered for the
+needs and desires of a southern race could not be boldly transplanted
+into another environment and live without undergoing an evolution which
+takes time, a fact not disproven by later events.</p>
+
+<p>The Italians themselves were the undoubted cause of the debasement of
+the classical style, evidences having crept into that country nearly a
+hundred years before the least vestiges were known in either France or
+Germany, the Netherlands, or England, and which, though traceable, had
+left but slight impress in Spain. It is doubtless not far wrong to
+attribute its introduction into France as the outcome of the wanderings
+in Italy of Charles VIII., in the latter years of the XV. century. As a
+result of this it is popularly supposed that it was introduced into the
+domestic <span class='pagenum'><a name="Page_18" id="Page_18">18</a></span>architecture of the nobles who had accompanied the king. Here
+it found perhaps its most satisfying expression; in those magnificent
+chateaux of the Loire, and the neighbourhood of Tours and Blois, ever a
+subject for sentimental praise. One would not seek to pass condemnation
+upon the application of revived classic features where they were but the
+expression of an individual taste, as in a chateau whose owner so chose
+to build and embellish it. Certainly no more splendid edifices of their
+kind are known than the magnificent establishments at Blois, Chenonceau,
+Chambord, or Chaumont. The style appears, however, out of place; an
+admixture meaningless in itself and in its application when, with a
+Gothic foundation bequeathed them, builders sought to incorporate into a
+cathedral such palpable inconsistencies as was frequently done.</p>
+
+<p>The building of the chateaux was perhaps the first anti-Gothic step in
+France and proved to be an influence which spread not slowly, as to
+decorative detail at least, and soon of itself established a decided
+non-Gothic type.</p>
+
+<p>It was but natural that the cathedral builders should have followed to
+some extent this new influence. The Church was ever seeking to
+strengthen its popularity, the bishops <span class='pagenum'><a name="Page_19" id="Page_19">19</a></span>ensconced themselves in their
+cathedral cities as snugly as did a feudal lord in his castle, and their
+emulation of wealth outside of the Church was but an effort to keep
+their status on a plane with that of the other power which also demanded
+allegiance of the people. It is to be regretted that they did not pass
+this manifestation by, or at least not encumbered an otherwise
+consistent Gothic fabric with superimposed meaningless detail. Such
+decorative embellishments as are represented by the tomb of Louis XII.
+at St. Denis, and the tombs of the cardinals at Rouen, may be considered
+characteristic, though they bear earlier dates by some twenty years than
+the south portal of Beauvais, which is thoroughly the best of Gothic, or
+St. Maclou at Rouen, which, though highly florid, is without a trace of
+anti-Gothic. The extreme (though not a cathedral church) may be seen at
+St. Etienne du Mont, wherein the effort is made to incorporate large
+masses of pseudo-classical decoration with Gothic, and, alas, with sad
+effect.</p>
+
+<p>For the most part, the Gothic cathedrals of France, as such, while
+closely related to each other in their design and arrangements, have
+little to do with those which lie without the confines of the country,
+either in general <span class='pagenum'><a name="Page_20" id="Page_20">20</a></span>features or in detail. The type is distinctively one
+which stands by its own perfections. In size, while in many instances
+not having the length of nave of several in England, they have nearly
+always an equal, if not a greater, width and an almost invariably
+greater height, though not equal in superficial area to St. Peter's in
+Italy, the Dom at Cologne, or even the cathedral at Seville in Spain.</p>
+
+<p>Such Romanesque types as are to be seen to the northward of the Loire
+are mostly found in the smaller churches of Brittany, while the early
+transition type, so familiar throughout the Netherlands, is, in France,
+usually seen in the neighbourhood of the frontiers of the Low Countries.</p>
+
+<p>"Les Grandes Cathédrales" of the north are distinctly those of Paris,
+Amiens, Reims, Rouen, Beauvais, and Chartres; and it is to them that
+reference must continually be made; while the severely plain transitory
+types of Noyon or Soissons, or the more effective development of Laon,
+and the flamboyant structures of Troyes and Nantes, at least lean toward
+the decadence.</p>
+
+<p>The difficulty of assigning ranks to these monumental cathedrals is made
+the greater by reason of the fact that to-day it is with but<span class='pagenum'><a name="Page_21" id="Page_21">21</a></span> one people
+that we have to reckon, so far as their temperament and environment is
+concerned. Since feudal times the movement has ever been toward one
+nation, one people, and one view, different from that presented in the
+middle ages.</p>
+
+<p>For centuries after the break of Roman power it had been mostly one
+local influence against another which prevented perfect cohesion to any
+national spirit, and thus it was that the tendencies of the cathedral
+builders, though Roman as to their teaching and religion, and doubtless,
+in many instances, with regard to their birth as well, followed no
+special style until the era of Gothic development. Unconsciously,
+transitory types crept in, until suddenly throughout northern Europe
+there bloomed forth within less than a century of time the so-called
+Gothic in all its splendour, and with scarce a century between the
+commencement and the completion of some of the most notable of the
+group. The Romanesque types which still lingered in Brittany, though
+well worthy of special consideration to-day, are unimportant and in a
+way insignificant when compared with the grand group.</p>
+
+<p>To most of us it will be impossible to <span class='pagenum'><a name="Page_22" id="Page_22">22</a></span>conjure up any more significant
+thought with regard to mediæval church architecture than that fostered
+by the memories of acquaintanceship with these examples of north France;
+an opinion which is further strengthened when it is also recalled that
+they are representative of the first really national artistic
+expression. For this reason alone, if for no other, the hasty critics
+who have so handily claimed precedence elsewhere, might profitably
+review the facts of the circumstance which led to so universal an
+adoption of the full-blown style in the twelfth and thirteenth
+centuries.</p>
+
+<p>The Romanesque peoples were confined southwards of mid-France at the
+time of the withdrawal of the Roman legions, while, in the north, the
+conquering Franks sought to wipe out every vestige of their past
+influence; hence it may be considered that the new manner of building
+had everything in favour of its speedy growth. It was thus definitely
+assured of a warm welcome, and, following in the footsteps of Clovis
+himself, the rulers were more than willing to aid what they believed
+might be a strengthening influence, politically, as well as morally.</p>
+
+<p>The style may be justly said to be a natural and growthful expression of
+a race, and more<span class='pagenum'><a name="Page_23" id="Page_23">23</a></span> significant than all else is the fact that nowhere,
+not even on the Rhine, which with northern France claims the origin of
+the style, is to be found any single example equalling in any like
+measure the perfections of "Les Grandes Cathédrales Françaises," though
+it be recalled that in many instances the German buildings were planned
+and often erected by French architects and artisans.</p>
+
+<p>Among the two thousand or more "Monuments Historiques" paternally cared
+for by the French government and under the direct control of the
+Ministry of Public Instruction and the Beaux Arts, none are of the
+relative importance, historically or artistically, of the Grand
+Cathedrals. Certain objects, classed as megalithic and antique remains,
+may be the connecting links between the past and the present by which
+the antiquarian weaves the threads of his historical lore; but neither
+these nor the <i>reliques</i> which have been dug from the ground or untombed
+from later constructive elements, all of which are generously included
+in the general scheme by the Department of Beaux Arts, which has
+provided a fund for their preservation and care, have one tithe of the
+appealing interest which these great churches bespeak on behalf of the
+<span class='pagenum'><a name="Page_24" id="Page_24">24</a></span>contemporary life of the times in which they were built, reflecting as
+they do many correlated events, and forming, in the interweaving of the
+history of their inception and construction, an epitome of well-nigh all
+the contemporary events of their environment, as well as the greater
+parts which they may have played in general affairs of state.</p>
+
+<p>The best example of a part so played is that of the cathedral at Reims,
+which saw the crowning within its walls of nearly every monarch of
+France from the time of Philippe Augustus (1173) to that of Charles X.
+(1823). The monarchs of France, a long and picturesque line, have ever
+sought to ally the Church on their side, and right well they have been
+served, not ignoring, of course, certain notable lapses. In the main,
+however, the rulers and the people alike, whatever may have been the
+periodical dissensions, combined the forces which made possible the
+projection and erection of these noble examples of an art which, in the
+Gothic forms at least, here came to its greatest and most interesting
+phase.</p>
+
+<p>Invasion, revolution, and the stress of weather and time, all played
+their part in the general desecrations which sooner or later followed;
+far the most serious of these visible<span class='pagenum'><a name="Page_25" id="Page_25">25</a></span> damages reflected upon us to-day
+being the malpractices occurring at the Revolution, whether at the hands
+of a <i>sans culotte</i> or of the most respectable of bourgeois, led away by
+the excitement of revolt. The depredations were irreparable; they razed,
+burned, or ruthlessly shattered shrines, statues, or even reliquaries,
+as at Reims, where the Sainted Ampulla, which contained the miraculous
+oil brought by a dove from heaven, now preserved in reconstructed
+fragments in the sacristy, was dashed to pieces in a fury of
+uncontrollable wrath.</p>
+
+<p>The paucity of sculptured decoration in certain places only too plainly
+designed for it is, too, frequently painfully apparent. Such sculptured
+decoration and glass as were easily to hand met with perhaps the most
+ready spoliation, while here and there, from some miraculous reason, a
+gem was left entire, though likely enough in a bruised and shattered
+setting.</p>
+
+<p>This is what befell most of the great churches, and, for this reason,
+any work treating of these architectural glories of France must make due
+allowance in hazarding opinions as to the merit or lack of merit of any
+particular example as it now exists, as <span class='pagenum'><a name="Page_26" id="Page_26">26</a></span>compared with what it may have
+been as it once was, or had it been completed in accordance with the
+original design.</p>
+
+<p>In local and cathedral archives much valuable and interesting
+information exists, treating in this very manner such embellishments as
+may to-day be lacking; but unfortunately such facts are often buried in
+a mass of other irrelevant material which would make its discovery
+unusually difficult to any but a very learned local antiquarian. In this
+same connection, also, there is a dearth of illustrative material which
+can be depended upon as to minutiæ or accuracy of detail. Hence it is
+possible to deal only with such general facts as may be supported by the
+best contemporary information based upon the researches of others. It
+may be well to note here, however, a fact which is often overlooked,
+namely, that the written records of France are not only very complete
+and exhaustive, but, with respect to Paris itself, to cite an example,
+the documentary history, consecutive and exact, from the time of the
+decline of Roman power is preserved intact,&mdash;a record which is perhaps
+not so true of any other large city in Europe.</p>
+
+<p>In dealing with the cathedrals of the north, territorially, we have to
+consider those <span class='pagenum'><a name="Page_27" id="Page_27">27</a></span>examples which are generally accepted as being all that
+a cathedral church should be. Of the first rank are those gathered not
+far from the confines of the mediæval Isle of France. They too, are best
+representative of the true Gothic spirit, while the southernmost
+examples, those of Dijon and Besançon, are of manifest Romanesque or
+Byzantine conception. Each, too, is somewhat reminiscent of the early
+German manner of building, the latter in respect to the double apse,
+which is often found across the Rhine, but seldom seen in France. The
+most northerly of all is at St. Omer, where are the somewhat battered
+remains of a satisfactory Gothic cathedral, although Amiens, not far to
+the south, is perhaps the ideal cathedral when considered from a general
+point merely. For the western representative, a line running due west
+from Paris almost into the Atlantic finds at Quimper, a small port
+fifteen miles from the sea, the Cathedral of St. Corentin, which, though
+not as lofty, is more of the manner of building of the Isle of France
+than one might suppose would be the case here in this outpost of
+Brittany, where are found so many evidences of Romanesque influences,
+retained long after they had been given over elsewhere.<span class='pagenum'><a name="Page_28" id="Page_28">28</a></span></p>
+
+<p>Such, then, are the extremes of latitude and of architectural style
+which combine to give variety to the interest which is always aroused by
+the contemplation of the masterworks of any of the arts, where outside
+and contiguous influences have something in common therewith.</p>
+
+<p>As a type to admire, there is no doubt but that the cathedral that
+possesses an apsidal termination of the easterly or choir end, as is
+nearly the universal custom in France, has charms and beauties which may
+be latent, but which are simply winning, when it comes to picturing the
+same structure with the squared-off ends so common in England.</p>
+
+<p>It was Stevenson, was it not, who wrote of the satisfaction with which
+one always looks upon the east end of a French cathedral, "flanging out
+as it often does in sweeping terraces, and settling down broadly upon
+the earth as though it were meant to stay." Certainly nothing of the
+sort is to be more admired than the rare view of the choir buttresses of
+Notre Dame at Paris, likened unto "kneeling angels with half-spread
+wings;" the delicate and symmetrical choir buttresses of Amiens; the
+sheer fall of Beauvais; or the triply effective termination of the
+one-time cathedral of<span class='pagenum'><a name="Page_29" id="Page_29">29</a></span> Noyon, which falls away in three gracefully
+gentle slopes to the ground. Again Stevenson's power as a descriptive
+writer lingers in our memory. He says, of no cathedral in particular,
+"where else is to be found so many elegant proportions growing one out
+of the other, and all together in one?... Though I have heard a
+considerable variety of sermons, I have never yet heard one that was so
+expressive as a cathedral. 'Tis the best preacher itself, preaches day
+and night, not only telling you of man's art and aspirations in the
+past, but convicting your own soul of ardent sympathies; or rather, like
+all good preachers, it sets you preaching to yourself,&mdash;and every man is
+his own doctor of divinity in the last resort."</p>
+
+<p>To best estimate the charms and values of these architectural monuments
+one should consider; first, the history and topography of their
+environment,&mdash;<i>i. e.</i> as to why and when they may have been planned and
+built; secondly, their personality, as it were,&mdash;who were their
+founders, their patrons, their bishops; thirdly, the functions in which
+they may have partaken, any significant events which may have passed
+within their walls or centred within their sees; and fourthly, the
+artistic beauties of their fabric and its embellishments.<span class='pagenum'><a name="Page_30" id="Page_30">30</a></span></p>
+
+<p>In most cases all of these values are so interwoven and indissolubly
+linked with the growth of the structure itself from its very earliest
+foundations that it is hardly possible to detail this information in
+true chronological order. The picturesque and romantic elements, of
+which there is not a little; the sordid and baneful, of which we may
+wish there were less; and the splendid ceremonials of Church and State;
+all go to make up a chronicle which no account, of even a special
+nature, could afford to neglect.</p>
+
+<p>The picturesque elements of the conversion and baptism of Clovis by St.
+Remi at Reims in 496, where, on the site of the present cathedral, he
+was adjured to "revere that which thou didst burn and burn that which
+thou didst revere," and the crowning on the same spot of Charles VII. in
+1429 through the efforts of the Maid, well represent these phases. The
+meanness and the unjustness of her later trial and condemnation in the
+Abbey Church of St. Ouen at Rouen is another. The affairs of state
+consist chiefly of the coronation ceremonies which mostly took place at
+Reims, and present a splendid record. Of the monarchs from 1173 onwards
+who were not here crowned, Henry IV. was crowned at Chartres;<span class='pagenum'><a name="Page_31" id="Page_31">31</a></span> Napoleon
+I., at Paris; Louis Philippe, Louis XVIII., and Napoleon III. were not
+crowned at all.</p>
+
+<p>Throughout this continuity of state events these great churches were
+performing their natural functions of the dissemination of the Word.
+Jealousies and bickerings took place, to be sure, but in the main there
+was harmony, if rivalry did exist; else it were not possible that so
+many of these splendid monuments would have endured to remind us of
+their past as well as present existence.</p>
+
+<p>Certain of the sees were merged into greater ones, and others were
+abandoned altogether. In this connection there is a curious circumstance
+with regard to the one-time Bishop of Bethléem, who, driven from the
+Holy Land, was given a see at Clamecy, which see comprehended only the
+village in which he resided. What remains of the former cathedral is now
+an adjunct to a hotel. The rearrangement of political divisions of
+France after the Revolution was the further excuse for establishing but
+one diocese to a department, until to-day there are but eighty-four
+sees, administered by sixty-seven bishops and seventeen archbishops.</p>
+
+<p>The itinerary of the conventional tour of the<span class='pagenum'><a name="Page_32" id="Page_32">32</a></span> Continent usually keeps
+well to the beaten track, and so does the conventional traveller. He
+does not always get over to Reims, and often does not stop <i>en route</i> at
+Amiens; seldom visits Beauvais, and, unless he specially sets out to
+"tour" Brittany, a popular enough amusement of the lean of purse in
+these days, knows little of the unique charms of Tréguier, Quimper, or
+even of Le Mans, with its sublime choir, or of Evreux. As for even a
+nodding acquaintance with Noyon or Soissons, two of the most
+convincingly beautiful and impressive transitory types, they might as
+well be in the wilds of Kamchatka, though they are both situated in a
+region well travelled on all sides; while Laon, not far distant, is
+hardly known at all, except as a way station <i>en route</i> to Switzerland.
+The cathedrals of mid-France are, it is to be feared, even less known
+than would on first thoughts seem probable. A certain amount of
+sentimentality attaches itself to the chateaux of the Loire, and some
+acquaintance with their undeniable pleasing attributes is the portion of
+most travellers; but, again, such cathedral cities as Besançon, Nantes,
+and Langres are off the well-worn road, and their cathedrals might be
+myths so far as a general acquaintance with them is<span class='pagenum'><a name="Page_33" id="Page_33">33</a></span> concerned; while
+the splendid churches of Bourges, Nevers, and Autun are likewise
+practically unknown to the casual traveller.</p>
+
+<p>Tours, Orleans, and Chartres alone appear to be the only recognized
+representatives of this section of France which have hitherto attracted
+due attention.</p>
+
+<p>With the southland this volume does not deal; that is a subject to be
+considered quite by itself,&mdash;and significantly, more real interest has
+been shown with respect to the architectural monuments of Avignon,
+Arles, Nîmes, Le Puy, Périgueux, Carcassonne, and Poitiers than to those
+of the Midi. Is it that the days of cheap travel and specially conducted
+tours, when ten or fifteen guineas will take one to the Swiss or Italian
+lakes, or e'en to Rome and Florence, has caused this apparent neglect of
+the country lying between? Certainly our forefathers travelled more
+wisely, but then prices and means of locomotion were on quite a
+different scale in those days, and not infrequently they were obliged to
+confine their travels and observations to more restricted areas.</p>
+
+<p>Perhaps the most lucid arrangement of architectural species is that
+given by De Caumont's "Abécêdaire d'Architecture," which<span class='pagenum'><a name="Page_34" id="Page_34">34</a></span> divides the
+country ethnologically into Brittany; Normandy; Flanders, including
+Artois and Picardy; Central France (the Isle of France, Champagne,
+Orleanois, Main, Anjou, Touraine, and Berri); and Burgundy,
+comprehending the former divisions of Franche Comté, Lorraine, Alsace
+(now Belfort), Nivernois, Bourbonnois, and Lyonnois. Of the above
+divisions, only that of the Isle of France with La Brie was originally
+held by the Crown. The political divisions throughout France now number
+eighty-seven departments, taking their names from the principal
+topographical features, and replacing in 1790 the thirty-two mediæval
+provinces, each of which had their own characteristics of social and
+political life, and of which each in turn progressed, stagnated, or fell
+backward according to local or periodical conditions. Both the arts of
+peace and of war have left an ineradicable impress. In the thirteenth
+century the various provinces became welded together into one perfect
+whole under Philippe Augustus and the sainted Louis, but retained to no
+small extent, even as they do unto to-day, their distinctive local
+characteristics.</p>
+
+<p>Because of its cathedrals alone, the Isle of France stands preëminent
+among the <span class='pagenum'><a name="Page_35" id="Page_35">35</a></span>provinces for each of the thirteen provincial styles of
+architecture which are allocated by the Société des Monuments
+Historiques. A comparatively small and unified province, it comprehends
+within and contiguous to its borders more of the attributes and
+principles of a consistent Mediæval architectural style than is
+elsewhere to be observed. From Rouen on the west to Reims on the east,
+northward to Amiens and southwesterly to Chartres, are grouped the show
+pieces of the world's Gothic architecture. Not alone with the respect to
+the Grand Cathedrals is this region so richly endowed, but also because
+of the smaller and less important, but no less attractive or interesting
+examples of Noyon, Senlis, Laon, Soissons, with their one-time cathedral
+churches and other varied ecclesiastical and secular edifices.</p>
+
+<p>Beauvais, Gisors, Gourney, Cires-les-Mello, Creil, Royamont,
+Nogent-les-Vierges, Villers-St.-Pol, indeed nearly every village and
+town within the royal domain, present values and comparisons which place
+nearly all of its contemporary structures, be they large or small, at a
+grand height above those of other less prolific sections. Lest it be
+thought that this statement is drawn largely, and that fineness<span class='pagenum'><a name="Page_36" id="Page_36">36</a></span> and
+balance of estimate are lacking, it suffices to state that it is not
+alone from study and research, but from frequent personal intimacies
+that the region has ever proved an inexhaustible store of architectural
+values, and one which most well-known authorities, with one accord,
+place in the very first rank.</p>
+
+<p>Arthur Young, than whom no more perspicuous observer has ever chronicled
+his impressions, wrote (1704) that to see the best of France, the part
+most varied in topography, and resourceful and attractive in its
+monuments, one should land at Havre and follow the sinuosity of the
+Seine to Paris, thence the highroad to Moulins and on to the Rhône at
+Valence, an outline which somewhat approaches the limitations of
+territory of which this book treats. To be sure, he wrote of economic
+and agricultural conditions, and he mostly made his pertinent
+observations on land holdings, stock keeping, and hedgerows, or rather
+that lack of them which is so apparent throughout France; but these
+details of themselves only suggest more complete evidences of the
+existing forces which indicate the growth of the wealth and power which
+has made this region so rich in its <span class='pagenum'><a name="Page_37" id="Page_37">37</a></span>architectural memorials of the
+past, and which ought to more than compensate for any lack of scenic
+grandeur.</p>
+
+<p>It is to be regretted, of course, that none of these larger cathedrals
+are to be seen to-day in their completely perfected forms. To what
+extent would not the glories of Reims, of Amiens, of Beauvais, or of
+Rouen, be enhanced, were it possible for us to even imagine their
+splendour, were they possessed of the symmetry and well-favoured
+situation of the Dom at Cologne? And so it is that we can but feel
+regret when we mentally note the lack of nave at Beauvais, of spires at
+Bourges, and, yet again, regret even with more pain the monstrousness of
+the cast-iron <i>flêche</i> which has been added to the central tower at
+Rouen. But these are after all minor imperfections&mdash;seldom, if ever, in
+aught but pleasurable anticipation, do we see in the masterpieces of art
+or nature a perfect unity; so why seek to negative their virtues by
+futile criticism? It would seem to be all-sufficient that such details,
+sins of omission or commission, should be noted merely, that we may pass
+on to other charms which must compel our allegiance.<span class='pagenum'><a name="Page_38" id="Page_38">38</a></span></p>
+
+<p>When we visit the cathedrals of the Isle of France, we are at once in
+the midst of the best examples of French Gothic architecture, or of
+French Mediæval architecture, if the phrase is to be preferred.<span class='pagenum'><a name="Page_39" id="Page_39">39</a></span></p>
+
+
+
+<h3 class="top15"><a name="PART_I" id="PART_I"></a><i>PART I</i><br />
+<i>Transition Examples</i></h3>
+
+<p><span class='pagenum'><a name="Page_40" id="Page_40">40</a></span></p>
+
+<p><span class='pagenum'><a name="Page_41" id="Page_41">41</a></span></p>
+
+<h4>I<br /><br />
+INTRODUCTORY</h4>
+
+<p>S<span class="smcap">oissons</span>, with Noyon and Laon, all within perhaps thirty miles of one
+another, may be said to best represent the nurturing and development of
+the early Gothic of France. These simple and somewhat plain types
+exemplify the style which was in vogue at the same time in the Low
+Countries. It is good Gothic, to be sure,&mdash;at least, good as to its
+planning,&mdash;but without that ornateness or lightness known to-day as
+characteristic of the distinctive French type, which so early developed
+boldly and beautifully.</p>
+
+<p>One observes the resemblances in style between the notable cathedral at
+Tournai, in Belgium, the neighbouring types of French Flanders, and the
+cathedrals of this trinity of French towns lying contiguous thereto,
+Noyon itself being for long interdependent with the see of Tournai.
+Nevertheless, it is a beautiful type which was cradled here in the<span class='pagenum'><a name="Page_42" id="Page_42">42</a></span>
+country called, by Cæsar, Suessiones; and difficult it would be to
+attempt to assign preëminence to any one edifice.</p>
+
+<p>Noyon, without a doubt, has the greatest charm of environment, and is of
+itself in every way a pleasing and satisfying example of what should
+most truly inspire and impress us in a cathedral. Stevenson describes it
+as being "the happiest inspiration of mankind, a thing as specious as a
+statue at the first glance, yet, on examination, as lively and
+interesting as a forest in detail. The height of its spires cannot be
+taken by trigonometry: they measure absurdly short, but how tall they
+are to the admiring eye.... I sat outside of my hotel and the sweet
+groaning thunder of the organ floated out of the church like a
+summons";&mdash;and much more of the same sort, all of which tells us that,
+once we find ourselves on a plane of intimacy with a great church, we
+continually receive new impressions and inspirations, and it is in this
+vein that one who has known this group of simple but fascinating
+churches on their own ground, so to put it, can but seek to convey the
+idea that it is good that we have such contrasting types as a relief and
+an antidote to an appetite which otherwise might become sated.<span class='pagenum'><a name="Page_43" id="Page_43">43</a></span></p>
+
+<div class="imagepad" style="width: 556px;">
+<img src="images/illus052.png" width="556" height="399" alt="NOTRE DAME DE LAON" />
+</div>
+
+
+
+<h4>II<br /><br />
+NOTRE DAME DE LAON</h4>
+
+<p>F<span class="smcap">or</span> over twelve hundred years, until the see was abolished at the
+Revolution, Laon was the seat of a bishop who in point of rank was
+second only to the primate at Reims. Crowning the apex of a long
+isolated hill, upon which the entire town, now a fortress of the third
+class, is situated, the cathedral of Notre Dame de Laon, still so called
+locally, has endured since the beginning of the twelfth century, and may
+be considered a thoroughly representative transition example.</p>
+
+<p>The present structure is on the site of one<span class='pagenum'><a name="Page_44" id="Page_44">44</a></span> burned in 1112, and during
+comparatively recent years has been entirely restored.</p>
+
+<p>Its crowning glory is in the disposition and number of its fine group of
+towers: two flank the western façade, and are rectangular at the base,
+dwindling to a smaller polygon, which is flanked with corner belfries
+and pierced by a tall lancet in the central structure, showing a
+wonderful lightness and open effect. A curious and unique feature of
+these towers is the addition of four oxen in carven stone perched high
+aloft in the belfries. These sculptured animals may be merely another
+expression of symbols of superstition, and if so are far more pleasing
+than some of the hideous and monstrous gargoyles ofttimes seen. Two
+other towers, each 190 feet in height, adjoin the transepts, to each of
+which is attached a double-storied, apsidal, ancient chapel. Two
+similarly projected towers are lacking. The lantern is square, with a
+shallow, conical, modern roof.</p>
+
+<p>In the transition type Romanesque influences were evidently dying hard.
+The Gothic was seldom full blown, and at Laon shows but the merest trace
+of pointedness to the arches of the western façade, either in the
+portals or in the higher openings.<span class='pagenum'><a name="Page_45" id="Page_45">45</a></span></p>
+
+<p>The lack of a circular termination to the choir is but another
+indication of a link with a transitory past; an undeniably false note
+and one very unusual in France, the choir being of the squared-off
+variety so common in England. This may be coincident with the English
+custom of the time, or it may be directly due to a local English
+influence;&mdash;most probably the latter, inasmuch as an English prelate
+held the see for a time, and the city, in the early fifteenth century,
+was for a number of years in English hands. It is significant that in
+some of the smaller churches of the diocese is to be noted the same
+treatment.</p>
+
+<p>The rose windows of both the eastern and western façades are Gothic in
+inception and treatment, and are unusually acceptable specimens of these
+supreme efforts of the French mediæval builders, the glass therein being
+distinctly good, though perhaps not remarkable.</p>
+
+<p>The transepts are rectangular and, with the ensemble of the entire
+structure, were their towers completed, there would be produced, not
+only a unique example, but a towering effect only a degree less
+interesting than the perfectly proportioned pyramidal form so much
+admired in the perfectly developed Gothic.<span class='pagenum'><a name="Page_46" id="Page_46">46</a></span></p>
+
+<p>The interior is equally attractive with the exterior, and, though the
+church is not by any means of remarkable dimensions, it presents in its
+appropriate disposition of detail a far more roomy and pleasing
+arrangement than many a larger example.</p>
+
+<p>The transepts are divided into a nave and side aisles, the columns which
+partition them, like those of the nave proper, being cylindrical and of
+massive proportions, which, however, lighten as they rise to the
+vaulting. They are unusually symmetrical when viewed together, the
+capitals of the lower series being ornately carved, each of a varying
+design.</p>
+
+<p>Above the aisles are lofty galleries. The nave chapels were added in the
+sixteenth and seventeenth centuries. The stained glass, like that of the
+rose windows, is in the nave distinctly good, particularly that of the
+lower range on the southerly side. The pulpit, of carved wood of the
+Renaissance period, is not of the importance and quality of this class
+of work to be seen across the Rhine border.</p>
+
+<p>The former Bishop's palace, adjoining the left of the choir, is now the
+Palais de Justice. A few remains of a former Gothic cloister are to be
+remarked, surrounded by the later construction.<span class='pagenum'><a name="Page_47" id="Page_47">47</a></span></p>
+
+<div class="imagepad" style="width: 500px;">
+<a href="images/illus056.png">
+<img src="images/illus056_th.png"
+width="500" height="376" alt="Notre Dame de Noyon" /></a>
+</div>
+<p><span class='pagenum'><a name="Page_48" id="Page_48">48</a></span></p>
+
+
+<p><span class='pagenum'><a name="Page_49" id="Page_49">49</a></span></p>
+<h4>III<br /><br />
+NOTRE DAME DE NOYON</h4>
+
+<p>I<span class="smcap">n</span> Notre Dame at Noyon, Notre Dame at Laon, and the cathedral at
+Tournai, is to be noted the very unusual division of the interior
+elevation into four ranges of openings, this effect being only seen at
+Paris and Rouen among the large cathedrals. Noyon and Laon borrowed,
+perhaps, from Tournai, where building was commenced at least a century
+before either of the French examples first took form. It is perhaps not
+essential that such an arrangement be made in order to give an effect of
+loftiness, which might not otherwise exist; indeed, it is a question if
+the reverse is not actually the case, though the effect is undeniably
+one of grandeur. Soissons, too, may rightly enough be included in the
+group, though the points of resemblance in this case are confined to the
+rising steps to either transept, coupled with the joint possession of
+circumambient aisles, and at least the suggested intent of <span class='pagenum'><a name="Page_50" id="Page_50">50</a></span>circular
+apsidal terminations to the transepts; though it appears that here this
+plan was ultimately changed and one transept finished off with the usual
+rectangular ending.</p>
+
+<p>In this Noyon plainly excels, and there is found nowhere else in France
+the perfect trefoil effect produced by the apsidal terminations of both
+transepts and choir. So far as the transepts are concerned, they are of
+the manner affected by the builders on the Rhine, notably in the Minster
+at Bonn, at Cologne, and again at Neuss in the neighbourhood of Cologne.
+With Noyon apparently nothing is lacking either in the perfections of
+its former cathedral or in its immediate environment. The country round
+about is thoroughly agricultural, and free from the soot and grime of a
+manufacturing community. Amid a setting at once historic and romantic,
+it has for neighbours the chateaux of Coucy and Perrifonds, with
+Compiègne and Chantilly not far distant. The town is unprogressive
+enough, and the vast barge traffic of the Oise sidles by, not a mile
+away, as if it were all unconscious of the existence of any signs of
+modern civilization. As a matter of fact, it hardly is modern. The
+accommodation for the weary traveller is of a satisfying and gratifying
+quality,<span class='pagenum'><a name="Page_51" id="Page_51">51</a></span> as the comparatively few visitors to the place well know. The
+city is an ancient foundation, having been known as the Noviodunum of
+the Romans. Here Charlemagne was crowned King of the Franks in 768, and
+Hugh Capet elected king in 987; and here, in an important stronghold of
+Catholicism, as it had long been, Calvin was born in 1509.</p>
+
+<p>Altogether there is much to be found here to charm and stimulate our
+imagination. As a type the cathedral stands preëminent. As to detail and
+state of preservation, they, too, leave little to be desired, though the
+appreciative author of a charming and valuable work treating of a good
+half hundred or more of the "architectural glories of France" bemoans
+the lack of a satisfying daily "Office." This may be a fault, possibly,
+if such be really the case. The fabric of the church has stood the wear
+and tear of time and stress exceeding well. Built in the eleventh and
+twelfth centuries, it is a thoroughly harmonious and pleasing whole, and
+we can well believe all that may have been said of it by the few able
+critics who have passed judgment upon its style, as well as the
+sentiment conveyed by the phrase that it is "one of the most graceful
+and lovable of all the cathedrals of France." The<span class='pagenum'><a name="Page_52" id="Page_52">52</a></span> bishopric was
+suppressed after the Revolution, and the church is now a dependency of
+the Bishop of Beauvais.</p>
+
+<p>The elongated belfry towers are perhaps the first and most noticeable
+feature; secondly, the overhanging porch with its supporting frontal
+buttresses; thirdly, the before-mentioned tri-apsidal effect of the
+easterly end; and, last but not least, the general grouping of the whole
+structure in combination with the buildings which are gathered about its
+haunches, though with no suspicion of a detracting element as in some
+sordid and crowded cities, where, in spite of undeniable
+picturesqueness, is presented a squalor and poverty not creditable
+either to the city of its habitation or to the cathedral authorities
+themselves. From every point of vantage the steeples of Notre Dame de
+Noyon add the one ingredient which makes a unity of the entire
+ensemble,&mdash;a true old-world atmosphere, a town seen in not too apparent
+a state of unrepair and certainly not a degenerate.</p>
+
+<p>The interior presents no less striking or noble features. It is not
+stupendous or remarkably awesome; but it is grand, with a subtleness
+which is inexpressible. Round and pointed arches are intermixed, and
+there is a<span class='pagenum'><a name="Page_53" id="Page_53">53</a></span> notable display of the round variety in the upper ranges of
+the quadrupled elevation of the nave, the lightness, which might
+otherwise have been marred, being preserved through the employment of a
+series of simple lancets in the clerestory of the choir. Rearward of the
+south transept are the chapter-house and the scanty remains of a Gothic
+cloister, where a somewhat careworn combination of the forces of nature
+and art have culminated in giving an unusually old-world charm to this
+apparently neglected gem, as well representative of early French Gothic
+as any in existence to-day.<span class='pagenum'><a name="Page_54" id="Page_54">54</a></span></p>
+
+
+
+<h4>IV<br /><br />
+NOTRE DAME DE SOISSONS</h4>
+
+<p>S<span class="smcap">oissons</span>, the other primitive example, is at once a surprise and a
+disappointment. From the railway, on entering the town, one is highly
+impressed with the grouping of a sky-piercing, twin-spired structure of
+ample and symmetrical proportions; and at some distance therefrom is
+seen another building, possibly enough of less importance. Curiously, it
+is the cathedral which is the less imposing, and, until one is well up
+with the beautifully formed spires, he hardly realizes that they
+represent all that is left of the majestic Abbey of <i>St. Jean des
+Vignes</i>, where Becket spent nine long years. It is a mere bit of stage
+scenery, with height and breadth, but no thickness. It is a pity that
+such a charming structure as this noble building must once have been is
+now left to crumble. The magnificent rose window, or rather the circular
+opening which it once occupied, is now but a mere orifice, of great
+pro<span class='pagenum'><a name="Page_55" id="Page_55">55</a></span>portions, but destitute of glazing. The entire confines of the
+building, which crowns a slight eminence at the entrance of the town,
+are now given over to the use of the military authorities.</p>
+
+<p>A little to the right lies the one-time cathedral of Notre Dame,
+Soissons being another of the ci-devant bishoprics suppressed after the
+Revolution by the redistribution which gave but one diocese to a
+Department. Though not unpleasing, its façade is marred by its lack of
+symmetry, while the tower, which rises on the right 215 feet, is not
+sufficiently striking to redeem what otherwise is an ordinary enough
+ensemble. The tower to the left was never raised above where it now
+ends, and the façade, lacking the charm which the edifice might
+otherwise have had, were the towers as complete and well proportioned as
+are those of a later date which grace the remains of the old abbey, will
+be for ever wanting until this completion be carried out.</p>
+
+<p>Romanesque is plainly noticeable in mixture with the early Gothic. The
+three portals are not remarkable, or uniform, and are severely plain,
+and, though of a noticeable receding depth, are bare and unpeopled. A
+well-proportioned rose window, though not so large as<span class='pagenum'><a name="Page_56" id="Page_56">56</a></span> many in the
+greater cathedrals, has graceful radiating spokes and good glass. This
+is flanked by two unpierced lancet-pointed window-frames which but
+accentuate the plainness of the entire façade. Above is an arcaded
+gallery which was intended to cross the entire front, but which now
+stops where the gable joins the northerly tower. Restoration has been
+carried on, not sparingly, but in good taste, with the result that, in
+spite of its newness at the present writing, it appears as a consistent
+and thoroughly conscientious piece of work, and not the mere patchwork
+that such repairs usually suggest.</p>
+
+<p>The guide-books tell one that Soissons is famous for its trade in
+haricot beans, and incidentally for the beans themselves, and for the
+great number of sieges which it has undergone, the last being that
+conducted by the Germans, who took possession in October, 1870, after a
+bombardment of three days.</p>
+
+<p>Fergusson makes the statement, which is well taken, that the Cathedral
+of Notre Dame de Soissons, while not in any sense meriting the term
+magnificent, presents, in its interior arrangements, at least, a most
+symmetrical and harmonious ensemble. A curious though not unpleasing
+effect is produced<span class='pagenum'><a name="Page_57" id="Page_57">57</a></span> by the blackened pointing of the interior masonry,
+of piers, walls, and vaulting alike. An unusual feature is the
+circumambient aisles to the transepts and the suggestion that a trefoil
+apsidal termination was originally thought of, when the rebuilding was
+taken in hand in the twelfth century. The transept is so completed on
+the south side, which possesses also an ancient portal, and, with the
+two at Noyon so done, presents a feature which is as much a relief from
+the usual rectangle as are the rounded choirs of Continental churches a
+beauty in advance of the accepted English manner of treatment of this
+detail.</p>
+
+<p>The choir rises loftily above the transepts and nave, and, while the
+general proportions are not such as to suggest undue narrowness, the
+effect is of much greater height than really exists. This, too, is
+apparent when viewing the abside itself.</p>
+
+<p>The Chapel of the Rosary in the north transept is overtopped by an
+effective arrangement of perpendicular window-framing, supporting a
+beautiful rose window of the spoke variety. It is safe to say that, had
+the entire space provided been glazed, the effect of lighting would have
+been unique among the cathedrals of the world.<span class='pagenum'><a name="Page_58" id="Page_58">58</a></span></p>
+
+<p>The only other decorative embellishments are some tapestries, a few
+well-preserved tombs, and an "Adoration" supposed to be by Rubens, which
+is perhaps more likely to be genuine, because of the situation of the
+church near unto Flanders, than many other examples whose claims have
+even less to support them.</p>
+<p><span class='pagenum'><a name="Page_59" id="Page_59">59</a></span></p>
+
+
+<h3 class="top15"><a name="PART_II" id="PART_II"></a><i>PART II</i><br />
+<i>The Grand Group</i></h3>
+<p><span class='pagenum'><a name="Page_60" id="Page_60">60</a></span></p>
+
+<p><span class='pagenum'><a name="Page_61" id="Page_61">61</a></span></p>
+
+<h4>I<br /><br />
+INTRODUCTORY</h4>
+
+<p>E<span class="smcap">xpert</span> opinion, so called, may possibly differ as to just what, or what
+not, cathedrals of France should be included in this term. The French
+proverb known of all guide-book makers should give a clue as to those
+which at least may not be left out.</p>
+
+<p class="poem">
+<span style="margin-left: 2em;">"Clocher de Chartres, Nef d'Amiens</span><br />
+<span style="margin-left: 2em;">Choeur de Beauvais et Portale de Reims."</span><br />
+</p>
+
+<p>Rouen, Paris, and Le Mans should be included, as well possibly as the
+smaller but no less convincing examples at Séez, Sens, Laon, and Troyes,
+as being of an analogous manner of building, and, by all that goes to
+make up the components of a really great church, Bourges might well be
+considered in the same group. For practical and divisional purposes it
+is perhaps well to compose an octette of the churches of the Isle of
+France and those lying contiguous thereto, Paris, Beauvais, St. Denis,<span class='pagenum'><a name="Page_62" id="Page_62">62</a></span>
+Amiens, Reims, Rouen, Chartres, and Le Mans, which may be taken together
+as representative of the greatest art expression of the Gothic builders,
+as well as being those around which centred the most significant events
+of Church and State. To attempt to catalogue even briefly the charms and
+notable attributes of even the first four, would require more than the
+compass of several volumes the size of the present, whereas the attempt
+made herein is merely to lead with as little digression as possible up
+to the chief glories for which they are revered, and to suggest some of
+the many important and epoch-making events intimately associated
+therewith. More would be impossible, manifestly, unless the present work
+were to transcend the limitations which were originally planned for it,
+hence it is with no halting assertion that we enter boldly upon that
+chronology or résumé which, in a way, presents a marshalled array of
+correlated facts which the reader may care to follow in further detail
+in the list of bibliographical references included at the end of the
+volume.</p>
+
+<p>Certain facts relating to the history and the architectural features
+generally of these great cathedrals are known to all, and are chronicled
+with more or less completeness in many <span class='pagenum'><a name="Page_63" id="Page_63">63</a></span>valuable and authoritative
+works, ranging from the humble though necessary guide-book to the
+extensive if not exhaustive architectural work of reference. The facts
+given herein are such, then, as are often overlooked in the
+before-mentioned classes of works, and as such are presented, not so
+much with the avowed object of imparting information, as to remind the
+reader of the wealth of interest that exists with relation to these
+shrines of religious art. This seems to be the only preamble possible to
+the chapters which attempt to even classify these magnificent buildings,
+wherein much is attempted and so little accomplished in recounting their
+varied attractions. Let this explanation stand, therefore, for any
+seeming paucity of description which may exist.</p>
+
+<div class="image top" style="width: 241px;">
+<img src="images/illus072.png" width="241" height="289" alt="Le Bon Dieu d&#39;Amiens" />
+</div>
+<p><span class='pagenum'><a name="Page_64" id="Page_64">64</a></span></p>
+
+
+<h4>II<br /><br />
+NOTRE DAME D'AMIENS</h4>
+
+<p>T<span class="smcap">he</span> ever impressive Cathedral of Notre Dame d'Amiens is in most English
+minds the <i>beau ideal</i> of a French cathedral. It is contemporary with
+Salisbury in period, at least, but it has little to remind one of the
+actual features of this edifice. Often associated therewith, as a
+similar type, it has little in reality in common, except that each is
+representative of a supreme style. Beyond this it is hard to see how any
+expert, archæologist, antiquary, or what not, would seek to discover
+relationship between two such distinct types. Salisbury is the ideal
+English cathedral as to situation, surroundings, and general charm and
+grace. This no one would attempt to deny; but, in another environment,
+how different might it not appear,&mdash;as for instance placed beside
+Amiens, where in one particular alone, the mere height of nave and
+choir, it immediately dwindles into insignificance. Under</p>
+<p><span class='pagenum'><a name="Page_65" id="Page_65">65</a></span></p>
+
+<div class="image border" style="width: 500px;">
+<a href="images/illus074.png">
+<img src="images/illus074_th.png" width="500" height="300" alt="NOTRE DAME d&#39;AMIENS ..." /></a>
+</div>
+
+<p class="noind">such conditions its graceful spire becomes dwarfed and attenuated. Need
+more be said?&mdash;The writer thinks not, since the present work does not
+deal with the comparative merits of any two cathedrals or of national
+types; but the suggestion should serve to demonstrate how impossible it
+is for any writer, however erudite he may be, to attempt to assign
+precedence, or even rank, among the really great architectural works of
+an era. This observation is true of many other examples of art
+expression.</p>
+
+<p>The cathedral at Amiens is dedicated to the Virgin, and is built in the
+general form of a Latin cross. Over the principal doorway of the south
+portal, on one of the upper plinths, may be seen the inscription which
+places the date of the present edifice.</p>
+
+<div class="image" style="width: 446px;">
+<img src="images/illus-076.png" width="446" height="110" alt="En l'an`que l'Incarnatio valait mcc
+et xx. Ro....rs, ifu:
+rimisit: le première
+piere: iasis,... le cors.... Robert...
+" />
+</div>
+
+<p>The work was undertaken by one Robert de Luzarche, in the episcopate of
+Evrard de Fouilloy, the forty-fifth Bishop of Amiens, whose tomb may be
+seen just within the western doorway, and occupies the site of other<span class='pagenum'><a name="Page_66" id="Page_66">66</a></span>
+structures which had been variously devastated by fire or invasion in
+850, 1019, 1137, and 1218. For fifty years the work went on
+expeditiously under various bishops and their architects. "Saint" Louis,
+Blanche of Castille, Philippe the Hardy, and the city fathers all aided
+the work substantially, and the fabric speedily took on its finished
+form. Through the later centuries it still preserved its entity, and
+even during the Revolution its walls escaped destruction and defilement
+through the devotion of its adherents.</p>
+
+<p>In later days important work and restoration has been carried out under
+the paternal care and at the expense of the state; and the city itself
+only recently contributed 45,000 francs for the clearing away of
+obstructing buildings.</p>
+
+<p>A French writer has said, "It is only with the aid of a Bible and a
+history of theology that it is possible to elucidate the vast
+iconographic display of the marvellous west front of the cathedral at
+Amiens." Like Reims, its three portals of great size are peopled with a
+throng of statues. The central portal, known as the Porche du Souvenir,
+contains the statue of the Good God of Amiens; that on the right is
+called after the Mère de Dieu, and that on<span class='pagenum'><a name="Page_67" id="Page_67">67</a></span> the left for St. Fermin the
+Martyr. Above the gables is the "Gallery of Kings," just below the
+enormous rose windows. Above rise the two towers of unequal loftiness,
+and lacking, be it said, thickness in its due proportion. The carven
+figures in general are not considered the equal in workmanship of those
+at Reims, though the effect and arrangement is similar. For a complete
+list of them, numbering some hundreds on this façade alone, the reader
+must refer to some local guide-book, of which several are issued in the
+city.</p>
+
+<p>The south portal, the <i>Portal de la Vierge dorée</i> or <i>Portal de Saint
+Honoré</i>, shares company with the west façade in its richness of
+sculpture and its rose window and its gable. Here also are to be seen
+the supporting buttresses which spring laterally from the wall of the
+transept and cross with those which come from the choir.</p>
+
+<p>The north portal, on the side of the Bishop's Palace, does not show the
+same richness as the others, though perhaps more than ordinarily ornate.</p>
+
+<p>The spire above the transept crossing is a work of the sixteenth
+century, and is perhaps more remarkable than its rather diminutive<span class='pagenum'><a name="Page_68" id="Page_68">68</a></span>
+appearance, in contrast with the huge bulk of the edifice, would
+indicate.</p>
+
+<p>The extreme height of nave and choir (147 feet), adds immeasurably to
+the grand effect produced by the interior, a height in proportion to
+breadth nearly double that usual in the English cathedrals. The vaulting
+is borne aloft by over one hundred columns. The natural attribute of
+such great dimension is a superb series of windows, a promise more than
+fulfilled by the three great rose windows and the lofty clerestory of nave and
+choir. The sixteenth century glass is exceedingly profuse and brilliant.</p>
+
+<p>The lateral chapels of the nave were added subsequent to the work of the
+early builders, all being of the sixteenth century, while the eleven
+choir chapels are of the thirteenth century, all with very ornate iron
+grilles, which are a feature only second to a remarkable series of
+"choir stalls," numbering over one hundred, showing a wonderful variety
+of delicate carved figures of the sixteenth century, the work of one
+Jean Turpin, the subjects being mainly Biblical.</p>
+
+<p>A stone screen with elaborate sculptures in high relief surrounds the
+choir, that on the south representing the legend of St. Firmin,<span class='pagenum'><a name="Page_69" id="Page_69">69</a></span> the
+patron of Picardy, and that on the north, scenes connected with the life
+of John the Baptist. In a side chapel dedicated to St. John reposes the
+alleged head of John the Baptist. Others have appeared elsewhere from
+time to time, but as they are not now recognized as being genuine, and
+the said apostle not being hydra-headed, it is possible that there will
+be those who will choose to throw the weight of their opinions in favour
+of the claim of Amiens.</p>
+
+<p>The flying buttresses at Amiens are not of the singular lightness
+associated with this notably French characteristic; they are in the
+main, however, none the less effective for that, and assuredly, so far
+as the work which they have to perform is concerned, it was doubtless
+necessary that they should be of more than ordinary strength.</p>
+
+<p>The view of the ensemble from the river shows the massiveness and
+general proportions in a unique and superb manner. Amiens is not
+otherwise an attractive city, a bustle of grand and cheap hotels,
+decidedly a place to be taken <i>en route</i>, not like Beauvais, where one
+may well remain as long as fancy wills and not feel the too strong hand
+of progress intruding upon his ruminations.</p>
+<p><span class='pagenum'><a name="Page_70" id="Page_70">70</a></span></p>
+
+
+<h4>III<br /><br />
+ST. PIERRE DE BEAUVAIS</h4>
+
+<p>B<span class="smcap">eauvais</span> is by no means an inaccessible place, though how often have we
+known one who could not tell in what part of France it was situated. Of
+course, being "off the line" is sufficient excuse for the majority of
+hurried travellers to pass it by, but, leaving this debatable point out
+of the question, let us admit, for the nonce, that it is admirably
+located if one only chooses to spend a half-day or more in visiting the
+charmingly interesting city and its cathedral, or what there is of it,
+for it exists only as a luminous height <i>sans</i> nave, <i>sans</i> tower, and
+<i>sans</i> nearly everything, except a choir of such immensity that to see
+it is to marvel if not to admire. It is indeed as Hope has said, "a
+miracle of loftiness and lightness; appearing as if about to soar into
+the air."</p>
+
+<p>How many readers, who recognize the charms for which the cathedral is
+most revered, know that it was intended to rank as the</p>
+
+<div class="image border" style="width: 500px;">
+<a href="images/illus082a.png">
+<img src="images/illus082a_th.png" width="500" height="295" alt="ST. PIERRE ... de BEAUVAIS" />
+</a>
+</div>
+
+<p><span class='pagenum'><a name="Page_71" id="Page_71">71</a></span></p>
+<p class="noind">St. Peter's of the north, and like its Roman prototype, was to surpass
+all other contemporary structures in size and magnificence. This was
+marked out for it when, in the middle sixteenth century, the builders of
+its central spire, which fell shortly after, sought to rival the Italian
+church in a vast Gothic fabric which should be the dominant northern
+type in contra-distinction to that of the south. This of itself, were
+there no other contributory interests, which there are to a very great
+degree, should be all-sufficient to awaken the desire on the part of
+every one who journeys Parisward to obtain a more intimate acquaintance
+with this great work. Here was an instance of ambition overleaping
+itself,&mdash;exceeding by far the needs and conditions of its environment
+and like many another ill-planned venture, it fell to ruin through a
+lack of logic and mental balance. To-day we see a restored fabric,
+lacking all the attributes of a great church except that which is
+encompassed by that portion lying eastward of the nave proper, its frail
+buttresses knitted together by iron rods, its piers latterly doubled in
+number, and many more visible signs of an attempt to hold its walls and
+roofs up to the work they have to perform.<span class='pagenum'><a name="Page_72" id="Page_72">72</a></span></p>
+
+<p>The present structure, in so far as certain of its components go, was
+commenced within five years of Amiens (1225), which calls to mind the
+guide-book comparison, which seems so appropriate that it must really
+have previously originated from some other source,&mdash;Amiens, "a giant in
+repose;" Beauvais, "a Colossus on tiptoe."</p>
+
+<p>Its designer built not wisely, nor in this case too well, for before the
+end of the century the roof had fallen, and this after repeated
+miscalculations and failures. At this time the intermediate piers of the
+choir were built and a general modified plan adopted.</p>
+
+<p>Ruskin's favourite simile, with respect to St. Pierre de Beauvais, was
+that no Alpine precipice had the sheer fall of the walls of this
+choir,&mdash;or words to that effect, which is about as far-fetched as many
+other of his dictums, which have since been exploded by writers of every
+degree of optimism and pessimism. Certainly it is a great height to
+which this choir rises, one hundred and fifty-three feet it has been
+called, which probably exceeds that of Amiens by a dozen or more feet,
+though authorities (<i>sic</i>) vary with regard to these dimensions, as
+might be supposed; but<span class='pagenum'><a name="Page_73" id="Page_73">73</a></span> it is no more like unto a wall of rock than it
+is to a lighthouse.</p>
+
+<p>With the crumbling of the sixteenth-century spire on Ascension Day,
+1573, restoration of the transepts was undertaken and work on the nave
+resumed, which only proceeded, however, to the extent of erecting one
+bay to the westward, which stands to this day, the open end filled in
+with scantling, weather proofing, and what not,&mdash;a bare, gaunt, ugly
+patch. Had it been possible to complete the work on its original
+magnificent lines, it would have been the most stupendous Gothic fabric
+the world has ever known.</p>
+
+<p>Not entirely without beauty, in spite of its great proportions, it is
+more with wonder than admiration that one views both its details and
+proportions. Though it is perhaps unfair to condemn its style as
+unworthy of the Augustan age of French architecture, surely the ambition
+with which the work was undertaken was a laudable one enough, and it is
+only from the fact that it spells failure in the eyes of many who lack
+initiative in their own make-up, that it only qualifiedly may be called
+a great work.</p>
+
+<p>The choir, which now dates from 1322, perforce looks unduly short, by
+reason of the<span class='pagenum'><a name="Page_74" id="Page_74">74</a></span> absence of a nave to add to the effect of horizontal
+stability; and the great height of the adjoining transept; but the
+chevet and buttresses are certainly a marvel of grace and towering
+forms.</p>
+
+<p>The portals of the transept are of the period of Francis I., with
+flowing lines and ornate decorations&mdash;"having passed the severity and
+ethical standards of maturity, and progressed well along the path to
+senility," as a vigorous Frenchman has put it. True enough in its
+application is this livid sentiment,&mdash;perhaps,&mdash;but its jewel-like south
+portal, like the "<i>gemmed</i>" west front of Tours, forms an attractive
+enough presentment to please most observers who do not delve too deeply
+into cause and effect. The north portal is less ornate, but its
+beautifully carved doors are by the same hand as that which worked the
+opposite portal. The ornamental stonework here is unusual, suggesting an
+arrangement which may or may not have been intended as a representation
+of the "Tree of Jesse." In any case it is a remarkable work of flowing
+Gothic "branches," which, though mainly lacking its intended
+interspersed figures, is not only unique among exterior decorations,
+but<span class='pagenum'><a name="Page_75" id="Page_75">75</a></span> appears as a singularly appropriate treatment of a grand doorway.</p>
+
+<p>Adjoining the choir on the right is a sacristy occupying a small
+structure, and to the westward is a fragmentary edifice known as the
+<i>Basse &OElig;uvre</i>,&mdash;one of the oldest existing buildings in France; a
+Romano-Byzantine work, variously stated as of the sixth to eighth
+century and forming a portion of the original church which occupied the
+site of the present Cathedral.</p>
+
+<p>The general impressiveness of this great church&mdash;the memory which most
+of us will carry away&mdash;is caused by its immensity, its loftiness, and
+the general effect of lightness. These form an irresistible galaxy of
+features which can hardly fail to produce a new and startling sensation
+upon any observer.</p>
+
+<p>As to decorative embellishments, the church is by no means lacking. The
+coloured glass, typical of the best period of the art, is luxurious and
+extensive; that contained in the north and south transept rose windows
+being the exceedingly beautiful work of Le Prince, a celebrated
+sixteenth-century artist.</p>
+
+<p>Numerous side chapels surround the ambulatory of the choir, and on the
+west wall of the transept are hung the eight tapestries<span class='pagenum'><a name="Page_76" id="Page_76">76</a></span> after the
+sixteenth-century Raphael cartoons now at South Kensington. These
+tapestries are, it is to be presumed, late copies, since, of the two
+early sets woven at Arras, one is preserved in the Vatican and the other
+at the Museum at Berlin. A modern fresco of Jeanne Hachette, a local
+Amazon, adorns one of the choir chapels. A modern astronomical clock,
+with numerous dials, striking figures, and crowing cocks, is placed near
+the north transept. It might naturally be supposed that in our day the
+canons of good taste would plead against such a mere "curio" being
+housed in a noble church.</p>
+
+<p>The former Bishop's Palace, dating from the fourteenth to sixteenth
+centuries, is now the Palace of Justice. The present episcopal residence
+is immediately to the north of the Cathedral and is modern.</p>
+
+<p>As a tapestry-making centre Beauvais ranks with the famous Gobelin
+Manufactory at Paris.</p>
+<p><span class='pagenum'><a name="Page_77" id="Page_77">77</a></span></p>
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_78" id="Page_78">78</a></span></p>
+
+<div class="imagepad" style="width: 500px;">
+<img src="images/illus090.png" width="500" height="391" alt="Notre Dame de Rouen" />
+</div>
+
+
+<p><span class='pagenum'><a name="Page_79" id="Page_79">79</a></span></p>
+
+<h4>IV<br /><br />
+NOTRE DAME DE ROUEN</h4>
+
+<p>R<span class="smcap">ouen</span>, of all the mediæval cities of France, is ever to the fore in the
+memories of the mere traveller for pleasure. In no sense are its charms
+of a negative quality, or few in number. Quite the reverse is the case;
+but the city's apparent attraction is its extreme accessibility, and the
+glamours that a metropolis of rank throws over itself; for it must not
+be denied that a countrified environment has not, for all, the appealing
+interest of a great city. It is to this, then, that Rouen must accredit
+the throngs of strangers which continually flock to its doors from the
+Easter time to late autumn. In addition there are its three great
+churches, so conveniently and accessibly placed that the veriest tyro in
+travel can but come upon them whichever way he strolls. Other monuments
+of equal rank there are, too, and altogether, whether it be the mere
+hurried pecking of a bird of passage, or the more <span class='pagenum'><a name="Page_80" id="Page_80">80</a></span>leisurely attack of
+the studiously inclined, Rouen offers perhaps much greater attractions
+than are possessed by any other French city of equal rank.</p>
+
+<p>So closely, too, have certain events of English history been interwoven
+with scenes and incidents which have taken place here, that the wonder
+is that it is not known even more intimately by that huge number of
+persons who annually rush across France to Switzerland or Italy.</p>
+
+<p>Chroniclers of the city's history, its churches, and its institutions
+have not been wanting, in either French or English; and even the
+guide-books enlarge (not unduly) upon its varied charms. Once possessing
+thirty-two churches, sixteen yet remain; quite one-half of which may be
+numbered to-day as of appealing interest. <i>En passant</i>, it may be stated
+that here at Rouen, in both Notre Dame and the Abbey Church of St. Ouen,
+is found that gorgeous functionary, commonly called "the Suisse," who
+seeks your gold or a portion thereof, in return for which he will favour
+you by opening an iron wicket into the choir, an incumbrance unnoticed
+elsewhere, except at Paris and St. Denis.</p>
+
+<p>The late Gothic church of St. Ouen, where<span class='pagenum'><a name="Page_81" id="Page_81">81</a></span> the Maid of Orleans received
+her fatal sentence, shows a wonderful unity of design even as to its
+modern western towers; a consistency not equally the possession of the
+neighbouring cathedral, or even of most great churches. Altogether, this
+grand building is regarded as an unparallelled example of the
+realization of much that is best of Gothic architecture at its greatest
+height. In its central tower alone&mdash;which may or may not be suggestive
+of a market-basket, accordingly as you will take Ruskin's opinion, or
+form one of your own&mdash;is the least evidence of the developed flamboyant
+found. Its interior is clean-cut and free of obstruction; the extreme
+length of its straight lines, both horizontal and perpendicular,
+entirely freed from chapel or choir screen, embrace and uphold its
+"walls of glass" in an unequalled manner.</p>
+
+<p>In strong contrast to this expressively graceful style is the
+ultraflorid type of St. Maclou, the other of that trinity of
+architectural splendours, which, with the Cathedral of Notre Dame, form
+the chief ecclesiastical monuments of the city. St. Maclou, which dates
+from the early fifteenth century, though not of the grand proportions of
+either of the other great churches, being rather of the type of the<span class='pagenum'><a name="Page_82" id="Page_82">82</a></span>
+large parish church as it is known in England, holds one spellbound by
+the very daring of its ornaments and tracery, but contains no trace of
+non-Gothic. The French passion for the curved line is nowhere more
+manifest than here (and in the west front of Notre Dame), where flowing
+tracery of window, doorway, portal, and, in general, all exterior
+ornament, is startling in its audacity. To view these two contrasting
+types before making acquaintance with the Cathedral of Notre Dame
+itself, is to prepare oneself for a consideration in some measure of a
+combination of the charms of both, woven into one fabric. Nowhere, at
+least in no provincial town of France, are to be found such a
+categorical display of ecclesiastical architectural details as here.</p>
+
+<p>Rouen has from the second century been an important seat of
+Christianity. St. Nicaise, not to be confounded with him of the same
+name of Reims, first held a conversion here and was shortly followed by
+St. Mellor, who founded the city's first church, on the site of the
+present cathedral. In succeeding centuries this foundation gradually
+took shape and form until, with the occupation by the Norsemen under
+Rollo, was founded a dynasty which fostered the development of theology<span class='pagenum'><a name="Page_83" id="Page_83">83</a></span>
+and the arts in a manner previously unknown. The cathedral was enlarged
+at this time, and upon his death in 930 Rollo was interred therein, as
+was also his son in 943. Richard the Fearless followed with further
+additions and enlargements, his son Richard being made its forty-third
+archbishop. From this time on, the great church-building era, Christian
+activities were notably at work, here as elsewhere, and during the
+prolific eleventh century great undertakings were in progress; so much
+so that what was practically a new church received its consecration, and
+dedication to Our Lady, in 1063, in the presence of him who later was to
+be known as the Conqueror. To-day it stands summed up thus&mdash;a grand
+building, rich, confused, and unequal in design and workmanship.</p>
+
+<p>The lower portion of the northwest tower, called the <i>Tour St. Romain</i>,
+is all that is left of the eleventh-century building, the remainder of
+which was destroyed by fire in 1200. Rebuilding followed in succeeding
+years and shows work of many styles. Additions, repairs, and
+interpolations were incorporated with the fragment of the tower, so that
+the structure as we now know it stood complete with the early thirteenth
+century. Viollet-le-Duc<span class='pagenum'><a name="Page_84" id="Page_84">84</a></span> is the authority for the statement that the
+apse and transept, chapels, choir, and two doorways of the west façade
+were quite complete before the influence of the perfected Gothic of the
+Isle of France was even felt. One Enguerrand was the chief designer of
+the new church, assisted by Jean d'Andeli as master mason. The early
+century saw the nave chapels built, having been preceded by the <i>Portail
+aux Libraires</i>, a sort of cloistered north entrance, still so referred
+to, one of the most charming and quiet old-world retreats to be found
+to-day even within the hallowed precincts of a cathedral. The <i>Portail
+de la Calende</i> did not follow until a century later, when the <i>Tour St.
+Romain</i> was completed to its roof; at which time was also added the
+screen or arcade which separates the <i>Portail aux Libraires</i> from the
+street.</p>
+
+<p>This century, too, saw the beginning of the famous <i>Tour de Beurre</i>,
+built mostly by the contributions of those who paid for the indulgence
+of being allowed to eat butter during Lent. Its foundation was laid in
+1487 under Archbishop Robert de Croixmore, and it was completed under
+Cardinal d'Amboise in 1507. A chapel at the base of the tower is
+dedicated to St. Stephen. The ornate decorations of the<span class='pagenum'><a name="Page_85" id="Page_85">85</a></span> west front,
+added by Georges d'Amboise, are mainly of the sixteenth century and form
+no part of the original plan or design. It borders upon the style we
+have since learned to decry, but it is, at least, marvellous as to the
+skill with which its foliaged and crocketed pinnacles and elaborate
+traceries are worked. Ruskin was probably right in this estimate at
+least,&mdash;"The central gable is the most exquisite piece of pure
+flamboyant style extant." At the present day this west front is
+undergoing such restoration and general repair that the entire gable,
+rose window, and part of the flanking towers are completely covered with
+a most hideous array of scaffolding.</p>
+
+<p>The central spire as it exists to-day, in reality an abomination of
+abominations, is naturally enough admired by all when first viewed from
+afar. It certainly looks not dwarfed, or even fragile, but simply
+delicate, and withal graceful, an opinion which ultimate association
+therewith speedily dispels. It must be one of the very first examples of
+modern iron or steel erection in the world, dating from 1827, following
+three former spires, each of which was burned. The architect responsible
+for this monstrosity sought to combine two fabrics in incoherent
+<span class='pagenum'><a name="Page_86" id="Page_86">86</a></span>proportions. More than one authority decries the use of iron as a
+constructive element, and Chaucer's description of the Temple of Mars in
+the Knight's Tale reads significantly:</p>
+
+<p class="poem">
+<span style="margin-left: 2em;">"Wrought all of burned steel...</span><br />
+<span style="margin-left: 3em;">Was long and straight and ghastly for to see."</span><br />
+</p>
+
+<p>The great part of the exterior of this remarkable church is closely
+hidden by a rather squalid collection of buildings. Here and there they
+have been cleared away, but, like much of the process of restoration,
+where new fabric is let into the old, the incongruity is quite as
+objectionably apparent as the crumbling stones of another age. <i>Notre
+Dame de Rouen</i> is singularly confined, but there seems no help for it,
+and it is but another characteristic of the age in which it was
+built,&mdash;that the people either sought the shelter of churchly
+environment, or that the church was only too willing to stretch forth
+its sheltering arms to all and sundry who would lie in its shadow.</p>
+
+<p>In an assignment of ranking beauty to its external features, the
+decorative west front must manifestly come first; next the <i>Portail aux
+Libraires</i>, with its arcaded gateway and the remains of the booksellers'
+stalls which still<span class='pagenum'><a name="Page_87" id="Page_87">87</a></span> surround its miniature courtyard; then, perhaps,
+should follow the <i>Tour St. Romain</i> and the <i>Portail de la Calende</i>,
+with its charmingly recessed doorway and flanking lancet arches. The
+sculptured decorations of all are for the most part intact and
+undisfigured. The gable of the southern doorway rises pointedly until
+its apex centres with the radiated circular window above, which, by the
+way, is not of the exceeding great beauty of the other two rose windows,
+which rank with those at Reims and Chartres as the <i>beaux ideals</i> of
+these distinctly French achievements.</p>
+
+<p>The interior, viewed down the nave, and showing its great length and
+that of the choir, impresses one with a graver sense of unity in the
+manner of building than is possible to conceive with regard to the
+exterior. The height and length both approximate that of St. Ouen, and,
+though the nave rises only to ninety-eight feet, an effect of greater
+loftiness is produced by the unusual quadripartite range of openings
+from pavement to vaulting: two rows of arches opening into the aisles
+before the triforium itself is reached. The lantern at the crossing
+supports the ironwork spire, and admits light to the centre of the
+church, only to a small degree, however. The south<span class='pagenum'><a name="Page_88" id="Page_88">88</a></span> transept, like that
+of the north, with its ample double aisles, is of great width, and, were
+the framing of the great rose window of less angularity, it would indeed
+produce a remarkable effect of grandeur. The other windows, and the
+arcading of the triforium, are singularly graceful; not lacking either
+strength or firmness, though having no glass of great rarity or
+excellence. In this transept is the altar of St. Romain, a
+seventeenth-century work of little pretensions.</p>
+
+<p>The north transept contains two features which give it immediate
+precedence over any other, when viewed from within: its gracefully
+traceried rose window and fine glass, and the delightful stone staircase
+leading to the chapter library. Mere description cannot do this stairway
+justice. Renaissance it certainly is, and where we might wish to find
+nothing but Gothic ornament, it may prove somewhat of a disappointment;
+but it is magnificent. Its white marble balustrading gleams in the
+strong light thrown from the western transept window and gives an
+unmistakable note of richness and sonority. It was built late in the
+fifteenth century under orders of Cardinal d'Estonteville. The upper
+doorway leads to the treasury, and that of<span class='pagenum'><a name="Page_89" id="Page_89">89</a></span> the first landing to the
+chamber in which were formerly kept the bibliographical treasures, now
+housed in the special building which forms the western wall of the
+outside court.</p>
+
+<p>The north and south aisles of the nave are broken into by a series of
+chapels, the chief of which are the Chapel to St. Stephen in the base of
+the <i>Tour de Beurre</i> and <i>du Petit St. Romain</i>, where an abbé or curé
+speaking the English tongue is often to be found. On the south side is a
+chapel containing the tomb of William Longsword, second Duke of
+Normandy, and son of Rollo.</p>
+
+<p>The great attraction of the choir, far more than its beauties of
+architectural forms, shown in its graceful columns and deep graven
+capitals, will be, for most visitors, its array of elaborate monuments,
+including those of Pierre and Louis de Breze, of whom the former, the
+Grand Seneschal of Normandy under Charles VII., fell at Monthery, and
+was buried here in 1465. More pretentious is the tomb of Louis, his
+grandson, erected by his wife Diane de Poitiers, with a significant
+inscription which the curious may be pleased to figure out for
+themselves. This noble monument is one of those examples hesitatingly
+attributed to Jean Goujon. The <i>pièce de résistance</i> is the Renaissance
+tomb of the Cardinals d'Amboise. Georges I. was memorialized in <span class='pagenum'><a name="Page_90" id="Page_90">90</a></span>1556 by
+his nephew Georges II., who in turn came to share the same tomb. Both
+their kneeling figures are beautifully chiselled, and the whole erection
+is gorgeously representative of the late sixteenth-century monumental
+work, little in keeping with the Gothic fabric which houses it, but
+characteristic of the changing thought and influence of its time. Six
+symbolical figures of the virtues form a lower course, while the canopy
+is surmounted by nineteen figures of apostles, saints, etc. In 1793 the
+ashes of these great prelates were scattered to the winds, but the
+effigies and their setting fortunately remained uninjured. Other
+archbishops of the cathedral are buried in the choir, and the heart of
+Richard C&oelig;ur de Lion once rested here, as did also the bodies of his
+brother Henry, and John, Duke of Bedford.</p>
+
+<p>The choir stalls, mostly the work of Flemish wood-carvers, are notable
+examples.</p>
+<p><span class='pagenum'><a name="Page_91" id="Page_91">91</a></span></p>
+<div class="image" style="width: 521px;">
+<img src="images/illus103a.png" width="521" height="182" alt="image not available" />
+</div>
+<p><span class='pagenum'><a name="Page_92" id="Page_92">92</a></span></p>
+<div class="imagepad" style="width: 379px;">
+<a href="images/illus104.png">
+<img src="images/illus104_th.png" width="379" height="550" alt="Basilique de St. Denis" />
+</a>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_93" id="Page_93">93</a></span></p>
+<h4>V<br /><br />
+BASILIQUE DE ST. DENIS</h4>
+
+<p>T<span class="smcap">he</span> Basilica of St. Denis, so-called to-day, built over the remains of
+the martyred St. Denis, is in a way the counterpart of the Cathedral of
+Reims, in that it also is intimately associated with the Kings of
+France. In the former they were, almost without exception, crowned; and
+here, at St. Denis, are the memorials of their greatness, and in many
+cases their actual tombs. Thus far and no farther may the similarity be
+said to exist. The old Abbey of St. Denis has little in common,
+architecturally, with the grand Cathedral of Notre Dame de Reims. Of the
+two, St. Denis is much the older foundation, and from the point of view
+of romance and sentiment holds perhaps the premier place, as well.</p>
+
+<p>The history of the city is one of the most interesting and diversified
+of all in the domain of the Kings of France. A Benedictine abbey was
+founded here in the reign of Dagobert I.,<span class='pagenum'><a name="Page_94" id="Page_94">94</a></span> and, under the Carlovingian
+dynasty, immediately took on political as well as devout significance.
+The Abbot of St. Denis journeyed to Rome in 751 <span class="smcap">A. D.</span> and secured for
+Pepin the papal confirmation of his kingship. Pope Stephen took refuge
+here from the Lombards in 754 <span class="smcap">A. D.</span>, during which time he anointed the
+king's sons, Charles and Charlemagne; upon the consecration of which act
+Pepin handed over to his sons the right and title to his dominions.</p>
+
+<p>Upon the advice of the Abbot Suger, Louis VI. adopted the <i>Oriflamme</i>,
+or standard of St. Denis, as the banner of the Kings of France, and, for
+long after, its red and gold colourings hung above the altar,&mdash;only to
+be removed when the king should take the field in person.</p>
+
+<p>Abélard, of famed romance, was a monk of the abbey in the twelfth
+century; and, in the absence of the sovereign (Louis VII.) in the Holy
+Land during the mid-century, the Abbé Suger administered full well the
+affairs of the kingdom. This renowned abbot and true lover of art died
+in 1151 at St. Denis.</p>
+
+<p>In 1429 "the Maid of Orleans" here delivered up her arms; and a century
+and a half later that sturdy Protestant, Henry, abjured<span class='pagenum'><a name="Page_95" id="Page_95">95</a></span> the faith to
+which he had hitherto so tenaciously clung. In this church, too, the
+great Napoleon married Marie Louise in 1810; and his later namesake,
+some fifty years after, erected a mausoleum in the crypt, known as the
+<i>Caveau Imperial</i>, the burial vault of his dynasty, which, however, has
+never been so used.</p>
+
+<p>Such in brief is the record of some of the more important affairs of
+church and state, which are identified with this fine old cathedral. The
+usual books of reference give lengthy lists of the various tombs and
+monuments which exist. It is a pity, however, that, in spite of the
+laudable ambition of preserving here, in a sort of kingly Valhalla, the
+memory of the rulers of a past age, it has degenerated, in turn, to a
+mere show-place, with little enough of the real sentiment remaining to
+satisfy the seriously inclined, who perforce would wish to be reminded
+in some more subtle way than by a mere "rush around the exhibits," which
+is about all the half-hourly, personally conducted excursions, with
+appropriate fees to be delivered up here and there, amounts to. But for
+this, there would still be some of the charm and reverence which such a
+noble memorial should inspire, in spite<span class='pagenum'><a name="Page_96" id="Page_96">96</a></span> of the fact that revolution and
+desecration have played more than a usual share in the general
+derangement of the original plans.</p>
+
+<p>Up to the time of Henry IV., the monarchs were mostly interred in
+separate tombs, but, following him, his immediate successors were buried
+in a common vault. During the Revolution, the Convention decreed that
+the royal tombs should be destroyed, and so they mostly were,&mdash;the
+bodies dug up and interred, if so the process can be called, in a common
+grave. In 1817 Louis XVIII. caused the remains of his ancestors, as well
+as Louis XVI. and Marie Antoinette, to be transferred here from the
+Madeleine, and in turn he himself was buried here, as well as the Duc de
+Berry and several of his children. The preservation of such of the tombs
+as survived the many vicissitudes to which they were put, is due to the
+fact that many of them were at one time removed to the Musée des
+Petits-Augustines, now the Palace des Beaux Arts, at Paris; but in 1817
+Louis XVIII. ordered them to be replaced in the crypt of St. Denis; not,
+however, on the sites which they formerly occupied, but in an arbitrary
+manner which only the great abilities of M. Viollet-le-Duc, who
+undertook their rearrangement and restoration, were able to <span class='pagenum'><a name="Page_97" id="Page_97">97</a></span>present in
+some coherent manner for the marvel of future generations. There are now
+therein over fifty monuments and tombs, besides various statues,
+medallions, and other memorials.</p>
+
+<p>From an architectural point of view, we have to consider the <i>Basilique
+de St. Denis</i> no longer a cathedral, as one of the earliest Gothic
+examples in France, though at first glance little enough of the true
+Gothic feeling is apparent. About the year 275 a chapel was built here
+above the grave of St. Dionysius, the first Bishop of Paris. This was
+followed by a large <i>basilica</i>, ultimately given over to the uses of
+monks of the Benedictine order. Evidences of this former construction
+are supposed by archæologists to still remain, but little, earlier than
+the structure of the Abbé Suger, meets the eye to-day. Strong is the
+trace of the development from the Romanesque façade, completed in 1140,
+to pure Gothic construction of a century later. In this church is
+commonly supposed to be exhibited for the first time, bearing in mind
+that the date of its consecration was 1144, a complete system of
+buttresses accompanying the pointed arch of the vaulting, though in
+conjunction with semicircular vaulting in the choir aisles.<span class='pagenum'><a name="Page_98" id="Page_98">98</a></span></p>
+
+<p>The west façade is the most notable part of Suger's building. It
+contains three deeply recessed round arched portals, decorated with
+sculpture, but so disfigured, or at least modified from their original
+forms in an attempt to replace the ravages of time and spoliation, that
+one can not well judge of their original merit. The south portal shows
+symbolical figures of the months and of "St. Dionysius in Prison;" the
+central doorway a "Last Judgment," and the "Wise and Foolish Virgins;"
+while the north portal depicts "St. Dionysius on His Way to Martyrdom,"
+and "The Signs of the Zodiac."</p>
+
+<p>A curious and unusual effect of the upper portion of this grim façade,
+like a similar work at Dol-de-Bretagne, is a range of battlements which
+were erected for defensive purposes in the fourteenth century. The nave
+rises high above this, surmounted by a statue of St. Denis. Above the
+lateral portals of the façade are two towers, that on the right rising
+two stages above the embattled crest, while that on the left stops at
+that level. The spire with which it was formerly surmounted was ruined
+by lightning early in the nineteenth century.</p>
+
+<p>The choir, with its radiating chapels, is of a Romanesque order, with
+the Gothic <span class='pagenum'><a name="Page_99" id="Page_99">99</a></span>attribute of the flying buttress in a high degree of
+development.</p>
+
+<p>A general restoration was carried out in the thirteenth century by the
+successors of Suger, the Abbés Eudes Clement and Matthieu de Vendôme, in
+the best Gothic of the time; and it is to their excellently planned work
+that the general fine effect of the present interior arrangements may
+properly enough be accredited, though for a fact it seldom is so. A
+later restoration, the removing of the ruin wrought by the Revolution,
+did not succeed so well. It was not until the really great work of
+Viollet-le-Duc, under Napoleon III., that this grand building finally
+took on again an acceptable form.</p>
+
+<p>The general interior arrangements, though to-day apparently subservient
+to the common attributes of a show-house with its innumerable guides,
+functionaries, and fees, are simple and impressive so far as structural
+elements are concerned. As for decorations, they are mostly to be found
+in that gorgeous array of monuments and tombs before mentioned. The
+entrance proper, or vestibule, is of Suger's era and is gloomy and dull,
+in strong contrast with the noble and impressive nave, which contains
+thirty-seven enormously high<span class='pagenum'><a name="Page_100" id="Page_100">100</a></span> windows and a handsome triforium gallery.
+This portion dates from the thirteenth century, or immediately following
+Suger's régime. The excellent stained glass is modern. The transepts are
+mere rudimentary elements, suggested only by the interior arrangement of
+the piers, and are simple and impressive.</p>
+
+<div class="image" style="width: 238px;">
+<img src="images/illus113.png" width="238" height="302" alt="Oriflamme of St. Denis" />
+</div>
+
+<div class="image border top" style="width: 298px;">
+<a href="images/illus114a.png">
+<img src="images/illus114a_th.png" width="298" height="500" alt="NOTRE DAME de PARIS." />
+</a>
+</div>
+
+<p><span class='pagenum'><a name="Page_101" id="Page_101">101</a></span></p>
+
+<h4>VI<br /><br />
+NOTRE DAME DE PARIS</h4>
+
+<p>O<span class="smcap">f</span> all the cathedrals of France, Notre Dame de Paris is most firmly
+impressed on the minds of English speaking people. At least, it is more
+familiarly known by all who visit that delectable land, and perhaps
+rightly so. Poets have sung its praises, and writers of all ranks have
+used it in well-nigh every possible fashion as an accessory; indeed,
+books almost without number have been written about it, and around it.
+This is as it should be, for perhaps no great church is more worthy, or
+more prolific in material. For those who would probe deeply into its
+story, there is but one way to acquire an intimate knowledge
+thereof,&mdash;to undertake a course of reading and study in some such way as
+a lawyer sets about reading up on a great case. By no other method could
+be acquired a tithe of the commonly known facts regarding its past
+history; hence the impossibility of attempting to deal<span class='pagenum'><a name="Page_102" id="Page_102">102</a></span> fully in a few
+pages with this great church, even in a perfunctory manner. The most
+that can be safely ventured upon, is to recount some of the facts.</p>
+
+<p>How many have really noticed that none of the diagrams, which show the
+ground-plan of this cathedral, indicate the existence of any transepts?
+Take, for instance, that which accompanies this volume, which, it may be
+said, is drawn correctly,&mdash;beyond the omission of a couple of pillars on
+either side of the nave, there is nothing to break into the long
+parallelogram-like structure, with an apsidal termination. As a matter
+of fact, there are a pair of very beautiful transepts, as most
+photographs of the exterior, and drawings of the interior, show. They
+are, too, in no way attenuated, and are only lost in the ground-plan by
+reason of the fact that they follow the very unusual arrangement of not
+extending laterally beyond the ample width of the nave and its chapelled
+aisles. The south transept façade, with the portal dedicated to St.
+Stephen, and two magnificent rose windows, is unquestionably more
+pleasing than the west façade itself as to design and arrangement.</p>
+
+<p>Begun in 1163 and consecrated in 1182, the church has undergone many
+vicissitudes,<span class='pagenum'><a name="Page_103" id="Page_103">103</a></span> changes, and restorations. It has fared ill on many
+occasions; perhaps the greatest defilement being that which befell it
+during the Revolution, when it was not only foully desecrated, its
+statues and other imagery despoiled, but the edifice was actually doomed
+to destruction. This fortunately was spared to it, but in the same year
+(1793) it became a "Temple of Reason," one of those fanatical exploits
+of a set of madmen who are periodically let loose upon the world.
+Mysticism, palaverings, and orgies unspeakable took place between its
+walls, and it only became sanctified again when Napoleon caused it to be
+reopened as a place of divine worship. Again, three-quarters of a
+century later, it fell into evil times&mdash;when it was turned into a
+military rendezvous by the Communards of '71. In turn, they too
+retreated, leaving the church, as they supposed, to the mercy of the
+flames which they had kindled. Fortunately these were extinguished and
+the building again rescued from an untoward fate.</p>
+
+<p>The thirteenth-century façade is usually accredited the finest part of
+the church. It comes upon one as rather plain and bare after the
+luxuriance of Amiens, Reims, or Rouen. As a model and design, however,
+it has served<span class='pagenum'><a name="Page_104" id="Page_104">104</a></span> its purpose well, if other examples, variously
+distributed throughout England and France, are considered. Its lines, in
+fact, are superb and vary little in proportion or extent from what must
+perforce be accepted as ideal. Its portals are of good design, and so
+also is such sculpture as survived the ravages of the past, though the
+outlines of the doorways are severely plain. A series of modern
+sculptured effigies of the kings, replacing those destroyed at the
+Revolution, forms a plain horizontal band across the entire front; a
+none too graceful or pleasing arrangement of itself. A rose window
+forty-two feet in width occupies the centre of the next stage, flanked
+by two blunt-pointed windows rather bare of glass. Above is an arcaded
+gallery of small pointed arches in pairs, also extending across the
+entire front. The balustrade, above, holds a number of grotesque
+creatures carved in stone. They may be gargoyles, but are not, however,
+in this case, of the spout variety, being some of those erections of a
+superstitious age which were so frequently added to a mediæval building;
+though whether as a mere decoration, or with greater significance,
+authorities do not seem to agree. The two uncompleted square towers
+overtop all, pierced by the two great lancets, which,<span class='pagenum'><a name="Page_105" id="Page_105">105</a></span> with respect to
+mere proportions, are unusual if not unique.</p>
+
+<p>The spire above the crossing is a wooden structure covered with lead,
+and dates only from the middle of the nineteenth century. Both the north
+and south transepts contain magnificent rose windows of even larger
+dimensions than that of the west façade. The doorway of the south
+transept is ornamented with effective ironwork, but otherwise the
+exterior presents no remarkable features.</p>
+
+<p>To the artist's eye the gem of the building is undoubtedly the fine
+grouping and ensemble of the flying buttresses at the rear of the choir.
+Most persons, so gifted, have tried their prentice, or their master,
+hands at depicting this grand marshalled array of "folded wings," and,
+but for the gruesome morgue at its foot, which ever intrudes into the
+view, one might almost say it is the most idyllic and most specious view
+of a great cathedral that it were possible to have. Were it not for this
+charming view of these buttressed walls, with the river flowing at their
+feet, the Isle de la Cité would be indeed a gloomy spot, with its lurid
+historical past, and its present gruesome association with the "house of
+the dead." Indeed, it has been questioned as to whether the choir<span class='pagenum'><a name="Page_106" id="Page_106">106</a></span> and
+chevet of Notre Dame de Paris is not the most beautiful extant. The Isle
+de la Cité was the ancient island village of the Parisii.</p>
+
+<p>A sixteenth-century Dutch writer (De Sauteuil) has delivered himself of
+these few lines concerning the Seine at this point:</p>
+
+<p>"When first it enters the metropolis it ambitiously stays its rapid
+course, and, being truly enamoured with the place, forgets its way, is
+uncertain whither to flow, and winds in sweet meanders through the town;
+thence filling the pipes with its waters. That which was once a river,
+joys to become a fountain."</p>
+
+<p>To carry the suggestion of contrast still farther one should read Hugo's
+"Notre Dame" on the spot. It will give a wonderful and whimsical
+conception of those weird gargoyles and devils, which have only to be
+seen to awaken a new interest in what this great writer has put forth.
+For another sensation, pleasant or otherwise, one might look up a copy
+of Méyron's wonderful etching of the same subject, or refer to a most
+excellent monograph, written not many years since, entitled "The Devils
+of Notre Dame." The interior shows the earliest example wherein the
+double aisles of the nave are continued around the choir, and the first
+introduction of<span class='pagenum'><a name="Page_107" id="Page_107">107</a></span> the quadruple range of openings from the pavement to
+the vaulting. The aisles and nave are of almost equal height.</p>
+
+<p>The choir, besides being merely apsided, is, in fact, a true semicircle,
+a sufficiently unusual arrangement in an early Gothic church to be
+remarked; and, in addition, is exceedingly narrow and lofty. The glass
+of the rose windows is of old and gorgeous quality, it having escaped
+destruction in Revolutionary times, whereas that of the lower range of
+windows was mostly destroyed.</p>
+
+<p>The choir stalls are of excellent wooden carving, but the high altar is
+modern, dating only from 1874. The choir screen, of the fourteenth
+century, shows twenty-three reliefs in stone, once richly gilded, but
+now tarnished and dull.</p>
+
+<div class="image" style="width: 341px;">
+<img src="images/illus122.png" width="341" height="337" alt="Notre Dame de Paris from the River" />
+</div>
+<p><span class='pagenum'><a name="Page_108" id="Page_108">108</a></span></p>
+
+<h4 class="top15">ST. LOUIS DE VERSAILLES</h4>
+
+<p>Allied with the see whose jurisdiction includes the Diocese of the
+Department of the Seine, should be considered that of Seine and Oise,
+which has its bishop's throne esconced in the Cathedral of St. Louis at
+Versailles. To all intents and purposes the town is one of those
+conglomerate units which go to make up the "traveller's Paris." More can
+hardly be said with due regard to the magnificent edifices with which
+this cathedral must naturally be classed. The other attractions of this
+"court suburb" are so appealing to the sentimentally inclined that it is
+to be feared that such will have little eye for the very minor
+attractions of the cathedral. The Trianons, the "Grandes Eaux" and the
+"Petites Eaux" are all in all to the visitor to Versailles.</p>
+
+<p>As a matter of fact and record, the Cathedral of St. Louis must be
+mentioned, if only to be dismissed in a word. Bourasée refers to it as
+"a thing cold, unfeeling, and without life." Truthfully, it is a
+remarkably ugly building of the middle eighteenth century, with no
+details of note and no memorials worthy of even a passing regard, except
+a monument to the<span class='pagenum'><a name="Page_109" id="Page_109">109</a></span> Duc de Berry, who died in 1820. What embellishment is
+given to the interior, is accounted for by the exceeding ruddy glow shed
+by the contemporary coloured glass of the none too numerous windows.<span class='pagenum'><a name="Page_110" id="Page_110">110</a></span></p>
+<p><span class='pagenum'><a name="Page_111" id="Page_111">111</a></span></p>
+
+<div class="image top" style="width: 500px;">
+<a href="images/illus126.png">
+<img src="images/illus126_th.png" width="500" height="350" alt="St. Julien; Le Mans" />
+</a>
+</div>
+
+<p><span class='pagenum'><a name="Page_112" id="Page_112">112</a></span></p>
+
+<p><span class='pagenum'><a name="Page_113" id="Page_113">113</a></span></p>
+
+
+<h4>VII<br /><br />
+ST. JULIEN; LE MANS</h4>
+
+<p>L<span class="smcap">e</span> Mans, like Chartres, sprang from an ancient Celtic hill fort, and,
+through successive stages, has since grown to a Roman, a mediæval, and
+finally a modern city. It crowns the top of a very considerable
+eminence, the like of which, says Professor Freeman, does not exist in
+England. Like Chartres, too, it has always retained the balance of power
+which has made it the local civil and ecclesiastical capital of its
+province. It is, too, more closely associated in English minds than is
+Chartres, forming as it did a part of the dominion of a common
+sovereign; also by reason of being the birthplace of Henry II., and the
+burial-place of Queen Berengaria, the wife of Richard C&oelig;ur-de-Lion.</p>
+
+<p>Le Mans stands, without doubt, in advance of Chartres in the importance
+and number of its secondary churches, as well as its ecclesiastical,
+civil, and military establishments in<span class='pagenum'><a name="Page_114" id="Page_114">114</a></span> general. In spite of all this,
+the city has never ranked as of supreme importance as a European city;
+nor did it ever attain the rank in Gallic times, that the events which
+have been woven around it would seem to augur. To-day it is a truly
+characteristic, large, provincial town of little or no importance to the
+outside world. Self-sufficient as to its own importance, and the events
+around which its local life circles, it gives little indication of ever
+becoming more of a metropolis than it now is; indeed the census figures
+would indicate that the department, of which it is the capital, has
+remained stationary as to the numbers of its population, since the
+Revolution.</p>
+
+<p>Writers have endeavoured to carry the similarity to English interests and
+conditions still farther than the events of history really go to prove,
+and have declared that Maine and England should have united in repelling
+their common invader. Endeavour has also been made to trace similarity
+between the communistic principles of days gone by, which took form here
+and at Exeter across the Channel, and have even remarked the similarity
+of the topographical features of the surrounding landscape, wherein the
+country round about differs so from other parts of France, being<span class='pagenum'><a name="Page_115" id="Page_115">115</a></span> here
+rolling, hilly, and wooded, as in certain parts of England; and even
+stretching a point to include the hedgerows, which, it must be admitted,
+are more in evidence in Maine than elsewhere in France. But these
+observations apparently prove nothing except that the majority of
+persons probably know very little of the real conditions which exist in
+the provinces of France, preferring rather that their journeyings afield
+should follow more the well-worn road of their compatriots.</p>
+
+<p>The Cathedral of St. Julien well represents the two distinct epochs in
+which church architecture, as it remains to us to-day, was practised
+here, and shows, to well-nigh the fullest expression possible, the two
+principal transformations of Christian architecture.</p>
+
+<p>As the Angevin style partakes so closely of northern and southern types
+intermixed, so the distinctive architectures of Maine, if such there be,
+may be said to favour the styles of both Normandy and Anjou; at least so
+far as the cathedral at Le Mans shows a combination of Angevin and
+Norman detail. The really distinctive southern influence is to be noted
+in the Romano-Byzantine nave, the exterior of which, so far as the
+western front is concerned, is far more notable in the rigidness and
+<span class='pagenum'><a name="Page_116" id="Page_116">116</a></span>austerity of its lines, than by any richness of ornamentation or
+decoration. Nothing could be more simply plain than this portal, and the
+wall and gable which surmount it. A large bare window, of the variety of
+that at Angers, stands above the doorway, which, itself, lacks all
+attempt at embellishment. What decoration the façade bears is after the
+true Byzantine manner, of the nature of brickwork displayed and set into
+the wall in geometrically angular fashion. What sculpture there is, two
+grotesque animals on either of the buttresses which flank the façade, is
+of minor account. This, then, is the extent of the detail of this severe
+western façade, the grand portal of the usually accepted great church
+being entirely lacking and evidently not thought of as a desirable
+detail when this portion of the structure was erected. It has nothing of
+the prodigious art expression of the frontispieces of the grand Gothic
+churches of the north, or of the less poverty-stricken Byzantine
+decoration of its own Meridional portal, which, in so far as the style
+can be said to take on richness of form, shows the transition tendencies
+of the early twelfth century. This doorway is surmounted by a tympanum,
+ornamented by a figure of the Saviour surrounded by the four<span class='pagenum'><a name="Page_117" id="Page_117">117</a></span>
+Evangelists, a subject which has always proved itself a highly
+successful and popular ecclesiastical symbol, and one which in this
+case, as in most others, is well made use of. All the figures have
+suffered considerably from the ravages of time, but retain much of their
+interest and charm in spite of such mutilation. A tower of Romanesque
+foundation, but of fifteenth and sixteenth century completion, flanks
+this south transept.</p>
+
+<p>The ranking portion of this interesting church is its choir, larger in
+superficial area than the entire cathedrals of Noyon or Soissons. Both
+from inside and out, it is all that one's imagination could possibly
+invent. Its great proportions are as harmonious and graceful as the
+lines of a willow-tree; in fact, as to general effect, it may be set
+down as a thing of extraordinary grandeur, worthy to rank with Beauvais
+or Amiens, and yet different from either, of a quality its very own. At
+the commencement of the thirteenth century the canons obtained, from
+Philip Augustus, permission to extend their church beyond the city walls
+in an easterly direction, and then it was that this wonderful choir took
+shape. The work was undertaken in 1217 and was completed soon after the
+middle of the same <span class='pagenum'><a name="Page_118" id="Page_118">118</a></span>century, and the body of St. Julien, the first
+apostle to Le Mans, for whom the church was named, was placed therein by
+Geoffroy de Loudon, then bishop, who decorated the windows of the choir
+with the magnificent glass with which they are still set.</p>
+
+<p>From a certain distance to the eastward the cathedral at Le Mans
+presents a view of the choir, unique in all the world. Other greater
+ones there are, if mere height be concerned, and others with more
+perfect appendages; but none give the far-spreading effect of encircling
+chapels, or are possessed of high springing buttresses of more grace or
+beauty than are seen here. He was a rash man who ranked the flying
+buttresses as a sign of defective construction, indicating structural
+weakness, meaningless and undecorative ornament, and what not. Few have
+agreed with this dictum, and few ever will after they have seen Paris,
+Beauvais, and Le Mans.</p>
+
+<p>The interior is one of great interest; the nave, even in its early
+forms, is none the less attractive because of its austerity. It is, as a
+matter of fact, far more interesting here than in its exterior, the
+swarthy circular pillars holding aloft arches with just a suspicion of
+the ogival style, with narrow, low, and <span class='pagenum'><a name="Page_119" id="Page_119">119</a></span>disproportionately small
+windows in the aisles, where are also a series of strengthening pillars
+of black and white stone, presenting again a reminiscence of the
+southern manner, or at least recalling the slate and stone of Angers. In
+the choir, with its girdling chapels and double ambulatory, we come upon
+the most impressive portion of all. Slightly orientated from the east
+and west, it presents by itself, like Beauvais, nearly all of the
+attributes of a great church. The columns, arcades, and windows
+throughout are all of an unusual elegance and grace, the vaulting rising
+with much daring to a remarkable height, which must approach one hundred
+and ten or more feet, and the equal of certain other "popularly notable"
+buildings.</p>
+
+<p>The rose window of the south of the transept is a remarkable example of
+these masterpieces of the French builder. The framing and the glass with
+which it is set is of the richest quality, though it dates only from the
+fifteenth century. The organ case is here found in the south transept,
+an unusual arrangement in a French church, where it is usually placed
+over the western doorway. The vaulting, too, is much loftier here than
+in the nave. The aisles of this remarkable choir<span class='pagenum'><a name="Page_120" id="Page_120">120</a></span> have the further
+unusual attribute of three ranges of openings, while the clerestory,
+only, rises above, but with great and imposing beauty. There are a few
+funeral monuments of more than ordinary interest, including that of
+Queen Berengaria, wife of Richard, the Lion-Hearted, brought from the
+Abbey de l'Epau in 1821; a sarcophagus and statue in white marble of
+Charles of Anjou, Count of Maine, King of Jerusalem and Sicily (d.
+1472), and the mausoleum of Langey du Bellay. In the north aisle are a
+number of fifteenth or sixteenth century tapestries. The former bishop's
+palace was burned by the Germans in 1871.</p>
+<p><span class='pagenum'><a name="Page_121" id="Page_121">121</a></span></p>
+
+<div class="image top" style="width: 324px;">
+<a href="images/illus136.png">
+<img src="images/illus136_th.png" width="324" height="500" alt="Notre Dame de Chartres." />
+</a>
+</div>
+<p><span class='pagenum'><a name="Page_122" id="Page_122">122</a></span></p>
+
+<p><span class='pagenum'><a name="Page_123" id="Page_123">123</a></span></p>
+<h4>VIII<br /><br />
+NOTRE DAME DE CHARTRES</h4>
+
+<p>A<span class="smcap">side</span> from their wonderful, though non-similar, cathedrals, Chartres and
+Le Mans, its neighbour, have much in common. Both have been possessed of
+a brilliant array of counts and prelates, both grew from a Celtic
+village to their present grand proportions through a series of
+vicissitudes, wars, and conquests, until to-day each is preëminent
+within its own sphere, and has become not only a centre of
+ecclesiastical affairs, but of civil life as well.</p>
+
+<p>The Counts of Chartres and of Blois, in the middle ages, were a powerful
+race of men, and should ever be associated with profound respect in
+English minds by the fact that here was the birthplace of Adela, the
+mother of King Stephen of Blois, and of Henry, Bishop of Winchester.</p>
+
+<p>As for local conditions to-day, Chartres, while having grown to the
+state which it now occupies through events which have made it<span class='pagenum'><a name="Page_124" id="Page_124">124</a></span> a city of
+mark, remains a somnolescent, sparsely built town, with little
+suggestion of the progress of modernity. More frequently mentioned in
+the note-books of the traveller than Le Mans, it offers perhaps no
+greater charms. To be sure, its cathedral, by reason of its open
+situation and the charming quality and effect produced by its spires and
+its one hundred and thirty windows of coloured glass, at once places it
+at the very head amongst the great "show pieces" of France; but it is in
+connection with Le Mans, scarcely eighty miles away and so little known,
+that it ought really to be studied and considered; which as a matter of
+fact it seldom is. The city is hardly in keeping with what we are wont
+to associate with the environment of a great cathedral, though this of
+itself in no way detracts from its charms. The weekly cattle-market
+takes place almost before its very doors, and the battery of hotels
+which flank the open square present the air of catering more to the need
+of the husbandman than to the tourist;&mdash;not a wholly objectionable
+feature, either.</p>
+
+<p>Beyond such evidences as an occasional sign-board announcing the fact
+that the hostelry possesses a <i>garage</i>, <i>fosse</i>, or what not for<span class='pagenum'><a name="Page_125" id="Page_125">125</a></span> the
+necessitous requirements of the automobilist, the inns remain much as
+they always were, mere <i>bourgeoise</i> caravansaries.</p>
+
+<p>The Cathedral of Notre Dame de Chartres jumps full into view immediately
+on leaving the railway station, though here it is to be noted that no
+delineation has ever been made by modern hand which shows its façade in
+its entirety. The roofs of the houses and shops around its base indicate
+no special squalor or poverty, as is the case with regard to some
+Continental churches, and there is a picturesque grouping of firs and
+poplars to the left which adds considerably to an already pleasing
+prospect. The whole grouping is, perhaps, none the less attractive than
+if the façade, with those extraordinarily beautiful non-contemporary
+spires, stood quite unobstructed. In fact, it is doubtful if many a
+monumental shrine might not lose considerably, were it taken from its
+environment and placed in another which might not suit its graces so
+well.</p>
+
+<p>These really fascinating spires, famed of all writers, archæologists,
+and painters alike, are the <i>clef</i> by which the whole harmony is
+sounded. One cannot but echo, and reëcho, all that has been said of
+them, though in a<span class='pagenum'><a name="Page_126" id="Page_126">126</a></span> quandary as to which of the two is the more
+beautiful: the plain, simple, symmetrical, older spire, or that
+wonderful work of Texier's, replacing another burned in 1506, which
+rises in gently sculptured and tapered ranges to a height which exceeds
+its companion by some twenty-five feet. No more appropriate or
+convincing wording could be given of it than by quoting Fergusson's
+estimate, which sums it up as being "the most beautifully designed spire
+in Europe, surpassing even Strasburg and Antwerp."</p>
+
+<p>It is rather a pity that from no suitably near-by point can one obtain a
+full view of the effect of the western façade. One poor little house
+seems ever to thrust itself into the ensemble, though it is to-day
+apparent that certain others, which must have cut into the front still
+more, have been cleared away. Clearly, with all its charm and beauty of
+detail, it is for its great and general excellencies that the cathedral
+at Chartres most impresses itself upon the memory.</p>
+
+<p>Visitors to-day will have no easy task in locating Lowell's "little
+pea-green inn," in which he indited the lines, "A Day in Chartres;" as
+appreciative and graceful an <span class='pagenum'><a name="Page_127" id="Page_127">127</a></span>estimate of an inanimate thing as ever was
+made in verse:</p>
+
+<p class="poem">
+<span style="margin-left: 2em;">"The Grecian gluts me with its perfectness</span><br />
+<span style="margin-left: 2em;">Unanswerable as Euclid, self-contained,</span><br />
+<span style="margin-left: 2em;">The one thing finished in this hasty world.</span><br />
+<span style="margin-left: 3em;">But ah! this other, this that never ends,</span><br />
+<span style="margin-left: 2em;">Still climbing, luring fancy still to climb,</span><br />
+<span style="margin-left: 2em;">As full of morals, half divined, as life,</span><br />
+<span style="margin-left: 2em;">Graceful, grotesque, with ever new surprise</span><br />
+<span style="margin-left: 2em;">Of hazardous caprices, sure to please,</span><br />
+<span style="margin-left: 2em;">Heavy as nightmare, airy light as fern,</span><br />
+<span style="margin-left: 2em;">Imagination's very self in stone."</span><br />
+</p>
+
+<p>Among the other attractions of the west façade is the Porte Royale, so
+called, the central doorway which was only opened for the entrance of
+the sovereign. It is decorated with the "signs of the zodiac" and
+"symbols of the months." Next in point of richness are the grandly
+effective north and south porches, with their triple doorways or
+portals, setting back some twenty feet from their jambs, which, as at
+Noyon, and in the smaller church at Louviers, are pierced with a
+transverse passage.</p>
+
+<p>The north porch, with its range of three open-sided and deeply recessed
+doorways, has unmistakably debased tendencies, but is filled with
+sculptured statuary of more than <span class='pagenum'><a name="Page_128" id="Page_128">128</a></span>ordinarily effective disposition, more
+remarkable for magnitude and ornateness than for finesse of skill and
+workmanship, or even as a detail of good taste.</p>
+
+<p>The life-size statues of all three recesses are held aloft by pedestals,
+on pillars of twisted and of spiralled trunks, a formation reviled by
+Ruskin, but producing an effect much more pleasing than some galleries
+of effigies we have seen, where the figures appear as if hung up by the
+hair of their heads, or are clinging to the walls by invisible spurs at
+their heels, or, as is not infrequently the case, are standing or hung
+on nothing, as though they were graven of some bewitched magnetic stone.
+Here for the first time is seen, in the sculptured figures of the three
+great portals, the plastic forms which were to add so greatly to the
+Gothic architecture: male and female saints, Evangelists, and Apostles
+in great array, all somewhat more than life-size. Only one adverse
+impression is cast: that of petrifaction. The figures, almost without
+exception, appear as integral parts of the architectural fabric, rather
+than as added ornament. They are most ungainly, tall, stiff, and
+column-like, much more so than similar works at Reims,<span class='pagenum'><a name="Page_129" id="Page_129">129</a></span> or at Amiens,
+where the sculpture has something of the vigour and warmth of life.</p>
+
+<p>The south porch, erected in the reign of Henry I. by Jean Cormier,
+partly from donations of Matilda, queen of the Norman Conqueror,
+contains a series of <i>basso relievos</i>,&mdash;seen also in the arches of the
+choir,&mdash;manifestly not of good Gothic principle, and one which is the
+very antithesis of the northern spirit, as the name itself implies.</p>
+
+<p>The earliest portion of the existing church, the crypt, is that of a
+timber-roofed structure burned in 1020. It was erected early in the
+eleventh century by Fulbert, the famous Bishop of Chartres, also
+remembered&mdash;possibly revered&mdash;as being the prolific letter-writer of his
+time.</p>
+
+<p>John of Salisbury was bishop in the next century, and under him were
+built the lower stages of the western façade and towers. In this church
+Edward III. called for the help of Heaven to aid his plans, and here
+Henry of Navarre was crowned King of France, a change of venue from
+Reims, where so many previous and subsequent coronations were held.</p>
+
+<p>The interior gives a deal of the thrill for which one should always be
+prepared. The<span class='pagenum'><a name="Page_130" id="Page_130">130</a></span> gloom, so apparent at first, slowly brightens as the eye
+becomes accustomed to the finely filtered light, which penetrates
+through the gorgeous coloured glass, a feature which ranks with the
+spires as a vivid impression to be carried away. Nearly all of this
+glass is of equal worth and attractiveness, being, with the exception of
+three windows of a late date, and a few uncoloured ones, all of the
+gorgeous thirteenth-century variety.</p>
+
+<p>The whole mass of the clerestory throughout gives the effect of windows
+heavily hung with tapestries through which the outside light pierces in
+minute rays. This comparison is made advisedly, inasmuch as, regardless
+of the quality and value of the glass, it is composed mainly of those
+minute and fragmentary particles often more rich in colour than design.</p>
+
+<p>There is little doubt but that the result of the deep rich blue, claret,
+and orange gives a first effect of insufficient lighting which would try
+an artist or photographer sorely, though not a detracting element in
+churches which would often appear cold and unconvincing were such an
+attribute lacking. There are also three magnificent rose windows of
+great size (thirty to forty feet), containing equally good glass.<span class='pagenum'><a name="Page_131" id="Page_131">131</a></span></p>
+
+<p>A double ambulatory surrounds the seven-chapeled choir, which is further
+enclosed by a magnificent sculptured stone screen begun in the sixteenth
+century by Texier, who designed the marvellous north spire. The <i>Vierge
+du Pilier</i> of the north choir aisle, a fifteenth-century shrine, is the
+subject of great local veneration. The treasury contains a <i>relique</i> in
+the form of the veil of the Virgin, supposed to have been presented by
+Charlemagne to Princess Irene.</p>
+
+<p>Other interior details of note are an eleventh-century font; the large
+crypt beneath the choir; the unequal level of the pavement of nave and
+choir; and the maze, which still exists in the nave. This last feature
+is a winding circular path some forty odd feet in diameter, and, in all,
+perhaps a thousand feet long. As a penance in place of a pilgrimage to
+Jerusalem, "the journey of the maze" was performed by the penitent on
+his knees&mdash;taking perhaps an hour or more, according to the size and
+length of the path, which varied with different churches where they
+formerly existed. The other most notable example in France is at St.
+Quentin, northeast of Paris.<span class='pagenum'><a name="Page_132" id="Page_132">132</a></span></p>
+
+
+
+<h4 class="top15">IX<br /><br />
+NOTRE DAME DE REIMS</h4>
+
+<p>T<span class="smcap">he</span> very ancient city of Reims, now the capital of the Department of the
+Marne, was a large centre of population when it first fell under the
+sway of the Romans. During Cæsar's occupation it was known as
+Duroctorum, in the Præfecture of the Gauls.</p>
+
+<p>A powerful metropolis and a faithful adherent of the Romans, the city
+early attained prominence as a centre of Christianity. St. Sixte
+preached the word here shortly after the first bishopric was founded,
+after capture by the Vandals in 406 <span class="smcap">A. D.</span> The city was practically razed
+by Attila, who afterward met defeat at Chalons. During the Roman Empire
+it was the most important town of the Province of Belgica Secunda, later
+becoming known as the capital of the Remi, the name given to the people
+inhabiting the country round about.</p>
+
+<p>In 508 <span class="smcap">A. D.</span> the Franks under Childeric captured the city, and in 720 <span class="smcap">A.
+D.</span> Charles</p>
+
+<div class="image border" style="width: 301px;">
+<a href="images/illus148a.png">
+<img src="images/illus148a_th.png" width="301" height="500" alt="NOTRE DAME de REIMS ..." />
+</a>
+</div>
+<p><span class='pagenum'><a name="Page_133" id="Page_133">133</a></span></p>
+<p class="noind">Martel captured it from Bishop Rigobert. Here, too, Pope Stephen had his
+famous interview with Pepin, and attended the crowning of Louis le
+Débonnaire in 816 <span class="smcap">A. D.</span> In 744 it was made an archbishop's see, with
+suffragans at Amiens, Beauvais, Chalons, and Soissons. It is to-day the
+ecclesiastical capital of France&mdash;the Archbishop of Reims being the
+metropolitan prelate.</p>
+
+<p>Clovis, son of Childeric, King of the Ripuarian Franks, in 496 <span class="smcap">A. D.</span>
+conquered the last Roman stronghold at Soissons, and, having married a
+Burgundian princess, Clotilda, was induced to accept Christianity. He
+was accordingly baptized here by St. Remi on Christmas Day, 496 <span class="smcap">A. D.</span></p>
+
+<p>Leo III. met Charlemagne here; a council was held in 1119 <span class="smcap">A. D.</span> by
+Calixtus II. in an attempt to reconcile Henry I. and Louis le Gros; and,
+later, another, to excommunicate another Henry.</p>
+
+<p>Succeeding years saw a continuity of archbishops, who achieved by their
+religious works a world-wide fame and glory. In these early days they
+held the temporal as well as spiritual power of the cities, and in some
+instances even coined their own specie.</p>
+
+<p>In spite of the changes of the times and <span class='pagenum'><a name="Page_134" id="Page_134">134</a></span>conditions of life, the
+ancient capital of Belgica Secunda still remains the chief city of the
+Departments of the Marne, Ardennes, and Aisne. Its ecclesiastical and
+secular monuments, headed by the grand Cathedral of Notre Dame, form an
+array which is well worthy of such extended consideration as the
+traveller or student can give. The Benedictine Abbey, the Church of St.
+Remi, is likewise notable in all of its dimensions and details. Its
+construction dates from 1162-1506, though the remains of a former
+tenth-century structure are made use of therein. Its chief treasure is
+the tomb of St. Remi, a wonderful Renaissance funeral monument of
+imposing proportions. Another monumental feature of more than unusual
+note, is the magnificent Roman arch of the former fortress of Porte
+Mars. This truly majestic specimen of the work of the Roman builder is
+supposed to have been erected by Agrippa in 25 <span class="smcap">B. C.</span>, in honour of
+Augustus, although another authority puts it as late as the period of
+Julian, 361 <span class="smcap">A. D.</span> At any rate, it has stood the rigours of a northern
+clime as well as any Roman memorial extant; indeed, has seen fall all
+its contemporaries of the city, for at one time Reims was possessed of
+no less than three<span class='pagenum'><a name="Page_135" id="Page_135">135</a></span> other gateways, bearing the pagan nomenclature of
+Ceres, Mars, and Venus.</p>
+
+<p>The various other memorials of the city are on a no less grand scale,
+but the average person will hardly have eyes and ears for more than a
+contemplation of the wealth of splendour to be seen in its overpowering
+cathedral. Of the glorious group of monumental churches of northern
+France, the Cathedral of Notre Dame de Reims, if not admittedly the most
+beautiful and memorable Gothic edifice in all France, needs but little
+qualifying comment. It has a preëminence which has been generally
+conceded, and even elaborately endorsed, by most observers qualified to
+pass opinion hereon. Contemplation of the wealth of detail, and of the
+disposition of its wonderful west front, no less than of its general
+excellencies, can but compel the decision that in its exterior, at
+least, the Cathedral of Reims is the peer of any existing Gothic fabric.
+Though less huge than Strasburg or Cologne, and lacking the doubled tier
+of flying buttresses of the latter, it is altogether the most splendid
+and well-proportioned Gothic mass extant. The diminishing or pyramidal
+effect of the towers and gable of this west façade is an exemplification
+of the true symmetry of<span class='pagenum'><a name="Page_136" id="Page_136">136</a></span> Gothic form. Lofty, and not closely hemmed in
+by surrounding structures, it looms, from any adjacent view-point, fully
+two-thirds of its decorated splendour above the general skyline round
+about. Aside from modern adulation we have the praise of an early
+historian, who delivers himself thus:</p>
+
+<p><i>"Decor et majestes praeclarissime hugus structurae omnem scribendi
+peritiam longe superat, ob elegantum omnibus est admirationi, at que
+sibi similem non habet in tota Gallia."&mdash;Met. Rememsis Hist. Dom.
+Guliol. Marlot S. Nicasii Rem. Prioris, Tom ii. p. 470.</i></p>
+
+<p>Following the preaching of St. Remi, and the murder of St. Nicaise, who
+founded a church on this site in 400 <span class="smcap">A. D.</span>, Ebo, bishop in 818 <span class="smcap">A. D.</span>,
+laid the foundations of a new church, Louis I. granting that such
+material as might be needed be taken from the city wall. To assist, the
+sovereign also sent his architect, Rumaldi. In 847 <span class="smcap">A. D.</span> Archbishop
+Nicman secured a renewal of the privileges, and in the presence of the
+king the building was consecrated in 862 <span class="smcap">A. D.</span> The western entrance was
+ornamented with graven statues of Louis I., the patron, Pope Stephen,
+and the archbishop himself.<span class='pagenum'><a name="Page_137" id="Page_137">137</a></span></p>
+
+<p>This entire fabric succumbed to fire on the 6th of May, 1210, and the
+present structure rests merely on the remains of the ancient crypt,
+which in a measure survived. Few visible remains of this ancient
+foundation are to-day visible. The new church reared itself rapidly
+under the immediate supervision of the Archbishop Alberic de Humbert.
+The choir, begun within two years of the fire, made such progress as to
+allow of the high altar being ceremoniously dedicated within three
+years; and, before the middle of the century, the records tell us that
+the main body of the church was entirely completed. The right tower was
+uncompleted at this time, but was finished by Cardinal Philastre in
+1430, up to which time intermittent labour had evolved a superlative
+combination of constructive and decorative excellencies. The extreme
+lightness of the west front is brought more and more to impress itself
+upon one by reason of the consistent disposition of the excellency and
+delicacy of its sculptured ornament.</p>
+
+<p>This western front, from the grand portals upward, is the <i>apogee</i> of
+French Gothic ornament,&mdash;at once the admiration and boast of all France.
+Here is no mixture or confusion of style, in design or decoration. The
+pointed<span class='pagenum'><a name="Page_138" id="Page_138">138</a></span> arches of window and doorway are of the accepted "best manner,"
+the heavy detail is placed low and rises gracefully to the "Gallery of
+Kings," a grand succession of stone effigies of royalties from Clovis to
+Charles VII., a decorative arrangement not made use of elsewhere to
+anything like a similar extent, a fact which of itself stamps the
+cathedral as the royal church of France. Conceived by one Gaucher, the
+portals are not only superior to all others in richness, depth, and
+quality of the sculpture shown in the hundreds of figures with which
+they are peopled, but are of exceedingly true and appropriate
+dimensions, taken in relation with the other parts of their setting.
+Immediately above the gable of the central portal is a wonderful rose
+window, of the spoke variety, containing thirty-four sections,&mdash;of
+immense size and nearly forty feet across. This "most perfect rose,"
+designed by Bernard de Soissons, may well be credited as one of the
+masterworks of architectural decoration in all the world. Flanking this
+great window on either side are two open lancet arches, while above is
+the "Gallery of Kings" before mentioned. The twin mullioned towers on
+either side rise for two hundred and sixty-seven feet. Light and airy,<span class='pagenum'><a name="Page_139" id="Page_139">139</a></span>
+they depend for their effect of grace and symmetry entirely upon
+structural design, lacking sculptured ornament of any kind. Formerly
+they possessed spires of a great height, which, however, were destroyed
+by fire in the fifteenth century.</p>
+
+<p>"Were all its original attributes complete," says Fergusson, "we should
+have the <i>beau ideal</i>, externally, of a cathedral." This is probably an
+adaptation of Viollet-le-Duc's estimate, which he expresses thus: "This
+west façade is the most splendid conception of the thirteenth
+century,&mdash;Paris, like Laon, being really a transition example, Amiens
+representative of different epochs, Chartres a mere reunion of
+fragments, and Bourges and Rouen a <i>mélange</i> of three centuries."</p>
+
+<p>The south transept portal, which is of great breadth, contains statues
+of the Archbishops of Reims, and one of Clovis. A similar doorway on the
+north side, though now walled up, contains, in the tympanum, a fine
+sculptured "Last Judgment," while the transept itself houses one of
+those great clocks so frequently met with in Continental churches,&mdash;in
+this instance said to be the oldest running time-piece in existence.</p>
+
+<p>Seven flying buttresses, between the <span class='pagenum'><a name="Page_140" id="Page_140">140</a></span>transept and the west front, flank
+the nave, each holding aloft an elegantly canopied niche containing a
+full-length winged figure, a further unique arrangement being a similar
+figure which caps or pinnacles the outer piers, from which the
+buttresses spring. Above the point of contact of the buttresses with the
+main body, runs an effective balustrade of small pointed arches, while
+the abside shows, again, a wonderful combination of the buttress as a
+decorative and utile feature, combined.</p>
+
+<p>The exterior may be summed up briefly as being the most gorgeously
+peopled and decorated structure of its age&mdash;as though it were expressly
+designed to show off this great throng of statues to the best possible
+advantage. Taken collectively, the series forms, says one writer, "the
+most complete and magnificent collection of mediæval iconography
+extant." The figures were originally perhaps as many as five thousand,
+representing nearly all the families of mankind.</p>
+
+<p>In size the Cathedral of Reims ranks third among the four largest in
+France, being exceeded only by Amiens and Chartres, while Paris is
+slightly smaller.</p>
+
+<p>The interior presents by no means the awe-inspiring grandeur of the
+exterior mass, and<span class='pagenum'><a name="Page_141" id="Page_141">141</a></span> is possibly inferior to both Amiens and Chartres,
+and though well disposed, lacks the lightness of Cologne or Beauvais. A
+first impression rather indicates large proportions of length, breadth,
+and height in the nave, though these dimensions are not actually of the
+greatest. The transepts, including their aisles, are, however, of an
+extreme width, but very short; and the absence of side chapels, either
+here or in the nave, produces a regularity of outline unusually
+convincing.</p>
+
+<p>The nave piers, of which there are ten on either side, with two window
+piercings, are of a manifestly heavy order, the capitals unusually so,
+being very deep and weighty with carving in high relief. The triforium
+is severely plain, being a mere shallow gallery of small pointed arches.
+The nave itself is, moreover, somewhat gloomy, when contrasted with the
+brilliant lighting of the aisles, caused by the peculiar arrangement of
+plain and coloured glass, the former filling the windows of the
+clerestory and the latter those of the aisles, the reverse being the
+case with the opposite ranges. The aisles have no chapels between the
+rather low windows, but groups of clustered columns against the walls.
+The vaulting is deep, with simple ribs, coloured<span class='pagenum'><a name="Page_142" id="Page_142">142</a></span> with a blue ground
+spangled with stars and <i>fleurs-de-lys</i>. The choir is surrounded by
+seven chapels.</p>
+
+<p>There are ten columns in the choir, all with beautifully wrought
+capitals. The pavement here is composed of marble taken from Libergier's
+abbey church of St. Nicaise, from which edifice, since destroyed, was
+transferred the tomb of Jovinus, the Roman prefect of Reims, who became
+converted in 366 <span class="smcap">A. D.</span> The sarcophagus consists of a huge block of
+marble, nine feet by four, with a figure of Jovinus, "lion hunting on
+horseback," carved in high relief. The roof of the choir is curiously
+constructed of wood, of chestnut, say the authorities, as no spiders are
+found. The high altar, as reconstructed by Poncelet Paroissien in 1550,
+was a very beautiful affair if old prints, usually none too reliable as
+to detail, are regarded. It was, however, destroyed during the middle of
+the eighteenth century.</p>
+
+<p>The glass of the rose window dates in part from the period of the
+greatest richness (thirteenth century).</p>
+
+<p>The sepulchral monuments, aside from the sarcophagus of Jovinus, are
+to-day practically <i>nil</i>, having been swept away during the terrors of
+the Revolution. Two interesting effigies<span class='pagenum'><a name="Page_143" id="Page_143">143</a></span> still remain, however, near
+the western doorway, a figure of a mailed knight and an abbess.</p>
+
+<p>Among the real riches of the Cathedral are the remarkable and unique
+tapestries; well preserved, and of the finest quality of design and
+texture. Fourteen, by Lenoncourt, date from 1530-70; those in the south
+aisle, the Pepersacks, the gift of Abbé Lorraine, from 1640; and the
+modern Gobelins of the nineteenth century, the gift of the government.
+The "Tresor," which includes the church plate, most of which appears to
+have endured the ravages of invasion and wars, is truly magnificent and
+intrinsically of great value. The chief of these are: the chalice of St.
+Remi, of the eleventh century; a reliquary containing a thorn from the
+Holy Crown; the marble font in which Clovis was baptized in 496 <span class="smcap">A. D.</span>;
+the chasuble of Louis XIII., and the <i>Sainte Ampoule</i>, which contained
+the holy oil brought by a dove from heaven for use at the conversion of
+Clovis, now a mere fragment enclosed in a modern setting, after having
+been ruthlessly shattered by a <i>sans-culotte</i> in 1793.</p>
+
+<p>Adjoining the Cathedral, on the right, is the Episcopal Palace, which,
+with its dependencies, occupies a hectare or more of ground.<span class='pagenum'><a name="Page_144" id="Page_144">144</a></span> In the
+first courtyard is the modern library building, which houses the
+cathedral's rich bibliographical treasures. Further, through a gateway,
+is a structure, in itself a grand building, of the time of Louis XIV.
+The right wing was constructed by Le Tellier in 1690. This portion is
+now occupied as a dwelling by the archbishop. At the end of the furthest
+courtyard is "The House of the Kings," a truly grand establishment, so
+called in the official documents because it was the <i>logement</i> of the
+monarchs who visited the city on affairs of state. This recalls to mind
+not the least notable of the functions performed by the great cathedral
+itself.</p>
+
+<p>With four exceptions all the Kings of France, from Clovis to Charles X.,
+here first entered into their kingly state. The monarchs of France were
+a long and picturesque line, and the ceremonies attendant upon their
+coronations were accordingly imposing and magnificent. The culmination,
+for theatrical splendour and effect, was doubtless that of Charles VII.,
+who, through the efforts of the "Maid," here came into his own. It was a
+splendid, if gaudy, pageant, and the most memorable event among that
+long series which only ended with the coronation of Charles X. in 1823.<span class='pagenum'><a name="Page_145" id="Page_145">145</a></span></p>
+
+
+
+<h3 class="top15"><a name="PART_III" id="PART_III"></a><i>PART III<br />
+The Cathedrals of the Loire</i></h3>
+
+<p><span class='pagenum'><a name="Page_146" id="Page_146">146</a></span></p>
+
+<p><span class='pagenum'><a name="Page_147" id="Page_147">147</a></span></p>
+
+<h4>I<br /><br />
+INTRODUCTORY</h4>
+
+<p>T<span class="smcap">he</span> Loire Valley for its whole length may, in every sense, be well
+considered the dividing-line between northern and southern influences.
+The romance and sentiment which cradled itself here could only have
+emanated from the more languid south, and from vastly differing
+conditions to those of the colder north. The admiration usually bestowed
+upon the attractions of its domestic architectural forms is, no doubt,
+fully merited; albeit that the cathedrals of these wealthy and powerful
+communities are, no one can possibly deny, if not of a mongrel type, at
+least of a degenerate one. It is perhaps hardly fair to note such an
+expression without qualification where it is applied to St. Gatien at
+Tours, which is really a delightfully picturesque structure; or to St.
+Maurice, at Angers, which is unique as to its charm of situation, and
+one of the most interesting churches anywhere to be found.<span class='pagenum'><a name="Page_148" id="Page_148">148</a></span> But the fact
+is that the general plan and design is not only open here to much just
+criticism, but is not of the order of consistency which alone entitles
+an architectural monument to rank as truly great. In no instance, from
+Orleans to Nantes, are the cathedrals of these cities possessed of the
+consistent array of charms which would entitle them to a proportionate
+share of the admiration which is usually accorded to the great domestic
+establishments, the Chateaux of Blois, Chenonceau, Chambord, Langeais,
+or Loches.</p>
+
+<p>The climatic conditions of this region hardly more than intimate the
+suggestion of the southland, but there is to be seen in the vineyards,
+and indeed in things that grow, generally, a notable tendency toward a
+luxuriance that is not found northward of this valley. Productive,
+prosperous, influential, and possessed of historical and sentimental
+associations as a touring ground far beyond any other section of France,
+the Valley of the Loire at once takes rank as the land <i>par excellence</i>
+where the traveller can be sure of a maximum of pleasure and profit; and
+one worthy in every way of as prolonged study and sojourn as one's
+possibilities and circumstances will allow.<span class='pagenum'><a name="Page_149" id="Page_149">149</a></span></p>
+
+<p>The towns group themselves naturally <i>en suite</i> in the following order:
+Orleans, Blois, Tours, Angers, and Nantes, and are so considered in the
+pages that follow.<span class='pagenum'><a name="Page_150" id="Page_150">150</a></span></p>
+
+<div class="image top" style="width: 545px;">
+<img src="images/illus167.png" width="545" height="393" alt="CATHEDRAL of Ste CROIX ORLEANS" />
+</div>
+
+
+
+<h4>II<br /><br />
+ST. CROIX D'ORLEANS</h4>
+
+<p>T<span class="smcap">he</span> association of Orleans, in English minds, mostly rests upon the
+events connected with the siege. Its history in the past has been mainly
+that of bloody warfare and massacre. As the Genabum of Gallia, it was
+burned by Cæsar in 52 <span class="smcap">B. C.</span> in revenge for a previous massacre of the
+Romans. By Aurelian it was rebuilt and named Aurelianum, the progenitor
+of its present nomenclature. St. Aignan in 451 secured the safety of the
+city to the cause of Christianity by warding off Attila's attack.<span class='pagenum'><a name="Page_151" id="Page_151">151</a></span>
+Clovis captured it in 498, but at his death it became the capital of an
+independent kingdom which was afterward, in 613, united with that of
+Paris. Activities no less extensive or vivid followed, till the English
+besieged the city in 1429, only retiring before the conquering hosts led
+by the Maid of Orleans on the 7th of May; the Huguenots held it as a
+stronghold under Coligny; and latterly the Germans occupied it, were
+driven out, and again reoccupied it as a base in 1870-71. Such, in
+brief, is a partial record of its troubles and trials, with scarce a
+reference to a Christian or religious motive, if we except Attila's
+unsuccessful attack and Coligny's Protestant fervour.</p>
+
+<p>The almost legendary part played by Jeanne d'Arc should suffice to
+impress indelibly upon the mind the chief event in connection with any
+city with which her name and fame were associated.</p>
+
+<p>In the third century seven bishops were sent out from Rome, to extend
+the influence of the Church, to Tours, Orleans, Toulouse, Narbonne,
+Paris, Limoges, and Auvergne; though, in spite of the success with which
+they met, and the zeal with which they worked, their meetings were
+chiefly held in the houses of<span class='pagenum'><a name="Page_152" id="Page_152">152</a></span> their more opulent converts, and church
+building at the time appears not to have been so much desired as the
+dissemination of the Word itself. Since its occupation by the Germans in
+"'71," great contrasting elements have sprung up. Nowhere, not even in
+the "up-to-date" Rhine cities of Germany, is better exemplified the
+trend of the age in which we live. There are notable indications of its
+modernity in the architecture of public and private buildings, many
+streets and boulevards of the city being laid out anew and bisecting the
+older portions.</p>
+
+<p>The Cathedral of St. Croix, of widely contrasting styles and eras, forms
+a pleasing enough key-note to it all, in spite of its garish crudities.
+At its best, when viewed from the bridge which spans the well-nigh dry
+bed of the Loire, it composes well with what is at all times a pleasing
+prospect, and is set off to great advantage by the fringe of green
+boulevard along the river bank,&mdash;a fine enough setting for an
+architectural monument of whatever rank, be it new or old, consistent or
+conglomerate. As for the classification of the architectural style of
+the cathedral itself, it is an unprincipled mixture of components, but
+little related to each other. The southern <span class='pagenum'><a name="Page_153" id="Page_153">153</a></span>influence is apparent, alike
+in the scanty remains of the Romanesque, and the restored Renaissance
+portions, while Gothic peeps out here and there, in no mean proportions,
+as though it were misplaced and out of its true environment. The
+cathedral, which was destroyed in 1567 by the Huguenots, in spite of the
+admonitions of the Condés, is still visible in the fragments of the
+choir aisles, the fourteenth-century chapels appearing to have been
+uninjured. This much remains of the Gothic of Henry IV.'s time. The late
+seventeenth-century work is a manifest expression of the debasement of
+Gothic, and such other additions as were made in the reigns of the Louis
+carry the vulgarities still further, the acme being reached in the
+pseudo-classical north and south porches, which are sepulchral-looking
+of themselves, and not even of the most admired variety of the species.
+The most that can be remarked, considering all the distinctive features,
+is the fact that this cathedral is the only Gothic church, so ranking,
+that is not of Mediæval growth, a fact which may well account for its
+unsatisfactory style.</p>
+
+<p>The façade follows the usual enough arrangement of three portals, though
+very ugly ones, flanked by rising towers on either side.<span class='pagenum'><a name="Page_154" id="Page_154">154</a></span> In this case
+these doorways are of the nondescript variety commonly accepted as base
+Gothic, but hardly warranting even such a term of endearment. They are
+in fact flamboyant as to their lines, though of a remarkable poverty as
+to further embellishment, if we bar a series of misplaced armorial
+blazonings.</p>
+
+<p>Topping the gables of the portals are a series of circular apertures,
+with framing of a sort, but without glass,&mdash;a poor imitation of what a
+rose window might be at its worst. Above is an arcaded gallery of nine
+graceful arches, the first really attractive ornament of this debased
+façade. The towers, finished so late as 1789 by M. Paris, the king's
+architect, rise loftily some two hundred and eighty feet, with ranges of
+slight columns and perpendicular lines, which give the grand and
+imposing effect of height of which the cathedral is undeniably
+possessed, and which, when viewed from down the Rue Jeanne d'Arc, is
+without doubt impressive,&mdash;far more so than greater intimacy will
+sustain.</p>
+
+<p>The nave, of a height of one hundred feet, is flanked by double aisles,
+and in appearance is every way superior to the exterior.<span class='pagenum'><a name="Page_155" id="Page_155">155</a></span></p>
+
+<p>No remarkable art treasures are to be seen, if we except a series of
+sculptured Stations of the Cross beneath the windows, and the Gothic
+altars of the transepts.<span class='pagenum'><a name="Page_156" id="Page_156">156</a></span></p>
+
+<div class="image top" style="width: 531px;">
+<img src="images/illus173.png" width="531" height="383" alt="CATHEDRAL of S. LOUIS BLOIS" />
+</div>
+
+
+
+<h4 class="top15">III<br /><br />
+ST. LOUIS DE BLOIS</h4>
+
+<p>R<span class="smcap">egardless</span> of the sentiment which attaches itself to Blois by reason of
+its magnificent chateau, and in spite of its undeniably picturesque and
+interesting environment, it hardly takes sufficient rank as a cathedral
+city to warrant more than a passing consideration. As it is, one cannot
+get from under the shadow of its overpowering attraction, and, in spite
+of the poverty and depressing qualities of the Cathedral of St. Louis,
+perhaps no place in the Loire valley has more claim upon the attention
+of the enthusiastic tourist. The wonderful<span class='pagenum'><a name="Page_157" id="Page_157">157</a></span> chateau is all that has been
+said of it, and more. The picturesqueness of the city's streets of
+stairs, and its general up and down hill situation, offering charming
+vistas, unique in a city of the north, are, except for its size, really
+more suggestive of Genoa or Naples. In the general ensemble of the city,
+the Loire is an attraction of itself, when viewed from across that
+wonderful stone bridge, the first public work endowed by Louis XV. But
+even then, the awkward and uninteresting cathedral does not enter into
+the view with that liveliness and impressiveness which we are wont to
+associate with such an environment. In short, it must be set down that
+in the lack of pleasing qualities in its cathedral, is found Blois'
+greatest disappointment.</p>
+
+<p>The tourist <i>pur sang</i> will care little about this. He usually rushes in
+and out during the daylight, and recalls but little except the
+fascinating staircase of the chateau attributed, as to its spiral
+formation, to Da Vinci; the ornamental chimney-pieces; and the fact that
+historical events of the past have intermingled inextricably the
+gruesome stories of the royal houses which bore respectively the arms of
+hedgehog and salamander. This only, with perhaps the memory that at one
+time or <span class='pagenum'><a name="Page_158" id="Page_158">158</a></span>another a certain event took place involving the use of some
+forty odd daggers.</p>
+
+<p>Perhaps, after all, it would be an embarrassment of riches did the town
+possess a cathedral, or even other monuments, to vie with this
+spectacular attraction which, from every view-point realizes the ideal
+of our imagination, as to just what a chateau and its history might be.</p>
+
+<p>From near or far the cathedral shows no charm of outline. Its ridgepole
+is marred by three unusually obtrusive "lightning conductors," which
+could hardly have been more offensive had they been turned into those
+lath-like crosses which are seen elsewhere. Its tower is a monstrosity,
+with an egg-shaped protuberance which is neither shapely nor impressive,
+while the southern range of the nave and aisle, when viewed laterally,
+shows a bareness and poverty of design unusual and painful. The
+ensemble, from this point, is one of a certain impressiveness. It could
+hardly be otherwise, with the situation which it commands, even were it
+the grossest thing that ever took shape in architecture. Its
+irregularities and inconsistencies, and the great variety of outline
+shown by the roof-tops of the town, perhaps, make up in a measure for<span class='pagenum'><a name="Page_159" id="Page_159">159</a></span>
+the lack of individual beauties in the church itself.</p>
+
+<p>There is this much to be said, however, for the functions which this
+church performs. If all were as much made use of by the market-day
+peasants, streaming in from the surrounding country, who, with their
+jugs, market-baskets, and what not, in their hands, enter the building,
+say a short prayer or two, and toddle out again, there would doubtless
+be fewer churches with a poverty-stricken air and more of a better and
+more prosperous class.</p>
+
+<p>The greater part of the cathedral which originally stood on this site
+was destroyed during the Revolution, and that which was afterward reared
+here was merely a restoration by Mansard, who, it is to be presumed,
+made such use as was possible of what remained.</p>
+
+<p>The interior, most will agree, is no more remarkable than the exterior
+adornments; in fact the same paucity of plan and of detail appears from
+one end to the other, inside and out. The aisles are astonishingly low;
+the choir and nave, each unusually short. There are no transepts, and
+there is no triforium whatever, no chapels of any remarkable beauty, and
+little glass that is even passable. On the walls of the nave, beneath
+the low<span class='pagenum'><a name="Page_160" id="Page_160">160</a></span> clerestory windows, are a series of four carven Renaissance
+marble panels, with other blanks suggesting the ultimate addition of
+similar sepulchral-looking ornaments. Such, in brief, is a résumé of the
+attractions, or rather the lack of them, as it will strike the average
+person. It is perhaps no small wonder that the traveller who desires to
+study architectural forms, or to sketch them, should prefer the less
+holy precincts of the chateau, where every facility is offered for the
+pursuance thereof, to that more "blessed ground," covered by the
+cathedral, which offers little enough in itself, and that little under a
+surveillance which makes one regret that the feudal times are not still
+with us,&mdash;when we might vent our spleen and anger upon any who offend
+us.<span class='pagenum'><a name="Page_161" id="Page_161">161</a></span></p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_162" id="Page_162">162</a></span></p>
+<p>&nbsp;</p>
+
+<div class="image top" style="width: 608px;">
+<a href="images/illus178.png">
+<img src="images/illus178_th.png" width="608" height="500" alt="St. Gatien de Tours" />
+</a>
+</div>
+
+<p>&nbsp;</p>
+
+
+<p><span class='pagenum'><a name="Page_163" id="Page_163">163</a></span></p>
+
+<h4>IV<br /><br />
+ST. GATIEN DE TOURS</h4>
+
+<p>T<span class="smcap">he</span> <i>soi-disant</i> provincial metropolis of Mr. James' appreciative
+favour, the capital of old Touraine, is possessed of great and many
+charms for the seeker after new things. He may be passionately fond of
+churches; if so, the trinity here to be seen, and the history of their
+founders and prelates, and the important part which they played in
+church affairs, will edify him greatly. If romance fills his or her
+mind, there is no more convenient centre than Tours from which to "<i>do</i>"
+the chateaux of the Loire. If it be French history, or the study of
+modern economic or commercial conditions, the past activities and
+present prosperity of the city will give much food for thought. If to
+literature one's mind turns, there is the association with Balzac's
+birth in the Rue Royale, and his delightful picturings of the city's
+environment in the "Curé de Tours," "Le Lys dans la Vallée," and "La<span class='pagenum'><a name="Page_164" id="Page_164">164</a></span>
+Grenadière." Says Balzac of the habitant: "...He is a listless and
+unobliging individual." But the sojourner for a day will probably not
+notice this, and, if he should, must simply make allowance, and think
+with Henry James of the other memories of "this land of Rabelais,
+Descartes, and Balzac; of good dinners, good company, and good houses."
+To link the city still closer with letters, the first printing-press in
+Touraine was set up here in 1496. Nicolas Jensen, famed as the foremost
+Venetian printer of his time, was born in the neighbourhood and was at
+one time "Master of the Mint" at Tours. Christopher Plantin, the head of
+the famous Antwerp family of printers, likewise was born in the near-by
+suburb of St. Avertin près Tours.</p>
+
+<p>Climatically, Touraine appears to linger between the rigours of the
+north and the mildness of the southland; at least we are conscious of
+another atmosphere, made apparent by such evidences as palms and prunes
+growing in the open.</p>
+
+<p>Tours, says her historian, has ever employed the pure French in her
+spoken and written word; "patois and provincialisms have no place
+here."<span class='pagenum'><a name="Page_165" id="Page_165">165</a></span></p>
+
+<p>St. Martin of Tours erected a church here, in honour of St. Peter and
+Paul, as a sort of antidote to the many pagan temples which he had
+caused to be destroyed. His successors built several others round about
+the city, but they appear to have been all of small size until, in the
+fifth century, Perpetus, Bishop of Tours in the reign of Childeric,
+caused to be built a more splendid church to replace that which Briceius
+had erected over the tomb of St. Martin. This, in turn, was rebuilt by
+the celebrated Gregory of Tours, or so ordered by him; until finally in
+the seventh century the abbey church of St. Martin of Tours became a
+place of pilgrimage for all the Turones. To-day, nought remains of this
+great church but the two towers, which have been bisected by the running
+of a street throughout the old nave of the church; and thus they stand
+as silent sentinels of the means through which Tours arose to its
+ecclesiastical dignity. The Tour St. Martin or "de l'Horloge" is of the
+twelfth century, and the other, called the Tour de Charlemagne, being
+the burial-place of his wife Luitgarde, is, in its lower portions, of
+the eleventh century.</p>
+
+<p>The Cathedral of St. Gatien, which should be greatly endeared to the
+English people, was<span class='pagenum'><a name="Page_166" id="Page_166">166</a></span> commenced by Henry II. in 1170, the choir being the
+earliest portion. The transepts followed in the next century, and the
+façade as late as the fifteenth, or the beginning of the sixteenth,
+century. Of manifestly Renaissance tendency, this façade for sheer charm
+and picturesqueness must rank with the best, with the qualifying
+statement added that it offends against many consistent artistic and
+architectural principles. It is certainly an effective type, although
+perhaps not warranting the statement of a certain monarch, whose art
+training may to some degree have been wanting, that it was a "jewel in a
+gemmed setting." An exceedingly picturesque and attractive pair of
+towers rise, through no less than three different styles, to the
+inverted egg-cups, which in a purer example might perhaps prove less
+pleasing, but which in the present case seem at least to be imbued with
+something of the Oriental or Mediterranean influence, not yet fallen
+before the actual decadence. Another peculiarity of this charmingly
+toned west front is that the rose window is of a peculiar lozenge shape,
+"neither square nor round," as one authority puts it. This, of itself,
+is decidedly not a graceful arrangement; but the proportions are ample
+and the glass is good, so its<span class='pagenum'><a name="Page_167" id="Page_167">167</a></span> deficiencies may in a measure be said to
+be overbalanced by its merits; and, for that matter, as it is only seen
+in its minutia of detail from the inside, where the excellent coloured
+glass is seen at its best, it hardly detracts from the general fine
+effect of the exterior façade. The western doorways are thoroughly
+Renaissance, both inside and out, while the portals themselves offer a
+livid suggestion as to what they might have been, were all the bare
+niches and blocks filled and mounted with worthy statues. The effect
+would have been an undeniable approach to the best matured Gothic, and
+would have enhanced greatly this already highly interesting façade. The
+buttresses of the choir follow the accepted forms of grace and
+effectiveness, and, while not numerous or remarkable as to size, each
+springs to a supporting pier gracefully pinnacled and gargoyled. One
+instance of the functions of this valuable adjunct to the towering forms
+taken by most Gothic structures, is a buttress which springs,
+unsymmetrically enough, from the north transept. This rather ungainly
+limb flies out like the tentacles of an octopus, grasps a small building
+on the opposite side of a narrow roadway, and forms a support to the
+irregular construction of the<span class='pagenum'><a name="Page_168" id="Page_168">168</a></span> north transept. This was perhaps
+necessary as a means of bracing the transept wall, which it might not
+have been possible to accomplish otherwise.</p>
+
+<p>The interior presents the unusual feature of the omission of the organ
+case from over the western doorway, the organ being in this instance in
+the south transept, as at Le Mans. The wall space centered upon the nave
+proper is entirely given over to the lozenge-shaped "rose," which, in
+spite of its rather heavy framing and kaleidoscopic and patchworky
+glass, is withal effective beyond many more gracefully formed openings,
+where the glass is either too severely plain, or worked into a supposed
+design, which, by reason of its minute particles, is undecipherable. The
+design and arrangement of a series of lancets supporting the lozenge
+would be remarkable, were it in company with the best glass of the
+middle ages. It depicts an "Adoration" in which kings, saints, and
+bishops are modelled brilliantly, and with evidence of much good
+drawing, a detail often wanting in old, or, for that matter, modern
+glass.</p>
+
+<p>The glass of the choir, on the other hand, is far better in arrangement,
+and shows deep, rich particles which are only at their best in<span class='pagenum'><a name="Page_169" id="Page_169">169</a></span> the work
+of the early period here shown. In this glass are depicted the arms of
+St. Louis, Blanche of Castile, and of the City of Tours. The choir
+itself widens out from the crossing of the transept, causing that
+deviation between the piers of nave and choir which made necessary the
+ungainly flying buttress of the north wall.</p>
+
+<p>The aisles of the nave are of no great width and are fringed with a
+series of chapels of which only one, that of the Sacred Heart, is in any
+way remarkable. The radiating chapels of the choir are more interesting,
+notably the lady-chapel, which contains old glass removed thither from
+the church of St. Julien, the subject of one of Turner's rhapsodies in
+his "Seine and Loire."</p>
+
+<p>The clerestory of the nave consists of plain glass only; and on the
+triforium alone, of exceedingly graceful arcaded columns, depends the
+beauty of the upper ranges.</p>
+
+<p>The chief treasure of artistic value and moment is unquestionably the
+tomb of the children of Charles VIII. and Anne of Brittany, by whose
+early deaths the throne passed to the Valois branch of the Orleans
+family. This remarkable monument is of the early sixteenth century and,
+according to the report of the<span class='pagenum'><a name="Page_170" id="Page_170">170</a></span> <i>Commission des Monuments Historiques</i>,
+is the work of Guillaume Regnault, a statement which is much more likely
+to be correct than the usual guide-book information, which in some
+instances credits it to Goujon, and in others to a local apprentice of
+his, named Juste. On a Renaissance sarcophagus lie the two tiny
+effigies, in white marble, surrounded by guardian angels and other
+symbolical figures. The base bears escutcheons of the Dauphins of
+France, the arms and two inscriptions referring to the princes and their
+birth.</p>
+
+<div class="image" style="width: 333px;">
+<img src="images/illus187.png" width="333" height="425" alt="Flying Buttress, St. Gatien de Tours" />
+</div>
+<p><span class='pagenum'><a name="Page_171" id="Page_171">171</a></span></p>
+
+<div class="image top" style="width: 329px;">
+<a href="images/illus188.png">
+<img src="images/illus188_th.png" width="329" height="500" alt="St. Maurice d&#39;Angers" />
+</a>
+</div>
+<p><span class='pagenum'><a name="Page_172" id="Page_172">172</a></span></p>
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_173" id="Page_173">173</a></span></p>
+<h4>V<br /><br />
+ST. MAURICE D'ANGERS</h4>
+
+<p>H<span class="smcap">istorically</span> and romantically, Angers, the former capital of Anjou, is
+possessed of a past (which may be said to have actively commenced in
+989) that cannot fail to arrest and hold one's attention. Capital of the
+Dukes of Anjou, and the home of Margaret of Anjou, daughter of René, who
+married Henry VI. of England; likewise the cradle of the first
+Plantagenets; and immortalized by Shakespeare's King John, who
+soliloquizes anent "The flinty ribs of this contemptuous town." With all
+this, Angers has perhaps a supreme claim for English consideration. In
+spite of all this, and the added attraction of a "real castle," such as
+is seldom found outside the children's fairy-tale books, not to mention
+the Cathedral of St. Maurice,&mdash;of which more anon,&mdash;Angers leaves one
+with the impression that very much is wanting in order to merit
+preëminence in the classification of those<span class='pagenum'><a name="Page_174" id="Page_174">174</a></span> memories which a traveller
+is wont to store up as a result of his travels and observations. Perhaps
+it is the city's pitiful attempt to be gay, to be modern, to undertake
+pretentious improvements,&mdash;all of which appear to fail utterly in their
+purpose. These things cannot be unless they are of a spontaneous growth,
+which here they apparently are not. Not that the city still merits the
+opprobrious (<i>sic</i>) term of "Black Angers" with which most writers and
+all makers of guide-books are pleased to refer to it,&mdash;it hardly does.
+In fact it is doubtful as to just what the term originally meant.
+Perhaps it was merely a reference to the gloom caused by the extensive
+use in the construction of its buildings of the black slate in which the
+neighbourhood abounds;&mdash;at any rate the expression is one of undoubted
+antiquity.</p>
+
+<p>The two chief attractions are the cathedral and the castle, both
+"historical monuments." The latter, as before noted, is the ideal
+military stronghold of our early imagination; and if age, magnitude, and
+the general air of good preservation, count for anything, it must be one
+of the most impressive monuments of its class still to be seen.
+Originally its wall, now minus battlements, fronted close upon the<span class='pagenum'><a name="Page_175" id="Page_175">175</a></span>
+river. It is surrounded by a dry yawning <i>fosse</i>, formerly a moat, and
+possesses no less than seventeen enormous and perfectly formed towers,
+each perhaps eighty feet in height, banded near the top in white and
+black stripes. Hardly more than a circling wall to-day, it has stood
+well the test of time since it was erected by Philip Augustus and
+completed under St. Louis in 1180. Little remains of the Renaissance
+portion originally occupied by the Counts of Anjou. Its charm lies
+rather in its exterior, the interior confines resembling more a
+lumber-yard than anything else,&mdash;not worth spending one's time upon,
+under the present facilities which are offered for its inspection. One
+small structure within the walls is notable as being that in which King
+René was born. It is recorded that Wellington received a part of his
+military education in Angers. If so, it is probable that he studied this
+military defence with some care and minuteness. To us, at least, who
+have not been educated with respect to military fortification, it seems
+to fill all demands that are likely to be made upon a building of its
+class. Doubtless it could have been besieged successfully, and even
+battered through to the extent of allowing the outside foe to enter, but
+it would<span class='pagenum'><a name="Page_176" id="Page_176">176</a></span> probably have been at a fearful cost, and it is possible that
+the attempt would be given up before any surrender took place. Such
+would appear to an outsider to be the lines on which these magnificent
+works of feudal times were built.</p>
+
+<p>One should not speak slightingly of the Cathedral of St. Maurice, though
+it comes upon one who journeys from the north, as a thing apart from
+anything he has met before; so much so that he is hardly likely to be
+able to judge it dispassionately until he has turned his impressions of
+it many times over in his mind.</p>
+
+<p>The Angevine style, seen here, is representative of but a very
+restricted area. The <i>Société des Monuments Historiques</i> defined it as
+"a small district on both sides of the Loire between Normandy and
+Acquitaine." It is suggestive of the Roman manner, far more than the
+Gothic; though the primitiveness shown in the long, upright lines of the
+west front of this cathedral marks it at once as something different
+from either Romanesque or Transition,&mdash;though Transition it must be,
+unless we delimit the confines of that useful term. In any case, it
+points unto heaven in a truly devout manner, is not debased in any
+<span class='pagenum'><a name="Page_177" id="Page_177">177</a></span>particular, and, if not a consistent style, has many of the good
+qualities of both. The Cathedral of St. Maurice is best seen from a
+point of view which will exaggerate its height, its slimness, and its
+straight and upright lines; but even this does not appear to work out to
+its disadvantage, in spite of the new note it strikes. It is an
+interesting work when viewed from any distance sufficient to throw its
+outline well into the air. From across the Maine, it is charming; from
+the foot of the stairwayed street which runs downwards from its western
+portal, it is picturesque and irresistible, while from any other
+view-point in the town, it is grand.</p>
+
+<p>The easterly end is dwarfed by close-lying houses, picturesque enough in
+themselves; but the gracefulness of the buttress is wanting. The south
+side is, here and there, broken into by additions and interpolations,
+none apparently of a contemporary era. It offers a grand effect for an
+artist who would study gray walls and crumbling roofs, but the lack of
+uniformity will offend most people.</p>
+
+<p>The façade of the west is the most effective feature, so far as
+genuineness is concerned. It towers to the sky, its needle-pointed
+spires overtopping a crooked street which rises<span class='pagenum'><a name="Page_178" id="Page_178">178</a></span> sharply from the river.
+There is but one portal, and that is centred with a curious Romanesque
+arch half-way across its height, above which is a bas-relief of great
+size. The sculpture of this portal, while not as excellent as that seen
+in the Isle of France, is of an unusual richness and execution. The next
+range is unique among west fronts, being a large central window, but
+slightly pointed and little removed from the Romanesque. It is bare of
+coloured glass, and is decidedly not an attractive feature. On each side
+of this great window are a series of blunt pointed lancets, which form a
+sort of arcade which otherwise relieves the bareness which would exist.
+Immediately above is a row of niches which hold eight armour-clad
+knights of the fifteenth century, inferior perhaps, in execution, to the
+sculpture of the portal, but producing an effect, when viewed from the
+ground, undeniably fine. It is a detail as interesting, in its way, as
+the long "Gallery of the Kings" at Reims. Above rise the slim spires,
+with an octagonal cupola superimposed over a central structure, which
+looks to this day as though it were originally intended as one of a
+battery of three uniform spires. The general plan of this façade is the
+masterpiece of design of the building,<span class='pagenum'><a name="Page_179" id="Page_179">179</a></span> and, except for the ludicrously
+diminutive clock-face, could withstand nobly the cavil of the most
+exacting pedant who ever read or studied architectural forms, solely out
+of books. In the immediate foreground falls the before mentioned street
+of steps. Many old tumble-down houses have recently been cleared away,
+and, at the present writing, the view from this point is one which has
+apparently not previously existed, and one which it is to be hoped will
+not be marred by the erection of any so-called modern improvements.</p>
+
+<p>The interior fills no accepted formula of architectural expression, save
+that it is of the manner common to Anjou, the borderland between the
+Gothic aisled and the great and aisle-less southern naves, but it holds
+one's interest none the less. Perhaps, after all, it is the quality to
+interest, quite as much as that to please, which is the standard by
+which one makes estimates and forms opinions. There is a not very long
+nor very wide nave and choir, neither with aisles, and both with a
+vaulting which gives the appearance of being much lower than it really
+is, quite the contrary impression to that received from contemplation of
+the exterior. The bishop's throne sets <span class='pagenum'><a name="Page_180" id="Page_180">180</a></span>midway on the right of the nave.
+Each bay of the side walls of the nave is composed of a wide pointed
+arch resting immediately upon the ground and filled with stone instead
+of glass; reminiscent of a similar effect in the Church of Notre Dame de
+la Cloture at Le Mans. The true windows of the nave rise in pairs above
+this arch, and contain rich, though somewhat fragmentary, glass of the
+thirteenth century. As characteristic of the Angevine style, there is no
+triforium or clerestory, and hence, it is claimed, no necessity for
+flying buttresses, the support being accomplished by less graceful, if
+as effective, heavy square piers built into the outer wall.</p>
+
+<p>The transepts are not pronounced as to length or breadth, their chief
+beauty being their rose windows.</p>
+
+<p>The choir, of the twelfth century, shows an interpolated and elaborately
+flamboyant doorway of a much later period.</p>
+
+<p>An ornate oaken pulpit of none too good Renaissance carving is in the
+nave, and the organ case over the western doorway is supported on the
+shoulders of a series of huge, grotesque, but monstrously human, wooden
+caryatides. This, with the gigantic, high canopied carven wood pulpit,
+one of the most<span class='pagenum'><a name="Page_181" id="Page_181">181</a></span> extraordinary in the country, forms a relief to coldly
+chiselled stone, certainly;&mdash;but few will consider their charms such as
+would warrant counting them amongst ecclesiastical treasures.</p>
+
+<p>The fourteenth-century tapestries from Arras (or Paris) were made for
+King René and by him given to the cathedral. They represent scenes from
+the Apocalypse, and, though having suffered somewhat from the
+depredations of the Revolution, still exhibit evidences of rare
+qualities of workmanship in their design and colouring.</p>
+
+<p>The <i>bénitier</i> of <i>verd-antico</i> marble supported by figures of lions is
+a Byzantine work of the eastern empire, given to the cathedral by King
+René.</p>
+
+<p>The Dukes of Anjou and Margaret of Anjou were buried here, but the tomb
+of the latter was desecrated and destroyed during the Revolution. Aside
+from these, no other monuments of note are to be seen.</p>
+
+<p>The Bishop's Palace, of the twelfth century, standing high beside the
+cathedral, was restored by Viollet-le-Duc and reflects a mediæval
+splendour unseen elsewhere in the city, with respect to any great or
+small domestic establishment.<span class='pagenum'><a name="Page_182" id="Page_182">182</a></span></p>
+
+<p>The Maison Barrault in the Logis Barrault, built by a former mayor of
+the city, one time Chancellor of Brittany, was the scene of the
+magnificent entertainment offered Cæsar Borgia in 1497. Afterwards it
+became the residence of Marie de Medicis; later, a monastic
+establishment, then a seminary, and lately simply an ordinary private
+school. Says one writer, "No wonder its remains should be so scanty and
+ill preserved."<span class='pagenum'><a name="Page_183" id="Page_183">183</a></span></p>
+
+<div class="image top" style="width: 560px;">
+<img src="images/illus200.png" width="560" height="406" alt="CATHEDRAL of St. PIERRE NANTES" />
+
+</div>
+
+
+
+<h4>VI<br /><br />
+ST. PIERRE DE NANTES</h4>
+
+<p>A<span class="smcap">s</span> a city of commercial and strategic importance, no one will deny that
+Nantes is supreme in the Loire valley; that its relations with the
+affairs of Church and State are equally important, is a debatable point.
+True, the edict in favour of Protestant worship, fathered by Henry IV.,
+was a momentous and significant event; but the revocation, and the
+subsequent massacres of the rascally Carrier, well-nigh wiped that out.
+The history of the city is one long record of warfare and bloodshed.
+Though holding the command of the<span class='pagenum'><a name="Page_184" id="Page_184">184</a></span> Loire, the city has ever been more
+closely identified with Brittany. Here, in its frowning tenth-century
+castle, which fronts upon the river immediately in the foreground of the
+Cathedral of St. Pierre, with which it forms an unusual grouping of
+ecclesiastical and military architecture (M. H.), lived at one time or
+another, most of the Kings of France, from Charles VIII. downward. Here,
+too, Anne of Brittany was born, and here she married Charles VIII., thus
+uniting the Duchy of Brittany with the crown of France. Her subsequent
+marriage, in the chapel of the castle, with Louis XII., made for ever
+impossible the future independence of the city.</p>
+
+<p>Following the edict came the Revolution; and, as if the preliminary
+horrors of massacres and atrocities, which spread to Orange in Vaucluse
+and to Arras in Picardy, were not of sufficient stringency, the
+"Noyades," or drownings, carried off the poor unfortunates, a boatload
+at a time, until it is estimated that perhaps nine thousand were thus
+cruelly murdered,&mdash;women, children, royalty, and the clergy alike. The
+wrath which spent itself seemed to know no rank. The guillotine,
+disease, and famine finished the work, so that the population of the
+city was, at the beginning of<span class='pagenum'><a name="Page_185" id="Page_185">185</a></span> the nineteenth century, immeasurably
+inferior in numbers to what it had been a decade before. The details of
+these significant events are recounted quite fully enough by historians
+generally; but, in reality, it has little to do with the aspect of the
+city as it exists to-day, which, if not one of great splendour, partakes
+in no small measure of the attributes of a large metropolis, amply
+planned, beautifully laid out, and possessing, in addition to the
+characteristics of Brittany with which it has been so long identified,
+not a little of the influences and attributes of the south.</p>
+
+<p>Immediately to the rear of the chateau is the Cathedral of St. Pierre,
+ancient as to its foundation, and grand as to its general effect, both
+inside and out, though its exterior is marred by its uncompleted towers.
+Lofty, but of heavy proportions, St. Pierre de Nantes would, at first
+sight, appear to offer much that goes to make a satisfying
+ecclesiastical building. As a matter of fact, it fails in many
+particulars to realize any ideal which we have come to admire. The
+western façade is more indebted to the rich and reasonably ornate
+portals for its undeniable impressiveness, than to the gable of towers,
+which have crumbled exceedingly from the effects of wind and<span class='pagenum'><a name="Page_186" id="Page_186">186</a></span> weather,
+rather than of great age, since they date only from the fifteenth
+century.</p>
+
+<p>The choir rests on the remains of an older church, hardly to be seen
+to-day in any appreciable evidence, in that restoration and rebuilding
+have been so extensively carried on.</p>
+
+<p>The windows throughout are but weak decorative elements, and lack
+tracery and glass of a decorative quality, an obvious detraction in any
+great architectural work. The south transept shows indications of four
+successive periods of construction, and contains the best glass in the
+church; otherwise it is severely plain.</p>
+
+<p>The interior is by no means as incoherent as the exterior, the height of
+the nave, one hundred and thirty feet, giving an otherwise
+unapproachable grandeur; though this admirable dimension is qualified to
+no small degree by a triforium of a luxurious florid growth, little in
+keeping with the other attributes of firmness and strength.</p>
+
+<p>The chapels throughout are bare and uninteresting so far as their altars
+or decorative embellishments are concerned,&mdash;what they may be at some
+future time, if the <i>Art Nouveau</i> gets a foothold in church decoration,
+is fearful to contemplate. Paintings, none too<span class='pagenum'><a name="Page_187" id="Page_187">187</a></span> common in French
+churches, are here somewhat in excess of customary numbers, though, as
+to quality or interest, in no church in France can they vie with those
+of the great churches of Italy or Flanders.</p>
+
+<p>Like the neighbouring city of Tours, Nantes has in its cathedral, for
+its <i>pièce de résistance</i>, a magnificent sepulchral monument, the tomb
+of François II., the last Duc de Bretagne, and Marguerite de Foix, his
+second wife, erected to their memory by their daughter Anne. This
+remarkable mausoleum was executed in 1502-07, after designs of Jehan
+Perréal, by Michel Colomb and his pupils, Regnault and Jean de Chartres,
+with the assistance of Jérôme de Fiesole, who contributed the ornamental
+portion. It fortunately escaped demolition at the Revolution, and was
+brought hither and placed in the south transept from the Eglise des
+Carmes in 1817. It is a wonderful exemplification of the very best
+quality of Renaissance. The main portion of the tomb is of marble, with
+black mouldings somewhat shattered in places, but not so much so as to
+affect the contour or design. The effigies lie recumbent upon a slab,
+their feet resting on a lion and a greyhound, upheld by a series of
+miniature figures of the<span class='pagenum'><a name="Page_188" id="Page_188">188</a></span> twelve apostles in niches of red marble. At
+the corners are four nearly life-size figures, depicting Justice, with
+sword and scales, said to be a portrait of the Duchess Anne; Power,
+strangling the dragon of Heresy; Prudence, a double face, showing also
+Wisdom, with mirror and compass; and Temperance, bearing a curb-bit and
+a lantern. A tablet at the head bears the figures of St. Louis and
+Charlemagne, and one at the foot, those of St. Francis of Assisi and
+Ste. Marguerite, the patrons of the duke and duchess.</p>
+<p><span class='pagenum'><a name="Page_189" id="Page_189">189</a></span></p>
+
+
+<h3 class="top15"><a name="PART_IV" id="PART_IV"></a><i>PART IV<br />
+Central France</i></h3>
+
+<p><span class='pagenum'><a name="Page_190" id="Page_190">190</a></span></p>
+
+
+<div class="image border top" style="width: 500px;">
+<a href="images/illus208a.png">
+<img src="images/illus208a_th.png" width="500" height="297" alt="St. Etienne d&#39;AUXERRE" />
+</a>
+</div>
+<p><span class='pagenum'><a name="Page_191" id="Page_191">191</a></span></p>
+
+
+<h4>I<br /><br />
+ST. ETIENNE D'AUXERRE</h4>
+
+
+<p>The entrance to the Burgundian city of Auxerre is more or less confused
+if one would, at the first glance, attempt to recognize its cathedral
+from among the three fine churches which in true mediæval fashion loom
+up over the river Yonne; not that the entrance is not pleasing: the
+reverse is actually the case, though one's way into the town lies
+through newly made roads. However, upon contemplation of the pleasant
+prospect of town and river, he would be an uninspired person indeed who
+would not be able to pick out the Cathedral of St. Etienne, with its
+singular reddish brown roof, from among its less imposing neighbours. It
+is the central building of the three, and it rises majestically above
+all, enhanced by the fine grouping of its one lone tower.</p>
+
+<p>As a type to admire, the cathedral, be it said, is not of a superlative
+quality; but as a thing of beauty in many of its details and<span class='pagenum'><a name="Page_192" id="Page_192">192</a></span> because of
+its aforesaid commanding situation, it is one not to be ignored when the
+really fine gems of mediæval treasures are catalogued. It is another of
+those types, so far as its choir is concerned, which rise to a loftiness
+of soaring height, which, in later days, degenerated, or were lost
+altogether in the fabric of the transepts and nave. The height of the
+choir is perhaps not so great as it really appears, when gauged by its
+sheer rise from the river level; but such is the suggestion, at least,
+which, after all, is what the eye and certain other of our senses
+admire, quite as much as a professed expert classification.</p>
+
+<p>The western front is of unusual appearance in that the southern tower
+glances off into the angle of the gable in most curious fashion; not
+beautiful, nor as originally intended to remain, but so it is, and
+offers at least a comparison of how a lofty gable looks when it lacks
+towers of an appropriate height. At the right of this low tower of the
+façade, hidden behind a wall, is a thoroughly Pagan doorway, which might
+well pass unobserved, did one not actually stumble upon it unawares. It
+is a curious reminder of other days and other ways, and how it became an
+adjunct of this mediæval church the local records fail to<span class='pagenum'><a name="Page_193" id="Page_193">193</a></span> state. The
+three main portals of the façade, as that of the transept, are somewhat
+bare of ornament, though the main tympanum and the spring of the arch
+are fairly filled. These portals are of the late thirteenth century, and
+exhibit no traces of the debasement which subsequently entered into the
+upper ranges of the tower and lateral portals.</p>
+
+<p>Both the transepts and the west front contain rose windows of good,
+though not remarkable design, and each is exceedingly generous in size.
+The interior, generally, does not give the effect of the great height
+suggested from the rear view of the choir overhanging the river front;
+but both nave and choir are of unusual width, and so also is the
+clerestory, which is lofty, and set with rare old glass of the most
+splendid and valuable quality, in the main the gift of Bishop de
+Villeneuve in 1220.</p>
+
+<p>The choir terminates with the usual apse, which is further elongated by
+the far-reaching lady-chapel, which adjoins the main fabric in a
+graceful and unusual manner. The north tower was completed as late as
+the sixteenth century, and that of the south was left unfinished,&mdash;as it
+is to-day. The gable and its portals are highly decorated with statues,
+niches, and crockets.<span class='pagenum'><a name="Page_194" id="Page_194">194</a></span></p>
+
+<p>Around the aisles of nave and choir is a curiously suggested arcade with
+an overhanging balustrade ornamented with a series of indifferently
+sculptured heads. The bosses of many of the intersecting groins of the
+vaults are coloured with questionable effect. There are also many
+visible evidences of coloured wall decorations, which might perhaps as
+well have been left covered, inasmuch as they have suffered exceedingly
+in the attempted restoration; so much so, that it is impossible to say
+whether they ever approached acceptable perfection; possibly not, as
+they are supposed to date only from the period when much of this class
+of work was of none too good a quality.</p>
+
+<p>The triforium of the nave is gracefully balustraded, and the choir
+stands apart from the nave, separated by an elaborate eighteenth century
+iron <i>grille</i>. The ambulatory of the choir sets three steps lower than
+the nave, though the platform is on the same level. The crypt beneath
+the choir, so often the only existing remains of an earlier church, is
+here grandly in evidence, and dates from the eleventh century at least.</p>
+
+<p>There are a few interesting tombs of former Bishops of Auxerre and
+others of local celebrity.<span class='pagenum'><a name="Page_195" id="Page_195">195</a></span></p>
+
+<p>On the whole the charm of Auxerre and its cathedral must be admitted to
+lie in its general surroundings and immediate environment, quite as much
+as because of any remarkably distinctive features of a superlative
+quality in the cathedral itself, though an undeniable wealth of
+picturesque detail exists.</p>
+
+<p>The conventional guides speak of it as "highly interesting," and so it
+is, with its Romanesque remains, its ungainly façade, its three fine but
+weather-worn doorways, and its charming river view.</p>
+
+<p>Beside the cathedral stands the old-time Episcopal Palace with its fine
+arcaded Romanesque gallery overlooking the river, where the prelates
+took their "constitutionals," safely guarded from wind and weather.
+To-day this grand building represents the officialdom of the local
+Préfecture.</p>
+
+<p>Two other noble ecclesiastical monuments are to be seen here, the Church
+of St. Germain, or rather, the fragment which was spared by the
+Huguenots, now being used as an adjunct to a hospital; and the Church of
+St. Pierre. The latter is the most appalling example of a Renaissance
+building which one is likely to meet with, and shows in its remarkable
+façade, in sheer perversion of misdirected labour, the<span class='pagenum'><a name="Page_196" id="Page_196">196</a></span> grossness of
+pseudo-classicism, which quite entitles it to rank with that other
+equally abominable example in Paris, St. Eustache.</p>
+
+<p>The <i>portail</i> of this remarkable church, locally so called, though in
+reality it is only a detached gateway, far from the church building
+itself, is a wonderful Italian suggestion, now mellowed and weathered
+and undeniably charming in colour in spite of its being so manifestly
+out of its environment.</p>
+<p><span class='pagenum'><a name="Page_197" id="Page_197">197</a></span></p>
+<div class="image top" style="width: 500px;">
+<a href="images/illus216.png">
+<img src="images/illus216_th.png" width="500" height="380" alt="St. Etienne de Bourges" />
+</a>
+</div>
+<p><span class='pagenum'><a name="Page_198" id="Page_198">198</a></span></p>
+
+
+<p><span class='pagenum'><a name="Page_199" id="Page_199">199</a></span></p>
+
+<h4>II<br /><br />
+ST. ETIENNE DE BOURGES</h4>
+
+<p>T<span class="smcap">he</span> Cathedral of St. Etienne de Bourges partakes of the same honours
+which are accorded to the premier quartette of the Isle of France.
+Nearly contemporary with Paris and Laon, this cathedral steps into its
+rank with a grandeur and firmness that in a less stolid or more ornate
+edifice is often wanting. It retains certain of its Romanesque features,
+perhaps unduly pronounced; likewise it has certain attributes of
+Burgundian luxuriance; but withal it presents the highly developed
+Gothic tendency to a far greater degree than either. Although not far to
+the south of Paris, Bourges is thoroughly of another climatic
+environment, which not only shows itself in the changed conditions of
+life, but in the manner of building as well.</p>
+
+<p>The great transeptless church of St. Etienne is another of those soaring
+monuments which rise skyward and hold the eye whenever one is in its
+vicinity. Standing on an eminence of<span class='pagenum'><a name="Page_200" id="Page_200">200</a></span> not very great height, it
+dominates, from every point of view, the plain which surrounds the city
+and reminds one of Noyon or Laon in its comparative isolation. Not
+because its domicile is not a place of some magnitude, but rather
+because the neighbouring houses lie so huddled in a valley or plain,
+does the city give the impression of being of less size than it really
+is.</p>
+
+<p>The view from the railway on entering the town is, as it has been called
+by some imaginative Frenchman, "but the <i>hors d'oeuvre</i> of the
+architectural feast to follow," and on drawing still closer, it composes
+grandly with the swift-flowing little river lined with the tall slim
+trees which are so distinguished a feature of a French landscape.</p>
+
+<p>Like Beauvais, Amiens, and, in only a slightly lesser degree, Le Mans,
+the sheer fall of the nave and choir from ridge to ground startles one
+by its exaggeration of perpendicular lines. Though by no means of the
+great height of these other examples, its great size first impresses one
+as its distinguishing feature. It sits, too, on the edge of a beautiful
+wooded park which, in conjunction with the modern Episcopal Palace,
+forms an ensemble of stone and verdure not often to be seen as the
+environment<span class='pagenum'><a name="Page_201" id="Page_201">201</a></span> of a French cathedral. The gardens are quite open to the
+public and are set forth with clipped hedges, trees, and monumental
+stone work of no mean order.</p>
+
+<p>Bourges is another of those ancient foundations of mid-France where
+Romish influences died hard, and Gothic, as a perfected type, never, as
+it were, attained its majority. Here, the mixture of style is notable;
+pointed and rounded arches intermingled, apparently indiscriminately,
+with thoroughly Gothic supports, mullions, and piers. These, with the
+characteristically Renaissance north and south porches, with their
+carven doorways, all go to complete a series of typically fashioned
+details, each true to its own age. Such a combination of varying virtues
+should give the student, or the seeker after new sensations, something
+more to think about than a mere catalogue of consistent charms; for it
+cannot be denied that this church, standing aloof from any other single
+type, is a marvel of grandeur and impressiveness, whatever may be its
+failings when dessicated by the theorist or the archæologist.</p>
+
+<p>It is unlikely that Saracen or even Moorish influences were ever at work
+so far north as this; but there is an unquestionable tendency<span class='pagenum'><a name="Page_202" id="Page_202">202</a></span> in much
+of the debased decoration of this church to more than suggest a
+similarity to both. It is, of course, not Gothic, as we know it, nor
+Byzantine, <i>pur sang</i>, and it is certainly not Italian, but something
+quite different. It is, perhaps, worthy of record that the inverted
+horseshoe arch more nearly approximates what is commonly considered the
+Moorish form; or, to give it a wider <i>locale</i>, Mediterranean, at least.
+The polygonal turrets which flank the towers and the chapels of the
+abside look, too, not unlike a sub-tropical feature, possibly Saracen.
+Such details are markedly noticeable here, and it is because of features
+such as these that one is minded to consider the church as something
+quite different from anything seen elsewhere.</p>
+
+<p>To carry the argument still farther, if these details are to be
+considered in any sense Gothic, or any outgrowth thereof, it certainly
+augurs much for the possibility of this style having come originally
+from the East, or at least the Mediterranean countries. It has been
+claimed before now by English and French writers alike, that it may have
+developed from the arts of the Moors of Spain, or that it may have grown
+up from a primitive style in vogue in the Far East. The comment is given
+without<span class='pagenum'><a name="Page_203" id="Page_203">203</a></span> further elaboration; but here, at least, we see some basis for
+the claim that Gothic is but a transplanted flower after all, and that
+it developed so boldly only from the seed's having been blown hither
+from some other land, and finding a favourable soil in which to take
+root and flourish.</p>
+
+<p>Without transepts, the long flank of the nave and choir is singularly
+beautiful, broken into at regular intervals by buttresses which, if not
+remarkable examples, are at least graceful, though so light that they
+have been visibly stayed by iron rods, as is frequently the case
+elsewhere, at Beauvais particularly, where the whole fabric appears to
+be hung together by wires.</p>
+
+<p>The actual inception of the cathedral is attributed to Rudolphe de
+Turenne, forty-sixth Archbishop of Bourges. Of his known work only the
+round-arched crypt remains, upon which foundation the present grand pile
+was reared.</p>
+
+<p>The west front possesses a quintette of portals, deeply recessed, but of
+a decidedly mixed Gothic and Renaissance treatment as to decoration.
+Such a range of elaborated doorways is hardly to be found in such
+luxuriance elsewhere, though the fact that there are five<span class='pagenum'><a name="Page_204" id="Page_204">204</a></span> in all,
+standing grandly in a row, is perhaps not unique of itself. They are
+profusely decorated with sculptured forms of angels, saints, and kings.
+The tympanum of the central portal contains a "Last Judgment,"
+remarkable alike for its magnitude and workmanship. Throughout, these
+portals vary in date of their construction, their treatment, and their
+excellencies, but in general they are homogeneous and convincing. In the
+gables of three are circular piercings which open into a sort of
+vestibule or porch; but these are entirely without glass. Another unique
+feature of this western front is a curious lofty double-storied
+structure, a chapel-like building, of whose functions most will remain
+in ignorance. It is connected with the main body of the church by a long
+tentacle-like ligature through which, says Henry James, "the groaning of
+the organ or the pealing of bells must be transmitted with distressing
+clearness."</p>
+
+<p>The hybrid tower on the extreme left, with many round-arched windows and
+much florid ornament, is familiarly called the "Tour de Beurre," and, as
+its compeer at Rouen, was built from the contributions of those who were
+willing to forego themselves the luxury of<span class='pagenum'><a name="Page_205" id="Page_205">205</a></span> butter. To the right is a
+much less imposing tower, but one that is much more true as to its
+style. It rises scarcely above the central gable, and helps to
+exaggerate the lack of uniformity of the façade, a condition much
+deplored by the true Gothic builder, though whether such varying detail
+does not after all make a more interesting, and perhaps as edifying a
+work for pleasurable contemplation, is an open question. There is, in
+any event, a marvellous power in this massive west front to confirm
+one's opinion that it is a comprehensive and yet varied thing. Another
+curious feature of this front is a pair of overlying buttresses of no
+apparent purpose as to staying power, since the wall space which they
+flank is of no inordinate height. The window space, though, is ample;
+and, though mostly in blank to-day, at a future time those blanks might
+be broken out; hence the necessity for these extra props.</p>
+
+<p>The interior gives, likewise, a grand impression, one of vaster
+magnitude than in reality exists. The length is probably exaggerated by
+reason of the lack of transepts; but its breadth, including nave and
+aisle, is unusually great, and the height is further magnified by the
+fact that the aisles themselves have<span class='pagenum'><a name="Page_206" id="Page_206">206</a></span> three ranges of openings, above
+which, in the nave, rise the triforium and clerestory,&mdash;surely alone a
+sufficiently unusual arrangement to account the church as of remarkable
+planning. Its great beauty may be said to be the magnificent proportions
+throughout, rather than the preëminent intrinsic value of any specific
+detail.</p>
+
+<p>The rose window of the west end, though of grand proportions, appears to
+fail utterly as a supreme effort because of the flatness and depression
+given to its circumferential outline. Like that of St. Gatien at Tours
+it is of an uncertain lozenge shape, while the effect is further
+lessened by the mediocrity of its glass and framing.</p>
+
+<p>The general appearance of the interior is one of symmetrical grandeur,
+wherein the effect of each dimension is probably enlarged, but with a
+fine and consistent proportion. Its conventional embellishments are not
+unduly ornate; though, for that matter, they do not give the impression
+of being wanting to any great degree either in quality or quantity. In
+no particular, however, is the sculptured form of figure or foliage of
+that excellence and magnitude of that of the cathedral at Reims or at
+Amiens.<span class='pagenum'><a name="Page_207" id="Page_207">207</a></span></p>
+
+<p>The magnificent proportions of the choir well merit the term of
+"Burgundian opulence." Its termination opens with an amplitude often
+wanting in even a larger building, the piers being wide apart, without
+screening, which heightens still more its generous proportions.</p>
+
+<p>The two picturesque cardinal's hats, with cord and tassels, have long
+been pendant from the vault of the choir, and are now dimmed in colour
+and thick deep with dust, seemingly destined to fall of sheer old age
+and decrepitude. Further particulars concerning this picturesque detail
+are wanting only from the lack of any one in attendance from whom one
+might get this information,&mdash;perhaps some reader of these lines may be
+more fortunate.</p>
+
+<p>On the pavement of the nave is a brass rule, inlaid diagonally from the
+north to the south wall. Its original use appears to be clothed in some
+obscurity, one informative person stating that it is the line of
+departmental division, and another that it marks the meridian of Paris,
+which is shown on all French navigation charts. Its real purpose is
+evidently topographical rather than of religious or symbolical
+significance.</p>
+
+<p>An ardent French writer deplores the fact<span class='pagenum'><a name="Page_208" id="Page_208">208</a></span> that there is no monument
+here to show respect for Louis XI., who was born at Bourges and baptized
+in the cathedral; a pity, perhaps, and certainly a subject worthy of the
+consideration of "the powers that be."</p>
+<p><span class='pagenum'><a name="Page_209" id="Page_209">209</a></span></p>
+<div class="image top" style="width: 553px;">
+<img src="images/illus228.png" width="553" height="404" alt="CATHEDRAL of S. CYR &amp; Ste. JULIETTE NEVERS" />
+</div>
+
+
+
+<h4>III<br /><br />
+ST. CYR AND ST. JULIETTE DE NEVERS</h4>
+
+
+<p>A unique experience is one's first contemplation of the "gay little city
+of Nevers" from the Pont du Loire, with the none too large Cathedral of
+St. Cyr and St. Juliette crowning, as it were, the apex of a series of
+steep rises from the Loire, which, even at this distance from the sea,
+still retains its ample breadth. Said Arthur Young in his plain and bald
+phraseology, "Nevers makes a fine appearance." Here, on the very
+threshold of the southland, it is something of a shock to be<span class='pagenum'><a name="Page_210" id="Page_210">210</a></span> brought at
+once into intimate association with Italian influences and types of
+architecture; for, be it recalled, Nevers has been truly "an Italian
+stronghold in the midst of France," with little to remind one, but its
+speech, that it is merely a provincial French market-town. Nevers was
+the seat of the Italian Dukes and Counts of Nièvre, who built the ducal
+palace, the <i>ci-devant</i> chateau, now the Palace of Justice. Here, later,
+dwelt the nephew of the great Mazarin, who said his king "had a heart
+more French than his speech." Through his efforts the Nivernais was
+incorporated with the French crown in 1669.</p>
+
+<p>This fine turreted, towered, and decorated building, with its sculpture
+attributed to Goujon, is to-day, in appearance at least, what it was in
+the past,&mdash;the typical urban domestic establishment of grand proportions
+and splendid appointments; though it may hardly be said to vie with such
+masterpieces as Chambord, Chenonceau, or Blois. Nor, for that matter, is
+the town itself entitled to rank, as to its events of historical
+importance or the fame or personality of its bishops or counts, with
+either Chartres or Le Mans, both of which it somewhat approaches in
+point of size.</p>
+
+<p>Aside from its many and varied charms,<span class='pagenum'><a name="Page_211" id="Page_211">211</a></span> which have been duly set forth
+by most writers on the French provinces who have had anything whatever
+to say about it, Nevers should be doubly endeared to all makers of
+guide-books and students of ecclesiastical architecture, from the fact
+that the Abbé Bourassé, Honorary Canon of Nevers, here wrote and
+dedicated to his bishop, Mgr. Dufêtre, a work treating of the French
+cathedrals which will ever rank as one of the most delightfully written
+and useful books of its class. This fact perhaps is hardly to be
+reckoned as of historical moment, but pertinent to the plan of the
+present work nevertheless.</p>
+
+<p>Nowhere, not even in Provence or Acquitaine, are to be noted more
+significant tendencies toward a southern influence in the matter of
+civil and ecclesiastical building. True, many of the minor structures
+have to-day descended unto base uses, and many of their perfections and
+beauties are therefore sunk below the surface. For instance, where a
+palace has become a warehouse, or a church been turned into a stable, or
+been given over to the uses of a wine factor.</p>
+
+<p>Before even considering the cathedral itself,&mdash;dedicated to the hero of
+the legendary tale concerning St. Cyrus, who, depicted as a<span class='pagenum'><a name="Page_212" id="Page_212">212</a></span> naked child
+riding astride a wild boar, was able to turn the infuriated beast from a
+certain King Charles (further designation not given) and preserve him
+from danger,&mdash;it is well to know that most authorities agree in giving
+habitation here to one of the most perfect Romanesque churches in all
+northern Europe, that of St. Etienne, built in 1063-96, and consecrated
+in the latter year by Ivor, Bishop of Chartres. Of the century
+contemporary with this fine work, as yet hardly spoiled by any offensive
+restorations, are two columns, in the easterly portion of the Cathedral
+of St. Cyr, which bear the date of 1024. From this foundation the lover
+of churches will rear for himself an exceedingly interesting and
+uncommon type.</p>
+
+<p>Not of the first rank, St. Cyr has the power to hold one's attention far
+more closely and interestingly than many of greater worth and magnitude;
+and its environment, from every point of view, composes itself into a
+picture which it would be hard to duplicate. The grouping of the chevet
+of the choir with the low roofs of the town lying at its base, and the
+gardens of the ducal chateau in the immediate foreground, forms an
+unusually varied combination of the picturesque.<span class='pagenum'><a name="Page_213" id="Page_213">213</a></span></p>
+
+<p>The wealth of Nevers in architectural monuments would be notable in a
+town many times its size. The Port de Paris, a not especially attractive
+Renaissance gateway, guards the northerly, and the Port du Croux the
+westerly, end of the town. This latter groups nobly with the west end
+and tower of the cathedral, and is of itself a monument of the first
+rank, being so designated by the <i>Commission des Monumentes
+Historiques</i>. A feudal defence, square, broad-based, turreted, flanked
+with circular watch-towers, and still further strengthened by a barbican
+which once held a portcullis, this wonderfully effective barrier more
+than suggests the mediæval stronghold. Two other towers of the ancient
+<i>enceinte</i> still remain, the Tour Gougin, and the Tour St. Eloi.</p>
+
+<p>Intimate acquaintance with the cathedral shows a blending, not
+offensive, but in no slight manner, of the Romanesque, early and late
+Gothic, and finally Renaissance styles. Nevertheless there is an
+apparent cohesiveness often lacking in a larger work, or in one built
+within a shorter period of time. One distinctly northern feature there
+is; namely, the singular effect given by the double apse of the nave and
+choir, reminiscent mainly of the<span class='pagenum'><a name="Page_214" id="Page_214">214</a></span> Rhine builders, that of the eastern
+end being much the older. The half-obliterated frescoes of the domed
+vaulting of the western apse indicate that it was completed after the
+pure Italian manner at a considerably later time than the opposite end.
+It is hardly a beautiful or even a necessary feature to either the
+exterior or interior of a great church, and, fortunately, is unusual in
+France, though common enough in Germany, notably at Mainz, Worms, and
+Treves. The most remarkable interior effect, aside from this western
+apse, is that of the lofty Gothic arches, springing high above the
+Romanesque arches of the nave, and naturally of a much later date.
+Certainly this must be, so far as the respective proportions of each are
+concerned, an entirely unique feature. Notable evidences are to be seen
+of frescoes, probably the work of some Italian hand, both on the screen
+and in the domed apse. They have apparently been whitewashed over many
+times, but remorse, if tardily, has evidently come lately, and such
+restoration or renovation as has been possible, has been undertaken.</p>
+
+<p>A dainty and diminutive spiral stairway, suggestive of having been
+modelled on the lines of the grand spirals at Chambord or<span class='pagenum'><a name="Page_215" id="Page_215">215</a></span> Blois, and
+half enclosed in the surrounding wall, leads to the Chapter Room above.
+The eastern apse, and the crypt beneath, are the earliest parts readily
+to be observed and are probably the remains of the Romanesque structure
+built by Hugh II. early in the eleventh century, after the common type
+of the Auvergnat and Angevine churches.</p>
+
+<p>Perhaps the best workmanship to be noted is that of the
+thirteenth-century chapels surrounding the choir. Reclus, a French
+authority, has declared that the ornamental foliage here is not only
+really admirable as to itself, but is the "perfection of imitation," and
+extends this commendation also to the work on the pillars and capitals
+of the north doorway by which the church is usually entered.</p>
+
+<p>The interior generally is brilliant and pleasing, though good glass is
+mostly wanting, and the uninterrupted flood of light detracts measurably
+from the warmth and geniality suggested by the memory of Bourges,
+Chartres, or Auxerre. The rose window over the western apse is pitifully
+weak and quite lacking in effectiveness.</p>
+
+<p>A canopied <i>baldacchino</i> rises above the altar and, being of stone
+treated in a graceful Gothic manner, is an ornament much more in<span class='pagenum'><a name="Page_216" id="Page_216">216</a></span> good
+taste than the hideous mahogany or oaken serpentine atrocities which are
+often erected.</p>
+
+<p>It is impossible to come into close contact with the exterior of this
+cathedral except by approaching it from the eastern end. West front
+there is none. As one has said, "It possesses merely a western end." The
+western tower, of two non-contemporary orders of Gothic (fourteenth and
+fifteenth centuries), whether viewed from near or far, is far more
+pleasing than any other general exterior feature. The chevet of the
+choir extends, as it were, well into the nave, there being no transepts.
+This is evidently a local custom, recalling the neighbouring cathedrals
+at Bourges and Auxerre.</p>
+
+<p>The sculptured decoration of the later portion is exceedingly well
+disposed, and of such magnitude and numbers as to lack that poverty in
+the ensemble often apparent in a more pretentious work.</p>
+
+<p>The Church of St. Etienne in Nevers, so thoroughly Roman in inception of
+design and execution of detail, indicates more vividly than any other
+example that might possibly be taken, the shortness of time in which the
+Gothic development actually took place.<span class='pagenum'><a name="Page_217" id="Page_217">217</a></span>
+With Notre Dame at Paris full in mind, it is well to recall that these
+accepted perfect examples of two contrasting types are scarce a hundred
+and fifty miles apart, and, in point of time, but sixty years. What an
+exemplification this surely is of the transition which came to the art
+of church building in the twelfth century; what extraordinary rapidity
+of conception and development, and how narrow were the confines of the
+true Gothic spirit, indigenous only to the royal domain, which alone
+produced the churches which fully merit the concisely expressed
+definition of Gothic: "A manner of building maintained (sustained) by a
+system of thrust and counter thrust."</p>
+<p><span class='pagenum'><a name="Page_218" id="Page_218">218</a></span></p>
+<div class="image top" style="width: 540px;">
+<img src="images/illus237.png" width="540" height="386" alt="CATHEDRAL of S. MAMMES LANGRES" />
+</div>
+
+
+
+<h4>IV<br /><br />
+ST. MAMMÈS DE LANGRES</h4>
+
+<p>L<span class="smcap">angres</span> is reminiscent of but one other cathedral city in the north of
+France; like Laon, it occupies and fortifies the crest of a long drawn
+out hill, or, to give it dignity, it had perhaps best be called in the
+language of the native "de la montagne de Langres," since from its apex,
+it is truly dominant of a wide expanse of horizon.</p>
+
+<p>Of the Burgundian transition type, the Cathedral at Langres, dedicated
+to St. Jean the Evangel and St. Mammes, is in many ways a remarkable
+architectural work, but contaminated<span class='pagenum'><a name="Page_219" id="Page_219">219</a></span> beyond cure by two overbearing
+Greco-Roman towers and a portal of the mid-eighteenth century. As a
+relief, there adjoins the main body of the church, on the southeast, one
+of those masterworks of the supreme Gothic era,&mdash;a canon's cloister of
+an exceeding thirteenth-century beauty. In other respects, the exterior
+is of little note except as to its wonderful degree of prominence in the
+general grouping of the roofs of the town, when the city is viewed from
+below.</p>
+
+<p>The interior spreads itself out in severe and imposing lines with hardly
+a remarkable feature in either transepts or nave. The organ-loft, a
+Calvary, and a marble statue of the Virgin, by Lescornel, a sculptor of
+Langres, and a few modern sculptured monuments, are the only decorative
+attributes to be seen, if we except the Renaissance Chapelle des Fonts
+Baptismaux with its sculptured vaulting on the left.</p>
+
+<p>The symmetrical choir is in itself the true charm of St. Mammes. It has
+a fine ambulatory, and a range of eight monolithic columns, removed,
+says tradition, from an ancient Pagan temple. Their capitals are
+ornamented with carven foliage, grimacing heads, and fantastic animals.<span class='pagenum'><a name="Page_220" id="Page_220">220</a></span></p>
+
+<p>A sixteenth-century screen surrounds the choir, but is more like unto a
+triumphal arch than a churchly accessory.</p>
+
+<p>The high altar is a comparatively modern work, as may be supposed, and
+dates only from 1810.</p>
+
+<p>On the right of the choir is an elaborate Roman doorway, and preserved
+in the Chapter Room are five paintings depicting the "Chaste Susanne." A
+remarkable collection of reliques is shown by the sacristan, in the
+Chapelle des Reliques.</p>
+
+
+
+<h3 class="top15">V</h3>
+
+<h4>NOTRE DAME D'AUXONNE</h4>
+
+
+<p>The small town of Auxonne, lying between Dijon and Besançon, is seldom
+thought of in connection with a cathedral church. There is little there
+to compel one's attention beyond the fact that the Church of Notre Dame,
+of the fourteenth-sixteenth century, is an interesting enough example of
+a minor edifice which at one time was classed as a cathedral.</p>
+
+<p>The church is mainly Gothic and has the unusual arrangement of a
+Romanesque tower rising above the transept.<span class='pagenum'><a name="Page_221" id="Page_221">221</a></span></p>
+
+
+
+<p><span class='pagenum'><a name="Page_222" id="Page_222">222</a></span></p>
+<h3 class="top15"><a name="PART_V" id="PART_V"></a><i>PART V<br />
+East of Paris</i></h3>
+
+<p><span class='pagenum'><a name="Page_223" id="Page_223">223</a></span></p>
+
+<h4>I<br /><br />
+INTRODUCTORY</h4>
+
+<p>N<span class="smcap">o</span> arbitrary territorial arrangement can be made to include with
+exactness each and every ecclesiastical division, but, since the Royal
+Domain and the immediately adjacent territory includes the major portion
+of what are commonly accepted as the Grand Cathedrals, it has been
+thought permissible, in the present case, to make a further subdivision
+which shall include Boulogne and St. Omer, north of Paris; eastward to
+the Rhine and southward to include Dijon and Besançon. A topographer
+might not make such a division or arrangement of territory; but no other
+seems possible which shall include the region lying between the extremes
+of Besançon and Boulogne.</p>
+
+<p>The local characteristics or architectural types differ widely within
+these limits, both as to style and excellence. In one way, only, have
+they advanced under conditions of unity,<span class='pagenum'><a name="Page_224" id="Page_224">224</a></span> that of the establishment of a
+Christian church, but, otherwise, now favouring the northern influence
+and now the southern. The frontier provinces have, as a natural course,
+been subject to many retarding influences which have been wanting
+elsewhere; for invasion from without may be depended upon to be as
+baneful for the preservation of a nation's art treasures as a revolution
+from within. The Christian element early forced its way among the
+Franks, and Clovis, at the solicitation of his Christian queen and her
+bishop, was not averse to adopting what he might otherwise have regarded
+as a superstition. His conversion at Reims not only fostered and
+propagated Christianity, but gave an impetus to the foundation and
+building of churches in a most generous fashion.</p>
+
+<p>The region to the eastward of Paris, which has played no unimportant
+part in the history of France, while prolific as to varied types of
+church building, possesses but one example of the very first rank,&mdash;and
+that, as a style which typifies Gothic art, may be said to rank supreme
+over all others,&mdash;Notre Dame de Reims. As the seat of the Metropolitain,
+and the City of Coronations, it was allied closely with early affairs of
+Church and State.<span class='pagenum'><a name="Page_225" id="Page_225">225</a></span></p>
+
+<p>The principles and manner adopted by Guillaume of Sens in his great
+works early affected the style here, as seen by the many transition
+examples, just as the influence of the Monk of St. Bénigne of Dijon
+caused the round-arched species of the west of France. At all events the
+primitive Gothic influences were early at work and in a measure absorbed
+the Romanesque tendencies which had flourished previously.</p>
+
+<p>The most notable exception, an example of the distinctly southern type,
+is at Besançon, which has a remarkable array of contrasting style, with
+the Romanesque, though not of the best, predominating.</p>
+
+<p>With the cathedrals in the extreme northerly section we have little to
+do,&mdash;in fact there is little that can be said. St. Omer is possessed of
+a wonderful old church which at one time ranked as a cathedral, and
+which has glimpses here and there of very good Gothic. There are also,
+in this otherwise not very interesting city, two other church buildings
+worthy of more than an ordinary amount of attention, the ruins of the
+Abbey of St. Bertin and the Church of St. Denis.</p>
+
+<p>Boulogne-sur-Mer has a modern pseudo-classical structure built well into
+the <span class='pagenum'><a name="Page_226" id="Page_226">226</a></span>nineteenth century. It is more notable as a monument to the
+industry of the man who brought about its erection, taking the place of
+a former structure burnt during the Revolution, than as a satisfactory
+example of a great church. The same may be said with equal truth of the
+atrocious Renaissance and Pagan structures to be seen at Cambrai and
+Arras, though the conditions under which they were built differ. At
+Cambrai, however, the present building replaces a former structure
+levelled by fire.</p>
+
+<p>Châlons-sur-Marne,&mdash;dear to every French patriot as being renowned for
+the manufacture of flags, a suffragan of Reims, has a remarkable
+cathedral of Romanesque foundation of the fifth to the seventh
+centuries. Its warlike record, from 273 <span class="smcap">A. D.</span>, when Aurelian vanquished
+Tetricus, to the occupation by the Germans in 1871, is one long
+succession of military affairs. To-day the city is the domicile of the
+most important army corps of France.</p>
+
+<p>These towns, with Nancy, Toul, and St. Dié in the valley of the Moselle,
+complete the list of those cities which by any stretch of territorial
+boundaries could be classed under the head of "East of Paris."</p>
+
+<p>It may be a debatable point as to whether<span class='pagenum'><a name="Page_227" id="Page_227">227</a></span> Strasbourg and Metz might not
+have been included; the writer is inclined to think that they might have
+been, though their interests and influences have always been more
+Teutonic than Gallic,&mdash;still, they are thoroughly Germanized to-day,
+and, as we cannot interrupt the march of time, and the present volume
+will otherwise approach the limits originally set out for it, they must
+perforce be omitted.</p>
+
+<div class="image" style="width: 556px;">
+<img src="images/illus246.png" width="556" height="396" alt="CATHEDRAL NANCY" />
+</div>
+<p><span class='pagenum'><a name="Page_228" id="Page_228">228</a></span></p>
+<p><span class='pagenum'><a name="Page_229" id="Page_229">229</a></span></p>
+
+<div class="image top" style="width: 339px;">
+<a href="images/illus248.png">
+<img src="images/illus248_th.png" width="339" height="500" alt="BOULOGNE" />
+</a>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_230" id="Page_230">230</a></span></p>
+<p><span class='pagenum'><a name="Page_231" id="Page_231">231</a></span></p>
+
+<h4>II<br /><br />
+NOTRE DAME DE BOULOGNE-SUR-MER</h4>
+
+<p>B<span class="smcap">oulogne-sur-mer</span> is one of those neglected tourist points through which
+the much travelled person usually rushes en route to some other place.
+It perhaps hardly warrants further consideration except for the history
+of its past, and its intimate association with certain events which
+might seriously have affected the history of England. It is, however, an
+interesting enough place to-day, if one cares for the bustle and rush of
+a seaport and fishing town,&mdash;not very cleanly, and overrun with
+tea-shops and various establishments which cater only to the cockney
+abroad, who gathers here in shoals during the summer months. There is,
+too, a large colony of resident English, probably attracted by its
+nearness to London, and possibly for purposes of retrenchment, for there
+is no question but that the franc, of twenty per cent. less value than
+the shilling, accomplishes quite as much as<span class='pagenum'><a name="Page_232" id="Page_232">232</a></span> a purchasing power. This
+must be quite a consideration with <i>pater-familias</i> with a limited
+income derived from Consols or some other traditionally "excellent
+investment."</p>
+
+<p>Most travellers are familiar with what attractions Boulogne really does
+offer, but few if any would consider its very modern and ugly cathedral
+one of them.</p>
+
+<p>Perched in the centre of the <i>Haute-Ville</i>, overlooking the city and
+port, the Cathedral of Notre Dame exists to-day more as a monument to
+the energy and devotion of its founder than as a notable architectural
+work. It follows no particular style, except that it is Italian of the
+most debased general type, though no doubt parts of it meet the
+dimensions and formulas laid down by accepted good examples in its
+native land. There is no doubt but that its domed cupola is manifestly
+out of place, though this detail is the only feature which gives the
+cathedral any distinction.</p>
+
+<p>A Gothic church stood here up to the Revolution, and the building of the
+present structure was devotedly undertaken to replace its loss by a
+doubtless earnest man, who, in his zeal, sought to build after what he
+considered a newer if not a better style. Parts of the<span class='pagenum'><a name="Page_233" id="Page_233">233</a></span> crypt are of the
+ancient twelfth century church; but the structure above dates from
+1827-66.</p>
+
+<p>Its façade, of a poor classical order, is flanked by two slight cupola
+towers equally meaningless and insignificant. Surmounting the central
+dome is a colossal statue of the Virgin.</p>
+
+<p>The interior is in no way remarkable or interesting. There are a few
+monuments and a gorgeous high altar of precious marbles, mosaic, and
+bronze, the gift of Prince Alex Torlonia. The lady-chapel is still
+resorted to as a place of pilgrimage by the seafaring and fisher folk of
+the neighbourhood.</p>
+
+<p>A modern reproduction of a sarcophagus from the catacombs at Rome forms
+the tomb of Mgr. Haffreingue (1871).<span class='pagenum'><a name="Page_234" id="Page_234">234</a></span></p>
+
+
+
+<h4 class="top15">III<br /><br />
+NOTRE DAME DE CAMBRAI</h4>
+
+<p>C<span class="smcap">ambrai</span> is one of that quartette of cathedral cities of northern France
+which in no sense take rank as ecclesiastical shrines of even ordinarily
+interesting, much less beautiful, attributes. Of the other three, Arras,
+St. Omer, and Boulogne, St. Omer alone is possessed to-day of anything
+approaching the great Gothic churches which were spread broadcast
+throughout France during the five centuries of church building in the
+middle ages.</p>
+
+<p>In manners and customs, and indeed in speech to some extent, these
+cities all partake somewhat of the <i>locale</i> of those of the Low
+Countries. These attributes, which have retained their original
+identities across the borders, were for many centuries, and even so late
+as the seventeenth century, existent in French Flanders. Curiously
+enough, in none of these cities are any of the primitive Gothic types to
+be noted in the cathedral churches, though<span class='pagenum'><a name="Page_235" id="Page_235">235</a></span> many possess their
+olden-time belfries and watch towers, preserved to-day with something of
+the local pride which evinces itself elsewhere with respect to
+cathedrals. It is possible that this is due to the fact that this great
+industrial centre of northern France is more given to the arts of
+manufacture than to the devotion of church-going or even of church
+building. Another notable and almost universal feature of these cities
+are the Renaissance or Romanesque gateways,&mdash;silent reminders to-day of
+the mediæval communities which they once protected, and of the warlike
+invasions of the past.</p>
+
+<p>The Cathedral of Notre Dame de Cambrai is on the site of an older abbey
+church, which was of the same ugly style as the present edifice itself,
+but which dated, however, only from the early eighteenth century. The
+present building is said to furnish a replica, of the vintage of 1859,
+of the tasteless and crude style of the earlier building. There are
+statues therein of Fenelon, Bishop Belmas, by David d'Angers, and of
+Cardinal Regnier; and a series of grisaille windows, after originals by
+Rubens, by Geeraerts of Anvers.</p>
+
+<p>The chimes of Cambrai rank among the most noted in Europe. They are
+composed<span class='pagenum'><a name="Page_236" id="Page_236">236</a></span> of thirty-nine bells and produce a carillon, "very agreeable,"
+says a French authority. They certainly do,&mdash;the author can endorse this
+from a personal knowledge,&mdash;and they have not as yet descended to such
+banalities as popular military marches. The largest bell, given by
+Fenelon in 1786, weighs 7,500 kilos.</p>
+
+<div class="image" style="width: 142px;">
+<img src="images/illus255.png" width="142" height="259" alt="Notre Dame de Cambrai" />
+</div>
+<p><span class='pagenum'><a name="Page_237" id="Page_237">237</a></span></p>
+
+
+<h4 class="top15">IV<br /><br />
+NOTRE DAME DE ST. OMER</h4>
+
+<p>U<span class="smcap">nder</span> Baldwin of Hainault, Artois, including St. Omer, was ceded to the
+kingdom of France as late as the mid-seventeenth century. Few minor
+churches are possessed of the galaxy of charms and attractions of the
+<i>ci-devant</i> Cathedral of Notre Dame at St. Omer. Hardly in the accepted
+forms of good taste are the Byzantine slabs of marble stuck upon the
+walls here and there, as in a museum; the Renaissance screens; the
+overpowering organ case; the votive offerings and tablets without
+number; and the alleged wonderful astronomical clock, with its colossal
+wooden figures of the sixteenth century,&mdash;all of which go to compose a
+heterogeneous mass more interesting as to occasional detail than as a
+thorough expression of saintly temperament.</p>
+
+<p>The decorative scheme is carried still further by the large number of
+paintings with<span class='pagenum'><a name="Page_238" id="Page_238">238</a></span> which the church is hung; a tribute none too common in
+France, and more usually associated with the Flemish churches of nearly
+every rank. A reflection of their preëminence in this respect is
+naturally enough visible in French Flanders.</p>
+
+<p>"The Descent from the Cross," attributed to Rubens, appears likely
+enough to be a genuine master, but it has been so roughly restored by
+overpainting, that it is to-day of impaired value.</p>
+
+<p>St. Omer, among all the group of northeast France, presents a true
+Gothic example in its great Basilique de Notre Dame, and it is a pity
+that its further development was along lines which indicate a trend, at
+least, toward debasement. This is plainly to be noted in the tracery of
+the lower and clerestory windows of nave and aisles.</p>
+
+<p>Its enormous tower covers nearly the entire western end of nave and
+aisles, in much the same way as those of some of the fortified churches
+of the south. Its Gothic is of the true perpendicular style, however,
+and, with the general grand proportions of the building, gives that
+immensity and massiveness which is associated only with a church of the
+first rank. The <i>arcs-boutant</i> of the<span class='pagenum'><a name="Page_239" id="Page_239">239</a></span> nave are hardly deserving of
+mention as such, though they are manifestly sturdy props which perform
+their functions in perhaps as efficacious a manner as many more graceful
+and delicate specimens elsewhere. There is just a suggestion of a
+central tower, which, as is often the case in France, has dwindled to a
+mere cupola, if it had ever previously grown to a greater height. The
+transepts are of imposing dimensions, that on the south having an
+enormous rose of perhaps thirty-five feet in diameter, with an
+elaborately carved portal below, which contains a "Last Judgment" in the
+tympanum. The choir, chevet, and chapels, while existent to a visible
+and very beautiful degree, are somewhat overshadowed by the great size
+of the transepts. There is this to be said, however: that the choir, a
+restoration of our own day, presents, as to style, the type of Gothic
+purity at its height. It has five radiating chapels, not including that
+of Notre Dame des Miracles, which adjoins the south transept and
+contains innumerable votive tablets. For the rest, except for the fact
+that the interior partakes of a mere collection of curios and relics, it
+is in general no less imposing in its proportions than the exterior. The
+clerestory windows,<span class='pagenum'><a name="Page_240" id="Page_240">240</a></span> however, are of ill proportions for so grand a
+structure, being short and squat; and here, as elsewhere throughout the
+building, is to be found only modern glass.</p>
+
+<p>The great bell of the western tower weighs 8,500 kilos.</p>
+
+<p>Chief among the notable accessories and reliques is the monolithic tomb
+of St. Erkembode, bishop of the one-time see of Thérouanne, period
+725-37. The sarcophagus itself, dating from the same century, was
+brought here from the original site. The tomb of St. Omer was restored
+in the thirteenth century and shows a remarkable sculptured group of
+Christ, the Virgin, and St. John, called the "Great God of Thérouanne."
+It was saved from the ruin of the church at Thérouanne, which was
+destroyed with the greater part of the town in 1533 by Charles V., in
+revenge for the "loss of three bishoprics," as history states. At this
+time the sees of St. Omer and Boulogne were founded.</p>
+
+<p>The near-by Palace of Justice, built by Mansart in 1680 and enlarged for
+its present use in 1840, was the former Episcopal Palace.</p>
+
+<p>St. Omer has also two other grand churches, St. Sepulchre, of the
+fourteenth century, and the ruins of St. Bertin (1326-1520), which,<span class='pagenum'><a name="Page_241" id="Page_241">241</a></span>
+before the Revolution, with St. Ouen at Rouen, and the collegiate church
+at San Quentin, was reckoned as one of the most beautiful Gothic abbeys
+in France. To-day it is a magnificent ruin, its huge tower (built in
+1431) and portions of the nave and crossing being all that remain. It
+was considered the finest church in the Low Countries, and for size,
+purity, and uniformity of style it ranked with the best of its
+contemporaries.<span class='pagenum'><a name="Page_242" id="Page_242">242</a></span></p>
+
+
+
+<h4 class="top15">V<br /><br />
+ST. VAAST D'ARRAS</h4>
+
+<p>T<span class="smcap">he</span> capital of ancient Flanders was removed from Arras to Ghent when
+Artois was ceded to France, and thus it was that the city became French,
+as it were, but slowly, its Low Country traditions and customs clinging
+closely to it until a late day. The former Cathedral of Notre Dame
+ranked as a grand example of the ogival style of the fourteenth century,
+in which it was built, and gave to the city of the "tapestry makers" the
+distinction of possessing a church composed of much that was best of the
+architecture of a fast growing art. Such was the mediæval rank to which
+the cathedral at Arras had attained. The new Cathedral of St. Vaast,
+dating from 1755 to 1833, is of the Grecian style of temple building,
+little suited to the needs of a Christian church. The crucial plan
+consecrated by catholic usages of centuries is not however wholly
+abandoned. There is something of a<span class='pagenum'><a name="Page_243" id="Page_243">243</a></span> suggestion of the Latin cross in its
+design, but its abside faces toward the southeast rather than due south,
+with its principal entrance to the northwest, a sufficiently unusual
+arrangement, where most French churches are duly orientated, to be
+remarked, particularly as there is little that can be said in praise of
+the structure. The interior follows the general plan of the Corinthian
+order; the windows, neither numerous nor of sufficiently ample
+dimensions to well serve their purpose, number nine only in the choir,
+and five on each side of the nave.</p>
+
+<p>There are, to the abside, seven collateral chapels, some of which
+contain passable sculptured monuments, removed from the old abbey of St.
+Vaast, a foundation erected in the sixth century and reconstructed by
+Cardinal de Rohan in 1754. The remains of the old abbey buildings have
+been built around and incorporated in the present Episcopal Palace, the
+extensive Musée, and Bibliotheque; and are situated immediately to the
+right of the façade of the cathedral.</p>
+
+<p>The grisaille glass seen in the interior is unusual, but mediocre in the
+extreme.</p>
+
+<p>There are, however, some good statues in white marble in the Chapelle de
+St. Vaast,<span class='pagenum'><a name="Page_244" id="Page_244">244</a></span> while in another chapel, given by Cardinal de la Tour
+d'Auvergne, is one equally good of Charles Borromée.</p>
+
+<p>There are four great statues at the extremities of the transepts,
+representing the four evangelists; and three others in the choir, of
+Faith, Hope, and Charity.</p>
+
+<p>In the north transept, also, are two triptychs of the Flemish school, by
+Bellegambe, a native of Douai (1528).</p>
+
+<p>The Abbé Bourassé, in his charming work on the cathedrals of France,
+says, plainly, and without fear or favour: "We have tried to speak
+impartially of all species of architecture&mdash;but why do we not admire the
+Cathedral of Arras? It is against all traditions of '<i>notre art
+catholique</i>.' We contend that this is not good. What, say you, can we
+praise? It is a great work&mdash;of the stone-mason; you should study it from
+some distance. It is without life, without movement, without dignity."</p>
+
+<p>Whatever may be the faults of its cathedral, Arras is, nevertheless, an
+interesting city,&mdash;modernized, to be sure, by boulevards laid out along
+the old fortifications. The Citadel of Vauban (1670), called ironically
+"<i>la belle inutile</i>," may be classed as a worthless, if not<span class='pagenum'><a name="Page_245" id="Page_245">245</a></span> wholly
+unpicturesque, ruin, though ranking, when built, as among the most
+wonderful fortifications of the times. The wave of Renaissance which
+swept northward has left its ineradicable marks here. The Hôtel de Ville
+is a remarkable specimen of that art of overloading ornament upon a
+square hulk, and making it look like a wedding-cake; though, truth to
+tell, coming upon it after the chilliness of the cathedral itself, it is
+a cheerful antidote. Dating from 1510, at which time was built the
+curious Gothic façade of seven arches, each different as to size and
+spring. The added wings in elaborate Renaissance are of the late
+sixteenth century and rank among the most effective examples of the
+style in France. A belfry surmounts all, 240 feet in height, the
+"<i>joyeuse</i>" of which weighs nearly nine tons.</p>
+
+<p>Arras may perhaps be most revered for its tapestries, its workers taking
+rank with those of the famous manufactories at Paris and Beauvais.
+Indeed, it would appear as though experts knew not to which of these
+three centres to assign precedence, both Arras and Paris claiming the
+honour of having set up the first looms. It is an ancient art, as the
+work of craftsmen goes, and more than one<span class='pagenum'><a name="Page_246" id="Page_246">246</a></span> writer who has studied deeply
+the fascinating intricacies of <i>haute</i> and <i>basse lisse</i>, of colour,
+texture, design, and what not, has not hesitated to proclaim the city as
+having been the grandest centre of tapestry-making which the world has
+ever known; and regret can but be universal that it came to an end when
+its citizens were put to the sword by Louis XI.</p>
+<p><span class='pagenum'><a name="Page_247" id="Page_247">247</a></span></p>
+<div class="image top" style="width: 329px;">
+<img src="images/illus266.png" width="329" height="509" alt="TOUL" />
+</div>
+
+
+
+<h4>VI<br /><br />
+ST. ETIENNE DE TOUL</h4>
+
+<p>A<span class="smcap">nnexed</span> to France, in company with Metz and Verdun, in 1556, Toul,
+situated on the left bank of the Moselle, is to-day ranked as a fortress
+of the first order. "Can be seen in two hours"&mdash;such is the description
+usually given by the guide-books to the city which<span class='pagenum'><a name="Page_248" id="Page_248">248</a></span> contains, in its
+one-time Cathedral St. Etienne, an example which, with respect to the
+decorative tracery of its façade savants have declared the equal even of
+Reims.</p>
+
+<p>One of the three former bishoprics of Lorraine, Toul is none too ample
+to merit the cognomen of a large town. It once held within its walls,
+beside the Cathedral, the Church of St. Gengoult, and several parish
+churches and monasteries. Shorn to-day of some of these dignities, with
+its bishopric removed to Nancy, it ranks as a military and strategic
+stronghold rather than a centre of churchly domination. Since Metz and
+Strasbourg were given over to the Germans, Toul's former fortress has
+been greatly strengthened.</p>
+
+<p>The cathedral itself may truly be said to bear the characteristics of
+both the German and French manner of building, the western or later end
+being a superb front, after the French manner, and the easterly or
+earlier end having a simple apse and long narrow windows, in the German
+fashion. A comparison has been made by Professor Freeman between the
+western façade of this church and Notre Dame de Reims. He says, "We are
+daring enough to think that, simply as a design, the west front of Toul
+outdoes that of Reims;<span class='pagenum'><a name="Page_249" id="Page_249">249</a></span> though it will be hardly needful to prove that,
+as a whole, Reims far outdoes that of Toul." Quite non-committal, to be
+sure, as was this charming writer's way; but, of itself, a sort of
+preparation to the observer for the beauties which he is to behold. Here
+is the case of a superb richness having been added to a plainer body,
+and by no means inharmoniously done. The gable is nearly perfect as to
+its juxtaposition. The towers are higher in proportion than at Reims,
+giving the effect of being the finished thing as they stand, though
+lacking spires or pinnacles. The walls are of those just proportions in
+relation to the window piercings which is again French, as contrasted
+with a neighbouring example at Metz, where the reverse is the case.</p>
+
+<p>The city was the seat of a bishop as early as the sixth century, and its
+government was under his control until 1261, when it became a free
+commune. Finally it was conquered by Henry II., and its future assured
+to France by the Treaty of Westphalia.</p>
+
+<p>The cathedral dates in part from Romanesque remains of the tenth
+century, but its entire interior arrangements were much battered during
+the Revolution.</p>
+
+<p>The choir and transept are of the best of<span class='pagenum'><a name="Page_250" id="Page_250">250</a></span> thirteenth-century building,
+while the nave and side aisles are of the century following. Two towers,
+which flank the magnificent façade, rise for nearly two hundred and
+fifty feet, and are the work of Jacquemin de Commercy in the fifteenth
+century. Adjoining the right aisles are the very beautiful Gothic
+cloisters of the thirteenth and fourteenth centuries. They form a
+rectangular enclosure, 225 feet by 165 feet, and are made up of
+twenty-four sections of four arches, each with clustered columns.</p>
+
+<p>A fine sculptured altarpiece, "The Adoration of the Shepherds," is in
+the Chapelle de la Creche, entered from the cloister.</p>
+
+<p>The present Hôtel-de-Ville was formerly the bishop's palace.</p>
+<p><span class='pagenum'><a name="Page_251" id="Page_251">251</a></span></p>
+<div class="image top" style="width: 362px;">
+<img src="images/illus270.png" width="362" height="408" alt="North Portal Cathedral Châlons-sur-Marne" />
+</div>
+
+
+
+<h4>VII<br /><br />
+ST. ETIENNE, CHÂLONS-SUR-MARNE</h4>
+
+<p>C<span class="smcap">halons</span> is perhaps first of all famed as the scene of Attila's great
+defeat in the fifth century, one of the world's fifteen decisive
+battles.</p>
+
+<p>The Cathedral of St. Etienne is not usually considered to be a
+remarkable structure; but it is thoroughly typical and characteristic of
+a <i>locale</i>, which stamps it at once with a mark of genuineness and
+sincerity. Of early primitive Gothic in the main, it shares interest
+to-day with the four other churches of the city, not overlooking Notre
+Dame de l'Epine, some<span class='pagenum'><a name="Page_252" id="Page_252">252</a></span> five miles distant to the northward, one of the
+most perfectly designed and appointed late Gothic churches which the
+world has ever known. It has been called a "miniature cathedral," using
+the term, it may be supposed, in the sense of referring only to a
+magnificently ornate church. It is indeed worth a pilgrimage thither to
+see this true gem of architecture in a wholly undefiled countrified
+setting.</p>
+
+<p>The Cathedral at Châlons-sur-Marne follows somewhat the traditions of
+the German manner of building, at least so far as a certain plainness
+and lack of ornate decoration in the main body of the church is
+concerned; likewise in the arrangement of its towers, which lie to the
+eastward of the transepts; and further with respect to its decidedly
+Teutonic arrangement of the rounded columns, or, more properly, pillars,
+of its nave.</p>
+
+<p>In general this thirteenth-century church is in the best style of its
+era; but the west front presents an incongruous seventeenth-century
+addition in the whilom classical style of that day, bad as to its art,
+and apparently badly welded into conjunction with the older portion. The
+aisles and clerestory windows are of the later decorated period of
+Gothic, and<span class='pagenum'><a name="Page_253" id="Page_253">253</a></span> present, whether viewed from without or from within, an
+exceedingly fine appearance.</p>
+
+<p>Probably the finest and most pleasing impression of the whole structure
+is that obtained of the interior, with its pillars of nave and choir, of
+the massive order made familiar in the Rhine churches. A reasonable
+share of twelfth to sixteenth century glass is still left as its
+portion, and the general arrangement of the choir, prolonged, as it is,
+well into the nave, gives a certain majesty to this portion of the
+church which is perhaps not warranted when we take into consideration
+that it must perforce dwarf the nave itself. The arrangement, though not
+common, is by no means an unusual one, and it is recalled also, that it
+is so employed at Reims.</p>
+
+<p>Situated near the frontier, Châlons-sur-Marne has ever been subject to
+that inquietude which usually befalls a border city. German influences
+have ever been noticeable, and, even to-day, the significant fact is to
+be noted that a curé will hear confessions in German, and that services
+are held in that tongue on "Saturdays in St. Joseph's Chapel."</p>
+
+<p>The Episcopal Palace, behind the cathedral, contains a collection of
+some sixty paintings, the gift, in 1864, of the Abbé Joannes.</p>
+<p><span class='pagenum'><a name="Page_254" id="Page_254">254</a></span></p>
+<div class="image top" style="width: 556px;">
+<img src="images/illus273.png" width="556" height="374" alt="S. DIÉ" />
+</div>
+
+
+
+<h4>VIII<br /><br />
+ST. DIÉ</h4>
+
+<p>S<span class="smcap">t</span>. Dié gets its name, by the corruption of Dieudonné, from St.
+Deodatus, who founded a monastery here in the seventh century. It was
+built, as was many another great cathedral, in accordance with the
+custom of erecting a church over the body or relic of a saint whom it
+was especially desired to honour; usually one of local importance, a
+patron or a devotee.</p>
+
+<p>The town is perhaps the most inaccessible and "out-of-the-way" place
+which harbours<span class='pagenum'><a name="Page_255" id="Page_255">255</a></span> a cathedral in all northern France. We might perhaps
+except St. Pol-de-Leon and Tréguier in Brittany, neither of which is on
+a railway, whereas St. Dié is, but at the very end. When you get there
+and want to go on, not back, you simply journey on foot, or awheel if
+you can find a conveyance, and take up with another "loose end" of
+railway some fifteen miles away, which will take you southward, should
+you be going that way. If not, there appears to be nothing for it, but
+to retrace your steps whence you came.</p>
+
+<p>The cathedral (locally "La Grande Eglise," it only having been made a
+cathedral so recently as 1777) has a fine Romanesque nave of the
+eleventh century, with choir and aisles of good Gothic, after the
+accepted Rhine manner of building.</p>
+
+<p>The portal, of red sandstone, is of inferior thirteenth-century
+workmanship, with statues of Faith and Charity on either side. The
+façade is flanked by two square towers.</p>
+
+<p>The interior is curiously arranged with a cordon of sculpture, high in
+the vaulting. The capitals of the pillars are likewise ornamented with
+highly interesting and ornately sculptured capitals. The choir, as is
+most usual, is the masterpiece of the collection, the<span class='pagenum'><a name="Page_256" id="Page_256">256</a></span> windows, in
+particular, being of the purest ogival style.</p>
+
+<p>In the first chapel, on the right, is a painting, "The Martyrdom of St.
+Sebastian," and behind the choir is an ancient work commemorative of
+"<i>Le Peste de St. Dié</i>."</p>
+
+<div class="image border top" style="width: 500px;">
+<a href="images/illus276a.png">
+<img src="images/illus276a_th.png" width="500" height="302" alt="St. Lazare d&#39;AUTUN" />
+</a>
+</div>
+<p><span class='pagenum'><a name="Page_257" id="Page_257">257</a></span></p>
+
+
+<h4>IX<br /><br />
+ST. LAZARE D'AUTUN</h4>
+
+<p>T<span class="smcap">his</span> ancient episcopal city has ever been devoted to the cause of
+Christianity. "Nowhere," says a French historian, "has the Church
+enjoyed more repute than here." The Dukes of Burgundy, its bishops and
+people alike, joined in a fervour of labour and zeal to assure its
+permanence and progress. In addition, the Gallo-Roman remains point to a
+former city of proud attainments. The fine Roman walls, beautifully
+jointed, <i>sans</i> cement, are distinctly traceable for a circuit of
+perhaps three miles around the city. Other interesting remains are two
+fine gateways, commonly referred to as triumphal arches, which they
+probably were not, the Porte d'Arroux and the Porte St. Andre; the ruins
+of an amphitheatre; and a tower assigned to a former temple of Minerva.
+All these, and more, are found inside the old walls; while, without, are
+remains of an aqueduct, of a<span class='pagenum'><a name="Page_258" id="Page_258">258</a></span> tower dedicated to Janus, and a Roman
+bridge crossing the river Torenai. It may be interesting for an
+Englishman to recall that the Bishop of Autun, who often presided over
+the National Assembly, pleaded in vain with George III. for the
+adoption, in England, of the French metric system.</p>
+
+<p>During the destruction of a former building, St. Nazaire, which at one
+time performed the functions of a cathedral, the bishops held their
+offices in the chapel of the chateau of the Dukes of Burgundy; but, upon
+the removal of the residence of the house of Burgundy to Dijon,
+transferred their services to the present edifice, which had by that
+time been completed.</p>
+
+<p>The Cathedral of St. Lazare is a charmingly graceful, though not great,
+structure, mainly of the style "<i>ogivale premier</i>," its early Lombard
+work of the nave and west front being of the foundation of Robert I.,
+Duke of Burgundy. This vast western portal is encased in a great
+projective porch, a feature indigenous apparently to Burgundy, and
+commonly referred to as the "Burgundian narthex." Following come the
+chapels and spires, of exceeding grace and beauty, of the third
+<i>ogivale</i> style.<span class='pagenum'><a name="Page_259" id="Page_259">259</a></span></p>
+
+<p>The interior enrichments, like the western doorway, with its Romanesque
+sculptures, take rank with the best in Burgundy. The delicately carved
+rood-loft, or jube, the small sculptures of the choir and nave, and the
+flamboyant chapels of the fifteenth to seventeenth century, challenge
+minute attention from those who would study decorative detail <i>in
+extenso</i>. The capitals of certain columns in the nave have fluted
+pilasters in imitation of the antique, but are most curiously ornamented
+with grotesque and fantastic human figures on a background of foliage.</p>
+
+<p>The choir, of early pointed style, in its actual disposition and
+arrangement, may be included in that classification which comprehends
+some of its more important northern compeers, though, as a matter of
+fact, it lacks their magnitude. Indeed, the building is one of the
+smallest cathedrals in all France. The exterior offers an imposing and
+picturesque ensemble, with its crocketed spire rising some two hundred
+and fifty or more feet above the roof-tops of the ancient city.</p>
+
+<p>Nearer inspection shows a certain incoherence of construction,
+particularly in reference to the evidences of garish crudities in the<span class='pagenum'><a name="Page_260" id="Page_260">260</a></span>
+work done under Robert I. in 1031-76, in contrast to the later pointed
+work.</p>
+
+<p>The doorway of the lateral southern wing is ornamented with a series of
+grossly exaggerated columns, in imitation of the antique, with the
+addition of an apse, which contrastingly shows work of a late flamboyant
+order.</p>
+
+<p>The spire itself is the masterwork of the entire structure, and, unlike
+those which surmount many another church, appears not to have suffered
+the dangers of fire. As a fifteenth-century work, it merits special
+mention. Rising abruptly from a heavy square base, the pyramid is very
+acute, and is ornamented at the angles with foliaged crockets, basely
+called stone cauliflowers by unimaginative persons. One might say, with
+the gentle Abbé Bourassé, that the "ornamentation breaks into sky and
+cloud with an exceedingly agreeable effect, far beyond that of a
+straight line." The inconsistency lies only in the juxtaposition of the
+two western transition towers, which have hardly enough of the Gothic in
+them to merit the name.</p>
+
+<p>The lower windows of the nave are of good flamboyant style, with a sort
+of Romanesque triforium, and a simple round-headed window in each bay of
+the clerestory, which is<span class='pagenum'><a name="Page_261" id="Page_261">261</a></span> the more poor in treatment and effect in that
+it holds no notable glass. There are none of those distinctly northern
+accessories, the great rose windows, and the whole reeks of distinctly a
+milder atmosphere. There is a luxuriance of decoration in the many
+chapels of different epochs.</p>
+
+<p>The exterior, in general, is of excessive simplicity; but, if it is not
+to be placed among those cathedrals and churches accredited the most
+notable and most beautiful, it will, at least, take rank as one of the
+most ancient to be seen to-day, and has the further benefit of a
+glorious environment and association with the past.</p>
+<p><span class='pagenum'><a name="Page_262" id="Page_262">262</a></span></p>
+<div class="image top" style="width: 548px;">
+<img src="images/illus283.png" width="548" height="395" alt="CATHEDRAL of S. BÉNIGNE DIJON" />
+</div>
+
+
+
+<h4>X<br /><br />
+ST. BÉNIGNE DE DIJON</h4>
+
+<p>T<span class="smcap">he</span> power and wealth of the Dukes of Burgundy, whose influence extended
+northward to the Netherlands, where they often held court at Ghent and
+Bruges, were, in a way, responsible for the opulence and splendour of
+the life of the day. So, too, Burgundian architecture became a term
+synonymous for the amplitude and grandeur with which many of its
+institutions were endowed.</p>
+
+<p>The reign of Philippe le Bon, with that of Charles the Bold, the most
+ambitious prince who ever graced his line, was the Augustan<span class='pagenum'><a name="Page_263" id="Page_263">263</a></span> age of
+Burgundian art. It was the dream of the latter to reincarnate the old
+Burgundian kingdom by annexing Lorraine and subduing the advancing Swiss
+Confederacy, an ambition which failed, like many others as, or more,
+worthy. The conquered duke was killed at Nancy, and was finally buried
+in Notre Dame at Bruges.</p>
+
+<p>The Cathedral of St. Bénigne is an outgrowth from the old abbey church,
+from which the Italian monk, Guillaume, set forth to found that
+remarkable series of monasteries in Normandy and Brittany. It is said,
+too, that he crossed the Channel, and had a large share in the works
+which were erected at that period in the south of England. The bishop's
+throne has been established in this church only since the Revolution,
+caused by the destruction of his former cathedral. The early foundations
+of the old abbey date far back into antiquity, but the present cathedral
+dates only from the thirteenth century. Commonly considered as of Gothic
+style, it is in every way more suggestive of the late Romano-Byzantine
+type, or at least of the early transition. There is, to be sure, no
+poverty of style; but there is an air of stability and firmness of
+purpose on the part of its builders,<span class='pagenum'><a name="Page_264" id="Page_264">264</a></span> rather than any attempt to either
+launch off into something new or untried, or even to consistently remain
+in an old groove.</p>
+
+<p>As a fact, it is not a very grand building. Its choir is small, and its
+transepts short. In its plan, at least, it resembles the Byzantine form
+much more than the elongated Gothic, where every proportion seems to
+reach out to its utmost extent.</p>
+
+<p>The west façade is truly fine in the disposition of its parts and
+arrangements. It suggests, more than anything, a traditional local
+style, favouring nothing else to any remarkable degree except the German
+solidity so often to be noted in eastern France. The towers are firmly
+set with unfrequent pointed openings. The central portal and vestibule
+are deep, and rich with a sculptured "Martyrdom of St. Peter" and a
+delightfully graceful arcade just above the portal arch, and another
+crossing the gable and joining the towers in a singularly effective
+manner. A somewhat heavy but rich pointed window of three lights,
+surmounted by a quatrefoil rose, with a slight needle-like spire which
+rises just above the gable, completes the ensemble.</p>
+
+<p>The earlier work, seen at its best in the interior, is that of the choir
+and transepts,<span class='pagenum'><a name="Page_265" id="Page_265">265</a></span> where again the distinguishing features are local. In
+the transepts the arches open directly on the side chapels, the southern
+arm being gorgeous with brilliant glass. The windows of choir and
+transepts throughout are richly traceried and set. The choir itself is
+destitute of either ambulatory or chapels.</p>
+
+<p>A lantern is placed at the crossing, supported by gracefully foliaged
+shafts.</p>
+
+<p>The nave is of a much later period, and is not of the richness of the
+portion lying to the eastward. The windows of the clerestory, in
+particular, will not be considered of the excellence of those of either
+transept or choir.</p>
+
+<p>The south tower encloses the tombs of Jean sans Peur and Philippe le
+Hardi. The crypt contains the tomb of St. Bénignus.</p>
+<p><span class='pagenum'><a name="Page_266" id="Page_266">266</a></span></p>
+<div class="image top" style="width: 550px;">
+<img src="images/illus287.png" width="550" height="391" alt="CATHEDRAL of NOTRE DAME SENLIS" />
+</div>
+
+
+
+<h4>XI<br /><br />
+NOTRE DAME DE SENLIS</h4>
+
+
+<p>"T<span class="smcap">ruly rural</span>" is a term which may well be applied to the situation of
+Senlis, the ancient Civitas Sylvanectensium of the Romans. Quaint and
+attractive to the eye is the entrance to the town from the railway, with
+its low-lying roofs, over which tower the spires of the ancient
+Cathedral of Notre Dame and the Church of St. Pierre. It forms a
+heterogeneous mass of stone, to be sure, and one which looks little
+enough, at first glance, like the delicate and graceful cathedral which
+makes up the mass in part. It is, in reality, a <span class='pagenum'><a name="Page_267" id="Page_267">267</a></span>confused jumble of
+towers and turrets which meets the eye, and it takes some little
+acquaintance with the details thereof to separate the cathedral from the
+adjacent church.</p>
+
+<p>The proximity of the sees of Beauvais, Amiens, and Paris perhaps
+accounts for the lack of importance attached to this cathedral. As for
+the structure itself, among the minor cathedrals of France, Senlis, with
+Séez and Coutances, must ever rank as the peers of that order, with
+respect to the grace and beauty of their spires. It may be doubted if
+even the spires of Chartres are to be considered as more beautiful than
+the diminutive single example to be seen here, particularly when grouped
+with its surrounding environment. Individually, as well, its grace and
+beauty might even take that rank. The demarcation between the base of
+the tower and the gently dwindling spire is almost entirely eliminated,
+without the slightest tendency toward debasement in the steeple, which
+too often is merely a series of superimposed, meaningless, and
+unbeautiful details. Latter-day builders, who want a model for the spire
+of a moderate-sized Gothic church, could, it would seem, hardly do
+better than to make a replica of this graceful example.<span class='pagenum'><a name="Page_268" id="Page_268">268</a></span></p>
+
+<p>In its façade, the Cathedral of Notre Dame de Senlis partakes largely of
+the characteristics of the primitive lowland types, reminiscent, at
+least, of Noyon or Soissons, and, as such, it may properly be considered
+and compared with them.</p>
+
+<p>The transepts of the north and south are not grand members, but they are
+compact and graceful, and the façade of the southern arm is of a highly
+ornate character, bespeaking a wealth of ambition, if not of ability, on
+the part of the architect.</p>
+
+<p>The interior, in spite of the lack of sculptured ornament, shows no
+paucity of style, and, except that it is of the bijou variety, might
+take rank at once as representative of Gothic style at its best. Under
+these conditions, the nave is naturally confined, and lacks a certain
+grandeur both as to width and height.</p>
+
+<p>The choir is of true, though not lofty, proportions, the aisles
+appearing perhaps too low, if anything, for the height of the nave,
+which otherwise appears exceedingly generous with respect to the extent
+of its triforium and clerestory.</p>
+
+<p>The transepts, though shallow, are possessed of unusually amplified
+aisles, there <span class='pagenum'><a name="Page_269" id="Page_269">269</a></span>being, as a matter of fact, two in that portion which
+adjoins the nave on the west, a sufficiently unusual arrangement to
+warrant comment. The rose windows of the transepts have graceful design
+and good framing, though the glass is not of the splendour which we
+associate with the most pleasing examples seen elsewhere.</p>
+<p><span class='pagenum'><a name="Page_270" id="Page_270">270</a></span></p>
+
+
+<h4 class="top15">XII<br /><br />
+ST. ETIENNE DE MEAUX</h4>
+
+<p>T<span class="smcap">o</span> the eastward of Paris, one first finds the true country atmosphere at
+Meaux, famous for its bishops, its grist-mills, and its generally
+charming environment.</p>
+
+<p>The picturesque little city is situated on the Marne, some thirty miles
+from Paris, amid a verdure which, if not luxuriant, is, at least, a
+"fringe of green" that is appealing alike to local pride, and to the
+artist or stranger within the gates. It is an ancient bishopric (now
+suffragan of Paris), founded in 375 <span class="smcap">A. D.</span></p>
+
+<p>The Cathedral of Saint Etienne de Meaux is called by the French the
+"Child of Amiens," and it would have all the dignity of its mother had
+but the nave received the same development as the choir. Its general
+dimensions are restrained, and it shows in no way any remarkable
+architectural ensemble; but, for all that, its power to please is none
+the less</p>
+
+<div class="image border" style="width: 500px;">
+<a href="images/illus292a.png">
+<img src="images/illus292a_th.png" width="500" height="299" alt="St. etienne de MEAUX" />
+</a>
+</div>
+
+<p><span class='pagenum'><a name="Page_271" id="Page_271">271</a></span></p>
+<p class="noind">great. Lacking a certain symmetry, in itself no great fault, the
+exterior gives the impression of being to-day much less grand and
+imposing than was really planned. Battled by wind and weather, its outer
+walls have that scarred and aged look which is a beauty in itself. There
+are two towers, one of which is unfinished and capped with an ugly and
+angular slate roof, so low that it hardly exists at all, so far as
+forming a distinct feature of the façade is concerned. Its companion,
+however, rises boldly and in graceful lines to a generous height above
+the gable.</p>
+
+<p>The interior plan is regular and simple, with a nave of five bays, the
+first two from the west being divided into the infrequent quadruple
+range of openings, while the remainder consist of the usual triforium
+and clerestory only. The double aisles of the nave are of unusual
+height, in order to admit of this double range of openings.</p>
+
+<p>The transepts, if transepts they can be considered, are very shallow,
+being merely the depth of the double aisles of the nave and choir, and
+are bare and unadorned so far as any notable sculpture or glass is
+concerned, though the arched windows which hold the<span class='pagenum'><a name="Page_272" id="Page_272">272</a></span> plain glass are of
+grand proportions and excellent design as to their framing.</p>
+
+<p>The triforium, throughout, is an arcaded cloister-like effect of slight
+arches, supported by slender columns, with a series of glazed windows
+behind. It would be a notable and wholly charming arrangement were the
+glass of these windows rich in colour, or even old in design.</p>
+
+<p>There is an air of singular lightness, if not actually of grace,
+throughout the entire nave and choir, superinduced, perhaps, by the
+recent whitening and pointing of the masonry; but the not infrequent
+bulging piers, particularly those nearest to the transept crossing, give
+a suggestion of ungainliness if not of actual insecurity.</p>
+
+<p>The columns of the choir, supporting a series of firm and gracefully
+poised arches, are of unusual height, something over forty feet, it
+would appear,&mdash;producing a harmony of form and elegance which again
+reminds one of Amiens.</p>
+
+<p>There are here copies of the nine Raphael tapestry cartoons, the
+originals of which are preserved at South Kensington, also of frescoes
+by Guido Reni and Domenichino.</p>
+
+<p>The chief artistic, if not architectural,<span class='pagenum'><a name="Page_273" id="Page_273">273</a></span> charm to be seen within the
+purlieus of the cathedral is that of the ancient chapter-house, across a
+narrow way, to the right of the church itself. This gem of mediæval
+building is perhaps not remarkable as to any of the principles which it
+sets forth in its manner of construction, but it takes one back some
+hundreds of years, a sheer plunge far beyond the age of the most
+prominent features of the main church, and gives a thrill somewhat akin
+to the emotion which one feels when he comes across a single leaf torn
+from an old illuminated manuscript. This charming ruin, for it is hardly
+more than that, being a mere lumber-room, shows in the weathered look of
+its covered stairway nearly all of the qualities which the painter loves
+to depict,&mdash;colour, texture, and, above all, that indescribable charm
+which artistic folk, and others who can see as they do, call life.</p>
+
+<p>Clearly, the Cathedral of St. Etienne de Meaux, as an interesting
+shrine, may be classed well at the head of the secondary cathedrals of
+the third Gothic period.<span class='pagenum'><a name="Page_274" id="Page_274">274</a></span></p>
+
+<div class="image top" style="width: 538px;">
+<img src="images/illus297.png" width="538" height="404" alt="CATHEDRAL OF SAINT PIERRE TROYES" />
+</div>
+
+
+
+<h4>XIII<br /><br />
+ST. PIERRE DE TROYES</h4>
+
+<p>T<span class="smcap">o</span> the thorough student of English history, Troyes is perhaps first
+recalled as being the birthplace of the treaty "<i>decreeing for ever a
+common sovereign for England and France</i>," a treaty which, it is minded,
+"stood no while." Again, some dubious antiquary has put it forward as
+the home of that variety of weights "which are not avoirdupois."</p>
+
+<p>The Counts of Champagne had, in the once well-walled city, both a castle
+and a palace. Olden-time houses, good Gothic woodwork<span class='pagenum'><a name="Page_275" id="Page_275">275</a></span> and Renaissance
+stonework, are here in abundance; also, according to the authority of
+Fergusson, a well-nigh perfect Gothic church in St. Urbain; likewise a
+great cathedral,&mdash;rather ugly as to its general outline. All these are
+possessed by Troyes, and to-day the reminders and remains of each and
+all are exceedingly vivid and substantial.</p>
+
+<p>Certain cathedrals of France show plainly the different phases and
+developments of the art of building through which they have passed;
+others indicate little, if any, deviation from a certain accepted style.
+St. Pierre de Troyes is of the first category. Here is Gothic in all its
+variations. Its environment, too, is characteristic of the many varying
+moods through which its constituency has passed. A truly mediæval city
+in the picturesqueness of its older portions, Troyes is famed alike in
+affairs of Church and State. The dimensions of the Cathedral at Troyes,
+which approach those of the grand group, and the general majesty of its
+interior only further this opinion.</p>
+
+<p>The main body covers the none too frequent arrangement of five aisles,
+which, following through the transept, continue, with the double pair on
+each side, to likewise<span class='pagenum'><a name="Page_276" id="Page_276">276</a></span> girdle the choir. The splendour of immensity is
+further enhanced by its large windows, including two rose openings set
+with old glass, and the general richness of its sculptured decorations.
+The abside of the choir is ranked among the best Gothic works of the
+time.</p>
+
+<p>The choir, begun in 1206, is composed of thirteen arcades, symbolical of
+Christ and the twelve apostles, from the chief of whom the cathedral
+takes its name. The windows of the triforium are large and divided into
+four compartments. The general disposition of the choir, with its
+radiating chapels, is superb; and it is exactly this satisfying, though
+perhaps undefinable, quality that is ofttimes lacking in an originally
+well-planned work which fails to inspire one. The choir contains an iron
+<i>grille</i> of the thirteenth century, of very beautiful workmanship, and
+is surrounded by five hexagonally sided chapels.</p>
+
+<p>The principal portion of the nave, erected in the fourteenth, fifteenth,
+and sixteenth centuries, interrupted now and again by war and civil
+distractions, bears indelible impress of its continued centuries of
+growth.</p>
+
+<p>The principal façade of the fifteenth century&mdash;accredited to one Martin
+Chambige and erected just after the nave took form&mdash;is<span class='pagenum'><a name="Page_277" id="Page_277">277</a></span> of the richness
+of Gothic only just previous to its decline. There are three portals,
+which are bare of sculptured figures, as indeed is the whole west front.
+In arrangement, it resembles the frontispieces of certain of the grand
+cathedrals, and, though lacking their sculptured ornateness, is
+thoroughly satisfying as a decorative frontage. Had it been executed
+fifty years later, it would be hard to imagine to what depths its lines
+might not have fallen. As it is, the upper ranges of the tower suggest
+the thought. The windows of the aisle and of the clerestory of the nave,
+when viewed from the exterior, are grandly traceried and gracefully
+coupled by a series of light, firm buttresses, which rise, only from the
+gables of the lower set, over the low-lying roof to the spring of the
+arch of the upper range. St. Pierre de Troyes suggests, in a mild way,
+the "sheer glass walls" so frequently referred to by adulous French
+critics when chanting the praises of the highly developed lightness of
+their indigenous style. This is further accentuated when one notes the
+glazed triforium, a decorative feature reminiscent of that at Séez,
+Nevers, Tours, and St. Ouen at Rouen.</p>
+
+<p>Troyes is one of those prominent cathedral<span class='pagenum'><a name="Page_278" id="Page_278">278</a></span> cities of Catholic France
+whereof the churchman deplores the fact that its men are not of the
+church-going class, and that its congregations are mostly of the fair
+sex. Be this as it may, except in Brittany, where the whole population
+appears unusually devout, the stricture is probably true in a great
+measure of all of the north of France; and, be it here said, recent
+political edicts will doubtless not tend to increase the propaganda of
+piety.</p>
+
+<p>The north gable, with its portal and rose window, is of the fifteenth
+century, and, with the "lustrous rose" of the south transept, forms a
+pair of brilliant jewels which are hardly excelled elsewhere, not even
+by the encircled splendour of the forty-foot openings at Reims and
+Amiens, the equally extensive one of the north transept at Rouen, or,
+most splendid of all, the galaxy at Chartres. These marvels of French
+ingenuity and invention are nowhere more splendidly proportioned or
+embellished than at Troyes, and are equally attractive viewed from
+either within or without.</p>
+
+<p>The chief "<i>tresor</i>" consists of a series of wonderful mediæval
+enamels.</p>
+<p><span class='pagenum'><a name="Page_279" id="Page_279">279</a></span></p>
+<div class="image top" style="width: 548px;">
+<img src="images/illus302.png" width="548" height="421" alt="CATHEDRAL OF SAINT ETIENNE SENS" />
+</div>
+
+
+
+<h4>XIV<br /><br />
+ST. ETIENNE DE SENS</h4>
+
+<p>S<span class="smcap">ays</span> the Abbé Bourassé, "One of the most beautiful titles to glory in a
+church is the antiquity of its foundation," hence, most French
+antiquaries who have written upon the subject of the celebrated
+Cathedral of St. Etienne of Sens have enlarged upon its "glorious
+antiquity." To prove or verify the fact as to whether St. Savinien or
+St. Potentien was the first to preach Christian religion here would be a
+laborious undertaking. Evidences and knowledge of Roman works are not
+<span class='pagenum'><a name="Page_280" id="Page_280">280</a></span>wanting, and early Christian edifices of the Romanesque order must
+naturally have followed. One learns that an early church on this site
+was entirely destroyed by fire in 970, and that a new edifice had
+progressed so far that it was dedicated in 997. This, in turn, was
+mostly rebuilt, and, two hundred years later (1168), took the form of
+the present cathedral. It was completed, in a rather plain and heavy
+ogival style, under the capable direction of the William who came to
+Canterbury, in response to a call, to rebuild the choir of that English
+church in 1174. It is this link, and possibly a sight of the vestments
+of À Becket, now preserved among the "<i>tresor</i>" of Sens, that binds its
+memory with English contemporary life. Whatever may be the contentions
+waged as to the claims of English Gothic, it is universally and
+unimpeachably admitted that Guillaume de Sens rebuilt that famous choir
+of Canterbury, and built it well, and of a newer order of design than
+any previous work in England. So let it stand.</p>
+
+<p>Taken by itself, the Cathedral at Sens is a high example of Christian
+art. When, however, it is compared with the grand group, it is relegated
+immediately to the second rank. The interior, far more than the
+exterior, shows<span class='pagenum'><a name="Page_281" id="Page_281">281</a></span> a visible disparity of unified style. Romano-Byzantine,
+transition, and ogival are all found in the nave and choir, with the
+flamboyant, of the fifteenth century, in the ornamental tracery of the
+windows of the transepts.</p>
+
+<p>Some visible remains of the earlier structure are shown, built into the
+eleventh century walls. Of the same period are other evidences of a
+former erection, to be noted in the aisles. The transept and the greater
+part of the nave are of the century following, and of the early
+thirteenth, and finally the three arcades, by which the nave is entered,
+are something very akin to the full-blown Renaissance of the fifteenth
+century.</p>
+
+<p>The general plan is symmetrical, and severe, only the twenty chapels
+being ungracefully disposed. Ten of these are in the choir and ten in
+the nave. For the antiquary, versed in religious archæology, the
+Cathedral of Sens would appear, from the very inconsistencies and
+exuberance of its style, to be of great interest. The fragments that
+remain of its former magnificent glass, the sculptured monuments, and
+the tombs and curiosities of the "<i>tresor</i>," which escaped Revolutionary
+spoliation, all combine in a glorious attraction for one who has the
+time and inclination to delve into the<span class='pagenum'><a name="Page_282" id="Page_282">282</a></span> reminiscence of history and
+association of a past age.</p>
+
+<p>The glass of the choir, and of the chapel of St. Savinien, is of the
+thirteenth century. The colour is exceedingly brilliant, lively, and
+harmonious, with the iridescence of a mosaic of precious stones.</p>
+
+<p>The sixteenth-century glass, none the less than the framing itself, of
+the grand rose windows of the north and south transepts, is equally
+remarkable as to design and colour. The former represents the
+"Glorification of Jesus Christ," and the latter "Events in the Life of
+St. Etienne."</p>
+
+<p>The "<i>tresor</i>" of the cathedral is very numerous and is considered the
+richest in all France. The most notable are a reliquary of gold, set
+with sapphires and pearls, containing a fragment of the True Cross,
+given by Charlemagne in the year 800; four magnificent tapestries of the
+time of Charles V., representing the "Adoration of the Magi;" and the
+pontifical robes of St. Thomas (à Becket), chasuble, aube, stole,
+manipule, cordon, two mitres, and two collars. This courageous
+archbishop, persecuted by Henry II., took refuge in Sens in 1162. An
+elaborate tomb (of the eighteenth century), by Constant, is the
+mausoleum of the Dauphin, father of Louis XVI.</p>
+<p><span class='pagenum'><a name="Page_283" id="Page_283">283</a></span></p>
+
+
+<h3 class="top15"><a name="PART_VI" id="PART_VI"></a><i>PART VI</i><br />
+<i>Western Normandy and Brittany</i></h3>
+
+<p><span class='pagenum'><a name="Page_284" id="Page_284">284</a></span></p>
+
+<p><span class='pagenum'><a name="Page_285" id="Page_285">285</a></span></p>
+
+
+<h4>I<br /><br />
+INTRODUCTORY</h4>
+
+<p>M<span class="smcap">ost</span> people who have read Ruskin, and most people have done so&mdash;in the
+past, will undoubtedly concur with his dictum that Rouen's "associated
+Norman cities," Bayeux, Caen, Coutances, St. Lo, Lisieux, and Dieppe,
+run the entire gamut of mediæval architectural notes; or, as Ruskin
+himself has put it, "from the Romanesque to the flamboyant." He might
+well have added, the Renaissance and the pseudo-classicism of a later
+day.</p>
+
+<p>Beauties there are in this region, galore; and the examples which no
+longer exist, but of which the records tell, point to a still larger
+aggregate.</p>
+
+<p>Who thinks to-day of Coutances as of being a "cathedral town?" And yet,
+there is within it, as to the general effect of situation and the
+magnitude of its towering pinnacles, an edifice which perhaps outranks
+all but the<span class='pagenum'><a name="Page_286" id="Page_286">286</a></span> very greatest. Most likely no thought is given it at all,
+except that Coutances is somewhere on the railway line between Cherbourg
+and Paris, or that it is near unto Bayeux; also possessed of a
+magnificent cathedral, but whose greatest fame lies in a certain false
+sentiment associated with its famous tapestry. Not that this great work
+is to be decried,&mdash;far from it, but the spirit with which it is so often
+viewed should be a matter of scorn for every broad-minded traveller.</p>
+
+<p>Lisieux, too, has a wealth of attraction for those who fondly admire
+reeking picturesqueness and old timbered houses, though its cathedral
+will not please.</p>
+
+<p>Pugin could not resist depicting many of these delightful old houses of
+Lisieux in his book on Normandy, though, unlike Ruskin, he had no eye
+for its cathedral; most of us will not have.</p>
+
+<p>So much, then, as a plea for a more sincere and thorough appreciation of
+the charms of western Normandy. It is cheap; accessible, and has a
+practically inexhaustible store of treasure for the traveller or student
+of limited time or money, but who will not make of it the usual mere
+"bank-holiday" scamper. The same applies also to Brittany, which is
+treated<span class='pagenum'><a name="Page_287" id="Page_287">287</a></span> elsewhere, with this proviso, that the tourist afoot or awheel
+is far better equipped than he who has to depend upon steam and the
+rail, two at least of Brittany's cathedrals being "off the line."</p>
+<p><span class='pagenum'><a name="Page_288" id="Page_288">288</a></span></p>
+
+
+<h4 class="top15">II<br /><br />
+NOTRE DAME D'EVREUX</h4>
+
+<p>T<span class="smcap">he</span> Cathedral at Evreux is another of those edifices which gives one its
+best impression when first seen upon entering the city. Charmingly,
+possibly romantically, situated, it lies in a shallow valley with all
+the picturesqueness of its varied style limned against the sky in truly
+impressionistic fashion. This impression, when viewed from the slight
+eminence by which the railway enters the town, is a vista of rambling
+roofs and a long, sloping street running gently down to the very foot of
+the structure, which, set about and interspersed with verdure, as it is
+in the spring and summer months, warrants one in counting his
+introduction to this charmingly attractive, though non-consistent, type
+of church, as one of the events which will live in memory for years.</p>
+
+<p>If towering spires and pinnacles were a <i>sine qua non</i> for a great and
+imposing architectural<span class='pagenum'><a name="Page_289" id="Page_289">289</a></span></p>
+<p><span class='pagenum'><a name="Page_290" id="Page_290">290</a></span></p>
+<div class="image" style="width: 334px;">
+<a href="images/illus312.png">
+<img src="images/illus312_th.png" width="334" height="550" alt="Notre Dame d&#39;Evreux" />
+</a>
+</div>
+<p><span class='pagenum'><a name="Page_291" id="Page_291">291</a></span></p>
+<p class="noind">style, this church would at once rank as one of the most delightful
+examples extant; for these very features, albeit they are mostly of what
+we have come to accept as a debased form of art, are nevertheless
+possessed of a grandeur and magnificence which in many worthy examples
+are entirely lacking. The pair of western towers, of Romanesque
+foundation, were developed, not in what one knows as Gothic, but of the
+manifest and offensive pseudo-classic order. They are capped, however,
+with something more akin to Moorish or an Eastern termination than
+Italian. The spire which surmounts the central crossing is, without
+question, a reminiscence of much that has been accepted as good Gothic
+form in the great central-towered English churches. Up to a certain
+point this can hardly be denied; but this rather weak, effeminate spire,
+which forms such an unusual attribute of a French cathedral, more than
+qualifies its right to a place in the first rank of spires. As for the
+rest of the exterior, it is a <i>mélange</i> of nearly every known
+architectural style. Undeniably fine in parts, like "the curate's egg,"
+if a time-worn simile may be permitted, it forms an ensemble which would
+preclude its ever being accorded <span class='pagenum'><a name="Page_292" id="Page_292">292</a></span>unqualified praise from even the most
+liberal-minded and optimistic enthusiast.</p>
+
+<p>By far the most coherent view to be had near by is that from the gardens
+of the Archbishop's Palace immediately to the rearward of the choir.
+Here the clipped trees, the warm coloured wall, along which the vines
+are trained, and what was once a canal, or moat, in the foreground,
+combine to present a singularly artistic and pleasing composition.</p>
+
+<p>The north transept, of Bishop le Veneur, is of the superlative degree of
+its era (early sixteenth century), bordering upon the profusion of
+splayed ornament which so soon after turned to dross, but standing, as
+it does, of itself, clearly defined. The gulf was finally crossed when,
+less than a half-century later, the incongruous west front with its
+ill-mannered towers was built,&mdash;in itself a subject worth a deal of
+study from the artist who would picture graven stone, but contrasting
+unfavourably enough with the heights to which French ecclesiastical
+architecture had just previously soared. Here is offered the one unified
+Renaissance façade of a French cathedral, welded, as it were, in
+unworthy fashion, to a fabric with which it has nothing in common. The
+stone-mason here superseded<span class='pagenum'><a name="Page_293" id="Page_293">293</a></span> the craftsman; and, with the termination of
+the reign of François I., and following with that of Henry II., came the
+flowering rankness of a degenerate weed, leaving, as evidence of its
+contaminating influence in this one example alone, traces of nearly
+every classical order, from the simple Doric column to a hybrid which
+shall be unnamed.</p>
+
+<p>The interior presents a general array of incongruities quite as
+remarkable as those of the exterior. The nave is very narrow; but the
+choir widens out perhaps a dozen feet on either side, adding
+immeasurably to an effect which is far more impressive than might
+otherwise be supposed.</p>
+
+<p>The nave itself shows many varieties of building, ranging from the
+Gothic of the early twelfth to the late fifteenth centuries; the lower
+part and the easterly bays are Romanesque, or what perhaps has been
+popularly accepted as Norman, and date from 1125; the remainder and the
+triforium are of a century later.</p>
+
+<p>The choir is of the decorated species of the early fourteenth century,
+with its arcaded triforium glazed, whereas in the nave it is without
+glass. The lady-chapel, of the time of Louis XI., shows that inevitable
+mark of <span class='pagenum'><a name="Page_294" id="Page_294">294</a></span>degeneracy, the "<i>fleur-de-lys</i>," in the elaborated tracery of
+the window framing. The glass here is, however, excellent, in effect at
+any rate, with its gorgeous figures of knights, angels, and peers of
+France, drawn with a masterly skill which is often lacking in even more
+precious glass.</p>
+
+<p>The chapel screens, some twenty in all, are wondrously turned and carved
+of wood. This leads one to venture the thought that the similar
+decorative embellishments of the Renaissance chateaux of the Loire
+country were slowly creeping northward, and leaving their impress upon
+the work of the ecclesiastical builder and decorator. Certainly, the
+numerous fine examples of the art of the wood-carver, to be seen in this
+cathedral, bespeak much for the decorative quality of wood, when used
+considerately in conjunction with stone.</p>
+
+<p>There are two rose windows, of the petal species, unquestionably fine as
+to framing, but leaving little space for the effect of the glass, which
+they hold only in small proportion.</p>
+
+<p>The "treasury," alone, is enclosed with iron bars, and a <i>grille</i> of
+graceful late flowing ironwork forms the screen of the choir. Altogether
+the Cathedral at Evreux will be <span class='pagenum'><a name="Page_295" id="Page_295">295</a></span>remembered quite as much for its
+wonderful array of wooden and iron <i>grilles</i> as for any other of the
+specific details among its mass of general attributes.</p>
+
+<div class="image" style="width: 275px;">
+<img src="images/illus318.png" width="275" height="432" alt="Window Framing&mdash;Evreux" />
+</div>
+
+<p><span class='pagenum'><a name="Page_296" id="Page_296">296</a></span></p>
+<div class="image top" style="width: 523px;">
+<img src="images/illus319.png" width="523" height="392" alt="Notre Dame d&#39;Alençon" />
+</div>
+
+
+
+<h4>III<br /><br />
+NOTRE DAME D'ALENÇON</h4>
+
+<p>T<span class="smcap">his</span> former capital of the duchy of the same name is a sleepy,
+countrified French town, with little but its reputedly valuable and
+beautiful lace to commend it to the average observer.</p>
+
+<p>As a cathedral town, of even secondary rank, it will fall far short of
+any preconceived ideas which one may be possessed of concerning it,
+though its Cathedral of Notre Dame is in many ways one of those
+irresistible shrines, which at least promise, and often fulfil, a great
+deal more than their lack of magnitude indicates.<span class='pagenum'><a name="Page_297" id="Page_297">297</a></span></p>
+
+<p>Its façade, lacking the conventional towers, advances well into the
+roadway, as a sort of forward porch; as at Louviers near by. This porch
+is very ornate, with decorations of the late Gothic period of flowing
+tracery.</p>
+
+<p>After all, it is an incongruous sort of a building, in that only this
+porch and its squat central tower, which is nought but a mere cupola,
+are in the least decorative.</p>
+
+<p>The nave, the choir and chevet, and chapels, are all of a bareness which
+only exaggerates the floridness of these other appendages. The nave
+itself is but one hundred and ten feet long, and perhaps a scant thirty
+wide, and dates from the fourteenth century. It contains good glass of
+the same period, which luckily escaped the spoliation of the Revolution.</p>
+
+<p>The choir is more modern, and much plainer in treatment, and is but
+fifty-five feet in length and of the same width as the nave.</p>
+
+<p>There are no transepts; in short, the chief and most interesting
+features of the church are the before mentioned details, which,
+unquestionably bordering upon the debasement of Gothic art, are in every
+way attractive, with lightness and colour, if such an expression may be
+applied to gray stone.</p>
+
+<p>Certainly the play of sunlight on gracefully<span class='pagenum'><a name="Page_298" id="Page_298">298</a></span> carven stone is indicative
+of a brilliancy which might be termed an effect of colour; and it is
+with respect to that quality that the west façade of Notre Dame
+d'Alençon appeals; more than as an otherwise grand or even highly
+interesting structure.<span class='pagenum'><a name="Page_299" id="Page_299">299</a></span></p>
+
+<div class="image top" style="width: 283px;">
+<a href="images/illus322.png">
+<img src="images/illus322_th.png" width="283" height="500" alt="St. Pierre de Lisieux" />
+</a>
+</div>
+<p><span class='pagenum'><a name="Page_300" id="Page_300">300</a></span></p>
+
+
+<p><span class='pagenum'><a name="Page_301" id="Page_301">301</a></span></p>
+
+<h4>IV<br /><br />
+ST. PIERRE DE LISIEUX</h4>
+
+<p>L<span class="smcap">isieux</span>, the city of the Lexavii, taken by Cæsar and besieged by
+Geoffrey Plantagenet; its old houses; its crooked streets and
+picturesque decay; with its former Cathedral of St. Pierre (M. H.),
+memorable as the marriage place of Henry III. and Eleanor of Guienne;
+all go to make up the formula of one of the stock sights of Normandy.</p>
+
+<p>It is scarcely an attractive town, in spite of its picturesque
+sordidness, made the more so by the smoke arising from many belching
+factory chimneys. In fact, one has difficulty in thinking of it as a
+cathedral town at all; and, as such, it hardly claims more than a brief
+résumé of its important features. A much more interesting, impressive,
+and commanding church is that of St. Jacques, which at least has the
+stamp of a personality, which in the cathedral itself is entirely
+wanting, so far as one's latent sympathies are concerned. In spite of
+the purity of that which is Gothic in<span class='pagenum'><a name="Page_302" id="Page_302">302</a></span> its fabric, it has little of that
+quality which arouses admiration, and which, regardless of the edict of
+a certain seer and prophet, is mostly that for which we revere a great
+monument,&mdash;its power to sway us impressively.</p>
+
+<p>Mr. Ruskin has taken great pains to commend the southern portal as being
+"one of the most quaint and pleasing doors in all Normandy,"&mdash;a
+non-committal enough statement, most will admit, and one with which we
+are not obliged to agree. A broader-minded observer would have said that
+the main body of the church presents a unity of design, very unusual in
+a mediæval work,&mdash;excelled by no other example in France. The greater
+part of the nave, choir, and transepts is the work of one epoch only;
+and, as some writers have it, of one man, Bishop Odericus Vitalis, who
+died shortly after its completion, in the latter part of the eleventh
+century. As a style, it may be said to be either the last of the
+transition or of the very earliest Gothic. Certainly this is something
+in its favour; but the general charm of its immediate surroundings is
+lacking, and the effect of its interior, with the diminutive windows of
+the nave and clerestory, does not tend to satisfy, or even gratify, one
+with the sense of pleasure<span class='pagenum'><a name="Page_303" id="Page_303">303</a></span> which perhaps its more creditable features
+deserve. These are not wholly wanting; for, of course, one must not
+forget that doorway of Ruskin's nor the quite idyllic proportions of the
+nave with its uniform massive pillars.</p>
+
+<p>The lady-chapel was founded in the fifteenth century by the rascally
+Cauchon, Bishop of Beauvais, who, with his brother, prelate of
+Winchester, so gleefully burned Joan of Arc. This much he did in
+expiation of "<i>his false judgment</i>," though, except as a memorial of his
+significant remorse, the chapel itself would hardly be remarkable. The
+clerestory of nave and choir is considerably later. The transepts vary
+as to their windows, and the triforium arches are here at a different
+level from those in the nave.</p>
+
+<p>The general exterior view of the cathedral is hardly satisfactory from
+any point. On three sides it is almost entirely hemmed in by surrounding
+structures, and the frontage, on the great open Place Thiers, is the
+first and the last opportunity of an unobstructed view. As the Abbé
+Bourassé wrote of the Cathedral at Arras, it is best seen from a
+distance, about that, we should say, from which the accompanying drawing
+was made. The gardens of the Sous-Prefecture, formerly the Bishop's<span class='pagenum'><a name="Page_304" id="Page_304">304</a></span>
+Palace, should form in a way a cool green setting for the church; but,
+as a matter of fact, they do nothing of the sort, since the enormous
+mass of a none too good Renaissance façade extends along quite
+two-thirds of the length of the cathedral on the north, and blankets it
+thoroughly, scarcely more than the rather stubby tower of the west front
+being visible above the roof of the other structure.</p>
+
+<p>Lisieux apparently never ranked as an important see, but depended for
+the prominence which it attained previous to the Revolution, when the
+see was abolished, on its association with Rouen, to which it was
+attached. The neighbouring Cathedrals of Séez, Bayeux, and Coutances far
+outrank St. Pierre de Lisieux in size, beauty, and importance.</p>
+<p><span class='pagenum'><a name="Page_305" id="Page_305">305</a></span></p>
+
+<div class="image border top" style="width: 500px;">
+<a href="images/illus328a.png">
+<img src="images/illus328a_th.png" width="500" height="298" alt="NOTRE DAME de SÉEZ...." />
+</a>
+</div>
+
+
+
+<h4>V<br /><br />
+NOTRE DAME DE SÉEZ</h4>
+
+<p>T<span class="smcap">he</span> ancient Civitas Sagiorum of the Romans is now a bishopric, suffragan
+of Rouen. This ancient Gallic stronghold, which fared hardly in the
+Anglo-Norman wars, presents to-day the impression of being a town
+somewhat smaller than the usual small town of France. It also has this
+advantage,&mdash;it is comparatively unknown to tourists, and likewise to
+some map-makers; all of which is decidedly in its favour. Seldom is Séez
+included in the itinerary of the tourist, even though it is situated in
+the heart of the "popular province."</p>
+
+<p>Except for the fact that its charming cathedral is not of the generous
+proportions first impressed upon one, it is difficult to realize that
+such a noble architectural memorial should so often be overlooked and
+apparently neglected by those who might find a great deal of pleasure,
+and incidental profit, from a contemplation thereof.<span class='pagenum'><a name="Page_306" id="Page_306">306</a></span></p>
+
+<p>As a town of celebrated history, Séez is of far more relative rank than
+its cathedral, which, in spite of its many beauties and charm of detail,
+has suffered perhaps more than any other in France, and yet kept a
+fairly pure early Gothic style; referring to the many additions and
+repairs made necessary by crumbling walls and sinking foundations.</p>
+
+<p>The worst that has arisen from this unhappy state of affairs is, not
+that there has been any serious admixture of style, but rather that one
+gross interpolation has been foisted upon an otherwise symmetrical
+whole,&mdash;the enormous advancing buttresses which flank the portal of the
+western façade; an addition of the fourteenth century, neither graceful
+nor decorative, and only made necessary by a tottering wall. A pity it
+is that some other equally effective method was not adopted.</p>
+
+<p>The cathedral is, in a way, a satisfying representation of the cathedral
+of our imagination. From a distance, at least, and in comparison with
+the low-lying structures round about, it certainly appears as of great
+proportions, uniform and complete in itself. Immediate contact with it
+somewhat dispels these charms.</p>
+
+<p>All things considered, one finds here, in this<span class='pagenum'><a name="Page_307" id="Page_307">307</a></span> idyllic, countrified
+setting, a very attractive and fairly consistent Mediæval Gothic church
+of the epoch contemporary with that of the best work of the northern
+builders, showing unmistakable evidence of having been laid down on good
+lines, and after a good design, in spite of the structural defects of
+its foundations. From any direction it may be viewed across a quarter of
+a mile of ploughed fields. The great national highroad, from the Channel
+to Bordeaux, passes straight as a die through the town, and the
+cross-country line of the <i>Chemin de-Fer de Ouest</i> ambles slowly
+northward or southward; with little occurring to break the quietude of
+local ease. The native is for the most part engaged in garnering from
+his truck farm, or in carrying its product to the railway, to be
+transported to market, and pays little attention to the stray traveller
+who occasionally wanders in to study the architectural offering of the
+town.</p>
+
+<p>A completed church was here in 1050, having been erected by a monk, Azon
+by name. This was burned to the ground in an attempt to drive out a
+robber band which had taken shelter therein. Leo IX. engaged Yves, Count
+of Bellêne and the Bishop of Alençon, to rebuild it, and restore its
+former splendour.<span class='pagenum'><a name="Page_308" id="Page_308">308</a></span> This was in the twelfth century, but, later, owing to
+the insecure foundations, it was pulled down and rebuilt again. Now
+nothing remains of the former twelfth and thirteenth century work but
+the lady-chapel of the choir.</p>
+
+<p>The interior of the nave is, at present, entirely filled with
+scaffolding, which looks as though it might not be removed for years. As
+a restorative policy this is commendable and was necessary, but it
+detracts from one's intimate acquaintance with details. About the only
+lasting impression of the nave that can now be obtained is that its
+proportions are superb, and that its cylindrical pillars, with their
+foliaged capitals, would be notable anywhere.</p>
+
+<p>In general effect the choir is charming, having gone through the
+restorative process and apparently suffered little thereby. It presents
+the unusual basilica form of setting the altar forward on a platform
+raised a few steps.</p>
+
+<p>The transepts are of quite idyllic proportions, each possessing an ample
+rose window which makes up in design and framing what it may lack in the
+quality of glass with which it is set. These transepts, too, have
+undergone the usual restoration, and have come safely through with
+little sad effect. It is to be<span class='pagenum'><a name="Page_309" id="Page_309">309</a></span> hoped that these continued restorations
+will be carried out with the same good taste, and in a like consistent
+manner. If so, there will be presented for the delectation of
+generations of the near future one of the most pleasing of the smaller
+cathedrals in all France. The triforium of the choir, and of the nave so
+far as it can be observed through the obstructing scaffolding, is
+singularly light and graceful, and the window framing throughout, though
+entirely lacking notable glass, is of manifest good design.</p>
+
+<p>In fine, then, the general effect of the Cathedral of Notre Dame de Séez
+is one of lightness and grace, and it may be considered as an
+extraordinarily fine architectural monument, in spite of the anomalies
+of its west front.</p>
+
+<p>The twin spires rise gracefully for perhaps two hundred and fifty feet,
+and are after the best manner of the great Gothic builders; of true
+proportions, and of the dwindling pyramidal form so much approved.</p>
+
+<p>The façade, between the towers and the extraordinary buttresses, is
+completely filled with an ample Gothic portal, which, though entirely
+destitute of sculpture, or indeed carving of any sort, offers a
+significant opportunity for some future efforts in this direction.</p>
+<p><span class='pagenum'><a name="Page_310" id="Page_310">310</a></span></p>
+<div class="image top" style="width: 546px;">
+<img src="images/illus335.png" width="546" height="399" alt="CATHEDRAL of NOTRE DAME BAYEUX" />
+</div>
+
+
+
+<h4>VI<br /><br />
+NOTRE DAME DE BAYEUX</h4>
+
+<p>T<span class="smcap">he</span> magnificently impressive Cathedral of Notre Dame is perhaps less
+intimately associated with Bayeux in the average mind than is the
+wonderful story-telling tapestry which is domiciled in the same city. As
+for this treasure of the past, it is a subject so vast, and of such
+great significance, in both history and art, that it has many times been
+made the subject of weighty consideration. A well-known English amateur,
+the Honourable E. J. Lowell, has stated that popular tradition has
+credited it as the handiwork of Matilda, Queen of<span class='pagenum'><a name="Page_311" id="Page_311">311</a></span> William the
+Conqueror, who worked it to commemorate his glorious achievements. If
+this be really so, the queen was probably assisted largely by the ladies
+of her court, as the extensive work, measuring some hundred and sixty
+odd feet, could hardly have been accomplished single-handed. Professor
+Freeman assigns it to a similar period, but worked, as he thinks, by
+English workmen, for Odo, Bishop of Bayeux, the Conqueror's
+half-brother.</p>
+
+<p>A previous acquaintance with the great cathedrals of the Isle of France
+will tend somewhat to nullify the effect which is produced by Notre Dame
+de Bayeux, although, in point of size and general arrangements, at
+least, it fulfils its functions perhaps more acceptably than many a more
+renowned edifice. Its situation, on the side of a steep slope, produces
+a curious effect, first, with respect to the choir chevet, which is thus
+shown as rather gaunt and bare in its lower elongated stages, though
+undeniably a fine work in itself; secondly, in the general interior view
+where, from the western entrance, one comes upon the nave pavement a
+dozen or more steps below the portal, and again meets with the same
+effect further on at the transept crossing. There<span class='pagenum'><a name="Page_312" id="Page_312">312</a></span> would appear to have
+been no other way but this of placing above ground what might otherwise
+have been the crypt; adding immeasurably to the fine appearance of the
+interior, the nave and choir appearing to lengthen out interminably by
+reason of the western elevation from which they are viewed.</p>
+
+<p>A portion of the western towers, and the crypt which is beneath the
+choir, are thought to date from as early as the eleventh century, having
+been built by Odo, the half-brother of William the Norman. The
+splendidly proportioned Norman nave, with its decorated spandrels and
+archivolts, a worthy decorative embellishment developed before the days
+of coloured glass, possesses that bright and fresh appearance which is
+usually associated with a recent work, whereas, as a matter of fact, it
+can hardly be, in its five circular arches at least, later than the late
+eleventh or early twelfth century. If it were true that modern
+restorative processes commonly disfigured no more than this, it is a
+pity that the dust and cobwebs, and a little of the grime of ages, were
+not more often removed. Here is the very excess of dog-tooth, arabesque,
+and grotesque carving, never found in connection with a building which
+is constructively <span class='pagenum'><a name="Page_313" id="Page_313">313</a></span>decorative. Here also is an ornate frieze of no great
+depth and possessing none of the beauties of the two other distinct
+elements. As there is no triforium in the nave proper, this decoration
+is, of course, intended merely as a relief to a bareness which, on
+account of the generous height, would otherwise exist.</p>
+
+<p>In the choir, the triforium, which is omitted in the nave, springs into
+being in beautiful and ornate form. The lower arches, with the supports,
+the attributed work of an English architect, are of the usual Gothic
+form, in contra-distinction to the rounded heads of those of the nave.
+The clerestory, though delicate and graceful, is somewhat curtailed from
+the dimensions of that of the west end of the church.</p>
+
+<p>The transepts are unusually bright and cheerful, with a series of
+windows more beautifully designed than those of either the choir or
+nave. The choir stalls are of oak, carved in the best manner of the
+Renaissance.</p>
+
+<p>The charming tower group of this cathedral is as effective, perhaps, as
+any among all the northern churches. The central belfry, albeit of a
+base, though pretentious, rococo design, follows no accepted style, but
+adds imposingly to the general outline. (Its height is over three
+hundred feet.) In this tower, as<span class='pagenum'><a name="Page_314" id="Page_314">314</a></span> in the window tracery, the
+<i>fleur-de-lys</i>, always a sign of the decadent in Gothic style, is to be
+seen. The western towers, with their spires, follow the truest pyramidal
+form, and, though carrying both pointed and round-arched openings, are
+in every way representative of the best work of their period. The
+northwesterly tower has an elongated turret, extending from the lower
+ranges, which, when seen from a distance over the roof of the nave,
+appears as a protuberance not unlike a dove-cote. This contains the
+spiral staircase up which visitors are earnestly implored, by the
+caretaker, to wend their way and participate in the view from the
+heights above. This view, though undeniably wider in range than are most
+elevated view-points, is hardly of interest to one who seeks the
+beauties of the structure itself. There are three porches on the west
+façade, all fairly well filled with foliaged ornament and bas-reliefs.
+They are of the thirteenth century, and of a thoroughly florid order.</p>
+
+<p>Included in the "<i>tresor</i>" are two gifts from St. Louis, the chasuble of
+St. Regnobert, and an ivory and enamel casket.</p>
+<p><span class='pagenum'><a name="Page_315" id="Page_315">315</a></span></p>
+<div class="image top" style="width: 539px;">
+<img src="images/illus340.png" width="539" height="396" alt="CATHEDRAL of NOTRE DAME SAINT LO" />
+</div>
+
+
+
+<h4>VII<br /><br />
+NOTRE DAME DE ST. LO</h4>
+
+<p>T<span class="smcap">his</span> picturesquely situated city of the Cotentin, St. Lo, is so named
+from the Bishop St. Laud, who lived in the neighbourhood in the sixth
+century. Later, it became a Huguenot stronghold, and was ably, though
+unsuccessfully, defended by Colombiers. It forms, with its former
+Cathedral of Notre Dame crowning its height, another of those ensembles
+which will always linger in the memory of the traveller who first comes
+upon it clad in spring and summer verdure. The rippling Vire at its very
+feet gives at once the note;<span class='pagenum'><a name="Page_316" id="Page_316">316</a></span> it not only binds and enwraps it like the
+setting of a precious stone, but adds that one feature which, lacking,
+would be a chord misplaced. Perhaps no other cathedral in all France,
+with regard to its bijou setting, certainly no other so accessible to
+the English tourist, has more dainty charm than this not very grand, but
+graceful, church at St. Lo. Its towers, though not uniform as to size,
+are of apparently the same gradual proportions, and, if not the most
+impressive, are at least the most beautiful in Normandy. They rise high
+above the wooded crest which encircles their base in true picture-book
+fashion. The attraction of the river, here, is unusual, in that it
+presents no accustomed "slummy" picturesqueness, but winds slowly, amid
+its green, to the very base of the cliff which upholds the chief portion
+of the town and its cathedral.</p>
+
+<p>The façade presents a <i>mélange</i> of the work of at least three epochs, a
+not unusual feature in some of the smaller cathedrals. It has a mean
+little house built into its northwest corner, a crude and ugly
+clock-face stuck unmeaningly on its façade, and a general air of
+dilapidation, with respect to the statues originally contained in its
+archivolts and niches, which, to say the least, is not creditable to
+those who<span class='pagenum'><a name="Page_317" id="Page_317">317</a></span> have been responsible for its care. It would seem that so
+lively and important a centre of local activity might have devoted a
+little more thought and care to the maintenance of this charming
+building.</p>
+
+<p>Built up from a foundation of which but little, if any portion, visibly
+remains, Notre Dame shows a debasement of design and decoration of its
+façade which is not only not admirable, but is, in addition, sadly
+disfigured. The one detail, for the most part good in style, is a not
+unduly florid arcade, which plainly indicates its superiority over the
+rest of the building.</p>
+
+<p>On the north side is an open-air pulpit of stone overhung with a canopy,
+a highly interesting detail, though, of course, not a unique one. Unable
+to command admiration as an absolute novelty, it is assuredly a charming
+feature, and is delicately and profusely sculptured. It suggests much in
+conjunction with the busy life of the rather squalid neighbouring
+market-place, whose only picturesque attribute is when it is crowded
+with the gaiety of a market or a fête day. By far the most compelling
+interest in the building, after an inspection of its interior, is the
+view to be had from a distance.<span class='pagenum'><a name="Page_318" id="Page_318">318</a></span></p>
+
+<p>The nave is late Gothic, and widens out in curious fashion toward the
+east; otherwise the interior arrangements are not remarkable. One
+bulbous chapel on the south side supplants the usual transept.</p>
+
+<p>There is no triforium either in choir or nave, the lighting principally
+being effected by the large windows of the aisles.</p>
+
+<p>It is pertinent to recall here that one of Charlemagne's own foundations
+of the ninth century, destroyed by the barbarians, was situated near by,
+the famous Abbey of St. Croix.</p>
+<p><span class='pagenum'><a name="Page_319" id="Page_319">319</a></span></p>
+
+<div class="image top" style="width: 644px;">
+<img src="images/illus344.png" width="644" height="500" alt="Notre Dame de Coutances" />
+</div>
+
+<p><span class='pagenum'><a name="Page_320" id="Page_320">320</a></span></p>
+
+<p><span class='pagenum'><a name="Page_321" id="Page_321">321</a></span></p>
+<h4>VIII<br /><br />
+NOTRE DAME DE COUTANCES</h4>
+
+<p>L<span class="smcap">ike</span> many another town of western Normandy, like Falise, Domfront, St.
+Lo, Granville, Avranches, and Mont St. Michel itself, Coutances rises
+high above the surrounding plain and stands dominant in the landscape
+for miles on either hand. Of perhaps more magnitude, as to area, than
+any of the other examples, the city has the added attribute of three
+towered ecclesiastical edifices, which rise nobly in varying stages far
+over the neighbouring roof-tops of the town itself and the tree-clad
+slopes which embank it.</p>
+
+<p>The oldest of the Norman Gothic cathedrals, and that which partakes the
+most of local character, is Notre Dame de Coutances. Certain French
+archæologists have said that the main body of the church is actually
+that of the eleventh century. It is more likely, however, that none of
+the building at present in view is earlier than the thirteenth century,<span class='pagenum'><a name="Page_322" id="Page_322">322</a></span>
+the epoch during which contemporaneous Gothic first grew to its
+maturity. In any event, such building and construction was going on from
+1208 to 1233 as would indicate that it was the entire present edifice
+which was being planned at that time. In this case it is quite possible
+that the rebuilding was going on slowly, foot by foot, in a manner which
+not only encompassed and absorbed the older building, but in reality
+eradicated every vestige of it. Says a French writer of enthusiasm, "The
+Cathedral of Coutances, as it now stands, is one of the most noble and
+grand religious edifices in France, with all the qualities of a monument
+of the first order, of perfect dimension, beauty of plan, unity of
+workmanship, and distinction of form." Any one of these attributes, were
+it literally so, might well turn a commonplace structure into an
+unapproachable masterpiece. In a measure, all of his eulogy is quite
+true, and the pity is that more do not know of its fascination and
+charm.</p>
+
+<p>The façade of the Cathedral of Notre Dame is of the indigenous
+Norman-Gothic type. The fine towers, in addition to combining the
+symmetrical elements of Gothic, have, each, as well, a flanking
+towerlet, attached to their outer sides, enclosing a spiral stairway.
+These<span class='pagenum'><a name="Page_323" id="Page_323">323</a></span> extend to quite the full height of the tower proper; and, though
+by no means a wholly attractive feature, are not as offensive as might
+at first be supposed. It is doubtful, in fact, if the general strength
+and impressiveness of the entire structure would not be impaired were
+the arrangements otherwise.</p>
+
+<p>The present ogival structure is built on the remains of a Romanesque
+church erected by a famous Bishop of Coutances, Geoffroy de Montbray,
+with funds supplied by Guillaume Bras-de-Fer, Odon, Roger, Onfroy, and
+Robert, sons of Tancrede-de-Hauteville, the Norman conquerors of Sicily
+and Calabria, whose names have been given fabled prominence in more than
+one epic poem. The early structure was consecrated in 1056, in the
+presence of William, then Duke of Normandy, a few years before he became
+the Conqueror. Supposedly none of this former church remains; in fact,
+what fragments, if any, exist, are doubtless covered in the present
+foundations.</p>
+
+<p>Mainly, the present structure is thirteenth-century work, with a
+lady-chapel of the fourteenth century.</p>
+
+<p>An unusual, and exceedingly beautiful, effect is given by the Gothic
+window mullions, between the chapels, in reality a series of
+<span class='pagenum'><a name="Page_324" id="Page_324">324</a></span>geometrical window-frames, without glass. No florid ornament either
+inside or out is to be found to offend against accepted ideals. In
+short, "the whole is of a piece complete." The parapets of triforium and
+clerestory, with foliaged carvings, are about the only ornate
+decorations to be seen.</p>
+
+<p>The central tower, of great proportions, but incomplete as to the
+addition of a spire, is a marvel of strength and power. Its interior,
+elaborately decorated, forms a lantern at the crossing. Here, as at
+Bayeux, the choir is raised a few steps above its aisles, giving a
+certain impressiveness beyond what might otherwise exist.</p>
+
+<p>The interior, generally, is admirable. Clustered columns, as they are
+commonly called,&mdash;in reality they are clustered pillars, if word
+derivations are to be considered,&mdash;separate both nave and choir from the
+aisles; and, in case of the choir, a series of elongated circular
+pillars are coupled, one behind the other, an unquestionably unique
+arrangement.</p>
+
+<p>The transepts are practically non-existent, as the widening does not
+extend beyond the extent of the nave chapels. This leaves the
+ground-plan, at least, a mere parallelogram with a rounded eastern end.<span class='pagenum'><a name="Page_325" id="Page_325">325</a></span></p>
+
+<p>Notre Dame de Coutances is one of the few really great Gothic churches
+not possessing an example of those French masterworks, the rose window.</p>
+
+<p>Again referring to the fine tower group, it is probably true that, were
+the huge central tower properly spired, the ensemble would rival Laon in
+regard to its impressive situation and elaborate pinnacles.</p>
+
+<p>St. Pierre, of the fifteenth century, and St. Nicolas, of the
+fourteenth, complete the trinity of fine churches which Coutances
+possesses. The latter contains the unusual arrangement in a Continental
+church of pews in place of chairs, although formerly, it is said, this
+feature was not uncommon in Normandy.</p>
+
+<p>The somewhat considerable remains of a Roman acqueduct, near by, are
+sufficiently remarkable to warrant passing consideration, even by the
+"mere lover of churches."<span class='pagenum'><a name="Page_326" id="Page_326">326</a></span></p>
+
+<div class="image top" style="width: 533px;">
+<img src="images/illus351.png" width="533" height="419" alt="avranches" />
+</div>
+
+
+
+
+<h4>IX<br /><br />
+ST. PIERRE D'AVRANCHES</h4>
+
+<p>T<span class="smcap">here</span> is little to recount concerning the See of Avranches. Its
+bishopric and its cathedral were alike destroyed during the parlous
+times of the bickerings and ravages of Royalists and Republicans of the
+Revolutionary period. All that remains to-day is a trifling heap of
+stones which would hardly fill a row-boat,&mdash;a fragment of a shaft on
+which is a tablet reading:<span class='pagenum'><a name="Page_327" id="Page_327">327</a></span></p>
+
+<div class="frame2">
+<p class="c smcap">On this stone,<br />
+Here at the door of the Cathedral of Avranches,<br />
+After the Murder of Thomas À Becket,<br />
+Archbishop of Canterbury,<br />
+Henry II.,<br />
+King of England and Duke of Normandy,<br />
+Received on his knees,<br />
+From the Legates of the Pope,<br />
+The Apostolic Absolution,<br />
+On Sunday, 22d May 1172."</p>
+</div>
+
+<p class="noind">At its feet is another slab, the aforementioned door-step, on which,
+before the papal legate, the remorseful monarch did penance before his
+later expiation at Canterbury.</p>
+
+<p>A little farther on is a small heap consisting of shafts and capitals of
+columns, a stone sarcophagus and a brass plate stating that they are the
+"Derniers restes de la cathédrale d'Avranches; commencée vers 1090 et
+consacrée par l'eveque Turgis en 1121." The nave having fallen in, the
+rest of the edifice had to be taken down in 1799.</p>
+
+<p>Because of its picturesque environment and situation, Avranches is
+perhaps a more than ordinarily attractive setting for a shrine, and it
+is well worthy of the attention of the passing traveller, in spite of
+its ancient cathedral being<span class='pagenum'><a name="Page_328" id="Page_328">328</a></span> now but a heap of stones. Apart from this
+it is of little interest, and hence, to most, it will probably remain,
+in the words of a French traveller, a mere "silhouette in the distance."</p>
+<p><span class='pagenum'><a name="Page_329" id="Page_329">329</a></span></p>
+<div class="image" style="width: 224px;">
+<img src="images/illus353.png" width="224" height="300" alt="St Samson, Dol-de-Bretagne" />
+</div>
+
+
+
+<div class="image top" style="width: 546px;">
+<img src="images/illus354.png" width="546" height="427" alt="CATHEDRAL of S. SAMSON DOL" />
+</div>
+
+<h4>X<br /><br />
+ST. SAMSON, DOL-DE-BRETAGNE</h4>
+
+<p>T<span class="smcap">he</span> one-time Cathedral of St. Samson, at Dol, is, says an unusually
+expressive Frenchman, "a grand, noble, and severe church, now widowed of
+its bishops. Its aspect is desolate and abandoned, as if it were but a
+ruin <i>en face sur la grande place</i>, of itself, but a mere desert of
+scrub." This is certainly a vivid and forceful description of even a
+wholly unprepossessing shrine. This St. Samson is not, and due allowance
+should be made for verbal modelling which, in many cases, is but the<span class='pagenum'><a name="Page_330" id="Page_330">330</a></span>
+mere expression of a mood <i>pro tempo</i>. There is, however, somewhat of
+truth in the description. About the granite walls there is a grimness
+and gauntness of decay; of changed plans and projects; of devastation;
+of restoration; and, finally, of what is, apparently, submission to the
+inevitableness of time.</p>
+
+<p>The enormous northwesterly tower is stopped suddenly, with the daylight
+creeping through its very framework. Its façade is certainly bare of
+ornament, and gives a thorough illustration of paucity of design as well
+as of detail. There is, indeed, nothing in the west façade to compel
+admiration, and yet there is a fascination about it that to some will be
+irresistible.</p>
+
+<p>A sixteenth-century porch, of suggested Burgundian style, forms the main
+entrance to the church, and is situated midway along the south side.
+Almost directly opposite, on the north, is the curiously contrasting
+feature of a crenelated battlement, a reminder of the time when the
+church was doubtless a temporal as well as a spiritual stronghold.</p>
+
+<p>The interior, as the exterior, is gloomy and melancholy. One has only to
+contemplate the collection of ludicrously slender clustered columns of
+the nave, bound together with <span class='pagenum'><a name="Page_331" id="Page_331">331</a></span>markedly visible iron strands, to realize
+the real weakness of the means by which the fabric has been kept alive.</p>
+
+<p>The nave itself is of true proportions, and, regardless of the severity
+of its lines, and the ludicrous pillars, is undeniably fine in effect.</p>
+
+<p>A curiously squared choir-end, but with the small apsed lady-chapel
+extending beyond, is another of those curious details which stand out in
+a way to be remarked in a French church. In this squared end, and above
+the arch made by the pillars of the choir aisle, is a large pointed
+window filled with ancient glass which must have been inserted soon
+after the church was reconstructed after the fire in the twelfth
+century.</p>
+
+<p>The general effect of the nave and aisles is one of extreme narrowness,
+which perhaps is not so much really the case when actual measurements
+are taken.</p>
+
+<p>In general, the church is supposed by many to resemble the distinct type
+of Gothic as it is known across the Channel; and, admitting for the
+nonce that possibly many of the Brittany structures were the work of
+English builders, this church, in the absence of any records as to who
+were its architects, may well be counted as of that number.<span class='pagenum'><a name="Page_332" id="Page_332">332</a></span></p>
+
+<p>The stalls of the choir are of delicately carved wood, before which is
+placed a monumental bishop's throne, with elaborate armorial
+embellishments. A Renaissance tomb of the sixteenth century, by a pupil
+of Michel Colomb, now much injured in its sculptured details of angels
+and allegorical figures, is locally considered the "show-piece" of the
+church.</p>
+<p><span class='pagenum'><a name="Page_333" id="Page_333">333</a></span></p>
+<div class="image top" style="width: 329px;">
+<a href="images/illus358.png">
+<img src="images/illus358_th.png" width="329" height="500" alt="S. MALO &amp; S. SERVAN" />
+</a>
+</div>
+
+<p><span class='pagenum'><a name="Page_334" id="Page_334">334</a></span></p>
+
+<p><span class='pagenum'><a name="Page_335" id="Page_335">335</a></span></p>
+
+<h4>XI<br /><br />
+ST. MALO AND ST. SERVAN</h4>
+
+<p>W<span class="smcap">elshmen</span> throughout the world rejoice that it was one of their
+countrymen, a monk of the sixth century, who gave his name as founder to
+the "walled city of St. Malo by the sea." With its outlying and
+contiguous towns of St. Servan, Dinan, and Paramé, St. Malo is a
+paradise for the mere lover of pleasure resorts. Further, with respect
+to the first three places mentioned, there is present not a little of
+the romance and history of the past, reflected as it were in a modern
+mirror. Not but that the old town of St. Malo, within the walls, is
+ancient and picturesque enough, and dirty, too, if one be speciously
+critical; but the fact is that the modern Pont Roulant, and the omnific
+toot of the steam-tram, ever present in one's sight and hearing, are
+forcible reminders of the march of time.</p>
+
+<p>St. Servan, so far as its cathedral is concerned, may be dismissed in a
+word. The<span class='pagenum'><a name="Page_336" id="Page_336">336</a></span> ancient see of St. Pierre d'Aleth had, at one time, its
+dignity vested in a bishop who enthroned himself in a cathedral, the
+remains of which exist to-day only as a fragment built into the
+fortifications. The bishopric was removed in 1142 to St. Malo.</p>
+
+<p>With St. Malo a difference exists. Its cathedral, now degenerated to a
+parish church, is a Gothic work mainly of the fifteenth century, and,
+regardless of its unimposing qualities, is one of those fascinating old
+buildings which, in its environment and surroundings, appeals perhaps
+more largely to us as a component of a whole than as a feature to be
+admired by itself. The church, safely sheltered from the ravage of gale
+and storm, sits amid narrow winding streets, whose buildings are so
+compressed as to rise to heights unusual in the smaller Continental
+towns.</p>
+
+<p>The edifice is mainly of the fifteenth century, but has been variously
+renovated and restored. Gothic, Renaissance, and the transition between
+the two are plainly discernible throughout. Perhaps the best art to be
+noted is that found in the interior of the choir, with its fine
+triforium and clerestory windows above. Here, again, is to be observed
+the<span class='pagenum'><a name="Page_337" id="Page_337">337</a></span> squared east end of the English contemporary church, a further
+reminder, if it be needed, of the influences which were bound to be more
+or less exchanged with regard to the arts and customs of the time, on
+both shores of <i>La Manche</i>.</p>
+
+<p>A few features of passing interest are here, an ivory crucifix, a few
+tombs, and some indifferent paintings.</p>
+
+<p>The spire is modern, but gives a suggestion, at least, in viewing the
+city from a distance, of something of what a mediæval walled seaport,
+with its population huddled close beneath the shadow of the church, and
+within the city walls, must have been like. The best example of this
+which ever existed in mediæval France, and which exists to-day in a more
+than ordinary remarkable state of preservation, is the famous Mount St.
+Michel, a few miles only to the eastward, and famed of all, historian,
+ecclesiast, artist, and mere pleasure-seeker, alike. Most writers are
+pleased to refer to the confiding attitude of mine host, who conducts
+the principal hostelry on the Mount, and who guilelessly asks the wary
+traveller (ofttimes they <i>are</i> wary) what he has partaken of during his
+stay, and makes up the account accordingly. This is, perhaps,<span class='pagenum'><a name="Page_338" id="Page_338">338</a></span> not the
+least of attributive charms, though it should be a minor one where this
+wonderful and real Mount, which takes its name from legendary St.
+Michel, is concerned. Indeed, leaving the cathedrals at Rouen, Chartres,
+and Le Mans out of the question, it is doubtful if the Abbey of Mont St.
+Michel is not the chief remaining architectural glory of the middle
+ages, west of Paris.</p>
+
+<p>It is but a short distance from St. Malo to St. Servan, but what a
+difference! It is called by the French themselves the daughter of St.
+Malo,&mdash;the "faubourg grown into a city."</p>
+
+<p>Rabida's "Bretagne" states that there are "nombreux des Anglais à St.
+Servan, des jeunes gens vivant dans les pensions brittaniques&mdash;des
+familles venant l'été faire en Bretagne une cure d'economies pour
+l'hiver." Continuing, this discerning author says: "Bathers, bicyclists,
+golfists, promenaders, and excursionists abound." Better then let them
+hold forth here to their hearts' content; there is little that the lover
+of churches will gain from what remains to-day of the town's former
+Cathedral of St. Pierre.<span class='pagenum'><a name="Page_339" id="Page_339">339</a></span></p>
+
+
+
+<h4 class="top15">XII<br /><br />
+TRÉGUIER</h4>
+
+<p>T<span class="smcap">his</span> old cathedral city, at the junction of two small streamlets, a
+short distance from the sea, lies perhaps a dozen miles away from the
+nearest railway. With St. Pol de Leon and St. Brieuc it is, in local
+characteristics and customs alike, a something apart from any other
+community in northern France. The Bretons are commonly accredited as
+being a most devout race, and certainly devotion could take no more
+marked turn than the many evidences here to be seen in this "land of
+Calvaries." St. Brieuc is a bishopric, suffragan of Rennes, whose
+cathedral is a hideous modern structure of the early nineteenth century
+quite unworthy as a shrine; but Tréguier's power waned with the
+Revolution. Its fourteenth-century church, however, is sufficiently
+remarkable by reason of its situation and surroundings, none the less
+than in its fabric, to warrant a deviation from well-worn<span class='pagenum'><a name="Page_340" id="Page_340">340</a></span> roads in
+order to visit it. Chiefly of a late period, it possesses in the Tour de
+Hasting, named after the Danish pirate (though why seems obscure), which
+enfolds the north transept, a work of the best eleventh-century class.
+This should place the church, at once, within the scope of the
+designation of a "transition" type. In this tower the windows and
+pilasters are of the characteristic round variety of the period. The
+south porch is the most highly developed feature as to Mediæval style,
+but the attraction lies mainly in its ensembled massiveness, with its
+two sturdy towers and a ridiculously spired south <i>clocher</i>. Beyond a
+certain grimness of fabric the church fails, not a little, to impress
+one with even simple grandeur, even when one takes into consideration
+the charms of its florid but firmly designed cloister, which, with the
+church itself, is classed by the <i>Département des Beaux Arts</i> as one of
+the twenty-three hundred "<i>Monumentes Historiques</i>." Nevertheless, the
+building proves more than ordinarily gratifying, though by no stretch of
+the imagination could it be classed as grand.</p>
+
+<p>Loftiness and grandeur are equally lacking in the interior, and there is
+great variation of style with respect to the pillars of nave and<span class='pagenum'><a name="Page_341" id="Page_341">341</a></span> choir.
+This is also the case with the windows, which play the gamut from the
+severe round-headed Romanesque to the latest flamboyant development, a
+feature which not only disregards most conventions, but, as every one
+will admit, most flagrantly offends, with sad results, against the
+general constructive elements. A plain triforium, in the nave, blossoms
+out, in the south transept and choir, in no hesitating manner, into
+exceeding richness. The choir has an apsidal termination and contains
+carved wooden stalls which are classed as work of the mid-seventeenth
+century, though appearing much more time-worn.</p>
+
+<p>The really popular attribute of the church lies in the reconstructed
+monument to St. Yves, the patron saint of advocates, and commonly
+considered the most popular in all the Brittany calendar.</p>
+
+<p>Born near Tréguier in 1253, St. Yves' "unheard-of probity and
+consideration for the sick and the poor" gained such general respect
+that, with his death on the nineteenth of May, 1303, there was
+inaugurated a great feast which to-day is yearly celebrated, and all
+grieving against a real or fancied wrong have recourse promptly to the
+supposedly just favour of this universal patron of the law.<span class='pagenum'><a name="Page_342" id="Page_342">342</a></span></p>
+
+
+
+<div class="image top" style="width: 343px;">
+<img src="images/illus367.png" width="343" height="360" alt="S. BRIEUC" />
+</div>
+
+
+
+<h4>XIII<br /><br />
+ST. BRIEUC</h4>
+
+<p>U<span class="smcap">nlike</span> many of the smaller towns which contain cathedral churches, St.
+Brieuc is a present day bishopric; hence the Cathedral takes on,
+perhaps, more significance than it would, were it but an example of a
+Mediæval church.</p>
+
+<p>In reality it is not a very wonderful structure, and the guide-books
+will tell one practically nothing about it. The town itself is a dull
+place, a tidal port, at some little distance from the sea, which flushes
+in upon it twice during the round of the clock.</p>
+
+<p>A monastery was founded here in the fifth<span class='pagenum'><a name="Page_343" id="Page_343">343</a></span> century by St. Brieuc, from
+whom the town itself and the present cathedral take their name. He was a
+Celtic monk from Wales, who, upon being expelled from his native land,
+located his establishment here, on the site of a former Gallo-Roman
+town. The patronal feast of St. Brieuc is held each year on the first of
+May and is a curious survival of a mediæval custom.</p>
+
+<p>Some remains of an early church are built into the choir walls, but in
+the main this not very grand edifice is of the thirteenth and fourteenth
+centuries.</p>
+
+<p>The tower, with its loopholes, would supposedly indicate that the church
+was likewise intended as somewhat of a fortification. The apse is
+rounded in the usual form, and on either side extend transepts to the
+width of two bays.</p>
+
+<p>Within, the Cathedral is more attractive than without. The elements of
+construction and embellishment, while perhaps not ranking with those of
+the really great churches, are sufficiently vivid and lively to indicate
+that the work was consciously and enthusiastically undertaken. The
+lady-chapel is of the thirteenth century, and the transept rose is of
+the fifteenth, as is also the Chapel of St. <span class='pagenum'><a name="Page_344" id="Page_344">344</a></span>Guillaume, named for the
+monk of Dijon who built so many of the monasteries throughout Brittany
+and who, it is to be presumed, planned or built the original structure,
+the remains of which are found in the present choir.</p>
+
+<p>The windows throughout are either of not very good modern glass, or of
+plain leaded lights, which, in the majority of cases, may be considered
+as no less an attraction. An elaborate rose is in the western gable.</p>
+
+<p>There are, in the church, various monuments and tombs to former
+bishops.<span class='pagenum'><a name="Page_345" id="Page_345">345</a></span></p>
+
+
+
+<h4 class="top15">XIV<br /><br />
+ST. POL DE LEON</h4>
+
+<p>I<span class="smcap">n</span> the midst of that land which furnishes the south of England with most
+of its cauliflowers, artichokes, onions, and asparagus, truly off the
+beaten track, in that it is actually off the line of railway, is the
+strange and melancholy city of St. Pol de Leon, its <i>clochers</i>
+dominating, by day at least, both land and sea. It contains the famous
+"Kreisker," a name which sounds as though it were Dutch or North German,
+which it probably is along with other place names on the near-by coast,
+such as Grouin, St. Vaast, Roscoff, and La Hougue.</p>
+
+<p>The tower and spire of this wonderful "Kreisker" rise boldly, from the
+transept crossing, in remarkable fashion, and as a marvel of
+construction may be said to far outrank the cathedral structure itself.
+"Curious and clever" well describes it. As for the former cathedral over
+which the Kreisker<span class='pagenum'><a name="Page_346" id="Page_346">346</a></span> throws its shadow, it is one of those majestic
+twin-towered structures not usually associated with what, when compared
+with the larger French towns, must perforce rank as a mere village.</p>
+
+<p>There is much to be said in favour of these little-known near-by places,
+namely, that the charm of their attractions amply repays one for any
+special labour involved in getting to them, with the additional
+advantage, regardless of the fact that a stranger appears somewhat to
+the native as a curiosity, that they are "good value for the money
+paid." Perhaps the cheapest Continental tour, of say three weeks, that
+could be taken, amid a constantly changing environment, if one so
+choose, would comprehend this land of Calvaries.</p>
+
+<p>The two cathedral towers of early Gothic flank a generous porch. There
+is good glass throughout the church, the circular "rose" of the transept
+being a magnificent composition in a granite framing. The nave is of
+thirteenth-century Gothic, from the south aisle of which projects a
+large chapel dedicated to St. Michael. The double-aisled choir is
+garnished with sculptured stalls of the fifteenth century, and,
+separated from its aisles by a stone screen, is of much larger
+proportions<span class='pagenum'><a name="Page_347" id="Page_347">347</a></span> than the nave, and likewise of a later epoch of building.
+The apse is flamboyant, as are also the windows of the south transept.
+In the chapels are various vaults and tombs, remarkably well preserved,
+but of no special moment. In one of these chapels, however, is a curious
+painting in the vaulting, representing a "Trinity" possessing three
+faces, disposed in the form of a trefoil with three eyes only. A ribbon
+or "<i>banderalle</i>" bears an inscription in Gothic characters; in the
+Breton tongue, "<i>Ma Donez</i>" (Mon Dieu).<span class='pagenum'><a name="Page_348" id="Page_348">348</a></span></p>
+
+
+
+<h4 class="top15">XV<br /><br />
+ST. CORENTIN DE QUIMPER</h4>
+
+
+<p>"C'<span class="smcap">est</span> Quimper, ce mélange du passé et du présent." A true enough
+description of most mediæval cities when viewed to-day; but with no
+centre of habitation is it more true than of this city by the
+sea,&mdash;though in reality it is not by the sea, but rather of it, with a
+port always calm and tranquil. It takes rank with Brest as the western
+outpost of modern France.</p>
+
+<p>For centuries unconquered, and possessing an individuality of its very
+own, this now important prefecture has much to remind us of its past.
+History, archæology, and "mere antiquarian lore" abound, and, in its
+grandiose Cathedral of St. Corentin, one finds a large subject for his
+appreciative consideration.</p>
+
+<p>It is of the robust and matured type that familiarity has come to regard
+as representative of a bishopric; nothing is impoverished</p>
+<p><span class='pagenum'><a name="Page_349" id="Page_349">349</a></span></p>
+
+<div class="image border" style="width: 305px;">
+<a href="images/illus374a.png">
+<img src="images/illus374a_th.png" width="305" height="500" alt="ST. CORENTIN de QUIMPER" />
+</a>
+</div>
+
+<p class="noind">or curtailed. Its fine towers with modern spires, erected from the
+proceeds of a "butter tax," are broad of base and delicately and truly
+proportioned. Its ground-plan is equally worthy, though the choir is not
+truly orientated. Its general detail and ensemble, one part with
+another, is all that fancy has told us a great church should contain,
+and one can but be prepared to appreciate it when it is endorsed, and
+commented on, by such ardent admirers as De Caumont, Viollet-le-Duc,
+Corroyer, and Gonsé, those four accomplished Frenchmen, who probably
+knew more concerning Mediæval (Gothic) architecture than all the rest of
+the world put together.</p>
+
+<p>From the thirteenth to the fifteenth century there grew up here a work
+embracing the ogival and the flamboyant, neither in an undue proportion,
+but as well as in any other single structure known. This well shows the
+rise, development, and apogee of the style which we commonly call
+Gothic, but which the French prefer to call "ogival," and which should
+really, if one is to fairly apportion credit where it is due, be best
+known as French Mediæval architecture.</p>
+
+<p>Its west façade, with its generous lines, is strongly original. The two
+towers, pierced<span class='pagenum'><a name="Page_350" id="Page_350">350</a></span> with enormously heightened lancets, are indubitably
+graceful and impressive, while a flanking pair of flying buttresses,
+with their intermediate piers, form an unusual arrangement in the west
+front of a French cathedral.</p>
+
+<p>Above the western gable is a curiously graven effigy of King Grollo in
+stone.</p>
+
+<p>Considered as a whole, the exterior is representative of the best
+contemporary features of the time, but contains few if any which are so
+distinctly born of its environment as to be otherwise notable.</p>
+
+<p>The interior vies with the outer portion of the fabric in the general
+effect of majesty and good design. The triforium is remarkably beautiful
+and is overtopped by a range of clerestory windows which to an
+appreciable extent contain good early glass. The easterly end is the
+usual semicircular apse.</p>
+
+<p>Among the relics of the Cathedral is a crucifix which is supposed to
+emit drops of blood when one perjures himself before it. It is, perhaps,
+significant that the people of Finistère, the department which claims
+Quimper as its capital, have the repute of being honest folk.</p>
+
+<p>The Bishops of Quimper were, by virtue of the gift of <i>le roi Grodlon le
+Grave</i>, the only seigneurs of the city during the middle ages.<span class='pagenum'><a name="Page_351" id="Page_351">351</a></span></p>
+
+
+
+<h4 class="top15">XVI<br /><br />
+VANNES</h4>
+
+<p>V<span class="smcap">annes</span> was the ancient capital of the Celtic tribe of the Veneti, its
+inhabitants being put to rout by Cæsar in 57 <span class="smcap">B. C.</span> Afterward it became
+the Roman town of Duriorigum, and later reverted back to a corruption of
+its former name. Christianity having made some progress, a council was
+held, and a bishop appointed to the city, and from that time onward its
+position in the Christian world appears to have been assured. For
+centuries afterward, however, it was the centre of a maelstrom of
+internal strife, in which Armoricans, Britons, Franks, and Romans appear
+to have been inextricably involved. Then came the Northmen, who burned
+the former Cathedral of St. Peter. This was rebuilt in the eleventh
+century, and in no small measure forms the foundation of the present
+structure, which to-day is the seat of a bishop, suffragan of Rennes.</p>
+
+<p>From this early architectural foundation, to<span class='pagenum'><a name="Page_352" id="Page_352">352</a></span> the most florid and
+flamboyant of late Gothic, is pretty much the whole range of Mediæval
+architectural style. By no means has a grand or even fine structure
+resulted. The old choir, suffering from the stress of time, was pulled
+down and rebuilt as late as 1770. Thus, this usually excellently
+appointed and constructed detail is here of no worthy rank whatever. The
+nave and transepts were completed within the hundred years following
+1452, and show the last flights of Gothic toward the heights from which
+it afterward fell. Transformation and restoration have frequently been
+undertaken, with the result that nowhere is to be seen perhaps greater
+inconsistencies. The latest of these examples of a perverted industry is
+seen in the nineteenth-century additions to the tower and the west
+façade. The result is not, be it said, to the credit of its projectors.</p>
+
+
+<p class="c smcap top15">THE END.</p>
+
+<hr class="full" />
+<p><span class='pagenum'><a name="Page_353" id="Page_353">353</a></span></p>
+
+<h3><a name="Appendices" id="Appendices"></a><i>Appendices</i></h3>
+
+<h3 class="top15">I<br /><br />
+<i>The Architectural Divisions of France</i></h3>
+
+
+<p>I<span class="smcap">t</span> is quite possible to construct an ethnographic map of a country from
+its architectural remains,&mdash;but there must always be diverse and varying
+opinions as to the delimitation of one school, as compared with another
+lying contiguous thereto.</p>
+
+<p>One may wander from province to province, and continually find
+reminders, of another manner of building, from that which is recognized
+as the characteristic local species. This could hardly be otherwise. In
+the past, as in the present, imitators were not few, and if the adoption
+of new, or foreign, ideas was then less rapid, it was no less sure.
+Still, in the main, there is a cohesiveness and limitation of
+architectural style in France; which, as is but natural to suppose, is
+in no way more clearly defined than by the churches which were built
+during the middle ages, the earliest types retaining the influence of
+massive forms, and the later again debasing itself to a heavy classical
+order, neither a copy of anything of a pre-Gothic era, or a happy
+<span class='pagenum'><a name="Page_354" id="Page_354">354</a></span>development therefrom. Between the two, in a period of scarcely more
+than three hundred years, there grew up and developed the ingenious and
+graceful pointed style, in all its fearlessness and unconvention.</p>
+
+<p>Political causes had, perhaps, somewhat to do with the confining of a
+particular style well within the land of its birth, but on the other
+hand, warfare carried with it invasion and conquest of new sections, and
+its followers, in a measure, may be said to have carried with them
+certain of their former arts, accomplishments, and desires; and so grew
+up the composite and mixed types which are frequently met with.</p>
+
+<p>There are a dozen or more architectural styles in what is known as the
+France of to-day. The Provençal (more properly, says Fergusson, it
+should be called "Gallia Narbonese,") one of the most beautiful and
+clearly defined of all; the Burgundian, with its suggestion of
+luxuriance and, if not massiveness, at least grandeur; the Auvergnian,
+lying contiguous to both the above, with a style peculiarly its own,
+though of an uncompromising southern aspect; Acquitanian, defining the
+style which lies between Provence, the Auvergnat and the Pyrénées, and a
+type quite different from either. The Angevinian, which extends
+northward from Limoges to Normandy and Brittany, and northeasterly
+nearly to Orleans, is a species difficult to place&mdash;it partakes largely
+of southern influence, but is usually thought to merit a nomenclature of
+its own, as distinct from the type found at Anjou. Turning now to the
+northern or Frankish influence, as distinct from the Romance<span class='pagenum'><a name="Page_355" id="Page_355">355</a></span> countries;
+Brittany joins to no slight degree influences of each region; Normandy
+partakes largely of the characteristics of the type of Central France,
+which is thoroughly dominated by that indigenous to the Isle of France,
+which species properly might include the Bourbonnais and Nivernoise
+variants, as being something of a distinct type, though resembling, in
+occasional details, southern features. This list, with the addition of
+French Flanders, with its Lowland types, completes the arrangement, if
+we except Alsace and Lorraine, which favour the German manner of
+building rather more than any of the native French types.<span class='pagenum'><a name="Page_356" id="Page_356">356</a></span></p>
+
+
+
+<h3 class="top15">II</h3>
+
+<p class="hang"><i>A List of the Departments of France, and of the Ancient Provinces from
+which they have been evolved.</i></p>
+
+<table
+summary="apend_II"
+cellspacing="3"
+cellpadding="2"
+style="font-size:85%">
+<tr valign="top"
+style="font-style:italic;
+font-size:90%;font-weight:800;">
+<td>Provinces and date of union<br /> &nbsp; &nbsp; with France</td>
+<td>Départements</td><td>Chefs-Lieux</td></tr>
+<tr valign="top"><td>Ile de France, with La
+Brie, etc.<br />Always held by
+the crown</td><td>Seine</td><td>Paris</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Seine-et-Oise</td><td>Versailles</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Seine-et-Marne</td><td>Melun</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Oise</td><td>Beauvais</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Aisne</td><td>Laon</td></tr>
+<tr valign="top"><td>Picardie. Louis XIV, 1667</td><td>Somme</td><td>Amiens</td></tr>
+<tr valign="top"><td>Artois and Boulonnais. 1640</td><td>Pas-de-Calais</td><td>Arras</td></tr>
+<tr valign="top"><td>Flandre and Hainault
+Français.<br />Louis XIV.
+1667-1669</td><td>Nord</td><td>Lille</td></tr>
+<tr valign="top"><td>Norppe Auguste, 1204</td><td>Seine-Inférieure</td><td>Rouen</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Eure</td><td>Evreux</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Calvados</td><td>Caen</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Orne</td><td>Alençon</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Manche</td><td>Saint-Lo</td></tr>
+<tr valign="top"><td>Bretagne. François I. 1532</td><td>Ille-et-Vilaine</td><td>Rennes</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Côtes-du-Nord</td><td>Saint-Brieux</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Finisterre</td><td>Quimper</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Morbihan</td><td>Vannes</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Loire-Inférieure</td><td>Nantes</td></tr>
+<tr valign="top"><td>Orléanais. Louis XII. 1498</td><td>Loiret</td><td>Orleans</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Loir-et-Cher</td><td>Blois</td></tr>
+<tr valign="top"><td>Beauce and Pays Chartrain</td><td>Eure-et-Loire</td><td>Chartres</td></tr>
+<tr valign="top"><td>Maine. Louis XI. 1481</td><td>Sarthe</td><td>Le Mans</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Mayenne</td><td>Laval</td></tr>
+<tr valign="top"><td>Anjou. Louis XI. 1481</td><td>Maine-et-Loire</td><td>Angers</td></tr>
+<tr valign="top"><td>Touraine. Henri III. 1584</td><td>Indre-et-Loire</td><td>Tours</td></tr>
+<tr valign="top"><td>Poitou. Charles VI. 1416</td><td>Vendée</td><td>Bourbon-Vendée</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Deux-Sèvres</td><td>Niort</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Vienne</td><td>Poitiers</td></tr>
+<tr valign="top"><td>Berri. Philippe I. 1100</td><td>Indre</td><td>Châteauroux</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Cher</td><td>Bourges</td></tr>
+<tr valign="top"><td>Marche. François I. 1531</td><td>Creuse</td><td>Guéret</td></tr>
+<tr valign="top"><td>Limousin. Charles V. 1370</td><td>Haute-Vienne</td><td>Limoges</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Corrèze</td><td>Tulle</td></tr>
+<tr valign="top"><td>Angoumois. Charles V. 1370</td><td>Charente</td><td>Angoulême</td></tr>
+<tr valign="top"><td>Saintonge and Aunis. 1370</td><td>Charente-Inférieure</td><td>La Rochelle</td></tr>
+<tr valign="top"><td>Guienne and Gascogne.<br />
+Charles VII. 1451</td><td>Dordogne</td><td>Périgueux</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Gironde</td><td>Bordeaux</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Lot-et-Garonne</td><td>Agen</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Lot</td><td>Cahors</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Tarn-et-Garonne</td><td>Montauban</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Aveyron</td><td>Rodez</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Gers</td><td>Auch</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Hautes-Pyrénées</td><td>Tarbes</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Landes</td><td>Mont-de-Marsan</td></tr>
+<tr valign="top"><td>Béarn and French Navarre. Louis XIII.</td><td>Basses-Pyrénées</td><td>Pau</td></tr>
+<tr valign="top"><td>Comté de Foix. Louis XIII.</td><td>Ariège</td><td>Foix</td></tr>
+<tr valign="top"><td>Roussillon. 1659</td><td>Pyrénées-Orientales</td><td>Perpignan</td></tr>
+<tr valign="top"><td>Languedoc. John, 1361</td><td>Haute-Garonne</td><td>Toulouse</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Tarn</td><td>Albi</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Aude</td><td>Carcassonne</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Hérault</td><td>Montpellier</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Gard</td><td>Nîmes</td></tr>
+<tr valign="top"><td>Vivarais</td><td>Ardèche</td><td>Privas</td></tr>
+<tr valign="top"><td>Gévaudan</td><td>Lozère</td><td>Mende</td></tr>
+<tr valign="top"><td>Velay</td><td>Haute-Loire</td><td>Le Puy</td></tr>
+<tr valign="top"><td>Comtat Venaissin, Orange,
+etc. Louis XIV. 1713</td><td>Vaucluse</td><td>Avignon</td></tr>
+<tr valign="top"><td>Provence. Louis XI. 1481</td><td>Bouches-du-Rhône</td><td>Marseille</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Var</td><td>Draguignan</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Basses-Alpes</td><td>Digne</td></tr>
+<tr valign="top"><td>Dauphiné. Philippe de Valois, 1343</td><td>Isère</td><td>Grenoble</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Drôme</td><td>Valence</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Hautes-Alpes</td><td>Gap</td></tr>
+<tr valign="top"><td>Lyonnais and Beaujolais</td><td>Rhône</td><td>Lyon</td></tr>
+<tr valign="top"><td>Forez</td><td>Loire</td><td>St. Etienne</td></tr>
+<tr valign="top"><td>Auvergne. Philippe Auguste, 1210</td><td>Puy-de-Dôme</td><td>Clermont</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Cantal</td><td>Aurillac</td></tr>
+<tr valign="top"><td>Bourbonnais. Louis XII. 1505</td><td>Allier</td><td>Moulins</td></tr>
+<tr valign="top"><td>Nivernais. Charles VII. 1457</td><td>Nièvre</td><td>Nevers</td></tr>
+<tr valign="top"><td>Bresse, Bugey, etc.</td><td>Ain</td><td>Bourg</td></tr>
+<tr valign="top"><td>Bourgogne (duché). Louis XI. 1477</td><td>Saône-et-Loire</td><td>Mâcon</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Côte-d'Or</td><td>Dijon</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Yonne</td><td>Auxerre</td></tr>
+<tr valign="top"><td>Comté de Bourgogne, or
+Franche-Comté.<br />Peace
+of Nimeguen, 1678</td><td>Doubs</td><td>Besançon</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Jura</td><td>Lons-le-Saulnier</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Haute-Saône</td><td>Vesoul</td></tr>
+<tr valign="top"><td>Champagne. Philippe le Bel, 1284</td><td>Aube</td><td>Troyes.</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Marne</td><td>Châlons-sur-Marne</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Haute-Marne</td><td>Chaumont</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Ardennes</td><td>Mézières</td></tr>
+<tr valign="top"><td>Lorraine.[*] On the death<br />
+of Stanislas Leczinsky, 1766</td><td>Meurthe and Moselle</td><td>Nancy</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Meuse</td><td>Bar-le-Duc</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Vosges</td><td>Epinal</td></tr>
+<tr valign="top"><td>Alsace.[*] Louis XIV. 1648</td><td>Territory of Belfort Belfort</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Haut-Rhin</td><td>Colmar</td></tr>
+<tr valign="top"><td>Corsica. 1794.</td><td>Corse</td><td>Ajaccio</td></tr>
+<tr valign="top"><td>Comté de Nice. 1861</td><td>Alpes Maritimes</td><td>Nice</td></tr>
+<tr valign="top"><td>Savoy</td><td>Savoie</td><td>Chambéry</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Haute-Savoie</td><td>Annecy</td></tr>
+</table>
+
+<p class="c sml">[*] The greater part of these provinces as they formerly stood
+were ceded to Germany, May 10, 1871.</p>
+
+<p><span class='pagenum'><a name="Page_359" id="Page_359">359</a></span></p>
+
+
+<h3 class="top15">III</h3>
+
+<p class="c"><i>The Church in France</i></p>
+
+
+<p><i>La France Catholique</i> is to-day divided into eighty-four dioceses,
+administered, as to spiritual affairs, by seventeen archbishops and
+sixty-seven bishops. To each diocese is attached a seminary for the
+instruction of those who aspire to the priesthood. Each chief town of a
+canton has its <i>curé</i>, each parish its <i>desservant</i>.</p>
+
+<table
+summary="aprend_III"
+cellpadding="2"
+cellspacing="2"
+style="font-size:85%;">
+
+<tr
+style="font-style:italic;font-size:90%;
+font-weight:800;"><td>Archbishops and Bishops</td><td>Dioceses</td></tr>
+
+<tr><td><span class="smcap">Paris</span></td><td>Seine</td></tr>
+<tr><td><span style="margin-left: 1em;">Chartres</span></td><td>Eure-et-Loire</td></tr>
+<tr><td><span style="margin-left: 1em;">Meaux</span></td><td>Seine-et-Marne</td></tr>
+<tr><td><span style="margin-left: 1em;">Orleans</span></td><td>Loiret</td></tr>
+<tr><td><span style="margin-left: 1em;">Blois</span></td><td>Loir-et-Cher</td></tr>
+<tr><td><span style="margin-left: 1em;">Versailles</span></td><td>Seine-et-Oise</td></tr>
+
+<tr><td><span class="smcap">Cambrai</span></td><td>Nord</td></tr>
+<tr><td><span style="margin-left: 1em;">Arras</span></td><td>Pas-de-Calais</td></tr>
+
+<tr><td><span class="smcap">Lyon-et-Vienne</span></td><td>Rhône, Loire</td></tr>
+<tr><td><span style="margin-left: 1em;">Autun</span></td><td>Saône-et-Loire</td></tr>
+<tr><td><span style="margin-left: 1em;">Langres</span></td><td>Haute-Marne</td></tr>
+<tr><td><span style="margin-left: 1em;">Dijon</span></td><td>Côte-d'Or</td></tr>
+<tr><td><span style="margin-left: 1em;">Sainte</span> Claude</td><td>Jura</td></tr>
+<tr><td><span style="margin-left: 1em;">Grenoble</span></td><td>Isère</td></tr>
+
+<tr><td><span class="smcap">Bourges</span></td><td>Cher-et-Indre</td></tr>
+<tr><td><span style="margin-left: 1em;">Clermont</span></td><td>Puy-de-Dôme</td></tr>
+<tr><td><span style="margin-left: 1em;">Limoges</span></td><td>Haute-Vienne et Creuse</td></tr>
+<tr><td><span style="margin-left: 1em;">Le</span> Puy</td><td>Haute-Loire</td></tr>
+<tr><td><span style="margin-left: 1em;">Tulle</span></td><td>Corrèze<span class='pagenum'><a name="Page_360" id="Page_360">360</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Saint</span> Flour Cantal</td></tr>
+
+<tr><td><span class="smcap">Albi</span></td><td>Tarn</td></tr>
+<tr><td><span style="margin-left: 1em;">Rodez</span></td><td>Aveyron</td></tr>
+<tr><td><span style="margin-left: 1em;">Cahors</span></td><td>Lot</td></tr>
+<tr><td><span style="margin-left: 1em;">Meude</span></td><td>Lozère</td></tr>
+<tr><td><span style="margin-left: 1em;">Perpignan</span></td><td>Pyrénées-Orientales</td></tr>
+
+<tr><td><span class="smcap">Bordeaux</span>[**]</td><td>Gironde</td></tr>
+<tr><td><span style="margin-left: 1em;">Agen</span></td><td>Lot-et-Garonne</td></tr>
+<tr><td><span style="margin-left: 1em;">Angoulême</span></td><td>Charente</td></tr>
+<tr><td><span style="margin-left: 1em;">Poitiers</span></td><td>Vienne-et-Deux Sèvres</td></tr>
+<tr><td><span style="margin-left: 1em;">Périgueux</span></td><td>Dordogne</td></tr>
+<tr><td><span style="margin-left: 1em;">La</span> Rochelle Charente-Inférieure</td></tr>
+<tr><td><span style="margin-left: 1em;">Luçon</span></td><td>Vendée</td></tr>
+
+<tr><td><span class="smcap">Auch</span></td><td>Gers</td></tr>
+<tr><td><span style="margin-left: 1em;">Aire</span></td><td>Landes</td></tr>
+<tr><td><span style="margin-left: 1em;">Tarbes</span></td><td>Hautes-Pyrénées</td></tr>
+<tr><td><span style="margin-left: 1em;">Bayonne</span></td><td>Basses-Pyrénées</td></tr>
+
+<tr><td><span class="smcap">Toulouse-Narbonne</span></td><td>Haute-Garonne</td></tr>
+<tr><td><span style="margin-left: 1em;">Montauban</span></td><td>Tarnè-et-Garonne</td></tr>
+<tr><td><span style="margin-left: 1em;">Pamiers</span></td><td>Ariège</td></tr>
+<tr><td><span style="margin-left: 1em;">Carcassonne</span> Aude</td></tr>
+
+<tr><td><span class="smcap">Rouen</span></td><td>Seine-Inférieure</td></tr>
+<tr><td><span style="margin-left: 1em;">Bayeux</span></td><td>Calvados</td></tr>
+<tr><td><span style="margin-left: 1em;">Evreux</span></td><td>Eure</td></tr>
+<tr><td><span style="margin-left: 1em;">Séez</span></td><td>Orne</td></tr>
+<tr><td><span style="margin-left: 1em;">Coutances</span></td><td>Manche</td></tr>
+
+<tr><td><span class="smcap">Sens et Auxerre</span></td><td>Yonne</td></tr>
+<tr><td><span style="margin-left: 1em;">Troyes</span></td><td>Aube</td></tr>
+<tr><td><span style="margin-left: 1em;">Nevers</span></td><td>Nièvre</td></tr>
+<tr><td><span style="margin-left: 1em;">Moulins</span></td><td>Allier</td></tr>
+
+<tr><td><span class="smcap">Reims</span></td><td>Arr. de Reims-et-Ardennes</td></tr>
+<tr><td><span style="margin-left: 1em;">Soissons</span></td><td>Aisne</td></tr>
+<tr><td><span style="margin-left: 1em;">Châlons</span>-sur-Marne</td><td>Marne except Arrond. de Reims</td></tr>
+<tr><td><span style="margin-left: 1em;">Beauvais</span></td><td>Oise</td></tr>
+<tr><td><span style="margin-left: 1em;">Amiens</span></td><td>Somme</td></tr>
+
+<tr><td><span class="smcap">Tours</span></td><td>Indre-et-Loire</td></tr>
+<tr><td><span style="margin-left: 1em;">Le</span> Mans</td><td>Sarthe</td></tr>
+<tr><td><span style="margin-left: 1em;">Angers</span></td><td>Maine-et-Loire</td></tr>
+<tr><td><span style="margin-left: 1em;">Nantes</span></td><td>Loire-Inférieure</td></tr>
+<tr><td><span class='pagenum'><a name="Page_361" id="Page_361">361</a></span><span style="margin-left: 1em;">Laval</span></td><td>Mayenne</td></tr>
+
+<tr><td><span class="smcap">Aix, Arles, and Embrun</span></td><td>Bouches-du-Rhône except Marseilles</td></tr>
+<tr><td><span style="margin-left: 1em;">Marseilles</span></td><td>Arr. de Marseilles</td></tr>
+<tr><td><span style="margin-left: 1em;">Fréjus</span> and Toulon</td><td>Var</td></tr>
+<tr><td><span style="margin-left: 1em;">Digne</span></td><td>Basses-Alpes</td></tr>
+<tr><td><span style="margin-left: 1em;">Gap</span></td><td>Hautes-Alpes</td></tr>
+<tr><td><span style="margin-left: 1em;">Nice</span></td><td>Alpes-Maritimes</td></tr>
+<tr><td><span style="margin-left: 1em;">Ajaccio</span></td><td>Corse</td></tr>
+
+<tr><td><span class="smcap">Besançon</span></td><td>Doubs et Haute-Saône</td></tr>
+<tr><td><span style="margin-left: 1em;">Verdun</span></td><td>Meuse</td></tr>
+<tr><td><span style="margin-left: 1em;">Belley</span></td><td>Ain</td></tr>
+<tr><td><span style="margin-left: 1em;">St</span>. Dié</td><td>Vosges</td></tr>
+<tr><td><span style="margin-left: 1em;">Nancy</span></td><td>Meurthe</td></tr>
+
+<tr><td><span class="smcap">Avignon</span></td><td>Vaucluse</td></tr>
+<tr><td><span style="margin-left: 1em;">Nîmes</span></td><td>Gard</td></tr>
+<tr><td><span style="margin-left: 1em;">Valence</span></td><td>Drôme</td></tr>
+<tr><td><span style="margin-left: 1em;">Viviers</span></td><td>Ardèche</td></tr>
+<tr><td><span style="margin-left: 1em;">Montpellier</span> Hérault</td></tr>
+
+<tr><td><span class="smcap">Rennes</span></td><td>Ille-et-Vilaine</td></tr>
+<tr><td><span style="margin-left: 1em;">Quimper</span></td><td>Finisterre</td></tr>
+<tr><td><span style="margin-left: 1em;">Vannes</span></td><td>Morbihan</td></tr>
+<tr><td><span style="margin-left: 1em;">St</span>. Brieuc</td><td>Côtes-du-Nord</td></tr>
+
+<tr><td><span class="smcap">Chambéry</span></td></tr>
+<tr><td><span style="margin-left: 1em;">Annecy</span></td><td>Haute-Savoie</td></tr>
+<tr><td><span style="margin-left: 1em;">Tarentaise</span></td><td>Val-de-Tarentaise (Savoie)</td></tr>
+<tr><td><span style="margin-left: 1em;">Maurienne</span></td><td>Val-de-Maurienne (Savoie)</td></tr>
+</table>
+
+
+<p class="noind sml">[**] The Archbishop of Bordeaux has three suffragans outside
+France: St. Denis and La Reunion, St. Pierre and Fort de France
+(Martinique), Basseterre (Guadaloupe).</p>
+
+
+<p><span class='pagenum'><a name="Page_362" id="Page_362">362</a></span></p>
+
+
+<h3 class="top15">IV</h3>
+
+<p class="hang"><i>A List of the Larger French Churches which were at one time Cathedrals
+and usually referred to as such.</i></p>
+
+
+<p class="sml"><span class="smcap">Note.</span>&mdash;Those marked H. M. are classed as Les Monuments Historiques by La
+Commission de la Conservation des Monuments Historiques.</p>
+<table
+summary="aprend_IV"
+cellpadding="2"
+cellspacing="2"
+style="font-size:85%">
+<tr><td>Agde</td><td><i>Hérault</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Alais</td><td><i>Garde</i></td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>Alençon</td><td><i>Orne</i></td><td>Notre Dame</td><td>H. M.</td></tr>
+<tr><td>Alet</td><td><i>Aude</i></td><td>Notre Dame</td><td>H. M.</td></tr>
+<tr><td>Apt</td><td><i>Vaucluse</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Arles</td><td><i>Bouches-du-Rhône</i></td><td>St. Trophimus</td><td>H. M.</td></tr>
+<tr><td>Arras</td><td>&nbsp;</td><td>St. Vaast</td><td>&nbsp;</td></tr>
+<tr><td>Auxerre</td><td><i>Yonne</i></td><td>St. Etienne</td><td>H. M.</td></tr>
+<tr><td>Auxonne</td><td><i>Côte-d'Or</i></td><td>Notre Dame</td><td>&nbsp;</td></tr>
+<tr><td>Avranches</td><td><i>Manche</i></td><td>(remains only)</td><td>H. M.</td></tr>
+<tr><td>Bazas</td><td><i>Gironde</i></td><td>St. Jean</td><td>H. M.</td></tr>
+<tr valign="top"><td>Bethléem</td><td>&nbsp;</td><td colspan="2">(There was once a Bishop of<br />
+Bethléem whose see was the<br />
+village of Clamecy only, but
+no cathedral.)</td></tr>
+
+<tr><td>Béziers</td><td><i>Hérault</i></td><td>St. Nazaire</td><td>H. M.</td></tr>
+<tr><td>Boulogne</td><td><i>Pas-de-Calais</i></td><td>Notre Dame</td><td>&nbsp;</td></tr>
+<tr><td>Bourg</td><td><i>Ain</i></td><td>Notre Dame</td><td>&nbsp;</td></tr>
+<tr><td>Brioud</td><td><i>Haute-Loire</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Cambrai</td><td>&nbsp;</td><td>Notre Dame</td><td>&nbsp;</td></tr>
+<tr><td>Carcassonne</td><td><i>Aude</i></td><td>St. Nazaire</td><td>H. M.</td></tr>
+<tr><td>Carpentras</td><td><i>Vaucluse</i></td><td>St. Siffrein</td><td>H. M.</td></tr>
+<tr><td>Castres</td><td><i>Tarn</i></td><td>St. Benonit</td><td>&nbsp;</td></tr>
+<tr><td>Cavaillon</td><td><i>Vaucluse</i></td><td>St. Véran</td><td>H. M.</td></tr>
+<tr><td>Condom</td><td><i>Gers</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Conserons</td><td><i>Ariège</i></td><td>(See St. Lizier)</td><td>&nbsp;</td></tr>
+<tr><td>Die</td><td><i>Drôme</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Dinan</td><td><i>Côtes-du-Nord</i></td><td>St. Saveur</td><td>H. M.</td></tr>
+<tr><td>Dol</td><td><i>Ille-et-Vilaine</i></td><td>St. Samson</td><td>H. M.</td></tr>
+<tr><td>Elne</td><td><i>Pyrénées-Orientales</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Embrun</td><td><i>Hautes-Alpes</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Glandèves</td><td><i>Basses-Alpes</i></td><td>(Bishopric transferred to Entrevaux)</td><td>&nbsp;</td></tr>
+<tr><td>Grasse</td><td><i>Alpes-Maritimes</i></td><td>(Bishopric in XIVth century)</td><td>&nbsp;</td></tr>
+<tr><td>Laon</td><td><i>Aisne</i></td><td>Notre Dame</td><td>H. M.</td></tr>
+<tr><td>Lavaur</td><td><i>Tarn</i></td><td>(Bishopric in XIVth century)</td><td>&nbsp;</td></tr>
+<tr><td>Lectours</td><td><i>Gers</i></td><td>(Bishopric in Xth century)</td><td>&nbsp;</td></tr>
+<tr><td>Lescar</td><td><i>Basses-Pyrénées</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Lisieux</td><td><i>Calvados</i></td><td>St. Pierre</td><td>&nbsp;</td></tr>
+<tr><td>Lodeve</td><td><i>Hérault</i></td><td>St. Fulcran</td><td>H. M.</td></tr>
+<tr><td>Lombez</td><td><i>Gers</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Mâcon</td><td><i>Saône-et-Loire</i></td><td>St. Vincent</td><td>H. M.</td></tr>
+<tr><td>Mallezais</td><td><i>Vendée</i></td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>Mirepoix</td><td><i>Ariège</i></td><td>(Bishopric in XIVth century)</td><td>&nbsp;</td></tr>
+<tr><td>Noyon</td><td><i>Oise</i></td><td>Notre Dame</td><td>H. M.</td></tr>
+<tr><td>Oloron</td><td><i>Basses-Pyrénées</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Orange</td><td><i>Vaucluse</i></td><td>Notre Dame</td><td>&nbsp;</td></tr>
+<tr><td>Périgueux</td><td><i>Dordogne</i></td><td>St. Etienne</td><td>&nbsp;</td></tr>
+<tr><td>St. Bertrand
+de Comminges</td><td><i>Haute-Garonne</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>St. Dié</td><td><i>Vosges</i></td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>St. Lizier</td><td><i>Ariège</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>St. Lo</td><td><i>Manche</i></td><td>Notre Dame</td><td>H. M.</td></tr>
+<tr><td>St. Malo</td><td><i>Ille-et-Vilaine</i></td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>Ste. Marie</td><td><i>Basses-Pyrénées</i></td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>St. Omer</td><td><i>Pas-de-Calais</i></td><td>Notre Dame</td><td>H. M.</td></tr>
+<tr><td>St. Papoul</td><td><i>Aude</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>St. Paul Trois Chateaux</td><td><i>Drôme</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>St. Pol de Leon</td><td><i>Finisterre</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>St. Servan</td><td><i>Ille-et-Vilaine</i></td><td>St. Pierre d'Aleth</td><td>&nbsp;</td></tr>
+<tr><td>Sarlat</td><td><i>Dordogne</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Séez</td><td><i>Orne</i></td><td>Notre Dame</td><td>H. M.</td></tr>
+<tr><td>Senez</td><td><i>Basses-Alpes</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Senlis</td><td><i>Oise</i></td><td>Notre Dame</td><td>H. M.</td></tr>
+<tr><td>Sisteron</td><td><i>Basses-Alpes</i></td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>Soissons</td><td><i>Aisne</i></td><td>Notre Dame</td><td>H. M.</td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>St. Gervais</td><td>&nbsp;</td></tr><tr><td>&nbsp;</td><td>&nbsp;</td><td>St. Protais</td><td>&nbsp;</td></tr>
+<tr><td>Tarbes</td><td><i>Hautes-Pyrénées</i></td><td>Eglise de la Séde</td><td>H. M.</td></tr>
+<tr><td>Toul</td><td><i>Meurthe</i></td><td>St. Etienne</td><td>H. M.</td></tr>
+<tr><td>Toulon</td><td><i>Var</i></td><td>Ste. Marie-Majeur</td><td>&nbsp;</td></tr>
+<tr><td>Tréguier</td><td><i>Côtes-du-Nord</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Uzès</td><td><i>Gard</i></td><td>St. Thierry</td><td>&nbsp;</td></tr>
+<tr><td>Vabres</td><td><i>Aveyron</i></td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>Vaiso</td><td><i>Vaucluse</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Versailles</td><td><i>Seine-et-Oise</i></td><td>St. Louis</td><td>&nbsp;</td></tr>
+<tr><td>Vence</td><td><i>Alpes-Maritimes</i></td><td>&nbsp;</td><td>H. M.</td></tr>
+<tr><td>Vienne</td><td><i>Isère</i></td><td>St. Maurice</td><td>H. M.</td></tr>
+</table>
+
+
+<p><span class='pagenum'><a name="Page_365" id="Page_365">365</a></span></p>
+
+
+
+<h3 class="top15">V</h3>
+
+<p class="hang"><i>Chronology of the chief styles and examples of church building in the
+north of France from the Romano-Byzantine period to that of the
+Renaissance</i></p>
+
+
+<table
+summary="aprend_V"
+cellpadding="2"
+cellspacing="2"
+style="font-size:85%;
+white-space:nowrap;">
+<tr valign="top"><td>1050-1075</td><td>Nevers</td><td>St. Etienne</td><td rowspan="3">Distinct round-arch<br />style</td></tr>
+<tr valign="top"><td>1075-1100</td><td>Bayeux</td><td>Notre&nbsp;Dame</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Caen</td><td>St. Etienne</td></tr>
+<tr valign="top"><td>1125-1150</td><td>Autun</td><td>St. Lazare</td>
+<td rowspan="5">Pointed arch<br />in
+vaulting and<br />
+larger works, with<br />
+the retaining of<br />
+the round in the<br />smaller</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>St. Denis</td><td>(choir)</td></tr>
+<tr valign="top"><td>1150-1175</td><td>Angers</td><td>St. Maurice  </td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Paris</td><td>Notre Dame</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Sens</td><td>St. Etienne</td></tr>
+<tr valign="top">
+<td>1200-1225</td>
+<td>Reims</td>
+<td>Notre Dame</td>
+<td rowspan="3">General adoption<br />
+of the ogival<br />
+style</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Auxerre</td><td>St. Etienne  </td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Troyes</td><td>Sts. Peter and Paul  </td></tr>
+<tr valign="top"><td>1225-1250</td><td>Amiens</td><td>Notre Dame</td>
+<td rowspan="6">The completed<br />
+ogival style</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Dijon</td><td>St. Bénigne</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Bourges</td><td>St. Etienne</td></tr>
+<tr valign="top"><td>1250-1275</td><td>Noyon   </td><td>  Notre Dame (cloisters)</td></tr>
+<tr valign="top"><td>1300-1325</td><td>Rouen </td><td>    Notre Dame (lady-chapel)</td></tr>
+<tr valign="top"><td>1350-1375</td><td>Chartres</td><td>  Notre Dame</td></tr>
+<tr valign="top"><td>1425-1450</td><td>Auxerre</td>
+<td>St. Etienne (N. transept)</td>
+<td rowspan="2">Introduction of<br />
+Renaissance detail<br />
+in Italy<br />
+elaboration of<br />
+Gothic in France</td></tr>
+<tr valign="top"><td>1450-1475</td><td>Evreux</td>
+<td>Notre Dame (transepts and tower)</td></tr>
+
+<tr valign="top"><td>1475-1500</td><td>Rouen</td>
+<td>Notre Dame (S. W. tower)</td>
+<td rowspan="6">Renaissance firmly<br />
+grafted in Italy<br />
+and gradually<br />
+appearing in the<br />
+Gothic of France</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Nevers </td>
+<td>   St. Etienne (S. porch)</td></tr>
+<tr valign="top"><td>1500-1525</td><td>Beauvais </td>
+<td> St. Pierre (S. transept) </td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Chartres </td><td> Notre Dame (N. W. spire)</td></tr>
+<tr valign="top"><td>1525-1550</td><td>Beauvais</td><td>St. Pierre (N. transept)</td></tr>
+<tr valign="top"><td>&nbsp;</td><td>Amiens</td><td>Notre Dame (flêche)</td></tr>
+<tr valign="top"><td>1550-1575</td><td>Beauvais </td><td> St. Pierre
+(central tower since destroyed)</td>
+<td rowspan="2">Renaissance firmly<br />
+established</td></tr>
+<tr valign="top"><td>1600-1625</td><td>Orleans </td><td>  Ste. Croix</td></tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_366" id="Page_366">366</a></span></p>
+
+
+<h3 class="top15">VI</h3>
+
+<p class="c"><i>Dimensions and Chronology</i></p>
+
+
+<p class="eglise">NOTRE DAME D'AMIENS</p>
+
+<div class="image" style="width: 302px;">
+<img src="images/illus393.png" width="302" height="505" alt="Notre Dame d&#39;Amiens" />
+</div>
+
+
+<p class="eglise"><i>Dimensions</i></p>
+
+<div class="append">
+<p class="noind">
+Length of nave and choir, 469 feet<br />
+<span class='pagenum'><a name="Page_367" id="Page_367">367</a></span>Width including transepts, 214 feet<br />
+Width of nave, 59 feet<br />
+Width of aisles, 33&frac12; feet<br />
+Height of nave, 141 or 147 feet, estimated variously<br />
+Height of aisles, 65 feet<br />
+Length of choir, 135 feet<br />
+Width of nave including aisles, 150 feet<br />
+Length of transepts, 194 feet<br />
+Width of transepts, 36 feet, 6 inches<br />
+Height of spire, 422 feet<br />
+Superficial area, 70,000 square feet (approx.)<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Nave and choir, 1220-1288<br />
+Choir stalls, 1520<br />
+Western towers completed, 1533<br />
+Lateral chapels of nave, XVIth century<br />
+Choir chapels, XIIIth century<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. MAURICE D'ANGERS</p>
+
+<div class="image" style="width: 396px;">
+<img src="images/illus394.png" width="396" height="500" alt="image not available" />
+</div>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length of nave and choir, 300 feet<br />
+<span class='pagenum'><a name="Page_368" id="Page_368">368</a></span>Width of transepts, 40 feet<br />
+Height of transepts, 80 feet<br />
+Height of nave, 110 feet<br />
+Width of nave, 53 feet<br />
+Height of spires, 225 feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Lower walls, Romano-Byzantine<br />
+Main body completed, 1240<br />
+Choir, XIIth century<br />
+Bishop's Palace, XIIth century<br />
+Arras tapestries, XIVth century<br />
+Choir doorway, XIIIth century<br />
+(Recently restored by Viollet-le-Duc)<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. VAAST D'ARRAS</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length of nave and choir, 302 feet<br />
+Height of nave, 66&frac12; feet<br />
+Width of nave, 49 feet<br />
+Height of tower, 154 feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+Former Cathedral of Notre Dame begun, end of XIIth century<br />
+Former Cathedral of Notre Dame completed, 1499<br />
+Present Cathedral of St. Vaast, 1755-1833<br />
+Triptych of Bellegambe in present Cathedral, 1528<br />
+Former Abbey of St. Vaast, now Episcopal Palace since 1754<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. LAZARE D'AUTUN</p>
+
+<p class="head">Dimensions</p>
+
+<p class="c">Height of spire, 325 feet</p>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Transition portion constructed by Robert I.,<br />
+<span style="margin-left: 1em;">Duke of Burgundy, 1031-1076</span><br />
+Spire, XVth century<br />
+Sculpture of choir, XVIth century<br />
+Flamboyant chapels, XVIth century<br />
+<span class='pagenum'><a name="Page_369" id="Page_369">369</a></span></p>
+</div>
+
+
+<p class="eglise">AUXERRE</p>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Crypt (remains of early work), XIth century<br />
+Choir and glass, 1215-1234<br />
+Western portals, XIIIth century<br />
+Nave, 1334-1373<br />
+North transept, 1415-1513<br />
+N. W. tower, 1525-1530<br />
+Iron <i>grille</i> of choir, XVIIIth century<br />
+</p>
+</div>
+
+
+<p class="eglise">NOTRE DAME DE BAYEUX</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append3">
+<p class="noind">
+Central belfry, 300 feet<br />
+Length interior, 335 feet<br />
+Height interior, 74 feet, 9 inches<br />
+Height of western towers, 252 feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+Odo's crypt, XIth century<br />
+Circular arches of nave, late XIth or early XIIth century<br />
+Portals of west façade, XIIIth century<br />
+Chasuble of St. Regnobert, gift of St. Louis, 1226<br />
+Date of tapestry (in inventory of church property), 1476<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. PIERRE DE BEAUVAIS</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Height of nave, 150 feet<br />
+Height of original spire, which fell in 1573, 486 feet<br />
+Area of choir, about 28,000 square feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+The Basse &OElig;uvre, VIth to VIIIth centuries<br />
+Present building begun, 1225<br />
+Dedicated, 1272<br />
+Roof fell, 1284<br />
+South transept begun, 1500<br />
+North transept begun, 1530<br />
+North transept finished, 1537<br />
+Central spire fell, 1573<br />
+Ancient Bishop's Palace, now Palais de Justice,<br />
+<span style="margin-left: 1em;">XIVth to XVIth centuries</span><br />
+<span class='pagenum'><a name="Page_370" id="Page_370">370</a></span></p>
+</div>
+
+<p class="eglise">ST. ETIENNE DE BOURGES</p>
+
+<div class="image" style="width: 325px;">
+<img src="images/illus397.png" width="325" height="422" alt="St. Etienne de Bourges" />
+</div>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length, 405 feet<br />
+Width, 135&frac12; feet<br />
+Height of nave, 124&frac12; feet<br />
+Height of inner aisle, 66 feet<br />
+Height of outer aisle, 28 feet<br />
+Height north tower, 217&frac12; feet<br />
+Height south tower, 176 feet<br />
+Superficial area, 73,170 square feet (approx.)<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Dedicated, 1324<br />
+Sepulchre, 1336<br />
+Crypts, XIIth century<br />
+North tower, 1508-1538<br />
+Tower St. Etienne completed, 1490<br />
+Tower St. Etienne fell, 1506<br />
+Choir stalls, 1760<br />
+<span class='pagenum'><a name="Page_371" id="Page_371">371</a></span></p>
+</div>
+
+
+<p class="eglise">ST. ETIENNE DE CHÂLONS-SUR-MARNE</p>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Tower next north door, Romano-Byzantine<br />
+Part of nave and choir, Ogival primaire<br />
+Aisle and chapels of apse, XIVth century<br />
+Apse restored, after fire, in 1672<br />
+</p>
+</div>
+
+
+<p class="eglise">NOTRE DAME DE CHARTRES</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length nave and choir, 430 feet<br />
+Width, 110 feet<br />
+Length nave only, 121 feet<br />
+Width nave, 46 feet<br />
+Width nave aisles, 19 feet<br />
+Height nave, 106 feet<br />
+Length transepts, 202 feet<br />
+Width transepts, 70 feet<br />
+Height of north spire, 403 feet<br />
+Height of south spire, 365 feet<br />
+Rose window, diameter, 40 to 43 feet<br />
+Area, 65,000 square feet (approx.)<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+Wooden church burned, 1020<br />
+Crypt under chevet of choir, 1029<br />
+<span style="margin-left: 1em;">(only remains of original church)</span><br />
+Work of rebuilding stopped, 1048<br />
+South portal erected, 1060<br />
+Work aided by Matilda, queen of William I., 1083<br />
+Lower portion of main body built, 1100-1150<br />
+Western towers, 1145<br />
+Fire damaged greater part, 1194<br />
+Vaulting completed, 1220<br />
+Porches of transepts added, 1250<br />
+Building consecrated, October 17, 1260<br />
+Sacristy and screen in crypt, XIIIth century<br />
+North spire burned, 1506<br />
+Texier's spire erected, 1507-1515<br />
+Texier's spire repaired, 1629<br />
+South spire repaired, 1754<br />
+Belfry and roof burned (vaulting unharmed), 1836<br />
+<span class='pagenum'><a name="Page_372" id="Page_372">372</a></span></p>
+</div>
+
+
+<p class="eglise">NOTRE DAME D'EVREUX</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length, 368 feet, 6 inches<br />
+Transept, length, 112 feet<br />
+Transept, width, 23 feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+Church consecrated, 1076<br />
+Church burnt, 1119<br />
+Northwest tower foundations laid, 1352<br />
+Northwest tower completed, 1417<br />
+North transept, XVIth century<br />
+Nave, early XIIth to late XVth century<br />
+Choir, XIVth century<br />
+Lady-chapel, XIIIth century<br />
+</p>
+</div>
+
+
+<p class="eglise">NOTRE DAME DE LAON</p>
+
+<div class="image" style="width: 233px;">
+<img src="images/illus399.png" width="233" height="404" alt="Laon" />
+</div>
+
+<p class="head">Dimensions</p>
+
+<div class="append2">
+<p class="noind">
+Length of nave and choir, 351 feet<br />
+Height of nave, 80 feet<br />
+<span class='pagenum'><a name="Page_373" id="Page_373">373</a></span>Width of nave, 67 feet, 7 inches<br />
+Length of transepts, 174 feet<br />
+Width of transepts, 35 feet, 9 inches<br />
+Height of western towers, 173 feet<br />
+Height of southwest tower and spire (formerly), 328 feet<br />
+Western circular window, 26 feet<br />
+Superficial area, 44,000 square feet (approx.)<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Original church burned, 1112<br />
+New edifice begun, 1114<br />
+Entirely rebuilt, 1190<br />
+General restoration, 1851<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. JULIEN, LE MANS</p>
+
+<div class="image" style="width: 203px;">
+<img src="images/illus400.png" width="203" height="409" alt="LE MANS" />
+</div>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length of nave and choir, 369 feet<br />
+Width of nave and aisles, 78 feet<br />
+Width of choir, 123 feet<br />
+Height of choir, 108 feet<br />
+Area of choir, 30,000 square feet (approx.)<br />
+Length of transept, 178 feet<br />
+Width of transept, 32 feet<br />
+<span class='pagenum'><a name="Page_374" id="Page_374">374</a></span></p>
+</div>
+
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+West façade, XIth century<br />
+Transition, south portal, XIIth century<br />
+Nave and transepts reconstructed, XIIth century<br />
+Church extended beyond city walls, XIIIth century<br />
+Choir rebuilt, 1200<br />
+Choir restored, 1858<br />
+Coloured glass, XIIIth, XIVth, XVth centuries<br />
+Rose window, south transept, XVth century<br />
+Former Bishop's Palace destroyed by Germans, 1871<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. ETIENNE DE MEAUX</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Height of nave, 109 feet<br />
+Length of nave, 275 feet<br />
+Length of transepts, 120 feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Bishopric founded, 375 A.D.<br />
+Choir in part, XIIth century<br />
+Restored, 1852<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. PIERRE DE NANTES</p>
+
+<div class="image" style="width: 543px;">
+<img src="images/illus401.png" width="543" height="422" alt="image not available" />
+</div>
+
+<p><span class='pagenum'><a name="Page_375" id="Page_375">375</a></span></p>
+
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Height of western towers, 270 feet<br />
+Height of nave, 130 feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+Remains of choir contains, XIIth century<br />
+Romanesque church rebuilt, XVth century<br />
+West front, 1434-1500<br />
+North transept and choir only completed in XIXth century<br />
+Tomb of François II. and Marguerite de Foix, 1507<br />
+Later restoration, 1852<br />
+</p>
+</div>
+
+
+<p class="eglise">NOTRE DAME DE NOYON</p>
+
+<div class="image" style="width: 228px;">
+<img src="images/illus402.png" width="228" height="414" alt="Noyon" />
+</div>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length, 338 feet<br />
+Width of nave and aisles, 64 feet, 10 inches<br />
+Height of nave, 74 feet, 6 inches<br />
+Height of aisles, 28 feet, 9 inches<br />
+Height of choir, 26 feet, 3 inches<br />
+Height of towers, 200 feet<br />
+Superficial area, 30,000 square feet (approx.)<br />
+<span class='pagenum'><a name="Page_376" id="Page_376">376</a></span></p>
+</div>
+
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+First constructed, 989<br />
+Burnt, 1131<br />
+Rebuilding undertaken, 1137-1150<br />
+Choir, transepts, and nave completed, 1167-1200<br />
+Timber work burnt, 1293<br />
+Chapter-house built, XIIIth century<br />
+Five bays of cloister built, XIVth century<br />
+Restored under governmental supervision, 1840<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. CROIX D'ORLEANS</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append3">
+<p class="noind">
+Height of towers, 280 feet<br />
+Height of nave, 100 feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+First bishops sent from Rome, IIIrd century<br />
+Cathedral destroyed by Huguenots, 1567<br />
+Chapels of nave which still remain, XIVth century<br />
+Late Gothic mainly of XVIIth century<br />
+Western towers completed, 1789<br />
+</p>
+</div>
+
+
+<p class="eglise">NOTRE DAME DE PARIS</p>
+
+<div class="image" style="width: 195px;">
+<img src="images/illus403.png" width="195" height="429" alt="Paris" />
+</div>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length, 390 feet<br />
+Width, 144 feet<br />
+Height of nave, 102 feet<br />
+Diameter of rose windows in transept, 36<br />
+<span style="margin-left: 1em;">feet</span><br />
+Superficial area, 64,100 square feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Founded by Bishop de Sully, 1160-1170<br />
+High altar dedicated, 1182<br />
+Interior completed (approx.), 1208<br />
+West front, 1223-1230<br />
+Western towers, 1235<br />
+Transept portals, 1257<br />
+<span class='pagenum'><a name="Page_377" id="Page_377">377</a></span></p>
+</div>
+
+
+
+<p class="eglise">NOTRE DAME DE REIMS</p>
+
+<table summary="reims"
+cellspacing="10"
+cellpadding="0">
+
+<tr align="center" valign="top"><td><img src="images/illus404.png"
+alt="reims"
+width="206"
+height="419"
+/></td><td><img src="images/illus404a.png"
+alt="Flying Buttresses, Reims"
+width="187"
+height="376" /><br /><i>Flying Buttresses</i>,<br /><i>Reims</i></td></tr>
+</table>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Western towers, 267 feet<br />
+Area, 65,000 feet (approx.)<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+First stone laid, 1212<br />
+First portion dedicated, 1215<br />
+Chapter takes possession of choir, 1244<br />
+Nave commenced, 1250<br />
+Transept and abside ornamented, 1295<br />
+South tower begun and completed, 1380-1391<br />
+Coronation of Charles VII., 1427<br />
+Southwest tower completed by Philastre, 1430<br />
+Tapestries added to choir, 1444<br />
+Belfry of the Angel built, 1497<br />
+Gable of the Assumption and Zodiac, 1408<br />
+Reëstablishment of grand altar, 1547<br />
+Repairs to portals and vaulting, 1610<br />
+Cathedral becomes national property, 1790<br />
+Exterior repairs and restoration, 1811<br />
+General restorations, 1840<br />
+2,083,411 francs voted by Chamber for restorations, 1875<br />
+Gifts of Gobelin tapestries, 1848<br />
+<span class='pagenum'><a name="Page_378" id="Page_378">378</a></span></p>
+</div>
+
+
+
+<p class="eglise">NOTRE DAME DE ROUEN</p>
+
+<div class="image" style="width: 213px;">
+<img src="images/illus405.png" width="213" height="411" alt="Notre Dame Rouen" />
+</div>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length of nave and choir, 450 feet<br />
+Width, including transepts, 177 feet<br />
+Width of nave and aisles, 105 feet<br />
+Length of choir only, 118 feet<br />
+Height of nave, 92 feet<br />
+Height of central spire, 480 feet<br />
+Height of Tour de Beurre, 252 feet<br />
+Height of Tour St. Romain, 246 feet<br />
+Area (originally), 53,000 square feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+First church founded on site of cathedral by St. Mellar, VIIth century<br />
+Cathedral enlarged under Rollo, who was buried therein in 930<br />
+Consecrated and dedicated, 1063<br />
+Tour St. Romain, remains of, XIth century<br />
+Destroyed by fire, 1200<br />
+New building completed, XIIIth century<br />
+Portail de la Calende, XIVth century<br />
+Tour de Beurre laid, 1487<br />
+Tour de Beurre completed, 1507<br />
+<span class='pagenum'><a name="Page_379" id="Page_379">379</a></span>Flamboyant west front, XVIth century<br />
+Altar of St. Romain, XVIIth century<br />
+Tomb of the Cardinals, 1556<br />
+Central spire, 1823<br />
+Restoration of west front, 1897<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. ETIENNE DE SENS</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length, 384 feet<br />
+Width, 124 feet<br />
+Height, 98 feet<br />
+Area, 44,000 square feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+Relique of True Cross given by Charlemagne, 800 <span class="smcap">A. D.</span><br />
+Early church destroyed by fire, 970<br />
+New church dedicated, 997<br />
+Present building completed, 1168<br />
+Choir rebuilt, 1174<br />
+Present transept and nave, XIIth and XIIIth centuries<br />
+Glass in chapel of St. Savinien, XIIIth century<br />
+Glass of rose windows, XVIth century<br />
+Mausoleum of the Dauphin, XVIIIth century<br />
+</p>
+</div>
+
+
+<p class="eglise">BASILIQUE DE ST. DENIS</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length of nave and choir, 354 feet<br />
+Width, 133 feet<br />
+Clerestory windows (height), 33 feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append2">
+<p class="noind">
+Chapel first built above grave of St. Dionysius the martyr, 275 <span class="smcap">A. D.</span><br />
+Benedictine abbey first founded here in reign of Dagobert, 628<br />
+Pope Stephen took refuge here, 754<br />
+Romanesque façade, 1140<br />
+Consecration of the building, 1144<br />
+Nave, XIIIth century<br />
+Abbot Suger died, 1151<br />
+General restoration by Suger's successors, XIIIth century<br />
+Crenelated battlement added to façade, XIVth century<br />
+<span class='pagenum'><a name="Page_380" id="Page_380">380</a></span>Spire burned by lightning, XIXth century<br />
+General restoration by Viollet-le-Duc, 1860<br />
+Louis XVI. and Marie Antoinette reinterred here (removed from<br />
+the Madeleine), 1817<br />
+</p>
+</div>
+
+<div class="image" style="width: 551px;">
+<img src="images/illus407.png" width="551" height="439" alt="CRYPT S. DENIS" />
+</div>
+
+<p class="eglise">NOTRE DAME DE ST. OMER</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p>The great bell of tower weighs 8,500 kilos.</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Bishopric founded, 1533<br />
+Astronomical clock, XVIth century<br />
+Tomb of St. Erkembode, VIIIth century<br />
+Tomb of St. Omer restored, XIIIth century<br />
+Former Episcopal Palace, now Palais de Justice, 1680<br />
+<span class='pagenum'><a name="Page_381" id="Page_381">381</a></span></p>
+</div>
+
+
+
+<p class="eglise">ST. GATIEN DE TOURS</p>
+
+<div class="image" style="width: 541px;">
+<img src="images/illus408.png" width="541" height="419" alt="image not available" />
+</div>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length of nave and choir, 256 feet<br />
+Width, 95 feet<br />
+</p>
+</div>
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Choir begun, 1170<br />
+Tour Charlemagne, XIth century<br />
+Tour St. Martin, XIIth century<br />
+Transepts, 1316<br />
+West façade, 1430-1500<br />
+Southwest tower, 1507<br />
+Tomb of children of Charles VIII., 1483<br />
+</p>
+</div>
+
+
+<p class="eglise">ST. PIERRE DE TROYES</p>
+
+<p class="head">Dimensions</p>
+
+<div class="append">
+<p class="noind">
+Length, 394 feet<br />
+Width, 168 feet<br />
+Height, 96 feet<br />
+Height northwest tower, 202 feet<br />
+<span class='pagenum'><a name="Page_382" id="Page_382">382</a></span></p>
+</div>
+
+
+<p class="head">Chronology</p>
+
+<div class="append">
+<p class="noind">
+Apse and chapels, 1206-1223<br />
+Choir and transepts, 1314-1315<br />
+Iron <i>grille</i> of choir, XIIIth century<br />
+Church consecrated, 1430<br />
+West façade, XVth century<br />
+Nave constructed during XIVth, XVth, XVIth centuries<br />
+North gable, XVth century<br />
+Tower St. Pierre, 1559-1568<br />
+Northwest tower demolished by lightning, 1700<br />
+Vaulting of transepts fell, 1840<br />
+Restoration of choir and transepts, 1840<br />
+</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_383" id="Page_383">383</a></span></p>
+
+
+
+<h3 class="top15">VII</h3>
+
+
+
+<p class="c"><i>The French Kings from Charlemagne Onward</i></p>
+
+<table summary="kings"
+cellpadding="5"
+cellspacing="0"
+style="font-size:85%;white-space:nowrap;">
+<tr
+class="smcap"><td>&nbsp;</td><td>A. D.</td><td>&nbsp;</td><td>A. D.</td></tr>
+<tr valign="top"><td>Charlemagne</td><td align="right">768 </td><td style="padding-left:5%;">Philip VI., de Valois</td><td align="right">1328</td></tr>
+<tr valign="top"><td>Louis le Débonnaire</td><td align="right">814 </td><td style="padding-left:5%;">John II., the Good</td><td align="right">1350</td></tr>
+<tr valign="top"><td>Charles le Chauve</td><td align="right">840 </td><td style="padding-left:5%;">Charles V., le Sage</td><td align="right">1364</td></tr>
+<tr valign="top"><td>Louis II., le Bègue</td><td align="right">877 </td><td style="padding-left:5%;">Charles VI., the Beloved</td><td align="right">1380</td></tr>
+<tr valign="top"><td>Louis III.</td><td align="right">879 </td><td style="padding-left:5%;">Charles VII., the Victorious &nbsp; &nbsp;</td><td align="right">1422</td></tr>
+<tr valign="top"><td>Carloman</td><td align="right">879 </td><td style="padding-left:5%;">Louis XI.</td><td align="right">1461</td></tr>
+<tr valign="top"><td>Charles le Gros</td><td align="right">884 </td><td style="padding-left:5%;">Charles VIII.</td><td align="right">1483</td></tr>
+<tr valign="top"><td>Eudes</td><td align="right">887 </td><td style="padding-left:5%;">Louis XII., of Orleans</td><td align="right">1498</td></tr>
+<tr valign="top"><td>Charles III., the Simple</td><td align="right">893 </td><td style="padding-left:5%;">Francis I.</td><td align="right">1515</td></tr>
+<tr valign="top"><td>Robert I.</td><td align="right">922 </td><td style="padding-left:5%;">Henry II.</td><td align="right">1547</td></tr>
+<tr valign="top"><td>Rodolf of Burgundy</td><td align="right">923 </td><td style="padding-left:5%;">Francis II.</td><td align="right">1559</td></tr>
+<tr valign="top"><td>Louis IV., the Stranger</td><td align="right">936 </td><td style="padding-left:5%;">Charles IX.</td><td align="right">1560</td></tr>
+<tr valign="top"><td>Lothaire</td><td align="right">954 </td><td style="padding-left:5%;">Henry III.</td><td align="right">1574</td></tr>
+<tr valign="top"><td>Louis V., le Fainéant</td><td align="right">986 </td><td style="padding-left:5%;">Henry IV., the Great</td><td align="right">1589</td></tr>
+<tr valign="top"><td>Hugh Capet</td><td align="right">987 </td><td style="padding-left:5%;">Louis XIII., the Just</td><td align="right">1610</td></tr>
+<tr valign="top"><td>Robert II., the Wise</td><td align="right">996 </td><td style="padding-left:5%;">Louis XIV., le Grand</td><td align="right">1643</td></tr>
+<tr valign="top"><td>Henry I.</td><td align="right">1031 </td><td style="padding-left:5%;">Louis XV.</td><td align="right">1715</td></tr>
+<tr valign="top"><td>Philip I., l'Amoureux</td><td align="right">1060 </td><td style="padding-left:5%;">Louis XVI.</td><td align="right">1774</td></tr>
+<tr valign="top"><td>Louis VI., le Gros</td><td align="right">1108 </td><td style="padding-left:5%;">Revolutionary Tribunal</td><td align="right">1793</td></tr>
+<tr valign="top"><td>Louis VII., le Jeune</td><td align="right">1137 </td><td style="padding-left:5%;">Directory</td><td align="right">1795</td></tr>
+<tr valign="top"><td>Philip Augustus</td><td align="right">1180 </td><td style="padding-left:5%;">Napoleon, Consul</td><td align="right">1799</td></tr>
+<tr valign="top"><td>Louis VIII., the Lion</td><td align="right">1223 </td><td style="padding-left:5%;">Napoleon I., Emperor</td><td align="right">1804</td></tr>
+<tr valign="top"><td>Louis IX., the Saint</td><td align="right">1226 </td><td style="padding-left:5%;">Louis XVIII.</td><td align="right">1814</td></tr>
+<tr valign="top"><td>Philip III., the Hardy</td><td align="right">1270 </td><td style="padding-left:5%;">Charles X.</td><td align="right">1824</td></tr>
+<tr valign="top"><td>Philip IV., the Fair</td><td align="right">1285 </td><td style="padding-left:5%;">Louis Philippe</td><td align="right">1830</td></tr>
+<tr valign="top"><td>Louis X., Hutin</td><td align="right">1314 </td><td style="padding-left:5%;">Republic</td><td align="right">1848</td></tr>
+<tr valign="top"><td>John I.</td><td align="right">1316 </td><td style="padding-left:5%;">Napoleon III., Emperor</td><td align="right">1852</td></tr>
+<tr valign="top"><td>Philip V.</td><td align="right">1316 </td><td style="padding-left:5%;">Republic</td><td align="right">1870</td></tr>
+<tr valign="top"><td>Charles IV., le Bel</td><td align="right">1322</td><td>&nbsp;</td></tr>
+
+</table>
+
+
+<div class="image" style="width: 150px;">
+<img src="images/illus410.png" width="150" height="210" alt="CHARLES VII" />
+</div>
+
+
+<p><span class='pagenum'><a name="Page_384" id="Page_384">384</a></span></p>
+
+
+
+<h3 class="top15">VIII</h3>
+
+<p class="c"><i>Measurements of the Cathedrals at Amiens and Salisbury</i></p>
+
+<p class="c">(<i>Whittington</i>)</p>
+
+<table summary="measurments"
+cellpadding="5"
+cellspacing="0"
+style="font-size:85%;">
+<tr><td>&nbsp;</td><td><i>Amiens</i></td><td><i>Salisbury</i></td></tr>
+<tr><td>&nbsp;</td><td><i>French feet</i></td><td><i>English feet</i></td></tr>
+<tr><td>Length east to west</td><td align="right">415</td><td align="right">452</td></tr>
+<tr><td>Length west door to choir</td><td align="right">220</td><td align="right">246</td></tr>
+<tr><td>Length behind choir, including lady-chapel</td><td align="right">63</td><td align="right">65</td></tr>
+<tr><td>Length transepts north to south</td><td align="right">182</td><td align="right">210</td></tr>
+<tr><td>Width nave</td><td align="right">42.9</td><td align="right">34.5</td></tr>
+<tr><td>Width transept</td><td align="right">42.9</td><td align="right"></td></tr>
+<tr><td>Width side aisles</td><td align="right">18</td><td align="right">17.5</td></tr>
+<tr><td>Width windows</td><td align="right">41</td><td align="right">48</td></tr>
+<tr><td>Width nave and side aisles</td><td align="right">78.9</td><td align="right">102</td></tr>
+<tr><td>Width west front</td><td align="right">150</td><td align="right">115</td></tr>
+<tr><td>Height vault, nave</td><td align="right">132</td><td align="right">84</td></tr>
+<tr><td>Height vault, choir</td><td align="right">129</td><td align="right"></td></tr>
+<tr><td>Height west towers</td><td align="right">210</td><td align="right"></td></tr>
+<tr><td>Height chapels</td><td align="right">60</td><td align="right"></td></tr>
+<tr><td>Height side aisles, nave</td><td align="right">60.8</td><td align="right"></td></tr>
+<tr><td>Height side aisles, choir</td><td align="right">57.8</td><td align="right">38</td></tr>
+<tr><td>Distance between pillars</td><td align="right">16</td><td align="right"></td></tr>
+<tr><td>Height grand arches</td><td align="right">78</td><td align="right">78</td></tr>
+<tr><td>Number of pillars</td><td align="right">46</td><td align="right"></td></tr>
+<tr><td>Number of chapels</td><td align="right">25</td><td align="right"></td></tr>
+<tr><td>Length of choir</td><td align="right">130</td><td align="right">140</td></tr>
+</table>
+
+<p class="c sml">(The old French foot is the equal of 1.06576 English feet.)</p>
+
+<p>The above comparative measurements are given as being of the
+contemporary types of English and French cathedrals, being nearly
+approximate to each other as to the date of their erection and
+measurements. The figures themselves are transcribed from a little-known
+but thoroughly conscientious work by G. D. Whittington, entitled
+"Contributions to an Ecclesiastical Survey of France."<span class='pagenum'><a name="Page_385" id="Page_385">385</a></span></p>
+
+
+
+<h3 class="top15">IX</h3>
+
+<p class="c"><i>French Metres Reduced to English Feet</i></p>
+
+
+<table summary="metres"
+cellpadding="4"
+cellspacing="1"
+style="font-size:85%;">
+
+<tr align="center" valign="top"
+style="font-weight:800;font-size:90%;
+font-style:italic;">
+<td>Metres</td>
+<td>English feet and<br />decimal parts</td>
+<td>Metres</td>
+<td>English feet and<br />decimal parts</td>
+<td>Metres</td>
+<td>English feet and<br />decimal parts</td></tr>
+<tr align="right"><td>1</td><td>3.281</td><td>20</td><td>65.618</td><td>300</td><td>984.270</td></tr>
+<tr align="right"><td>2</td><td>6.562</td><td>30</td><td>98.427</td><td>400</td><td>1312.360</td></tr>
+<tr align="right"><td>3</td><td>9.843</td><td>40</td><td>131.236</td><td>500</td><td>1640.450</td></tr>
+<tr align="right"><td>4</td><td>13.123</td><td>50</td><td>164.045</td><td>600</td><td>1968.539</td></tr>
+<tr align="right"><td>5</td><td>16.404</td><td>60</td><td>196.854</td><td>700</td><td>2296.629</td></tr>
+<tr align="right"><td>6</td><td>19.685</td><td>70</td><td>229.663</td><td>800</td><td>2624.719</td></tr>
+<tr align="right"><td>7</td><td>22.966</td><td>80</td><td>262.472</td><td>900</td><td>2952.809</td></tr>
+<tr align="right"><td>8</td><td>26.247</td><td>90</td><td>295.281</td><td>1000</td><td>3280.899</td></tr>
+<tr align="right"><td>9</td><td>29.528</td><td>100</td><td>328.090</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr align="right"><td>10</td><td>32.809</td><td>200</td><td>656.180</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+</table>
+
+
+<p><span class='pagenum'><a name="Page_386" id="Page_386">386</a></span></p>
+
+
+
+<h3 class="top15">X</h3>
+
+<p class="hang"><i>A Brief Glossary of architectural terms, with popular definitions, as
+applied to the components which compose the principal features of a
+cathedral church</i></p>
+
+
+<div class="image" style="width: 271px;padding:3%;">
+<span class="caption">No. 1. Ground Plan</span>
+<img src="images/illus413.png" width="271" height="447" alt="No. 2. Cross Section" />
+</div>
+
+
+
+<table summary="glossary1"
+cellpadding="4"
+cellspacing="1"
+style="font-size:85%;">
+<tr valign="top"><td>A</td><td>Lady-chapel</td><td>The principal chapel, usually behind the
+                         high altar, at the extremity or eastern end
+                         of choir, dedicated to Our Lady (Notre
+                         Dame)</td></tr>
+
+<tr valign="top"><td>B</td><td>Transept</td><td>The middle portion of a church, which projects
+                         at right angles with the main body
+                         of nave and choir</td></tr>
+
+<tr valign="top"><td>C<span class='pagenum'><a name="Page_387" id="Page_387">387</a></span></td><td>Porch</td><td>Usually the vestibule or receding doorway</td></tr>
+
+<tr valign="top"><td>D</td><td>Lantern or crossing</td><td>Where the transept crosses and joins choir
+                         and nave, usually with windows, if a lantern
+                         proper</td></tr>
+
+<tr valign="top"><td>E</td><td>Choir</td><td>That portion of the edifice in which are
+                         stalls for the choristers, and chapter, also
+                         containing the <i>Maître d'Autel</i></td></tr>
+
+<tr valign="top"><td>F</td><td>Ambulatory</td><td>The aisles or colonnade which surround
+                         the choir</td></tr>
+
+<tr valign="top"><td>G</td><td>Chapels</td><td>Literally a small place of worship containing
+                         an altar. In a great church, which
+                         may contain several, they are usually
+                         dedicated to male and female saints</td></tr>
+
+<tr valign="top"><td>H</td><td>Nave</td><td>The main body of a church, extending from
+                         the choir to the principal façade; <i>i. e.</i>
+                         that part between the outer aisles</td></tr>
+
+<tr valign="top"><td>I</td><td>Aisles</td><td>The lateral passage on either side of the
+                         nave and separated therefrom by piers
+                         or pillars</td></tr>
+
+<tr valign="top"><td>J</td><td>Portal</td><td>Literally, the framework of a doorway</td></tr>
+
+<tr valign="top"><td>K</td><td>Abside</td><td>The domed easterly end of a church</td></tr>
+
+<tr valign="top"><td>L</td><td>Sacristy</td><td>The apartment in which is kept the church
+                         plate and vestments</td></tr>
+</table>
+
+
+<div class="image" style="width: 266px;padding:3%;">
+<span class="caption">No. 2. Cross Section</span>
+<img src="images/illus414.png" width="266" height="455" alt="No. 1. Ground Plan" />
+</div>
+
+
+<table summary="glossary2"
+cellpadding="4"
+cellspacing="1"
+style="font-size:85%;">
+<tr valign="top"><td>A<span class='pagenum'><a name="Page_388" id="Page_388">388</a></span></td><td>Nave aisle vaulting</td><td>The arched roof of stone</td></tr>
+
+<tr valign="top"><td>B</td><td>Nave vaulting</td><td>The arched roof of stone</td></tr>
+
+<tr valign="top"><td>C</td><td>Flying buttress</td><td>A supporting outside prop of the thrust
+                         variety. Notably a distinguishing feature
+                         of mediæval Gothic architecture</td></tr>
+
+<tr valign="top"><td>D</td><td>Side aisle</td><td>The passage which flanks the nave</td></tr>
+
+<tr valign="top"><td>E</td><td>Buttress pier</td><td>The outer support of a flying buttress</td></tr>
+
+<tr valign="top"><td>F</td><td>Pinnacle</td><td>On towers, buttress piers, gables, etc.</td></tr>
+
+<tr valign="top"><td>G</td><td>Gargoyle</td><td>A projecting water-spout carved grotesquely</td></tr>
+
+<tr valign="top"><td>H</td><td>Niche</td><td>A recess in a wall, or surmounting a pier;
+                         primarily to hold a statue</td></tr>
+
+</table>
+
+<div class="image" style="width: 259px;padding:3%;">
+<span class="caption">No. 3 Interior</span>
+<img src="images/illus415.png" width="259" height="436" alt="No. 3 Interior" />
+
+</div>
+
+<table summary="glossary3"
+cellpadding="4"
+cellspacing="1"
+style="font-size:85%;">
+<tr valign="top"><td>A</td><td>Clerestory</td><td>The upper range of windows of the nave;
+                         rising above the adjoining portions</td></tr>
+
+<tr valign="top"><td>B</td><td>Triforium</td><td>Literally, a blind window--a range of
+                         openings, or possibly an arcade-effect
+                         only, coming below the clerestory and
+                         above the lower arches of the nave</td></tr>
+
+<tr valign="top"><td>C<span class='pagenum'><a name="Page_389" id="Page_389">389</a></span></td><td>Arch (between nave
+and aisle)</td><td>Joining the piers or pillars which separate
+                         nave from aisles</td></tr>
+
+<tr valign="top"><td>D</td><td>Pillars (of nave)</td><td>Commonly called pillars, columns, and
+                         piers, but more often are literally pillars,
+                         being made up of blocks of stone one
+                         upon another</td></tr>
+
+<tr valign="top"><td>E</td><td>Vaulting</td><td>The stone arched roof</td></tr>
+
+<tr valign="top"><td>F</td><td>West wall</td><td>Here, in the true Gothic church, is usually
+                         found a rose window, though often obscured
+                         by the organ case</td></tr>
+
+<tr valign="top"><td>G</td><td>Arcaded gallery</td><td>A feature frequently seen in the interior of
+                         great churches, as distinct from the triforium.
+                         Either decorative or of practical
+                         value</td></tr>
+
+<tr valign="top"><td>H</td><td>Pavement</td><td>The floor, always of stone, and often of
+                         marble or mosaic</td></tr>
+
+</table>
+
+<div class="image" style="width: 269px;padding:3%;">
+<span class="caption">No. 4. Cross Section</span>
+
+<img src="images/illus416.png" width="269" height="437" alt="No. 4. Cross Section" />
+</div>
+
+<table summary="glossary4"
+cellpadding="4"
+cellspacing="1"
+style="font-size:85%;">
+<tr valign="top"><td>A</td><td>Flying buttresses</td><td>A thrust support, or prop, extending from
+                         the main fabric to an outer pier</td></tr>
+
+<tr valign="top"><td>B</td><td>Timber roof</td><td>The timber or scantling above the nave,
+                         which supports the outer tiled or leaden
+                         roofing</td></tr>
+
+<tr valign="top"><td>C<span class='pagenum'><a name="Page_390" id="Page_390">390</a></span></td><td>Nave</td><td>The main body of a church</td></tr>
+
+<tr valign="top"><td>D</td><td>Aisle</td><td>The passage which flanks the nave</td></tr>
+
+<tr valign="top"><td>E</td><td>Outer aisle</td><td>A second or outer passage flanking the nave</td></tr>
+
+<tr valign="top"><td>F</td><td>Stairway to roof of
+aisle</td><td>Stairways from the interior pavement, leading
+                    to triforium, belfry, or roof</td></tr>
+
+<tr valign="top"><td>G</td><td>Crypt</td><td>In reality a lower or subterranean church
+                         or chapel; from <i>crypta</i>, to hide</td></tr>
+
+<tr valign="top"><td>H</td><td>Buttress pier</td><td>The outer support of a flying buttress, or
+                         one lying directly against the wall which
+                         it strengthens</td></tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_391" id="Page_391">391</a></span></p>
+
+
+<h3 class="top15"><a name="INDEX" id="INDEX"></a>INDEX</h3>
+
+<ul>
+
+<li>Abélard, <a href="#Page_94">94.</a></li>
+
+<li>Acquitaine, <a href="#Page_176">176,</a> <a href="#Page_211">211.</a></li>
+
+<li>Adela, mother of King Stephen of Blois, <a href="#Page_121">121.</a></li>
+
+<li>Agrippa, <a href="#Page_134">134.</a></li>
+
+<li>Aisne, Department of the, <a href="#Page_134">134.</a></li>
+
+<li>Alençon, Bishop of, <a href="#Page_307">307.</a></li>
+
+<li>Alençon, Notre Dame d', <a href="#Page_296">296-298.</a></li>
+
+<li>Amboise, Cardinal d', <a href="#Page_84">84,</a> <a href="#Page_90">90.</a></li>
+<li>Amboise, Georges d', <a href="#Page_85">85,</a> <a href="#Page_90">90.</a></li>
+
+<li>Amiens, <a href="#Page_32">32,</a> <a href="#Page_35">35,</a> <a href="#Page_37">37,</a> <a href="#Page_61">61,</a> <a href="#Page_62">62,</a> <a href="#Page_117">117,</a> <a href="#Page_129">129,</a> <a href="#Page_133">133,</a> <a href="#Page_200">200,</a> <a href="#Page_267">267,</a> <a href="#Page_272">272,</a> <a href="#Page_278">278.</a></li>
+
+<li>Amiens, Bishop of, <a href="#Page_65">65.</a></li>
+
+<li>Amiens, Cathedral at, <a href="#Page_140">140,</a> <a href="#Page_141">141,</a> <a href="#Page_384">384.</a></li>
+
+<li>Amiens, Flying buttresses at, <a href="#Page_67">67.</a></li>
+
+<li>Amiens, Notre Dame d', <a href="#Page_64">64,</a> <a href="#Page_69">69,</a> <a href="#Page_72">72,</a> <a href="#Page_366">366,</a> <a href="#Page_367">367.</a></li>
+
+<li>"Ampoule, Sainte," The, <a href="#Page_25">25,</a> <a href="#Page_143">143.</a></li>
+
+<li>Angers, <a href="#Page_119">119,</a> <a href="#Page_149">149.</a></li>
+
+<li>Angers, Bishop's Palace at, <a href="#Page_181">181.</a></li>
+
+<li>Angers, Castle at, <a href="#Page_175">175.</a></li>
+
+<li>Angers, David d', <a href="#Page_235">235.</a></li>
+
+<li>Angers, St. Maurice d', <a href="#Page_147">147,</a> <a href="#Page_173">173-182</a>, <a href="#Page_367">367,</a> <a href="#Page_368">368.</a></li>
+
+<li>Angevine Churches, The, <a href="#Page_215">215.</a></li>
+
+<li>Angevine details at Le Mans, <a href="#Page_115">115.</a></li>
+
+<li>Angevine style of architecture, The, <a href="#Page_176">176,</a> <a href="#Page_180">180.</a></li>
+
+<li>Angoulême, <a href="#Page_15">15.</a></li>
+
+<li>Anjou, <a href="#Page_115">115.</a></li>
+
+<li>Anjou, Counts of, <a href="#Page_175">175.</a></li>
+
+<li>Anjou, Dukes of, <a href="#Page_173">173,</a> <a href="#Page_181">181.</a></li>
+
+<li>Anjou, Margaret of, <a href="#Page_173">173.</a></li>
+
+<li><a name="Anne_of_Brittany" id="Anne_of_Brittany"></a>Anne of Brittany, <a href="#Page_169">169,</a> <a href="#Page_184">184.</a></li>
+
+<li>Anne, Duchess (<i>see also</i> <a href="#Anne_of_Brittany">Anne of Brittany</a>), <a href="#Page_188">188.</a></li>
+
+<li>Antwerp, <a href="#Page_126">126.</a></li>
+
+<li>Architectural divisions of France, <a href="#Page_34">34.</a></li>
+
+<li>Ardennes, Department of the, <a href="#Page_134">134.</a></li>
+
+<li>Arles, <a href="#Page_33">33.</a></li>
+
+<li>Arras, <a href="#Page_15">15,</a> <a href="#Page_184">184,</a> <a href="#Page_226">226.</a></li>
+
+<li>Arras, Belfry at, <a href="#Page_245">245;</a>
+<ul><li>Citadel of, <a href="#Page_244">244;</a></li>
+<li>Hôtel de Ville, <a href="#Page_245">245.</a></li>
+</ul>
+</li>
+
+<li>Arras, St. Vaast d', <a href="#Page_242">242-246</a>, <a href="#Page_368">368.</a></li>
+
+<li>Artois, <a href="#Page_237">237,</a> <a href="#Page_242">242.</a></li>
+
+<li>Assisi, St. Francis of, <a href="#Page_188">188.</a></li>
+
+<li>Attila, <a href="#Page_132">132.</a></li>
+
+<li>Attila, Attack on Aurelianum, <a href="#Page_150">150.</a></li>
+
+<li>Attila, Defeat at Chalons, <a href="#Page_251">251.</a></li>
+
+<li>Augustus, <a href="#Page_134">134.</a></li>
+
+<li>Aurelian, <a href="#Page_150">150,</a> <a href="#Page_226">226.</a></li>
+
+<li>Autun, <a href="#Page_33">33,</a> <a href="#Page_257">257,</a> <a href="#Page_258">258.</a></li>
+
+<li>Autun, St. Lazare d', <a href="#Page_257">257-261</a>, <a href="#Page_368">368.</a></li>
+
+<li>Auvergne, <a href="#Page_151">151.</a></li>
+
+<li>Auvergnat Churches, The, <a href="#Page_215">215.</a></li>
+
+<li>Auxerre, <a href="#Page_215">215.</a></li>
+
+<li>Auxerre, Bishops of, <a href="#Page_194">194.</a></li>
+
+<li>Auxerre, Episcopal Palace at, <a href="#Page_195">195.</a></li>
+
+<li>Auxerre, St. Etienne d', <a href="#Page_191">191-196</a>, <a href="#Page_369">369.</a></li>
+
+<li>Auxonne, Notre Dame d', <a href="#Page_220">220.</a></li>
+
+<li>Avignon, <a href="#Page_33">33.</a></li>
+
+<li>Avranches, <a href="#Page_321">321.</a></li>
+
+<li>Avranches, Notre Dame de, <a href="#Page_326">326-328.</a></li>
+
+<li>Azon, <a href="#Page_307">307.</a></li>
+
+
+<li class="spc">Baldwin of Hainault, <a href="#Page_237">237.</a></li>
+
+<li>Balzac, <a href="#Page_164">164.</a></li>
+
+<li>Bayeux, <a href="#Page_285">285.</a></li>
+
+<li>Bayeux, Odo, Bishop of, <a href="#Page_311">311,</a> <a href="#Page_312">312.</a></li>
+
+<li>Bayeux, Notre Dame de, <a href="#Page_310">310-314</a>, <a href="#Page_369">369.</a></li>
+
+<li>Bayeux, Tapestry of, <a href="#Page_310">310,</a> <a href="#Page_311">311.</a></li>
+
+<li>Beauvais, <a href="#Page_13">13,</a> <a href="#Page_19">19,</a> <a href="#Page_20">20,</a> <a href="#Page_32">32,</a> <a href="#Page_35">35,</a> <a href="#Page_37">37,</a> <a href="#Page_61">61,</a> <a href="#Page_69">69,</a> <a href="#Page_117">117-119</a>, <a href="#Page_133">133,</a> <a href="#Page_200">200,</a> <a href="#Page_267">267.</a></li>
+
+<li>Beauvais, Bishop of, <a href="#Page_52">52,</a> <a href="#Page_303">303.</a></li>
+
+<li>Beauvais, Romano-Byzantine work at, <a href="#Page_75">75.</a></li>
+
+<li>Beauvais, Cathedral of St. Pierre, <a href="#Page_28">28,</a> <a href="#Page_70">70-76</a>, <a href="#Page_140">140,</a> <a href="#Page_369">369.</a></li>
+
+<li>Beaux Arts, Département de, <a href="#Page_23">23,</a> <a href="#Page_340">340.</a></li>
+
+<li>Beaux Arts, Palais des, <a href="#Page_96">96.</a></li>
+
+<li>Becket, St. Thomas à, <a href="#Page_54">54,</a> <a href="#Page_280">280,</a> <a href="#Page_282">282,</a> <a href="#Page_327">327.</a></li>
+
+<li>Bedford, Duke of, <a href="#Page_90">90.</a></li>
+
+<li>Belgica, Secunda, <a href="#Page_132">132.</a></li>
+
+<li>Bellegambe, <a href="#Page_244">244.</a></li>
+
+<li>Bellêne, Count of, <a href="#Page_307">307.</a></li>
+
+<li>Belmas, Bishop, <a href="#Page_235">235.</a></li>
+
+<li>Benedictine Abbey at St. Denis, <a href="#Page_93">93.</a></li>
+
+<li>Berengaria, Queen, <a href="#Page_113">113,</a> <a href="#Page_120">120.</a></li>
+
+<li>Bernard de Soissons, <a href="#Page_138">138.</a></li>
+
+<li>Berry, Duc de, <a href="#Page_96">96,</a> <a href="#Page_108">108.</a></li>
+
+<li>Besançon, <a href="#Page_27">27,</a> <a href="#Page_32">32,</a> <a href="#Page_223">223,</a> <a href="#Page_225">225.</a></li>
+
+<li>Bethléem, Bishop of, <a href="#Page_31">31.</a></li>
+
+<li>Bishop's Palace, The (Amiens), <a href="#Page_67">67.</a></li>
+
+<li>Bishop's Palace, The, at Beauvais, <a href="#Page_76">76.</a></li>
+
+<li>"Black Angers," 174 (<i>see</i> <a href="#Shakespeare_on_Angers">Shakespeare on Angers</a>).</li>
+
+<li>Blanche of Castile, <a href="#Page_66">66,</a> <a href="#Page_169">169.</a></li>
+
+<li>Blois, <a href="#Page_18">18,</a> <a href="#Page_149">149,</a> <a href="#Page_210">210,</a> <a href="#Page_215">215.</a></li>
+
+<li>Blois, Chateau of, <a href="#Page_157">157.</a></li>
+
+<li>Blois, Counts of, <a href="#Page_121">121.</a></li>
+
+<li>Blois, King Stephen of, <a href="#Page_121">121.</a></li>
+
+<li>Blois, St. Louis de, <a href="#Page_156">156.</a></li>
+
+<li>Bonn, Minster at, <a href="#Page_50">50.</a></li>
+
+<li>Borgia, Cæsar, <a href="#Page_182">182.</a></li>
+
+<li>Borromée, <a href="#Page_244">244.</a></li>
+
+<li>Boulogne-sur-Mer, <a href="#Page_223">223,</a> <a href="#Page_225">225.</a></li>
+
+<li>Boulogne-sur-Mer, Notre Dame de, <a href="#Page_231">231-233.</a></li>
+
+<li>Bourassé, Abbé, <a href="#Page_108">108,</a> <a href="#Page_211">211,</a> <a href="#Page_260">260,</a> <a href="#Page_279">279,</a> <a href="#Page_303">303.</a></li>
+
+<li>Bourges, <a href="#Page_33">33,</a> <a href="#Page_37">37,</a> <a href="#Page_61">61,</a> <a href="#Page_215">215.</a></li>
+
+<li>Bourges, St. Etienne de, <a href="#Page_139">139,</a> <a href="#Page_199">199-208</a>, <a href="#Page_370">370.</a></li>
+
+<li>Brest, <a href="#Page_348">348.</a></li>
+
+<li>Bretagne, Duc de, <a href="#Page_187">187.</a></li>
+
+<li>Briceius, <a href="#Page_165">165.</a></li>
+
+<li>Brittany, <a href="#Page_12">12,</a> <a href="#Page_20">20,</a> <a href="#Page_27">27,</a> <a href="#Page_32">32.</a></li>
+
+<li>Brittany, Chancellor of, <a href="#Page_182">182.</a></li>
+
+<li>Brittany, Duchy of, <a href="#Page_184">184.</a></li>
+
+<li>Bruges, <a href="#Page_262">262.</a></li>
+
+<li>Burgundy, <a href="#Page_258">258,</a> <a href="#Page_259">259,</a> <a href="#Page_262">262.</a></li>
+
+<li>Byzantine influences at Bourges, <a href="#Page_202">202.</a></li>
+
+<li>Byzantine tendencies, <a href="#Page_13">13;</a>
+<ul><li>conception, <a href="#Page_27">27.</a></li>
+</ul>
+</li>
+
+
+<li class="spc">Caen, <a href="#Page_285">285.</a></li>
+
+<li>Cæsar, burned Orleans, <a href="#Page_150">150.</a></li>
+
+<li>Calixtus II., <a href="#Page_133">133.</a></li>
+
+<li>Calvin (John), <a href="#Page_51">51.</a></li>
+
+<li>Cambrai, <a href="#Page_15">15,</a> <a href="#Page_226">226.</a></li>
+
+<li>Cambrai, Notre Dame de, <a href="#Page_234">234-236.</a></li>
+
+<li>Capet, Hugh, <a href="#Page_51">51.</a></li>
+
+<li>Carcassonne, <a href="#Page_33">33.</a></li>
+
+<li>Carlovingian Dynasty, The, <a href="#Page_94">94.</a></li>
+
+<li>Carrier, <a href="#Page_183">183.</a></li>
+
+<li>Cathedrals, The Grand, <a href="#Page_23">23.</a></li>
+
+<li>Cathedrals of the North, <a href="#Page_26">26.</a></li>
+
+<li>"Caveau Imperial," The, at St. Denis, <a href="#Page_95">95.</a></li>
+
+<li>Chalons (sur Marne), <a href="#Page_132">132,</a> <a href="#Page_133">133,</a> <a href="#Page_226">226.</a></li>
+
+<li>Chalons-sur-Marne, St. Etienne de, <a href="#Page_251">251-253</a>, <a href="#Page_371">371.</a></li>
+
+<li>Chambidge, Martin, <a href="#Page_276">276.</a></li>
+
+<li>Chambord, <a href="#Page_18">18,</a> <a href="#Page_210">210,</a> <a href="#Page_214">214.</a></li>
+
+<li>Champagne, Counts of, <a href="#Page_274">274.</a></li>
+
+<li>Chancellor of Brittany, <a href="#Page_182">182.</a></li>
+
+<li>Chantilly, Chateau of, <a href="#Page_50">50.</a></li>
+
+<li>Charlemagne, <a href="#Page_51">51,</a> <a href="#Page_133">133,</a> <a href="#Page_282">282.</a></li>
+
+<li>Charlemagne, Tour de, <a href="#Page_165">165.</a></li>
+
+<li>Charles of Anjou, <a href="#Page_120">120.</a></li>
+
+<li>Charles the Bold, Duke of Burgundy, <a href="#Page_262">262-263.</a></li>
+
+<li>Charles (King), <a href="#Page_212">212.</a></li>
+
+<li>Charles V., <a href="#Page_240">240,</a> <a href="#Page_282">282.</a></li>
+
+<li>Charles VII., <a href="#Page_30">30,</a> <a href="#Page_138">138,</a> <a href="#Page_144">144.</a></li>
+
+<li>Charles VIII., <a href="#Page_17">17,</a> <a href="#Page_169">169,</a> <a href="#Page_184">184.</a></li>
+
+<li>Charles X., <a href="#Page_24">24,</a> <a href="#Page_144">144.</a></li>
+
+<li>Chartres, <a href="#Page_20">20,</a> <a href="#Page_30">30,</a> <a href="#Page_33">33,</a> <a href="#Page_35">35,</a> <a href="#Page_61">61,</a> <a href="#Page_62">62,</a> <a href="#Page_113">113,</a> <a href="#Page_210">210,</a> <a href="#Page_215">215,</a> <a href="#Page_278">278,</a> <a href="#Page_338">338.</a></li>
+
+<li>Chartres, Celtic foundation of, <a href="#Page_124">124.</a></li>
+
+<li>Chartres, Counts of, <a href="#Page_121">121.</a></li>
+
+<li>Chartres, Details at, <a href="#Page_87">87.</a></li>
+
+<li>Chartres, Jean de, <a href="#Page_187">187.</a></li>
+
+<li>Chartres, Notre Dame de, <a href="#Page_121">121,</a> <a href="#Page_139">139,</a> <a href="#Page_140">140,</a> <a href="#Page_141">141,</a> <a href="#Page_371">371.</a></li>
+
+<li>Chartres, Spires of Cathedral at, <a href="#Page_125">125,</a> <a href="#Page_267">267.</a></li>
+
+<li>Chaste Susanne, Painting of, <a href="#Page_220">220.</a></li>
+
+<li>Chateau of the Italian Dukes (at Nevers), <a href="#Page_210">210.</a></li>
+
+<li>Chateaux of the Loire, <a href="#Page_18">18,</a> <a href="#Page_32">32,</a> <a href="#Page_148">148.</a></li>
+
+<li>Chaucer's "Temple of Mars," <a href="#Page_86">86.</a></li>
+
+<li>Chaumont, <a href="#Page_18">18.</a></li>
+
+<li>Chenonceau, <a href="#Page_18">18,</a> <a href="#Page_210">210.</a></li>
+
+<li>Childeric, <a href="#Page_132">132,</a> <a href="#Page_133">133.</a></li>
+
+<li>Cires-les-Mello, <a href="#Page_35">35.</a></li>
+
+<li>Clamecy, <a href="#Page_31">31.</a></li>
+
+<li>Clement, Eudes, <a href="#Page_99">99.</a></li>
+
+<li>Clotilda, wife of Clovis, <a href="#Page_133">133.</a></li>
+
+<li>Clovis, <a href="#Page_22">22,</a> <a href="#Page_30">30,</a> <a href="#Page_138">138,</a> <a href="#Page_139">139,</a> <a href="#Page_143">143,</a> <a href="#Page_144">144,</a> <a href="#Page_224">224.</a></li>
+
+<li>Clovis, Baptism of, <a href="#Page_133">133.</a></li>
+
+<li>Coligny, <a href="#Page_151">151.</a></li>
+
+<li>Cologne, Apse-sided transepts at, <a href="#Page_50">50.</a></li>
+
+<li>Cologne, Cathedral at, <a href="#Page_20">20,</a> <a href="#Page_37">37,</a> <a href="#Page_135">135,</a> <a href="#Page_141">141.</a></li>
+
+<li>Colomb, Michel, <a href="#Page_187">187,</a> <a href="#Page_332">332.</a></li>
+
+<li>Colombiers, <a href="#Page_315">315.</a></li>
+
+<li>Commercy, Jacquemin de, <a href="#Page_250">250.</a></li>
+
+<li>Commission des Monuments Historiques, <a href="#Page_35">35,</a> <a href="#Page_170">170,</a> <a href="#Page_176">176,</a> <a href="#Page_213">213.</a></li>
+
+<li>Compiègne, Chateau of, <a href="#Page_50">50.</a></li>
+
+<li>Condés, The, <a href="#Page_153">153.</a></li>
+
+<li>Constant, <a href="#Page_282">282.</a></li>
+
+<li>Cormier, Jean, <a href="#Page_129">129.</a></li>
+
+<li>Corroyer, <a href="#Page_349">349.</a></li>
+
+<li>Coucy, Chateau of, <a href="#Page_50">50.</a></li>
+
+<li>Coutances, <a href="#Page_267">267,</a> <a href="#Page_285">285,</a> <a href="#Page_286">286,</a> <a href="#Page_321">321.</a></li>
+
+<li>Coutances, Notre Dame de, <a href="#Page_321">321-325.</a></li>
+
+<li>Creil, <a href="#Page_35">35.</a></li>
+
+<li>Croixmore, Abp. Robert de, <a href="#Page_84">84.</a></li>
+
+<li>Crusaders, The, <a href="#Page_14">14.</a></li>
+
+
+<li class="spc">Dagobert I., <a href="#Page_93">93.</a></li>
+
+<li>D'Arc, Jeanne, <a href="#Page_151">151,</a> <a href="#Page_303">303.</a></li>
+
+<li>Dauphins of France, The, <a href="#Page_170">170.</a></li>
+
+<li>Da Vinci, <a href="#Page_157">157.</a></li>
+
+<li>De Breze, Louis, <a href="#Page_89">89.</a></li>
+
+<li>De Breze, Pierre, <a href="#Page_89">89.</a></li>
+
+<li>De Caumont, "Abécêdaire'd Architecture," <a href="#Page_33">33,</a> <a href="#Page_349">349.</a></li>
+
+<li>De Sauteuil, <a href="#Page_106">106.</a></li>
+
+<li>Descartes, <a href="#Page_164">164.</a></li>
+
+<li>Descent from the Cross, The (by Rubens), <a href="#Page_239">239.</a></li>
+
+<li>Devils of Notre Dame, The, <a href="#Page_106">106.</a></li>
+
+<li>Dieppe, <a href="#Page_285">285.</a></li>
+
+<li>Dijon, <a href="#Page_27">27,</a> <a href="#Page_223">223,</a> <a href="#Page_258">258.</a></li>
+
+<li>Dijon, St. Bénigne of, <a href="#Page_225">225,</a> <a href="#Page_262">262-265.</a></li>
+
+<li>Dinan, <a href="#Page_335">335.</a></li>
+
+<li>Dol-de-Bretagne, Façade at, <a href="#Page_98">98.</a></li>
+
+<li>Dol-de-Bretagne, St. Samson de, <a href="#Page_329">329-332.</a></li>
+
+<li>Domenichino, <a href="#Page_272">272.</a></li>
+
+<li>Domfront, <a href="#Page_321">321.</a></li>
+
+<li>Douai, <a href="#Page_244">244.</a></li>
+
+<li>Du Bellay Langey, <a href="#Page_120">120.</a></li>
+
+<li>Dufêtre, Mgr., <a href="#Page_211">211.</a></li>
+
+<li>Duroctorum, <a href="#Page_132">132.</a></li>
+
+
+<li class="spc">East of Paris, <a href="#Page_221">221.</a></li>
+
+<li>Eastern influences at Bourges, <a href="#Page_202">202.</a></li>
+
+<li>Ebo, Bishop of Reims, <a href="#Page_136">136.</a></li>
+
+<li>Edict of Nantes, The, <a href="#Page_183">183.</a></li>
+
+<li>Edward III., <a href="#Page_129">129.</a></li>
+
+<li>English characteristics of Gothic, <a href="#Page_45">45,</a> <a href="#Page_68">68.</a></li>
+
+<li>Estonteville, Cardinal d', <a href="#Page_88">88.</a></li>
+
+<li>Evreux, <a href="#Page_32">32.</a></li>
+
+<li>Evreux, Notre Dame d', <a href="#Page_288">288-295</a>, <a href="#Page_372">372.</a></li>
+
+<li>Exeter, <a href="#Page_114">114.</a></li>
+
+
+<li class="spc">Falise, <a href="#Page_321">321.</a></li>
+
+<li>Fenelon, <a href="#Page_235">235,</a> <a href="#Page_236">236.</a></li>
+
+<li>Fergusson, quoted, <a href="#Page_12">12,</a> <a href="#Page_56">56,</a> <a href="#Page_126">126,</a> <a href="#Page_139">139.</a></li>
+
+<li>Fiesole, Jérôme de, <a href="#Page_187">187.</a></li>
+
+<li>Flemish school of painting, <a href="#Page_244">244.</a></li>
+
+<li>Flemish wood-carving, <a href="#Page_90">90.</a></li>
+
+<li>Florence, <a href="#Page_33">33.</a></li>
+
+<li>Flying buttresses, Notre Dame de Paris, <a href="#Page_28">28;</a>
+<ul><li>Notre Dame d'Amiens, <a href="#Page_28">28;</a></li>
+<li>Tours, <a href="#Page_167">167.</a></li>
+</ul>
+</li>
+
+<li>Foix, Marguerite de, <a href="#Page_187">187.</a></li>
+
+<li>Fouilloy, Evrard de, <a href="#Page_65">65.</a></li>
+
+<li>France, Architectural divisions of, <a href="#Page_34">34.</a></li>
+
+<li>France, Ecclesiastical capital of, <a href="#Page_133">133.</a></li>
+
+<li>France, Kings of, <a href="#Page_24">24,</a> <a href="#Page_93">93,</a> <a href="#Page_383">383.</a></li>
+
+<li>Francis I., <a href="#Page_74">74.</a></li>
+
+<li>Francis II., Tomb of, <a href="#Page_187">187.</a></li>
+
+<li>Franks, The, <a href="#Page_22">22.</a></li>
+
+<li>Franks, The Ripuarian, <a href="#Page_133">133.</a></li>
+
+<li>Franks, Invasion of, <a href="#Page_132">132,</a> <a href="#Page_133">133,</a> <a href="#Page_224">224.</a></li>
+
+<li>Frankish influence, <a href="#Page_11">11.</a></li>
+
+<li>Freeman, Prof. Aug., <a href="#Page_113">113,</a> <a href="#Page_248">248,</a> <a href="#Page_311">311.</a></li>
+
+<li>Fréjus, <a href="#Page_15">15.</a></li>
+
+<li>French Flanders, <a href="#Page_41">41.</a></li>
+
+<li>French Gothic Architecture, <a href="#Page_38">38.</a></li>
+
+<li>French Mediæval Architecture, <a href="#Page_38">38.</a></li>
+
+<li>French Revolution, The, <a href="#Page_31">31,</a> <a href="#Page_43">43,</a> <a href="#Page_44">44,</a> <a href="#Page_52">52,</a> <a href="#Page_55">55,</a> <a href="#Page_96">96,</a> <a href="#Page_99">99,</a> <a href="#Page_103">103,</a> <a href="#Page_142">142,</a> <a href="#Page_184">184,</a> <a href="#Page_226">226.</a></li>
+
+<li>Fulbert, Bishop of Chartres, <a href="#Page_129">129.</a></li>
+
+
+<li class="spc">"Gallery of Kings," at Amiens, <a href="#Page_67">67.</a></li>
+
+<li>Gallery of Kings, The (at Reims), <a href="#Page_138">138,</a> <a href="#Page_178">178.</a></li>
+
+<li>Gaucher, <a href="#Page_138">138.</a></li>
+
+<li>Geeraerts (of Antwerp), <a href="#Page_235">235.</a></li>
+
+<li>Genabum (of Gallia), <a href="#Page_150">150.</a></li>
+
+<li>Genoa, <a href="#Page_157">157.</a></li>
+
+<li>German manner of building, <a href="#Page_27">27.</a></li>
+
+<li>Ghent, <a href="#Page_242">242,</a> <a href="#Page_262">262.</a></li>
+
+<li>Gisors, <a href="#Page_35">35.</a></li>
+
+<li>Gobelin Tapestries, <a href="#Page_76">76,</a> <a href="#Page_143">143.</a></li>
+
+<li>Gonsé, <a href="#Page_349">349.</a></li>
+
+<li>Good God of Amiens, The, <a href="#Page_66">66.</a></li>
+
+<li>Gothic, Development of, <a href="#Page_14">14,</a> <a href="#Page_24">24;</a>
+<ul><li>Rudimentary, <a href="#Page_16">16;</a></li>
+<li>Anti, <a href="#Page_18">18;</a></li>
+<li>Non, <a href="#Page_18">18.</a></li>
+</ul>
+</li>
+
+<li>Goujon, Jean, <a href="#Page_89">89,</a> <a href="#Page_170">170.</a></li>
+
+<li>Gourney, <a href="#Page_35">35.</a></li>
+
+<li>Grand Cathedrals, The, <a href="#Page_12">12,</a> <a href="#Page_20">20,</a> <a href="#Page_35">35,</a> <a href="#Page_61">61-63.</a></li>
+
+<li>Granville, <a href="#Page_321">321.</a></li>
+
+<li>Grouin, <a href="#Page_345">345.</a></li>
+
+<li>Guillaume of Sens, <a href="#Page_225">225.</a></li>
+
+<li>Guillaume Bras-de-Fer, <a href="#Page_323">323.</a></li>
+
+
+<li class="spc">Hachette, Jeanne, <a href="#Page_76">76.</a></li>
+
+<li>Haffreingue, Mgr., <a href="#Page_233">233.</a></li>
+
+<li>Henry I., <a href="#Page_129">129,</a> <a href="#Page_133">133.</a></li>
+
+<li>Henry II. (of France), <a href="#Page_113">113,</a> <a href="#Page_166">166,</a> <a href="#Page_249">249.</a></li>
+
+<li>Henry II. (of England), <a href="#Page_282">282,</a> <a href="#Page_301">301,</a> <a href="#Page_325">325.</a></li>
+
+<li>Henry IV., <a href="#Page_30">30,</a> <a href="#Page_96">96,</a> <a href="#Page_133">133,</a> <a href="#Page_153">153,</a> <a href="#Page_183">183.</a></li>
+
+<li>Henry of Navarre, <a href="#Page_129">129.</a></li>
+
+<li>House of the Kings, The, <a href="#Page_144">144.</a></li>
+
+<li>Hugh II., <a href="#Page_215">215.</a></li>
+
+<li>Hugo's "Notre Dame," <a href="#Page_106">106.</a></li>
+
+<li>Huguenots, The, <a href="#Page_153">153,</a> <a href="#Page_195">195.</a></li>
+
+<li>Humbert, Alberic de, <a href="#Page_137">137.</a></li>
+
+
+<li class="spc">Irene, Princess, <a href="#Page_130">130.</a></li>
+
+<li>Isle de la Cité, <a href="#Page_105">105,</a> <a href="#Page_106">106.</a></li>
+
+<li>Isle of France, <a href="#Page_12">12,</a> <a href="#Page_27">27,</a> <a href="#Page_61">61.</a></li>
+
+<li>Italian influences, <a href="#Page_17">17.</a></li>
+
+<li>Ivor (Bishop of Chartres), <a href="#Page_212">212.</a></li>
+
+
+<li class="spc">James (Henry), <a href="#Page_163">163,</a> <a href="#Page_204">204.</a></li>
+
+<li>Jean sans Peur, <a href="#Page_265">265.</a></li>
+
+<li>Jensen, Nicolas, <a href="#Page_164">164.</a></li>
+
+<li>Joannes, Abbé, <a href="#Page_253">253.</a></li>
+
+<li>John, Duke of Bedford, <a href="#Page_90">90.</a></li>
+
+<li>John the Baptist, <a href="#Page_69">69.</a></li>
+
+<li>Jovinus, Tomb of, <a href="#Page_142">142.</a></li>
+
+<li>Juste, <a href="#Page_170">170.</a></li>
+
+
+<li class="spc">"Kreisker," The (at St. Pol de Leon), <a href="#Page_345">345.</a></li>
+
+
+<li class="spc">La Hougue, <a href="#Page_345">345.</a></li>
+
+<li>Langres, <a href="#Page_32">32.</a></li>
+
+<li>Langres, La Montagne de, <a href="#Page_218">218.</a></li>
+
+<li>Langres, St. Mammes de, <a href="#Page_218">218-220.</a></li>
+
+<li>Laon, <a href="#Page_20">20,</a> <a href="#Page_32">32,</a> <a href="#Page_41">41,</a> <a href="#Page_61">61,</a> <a href="#Page_325">325.</a></li>
+
+<li>Laon, Notre Dame de, <a href="#Page_43">43-46</a>, <a href="#Page_49">49,</a> <a href="#Page_139">139,</a> <a href="#Page_372">372-373.</a></li>
+
+<li>Laon, Palais de Justice, <a href="#Page_46">46.</a></li>
+
+<li>Last Judgment, The (at Bourges), <a href="#Page_204">204.</a></li>
+
+<li>Le Mans, <a href="#Page_32">32,</a> <a href="#Page_61">61,</a> <a href="#Page_62">62,</a> <a href="#Page_120">120,</a> <a href="#Page_121">121,</a> <a href="#Page_124">124,</a> <a href="#Page_168">168,</a> <a href="#Page_200">200,</a> <a href="#Page_210">210,</a> <a href="#Page_338">338.</a></li>
+
+<li>Le Mans, German invasion of, <a href="#Page_120">120.</a></li>
+
+<li>Le Mans, Notre Dame de la Cloture, <a href="#Page_180">180.</a></li>
+
+<li>Le Mans, St. Julien, <a href="#Page_113">113-120</a>, <a href="#Page_373">373,</a> <a href="#Page_374">374.</a></li>
+
+<li>Leo III., <a href="#Page_133">133.</a></li>
+
+<li>Leo IX., <a href="#Page_307">307.</a></li>
+
+<li>Le Puy, <a href="#Page_33">33.</a></li>
+
+<li>Lescornel, <a href="#Page_219">219.</a></li>
+
+<li>Le Tellier, <a href="#Page_144">144.</a></li>
+
+<li>Le Veneur, Bishop, <a href="#Page_292">292.</a></li>
+
+<li>Libergier, <a href="#Page_142">142.</a></li>
+
+<li>Limoges, <a href="#Page_151">151.</a></li>
+
+<li>Lisieux, <a href="#Page_285">285,</a> <a href="#Page_286">286,</a> <a href="#Page_301">301.</a></li>
+
+<li>Lisieux, St. Pierre de, <a href="#Page_301">301-304.</a></li>
+
+<li>Loire, Cathedrals of the, <a href="#Page_145">145.</a></li>
+
+<li>Loire, Valley of the, <a href="#Page_147">147,</a> <a href="#Page_148">148.</a></li>
+
+<li>Loire, Chateaux of, <a href="#Page_18">18,</a> <a href="#Page_32">32,</a> <a href="#Page_147">147.</a></li>
+
+<li>Longsword, William, <a href="#Page_89">89.</a></li>
+
+<li>Lorraine, Abbé, <a href="#Page_143">143.</a></li>
+
+<li>Loudon, Geoffroy de, <a href="#Page_118">118.</a></li>
+
+<li>Louis le Débonnaire, <a href="#Page_133">133.</a></li>
+
+<li>Louis le Gros, <a href="#Page_133">133.</a></li>
+
+<li>Louis I., <a href="#Page_136">136.</a></li>
+
+<li>Louis VI., <a href="#Page_94">94.</a></li>
+
+<li>Louis XI., <a href="#Page_208">208,</a> <a href="#Page_246">246.</a></li>
+
+<li>Louis XII., <a href="#Page_184">184.</a></li>
+
+<li>Louis XII., Tomb of, at St. Denis, <a href="#Page_19">19.</a></li>
+
+<li>Louis XIV., <a href="#Page_144">144.</a></li>
+
+<li>Louis XVI., <a href="#Page_96">96,</a> <a href="#Page_282">282.</a></li>
+
+<li>Louis XVIII., <a href="#Page_31">31,</a> <a href="#Page_96">96,</a> <a href="#Page_143">143.</a></li>
+
+<li>Louis Philippe, <a href="#Page_31">31.</a></li>
+
+<li>Louviers, <a href="#Page_127">127,</a> <a href="#Page_297">297.</a></li>
+
+<li>Low Countries, The, <a href="#Page_16">16,</a> <a href="#Page_20">20.</a></li>
+
+<li>Lowell (James Russell), "A Day in Chartres," <a href="#Page_126">126.</a></li>
+
+<li>Lowell, Hon. E. J., <a href="#Page_310">310.</a></li>
+
+<li>Luitgarde, <a href="#Page_165">165.</a></li>
+
+<li>Luzarche, Robert de, <a href="#Page_65">65.</a></li>
+
+
+<li class="spc">Madeleine, The, <a href="#Page_96">96.</a></li>
+
+<li>Maid of Orleans, The, <a href="#Page_81">81,</a> <a href="#Page_94">94,</a> <a href="#Page_144">144,</a> <a href="#Page_151">151.</a></li>
+
+<li>Maine, <a href="#Page_114">114.</a></li>
+
+<li>Maine, Count of, <a href="#Page_120">120.</a></li>
+
+<li>Mainz, <a href="#Page_214">214.</a></li>
+
+<li>Mansard, <a href="#Page_159">159,</a> <a href="#Page_240">240.</a></li>
+
+<li>Margaret of Anjou, <a href="#Page_173">173,</a> <a href="#Page_181">181.</a></li>
+
+<li>Marie Antoinette, <a href="#Page_96">96.</a></li>
+
+<li>Marie de Medicis, <a href="#Page_182">182.</a></li>
+
+<li>Marie Louise, <a href="#Page_95">95.</a></li>
+
+<li>Marne, Department of, <a href="#Page_132">132,</a> <a href="#Page_134">134.</a></li>
+
+<li>Marne, River, <a href="#Page_270">270.</a></li>
+
+<li>Martel, Charles, <a href="#Page_133">133.</a></li>
+
+<li>Matilda, queen of William the Conqueror, <a href="#Page_129">129,</a> <a href="#Page_310">310,</a> <a href="#Page_311">311.</a></li>
+
+<li>Mazarin (Cardinal), <a href="#Page_210">210.</a></li>
+
+<li>Meaux, <a href="#Page_270">270.</a></li>
+
+<li>Meaux, St. Etienne de, <a href="#Page_270">270-273</a>, <a href="#Page_374">374.</a></li>
+
+<li>Medicis, Marie de, <a href="#Page_182">182.</a></li>
+
+<li>Mère de Dieu, <a href="#Page_66">66.</a></li>
+
+<li>Metz, <a href="#Page_227">227,</a> <a href="#Page_248">248,</a> <a href="#Page_249">249.</a></li>
+
+<li>Méyron, Etchings of, <a href="#Page_106">106.</a></li>
+
+<li>Montbray, Geoffroy de, <a href="#Page_323">323.</a></li>
+
+<li>Monthery, <a href="#Page_89">89.</a></li>
+
+<li>Mont St. Michel, <a href="#Page_321">321,</a> <a href="#Page_337">337,</a> <a href="#Page_338">338;</a>
+<ul><li>Abbey of, <a href="#Page_338">338.</a></li>
+</ul></li>
+
+<li>Monuments, Historical, <a href="#Page_23">23,</a> <a href="#Page_340">340.</a></li>
+
+<li>Moorish type of architecture at Bourges, <a href="#Page_201">201.</a></li>
+
+<li>Moors of Spain, The, <a href="#Page_202">202.</a></li>
+
+<li>Moselle, Valley of the, <a href="#Page_226">226.</a></li>
+
+<li>Moulins, <a href="#Page_36">36.</a></li>
+
+<li>Musée des Petits Augustines, <a href="#Page_96">96.</a></li>
+
+
+<li class="spc">Nancy, <a href="#Page_226">226.</a></li>
+
+<li>Nancy, Cathedral at, <a href="#Page_227">227.</a></li>
+
+<li>Nantes, <a href="#Page_20">20,</a> <a href="#Page_32">32,</a> <a href="#Page_148">148,</a> <a href="#Page_149">149.</a></li>
+
+<li>Nantes, Edict of, <a href="#Page_183">183.</a></li>
+
+<li>Nantes, St. Pierre de, <a href="#Page_183">183,</a> <a href="#Page_374">374,</a> <a href="#Page_375">375.</a></li>
+
+<li>Naples, <a href="#Page_157">157.</a></li>
+
+<li>Napoleon I., <a href="#Page_31">31,</a> <a href="#Page_103">103;</a>
+<ul><li>Marriage of, <a href="#Page_95">95.</a></li>
+</ul>
+</li>
+
+<li>Napoleon III., <a href="#Page_31">31,</a> <a href="#Page_99">99.</a></li>
+
+<li>Narbonne, <a href="#Page_151">151.</a></li>
+
+<li>"Narthex, Burgundian," <a href="#Page_258">258.</a></li>
+
+<li>Netherlands, The, <a href="#Page_14">14.</a></li>
+
+<li>Neuss, Apse-sided transepts at, <a href="#Page_50">50.</a></li>
+
+<li>Nevers, <a href="#Page_33">33,</a> <a href="#Page_277">277.</a></li>
+
+<li>Nevers, St. Cyr and St. Juliette de, <a href="#Page_209">209.</a></li>
+
+<li>Nevers, St. Etienne de, <a href="#Page_212">212,</a> <a href="#Page_216">216.</a></li>
+
+<li>Nevers, The Pont du Loire, <a href="#Page_209">209.</a></li>
+
+<li>Nevers, Tour Gougin, <a href="#Page_213">213;</a>
+<ul><li>Tour St. Eloi, <a href="#Page_213">213.</a></li>
+</ul>
+</li>
+
+<li>Nicman, Archbishop, <a href="#Page_136">136.</a></li>
+
+<li>Nièvre, Counts of, <a href="#Page_210">210.</a></li>
+
+<li>Nîmes, <a href="#Page_33">33.</a></li>
+
+<li>Nivernais, The, <a href="#Page_210">210.</a></li>
+
+<li>Nogent-les-Vierges, <a href="#Page_35">35.</a></li>
+
+<li>Normandy, <a href="#Page_115">115,</a> <a href="#Page_176">176.</a></li>
+
+<li>Normandy, Duke of, <a href="#Page_89">89.</a></li>
+
+<li>Norsemen, The, <a href="#Page_82">82.</a></li>
+
+<li>Notre Dame d'Alençon, <a href="#Page_296">296-298.</a></li>
+
+<li>Notre Dame d'Amiens, <a href="#Page_64">64-69</a>, <a href="#Page_72">72,</a> <a href="#Page_366">366,</a> <a href="#Page_367">367.</a></li>
+
+<li>Notre Dame d'Auxonne, <a href="#Page_220">220.</a></li>
+
+<li>Notre Dame de Bayeux, <a href="#Page_310">310-314</a>, <a href="#Page_369">369.</a></li>
+
+<li>Notre Dame de Boulogne-sur-Mer, <a href="#Page_231">231-233.</a></li>
+
+<li>Notre Dame de Cambrai, <a href="#Page_234">234-236.</a></li>
+
+<li>Notre Dame de Chartres, <a href="#Page_121">121,</a> <a href="#Page_139">139-141</a>, <a href="#Page_371">371.</a></li>
+
+<li>Notre Dame de Coutances, <a href="#Page_321">321-325.</a></li>
+
+<li>Notre Dame d'Evreux, <a href="#Page_288">288-295</a>, <a href="#Page_372">372.</a></li>
+
+<li>Notre Dame de la Cloture (Le Mans), <a href="#Page_180">180.</a></li>
+
+<li>Notre Dame de Laon, <a href="#Page_43">43-46</a>, <a href="#Page_372">372.</a></li>
+
+<li>Notre Dame de l'Epine, <a href="#Page_251">251.</a></li>
+
+<li>Notre Dame de Noyon, <a href="#Page_29">29,</a> <a href="#Page_49">49-53</a>, <a href="#Page_199">199,</a> <a href="#Page_375">375,</a> <a href="#Page_376">376.</a></li>
+
+<li>Notre Dame de Paris, <a href="#Page_28">28,</a> <a href="#Page_49">49,</a> <a href="#Page_101">101-107</a>, <a href="#Page_139">139,</a> <a href="#Page_140">140,</a> <a href="#Page_199">199,</a> <a href="#Page_376">376,</a> <a href="#Page_377">377.</a></li>
+
+<li>Notre Dame de Reims, <a href="#Page_132">132-144</a>, <a href="#Page_248">248,</a> <a href="#Page_249">249.</a></li>
+
+<li>Notre Dame de Rouen, <a href="#Page_37">37,</a> <a href="#Page_49">49,</a> <a href="#Page_79">79-90</a>, <a href="#Page_139">139,</a> <a href="#Page_338">338,</a> <a href="#Page_378">378,</a> <a href="#Page_379">379.</a></li>
+
+<li>Notre Dame de St. Lo, <a href="#Page_315">315-318.</a></li>
+
+<li>Notre Dame de St. Omer, <a href="#Page_237">237-241</a>, <a href="#Page_380">380.</a></li>
+
+<li>Notre Dame de Senlis, <a href="#Page_266">266-269.</a></li>
+
+<li>Noviodunum, <a href="#Page_51">51.</a></li>
+
+<li>Noyades, The, <a href="#Page_184">184.</a></li>
+
+<li>Noyon, <a href="#Page_20">20,</a> <a href="#Page_32">32,</a> <a href="#Page_41">41,</a> <a href="#Page_117">117,</a> <a href="#Page_127">127,</a> <a href="#Page_268">268.</a></li>
+
+<li>Noyon, Notre Dame de, <a href="#Page_29">29,</a> <a href="#Page_49">49-53</a>, <a href="#Page_199">199,</a> <a href="#Page_375">375,</a> <a href="#Page_376">376.</a></li>
+
+
+<li class="spc">Odericus Vitalis, Bishop, <a href="#Page_302">302.</a></li>
+
+<li>Odon, <a href="#Page_323">323.</a></li>
+
+<li>Oise, The River, <a href="#Page_50">50.</a></li>
+
+<li>Onfroy, <a href="#Page_323">323.</a></li>
+
+<li>Orange, <a href="#Page_184">184.</a></li>
+
+<li>Oriflamme, The, <a href="#Page_94">94.</a></li>
+
+<li>Orleans, <a href="#Page_33">33,</a> <a href="#Page_148">148,</a> <a href="#Page_149">149.</a></li>
+
+<li>Orleans, Captured by Clovis, <a href="#Page_151">151,</a> <a href="#Page_152">152.</a></li>
+
+<li>Orleans Family, The, <a href="#Page_169">169.</a></li>
+
+<li>Orleans, German occupation of, <a href="#Page_151">151.</a></li>
+
+<li>Orleans, St. Croix d', <a href="#Page_150">150-155</a>, <a href="#Page_376">376.</a></li>
+
+<li>Orleans, The Maid of, <a href="#Page_81">81,</a> <a href="#Page_94">94,</a> <a href="#Page_144">144,</a> <a href="#Page_151">151.</a></li>
+
+
+<li class="spc">Palais de Justice, Beauvais, <a href="#Page_76">76.</a></li>
+
+<li>Paramé, <a href="#Page_335">335.</a></li>
+
+<li>Paris, <a href="#Page_20">20,</a> <a href="#Page_61">61,</a> <a href="#Page_267">267.</a></li>
+
+<li>Paris, Documentary history of, <a href="#Page_26">26.</a></li>
+
+<li>Paris, East of, <a href="#Page_221">221.</a></li>
+
+<li>Paris, Notre Dame de, <a href="#Page_28">28,</a> <a href="#Page_49">49,</a> <a href="#Page_101">101-107</a>, <a href="#Page_139">139,</a> <a href="#Page_140">140,</a> <a href="#Page_199">199,</a> <a href="#Page_217">217,</a> <a href="#Page_376">376,</a> <a href="#Page_377">377.</a></li>
+
+<li>Paroissien, Poncelet, <a href="#Page_142">142.</a></li>
+
+<li>Pepersack Tapestries at Reims, The, <a href="#Page_143">143.</a></li>
+
+<li>Pepin, <a href="#Page_94">94,</a> <a href="#Page_133">133.</a></li>
+
+<li>Périgueux, <a href="#Page_15">15,</a> <a href="#Page_33">33.</a></li>
+
+<li>Perpetus, Bishop of Tours, <a href="#Page_165">165.</a></li>
+
+<li>Perréal, Jehan, <a href="#Page_187">187.</a></li>
+
+<li>Perrifonds, Chateau of, <a href="#Page_50">50.</a></li>
+
+<li>Philastre, Cardinal, <a href="#Page_137">137.</a></li>
+
+<li>Philippe Augustus, <a href="#Page_24">24,</a> <a href="#Page_34">34,</a> <a href="#Page_117">117.</a></li>
+
+<li>Philippe le Bon, <a href="#Page_262">262.</a></li>
+
+<li>Philippe le Hardi, <a href="#Page_66">66,</a> <a href="#Page_265">265.</a></li>
+
+<li>Picardy, <a href="#Page_184">184.</a></li>
+
+<li>Picardy, Patron Saint of, <a href="#Page_69">69.</a></li>
+
+<li>Plantagenets, Cradle of the, <a href="#Page_173">173.</a></li>
+
+<li>Poitiers, <a href="#Page_33">33.</a></li>
+
+<li>Poitiers, Diane de, <a href="#Page_89">89.</a></li>
+
+<li>Pont du Loire, Nevers, <a href="#Page_209">209.</a></li>
+
+<li>Pope Stephen, <a href="#Page_94">94.</a></li>
+
+<li>Portal de St. Honoré (Amiens), <a href="#Page_67">67.</a></li>
+
+<li>Portal de la Vierge Dorée (Amiens), <a href="#Page_67">67.</a></li>
+
+<li>Porte d'Arroux, Autun, <a href="#Page_257">257.</a></li>
+
+<li>Porte St. Andre, Autun, <a href="#Page_257">257.</a></li>
+
+<li>Provence, <a href="#Page_211">211.</a></li>
+
+
+<li class="spc">Quimper, <a href="#Page_27">27,</a> <a href="#Page_32">32,</a> <a href="#Page_348">348.</a></li>
+
+<li>Quimper, St. Corentin de, <a href="#Page_348">348-350.</a></li>
+
+
+<li class="spc">Rabelais, <a href="#Page_164">164.</a></li>
+
+<li>Rabida, "Bretagne" of, <a href="#Page_338">338.</a></li>
+
+<li>Raphael, Tapestry cartoons at S. Kensington, <a href="#Page_76">76.</a></li>
+
+<li>Reclus, <a href="#Page_215">215.</a></li>
+
+<li>Regnault, <a href="#Page_187">187.</a></li>
+
+<li>Regnier, Cardinal, <a href="#Page_235">235.</a></li>
+
+<li>Reims, <a href="#Page_32">32,</a> <a href="#Page_35">35,</a> <a href="#Page_37">37,</a> <a href="#Page_128">128,</a> <a href="#Page_129">129,</a> <a href="#Page_224">224,</a> <a href="#Page_226">226,</a> <a href="#Page_278">278.</a></li>
+
+<li>Reims, Baptism of Clovis at, <a href="#Page_30">30.</a></li>
+
+<li>Reims, Capture of, by Vandals, <a href="#Page_132">132.</a></li>
+
+<li>Reims, Cathedral at, <a href="#Page_24">24.</a></li>
+
+<li>Reims, Details at, <a href="#Page_87">87.</a></li>
+
+<li>Reims, Devastation at, <a href="#Page_25">25.</a></li>
+
+<li>Reims, Notre Dame de, <a href="#Page_93">93,</a> <a href="#Page_132">132-144</a>, <a href="#Page_248">248,</a> <a href="#Page_249">249.</a></li>
+
+<li>Reims, Portals of Cathedral, <a href="#Page_66">66.</a></li>
+
+<li>Reims, Roman remains at, <a href="#Page_134">134.</a></li>
+
+<li>Reims, St. Nicaise of, <a href="#Page_82">82.</a></li>
+
+<li>Remi, Capital of the, <a href="#Page_132">132.</a></li>
+
+<li>Renaissance, The, <a href="#Page_16">16.</a></li>
+
+<li>Renaissance Architecture at Bourges, <a href="#Page_201">201.</a></li>
+
+<li>Renaissance façade at Tours, <a href="#Page_166">166,</a> <a href="#Page_167">167.</a></li>
+
+<li>Renaissance wood-carving, <a href="#Page_46">46.</a></li>
+
+<li>René, King, <a href="#Page_173">173,</a> <a href="#Page_175">175,</a> <a href="#Page_181">181.</a></li>
+
+<li>Reni, Guido, <a href="#Page_272">272.</a></li>
+
+<li>Rennes, <a href="#Page_15">15.</a></li>
+
+<li>Revolution, The French, <a href="#Page_31">31,</a> <a href="#Page_43">43,</a> <a href="#Page_44">44,</a> <a href="#Page_52">52,</a> <a href="#Page_55">55,</a> <a href="#Page_96">96,</a> <a href="#Page_99">99,</a> <a href="#Page_103">103,</a> <a href="#Page_142">142,</a> <a href="#Page_184">184,</a> <a href="#Page_226">226.</a></li>
+
+<li>Rhine, The, <a href="#Page_23">23,</a> <a href="#Page_27">27,</a> <a href="#Page_223">223.</a></li>
+
+<li>Rhine Provinces, The, <a href="#Page_14">14.</a></li>
+
+<li>Rhône, The, <a href="#Page_36">36.</a></li>
+
+<li>Richard C&oelig;ur-de-Lion, <a href="#Page_90">90,</a> <a href="#Page_113">113,</a> <a href="#Page_120">120.</a></li>
+
+<li>Richard the Fearless, <a href="#Page_83">83.</a></li>
+
+<li>Rigobert, Bishop, <a href="#Page_133">133.</a></li>
+
+<li>Robert I., Duke of Burgundy, <a href="#Page_258">258,</a> <a href="#Page_260">260.</a></li>
+
+<li>Robert, son of Tancrede-de-Hauteville, <a href="#Page_323">323.</a></li>
+
+<li>Roger, son of Tancrede-de-Hauteville, <a href="#Page_323">323.</a></li>
+
+<li>Rohan, Cardinal de, <a href="#Page_243">243.</a></li>
+
+<li>Rollo, <a href="#Page_82">82,</a> <a href="#Page_89">89.</a></li>
+
+<li>Romanesque tendencies, <a href="#Page_13">13,</a> <a href="#Page_27">27,</a> <a href="#Page_44">44;</a>
+<ul><li>types, <a href="#Page_20">20,</a> <a href="#Page_21">21.</a></li>
+</ul>
+</li>
+
+<li>Roman power, Decline of, <a href="#Page_26">26.</a></li>
+
+<li>Roman remains at Reims, <a href="#Page_134">134.</a></li>
+
+<li>Romans, The, at Genabum (Orleans), <a href="#Page_150">150.</a></li>
+
+<li>Romano-Byzantine work  at Beauvais, <a href="#Page_75">75.</a></li>
+
+<li>Romano-Byzantine nave at Le Mans, <a href="#Page_115">115.</a></li>
+
+<li>Rome, <a href="#Page_33">33.</a></li>
+
+<li>Rosary, Chapel of the (Soissons), <a href="#Page_57">57.</a></li>
+
+<li>Roscoff, <a href="#Page_345">345.</a></li>
+
+<li>Rouen, <a href="#Page_19">19,</a> <a href="#Page_35">35,</a> <a href="#Page_37">37,</a> <a href="#Page_61">61,</a> <a href="#Page_62">62.</a></li>
+
+<li>Rouen, Cathedral at, <a href="#Page_37">37,</a> <a href="#Page_49">49,</a> <a href="#Page_79">79-90</a>, <a href="#Page_139">139,</a> <a href="#Page_338">338,</a> <a href="#Page_378">378,</a> <a href="#Page_379">379.</a></li>
+
+<li>Rouen, Notre Dame de, <a href="#Page_37">37,</a> <a href="#Page_49">49,</a> <a href="#Page_79">79-90</a>, <a href="#Page_139">139,</a> <a href="#Page_338">338,</a> <a href="#Page_378">378,</a> <a href="#Page_379">379.</a></li>
+
+<li>Rouen, Tour de Beurre, <a href="#Page_204">204.</a></li>
+
+<li>Royal Domain, The, <a href="#Page_223">223.</a></li>
+
+<li>Royale, Rue (Tours), <a href="#Page_163">163.</a></li>
+
+<li>Royamont, <a href="#Page_35">35.</a></li>
+
+<li>Rubens, <a href="#Page_235">235,</a> <a href="#Page_238">238.</a></li>
+
+<li>Rubens, "Adoration" by (Soissons), <a href="#Page_58">58.</a></li>
+
+<li>Rumaldi, <a href="#Page_136">136.</a></li>
+
+<li>Ruskin on Rouen Cathedral, <a href="#Page_85">85.</a></li>
+
+<li>Ruskin, quoted, <a href="#Page_72">72,</a> <a href="#Page_81">81,</a> <a href="#Page_128">128,</a> <a href="#Page_285">285,</a> <a href="#Page_302">302.</a></li>
+
+
+<li class="spc">St. Aignan, <a href="#Page_150">150.</a></li>
+
+<li>St. Bénigne (Monk of Dijon), <a href="#Page_225">225.</a></li>
+
+<li>St. Bénigne (Cathedral), <a href="#Page_262">262-265.</a></li>
+
+<li>St. Bertin, Abbey of (St. Omer), <a href="#Page_225">225,</a> <a href="#Page_240">240.</a></li>
+
+<li>St. Brieuc, <a href="#Page_339">339,</a> <a href="#Page_342">342.</a></li>
+
+<li>St. Brieuc, Cathedral of, <a href="#Page_342">342-344.</a></li>
+
+<li>St. Corentin, Cathedral of, <a href="#Page_27">27.</a></li>
+
+<li>St. Corentin de Quimper, <a href="#Page_348">348-350.</a></li>
+
+<li>St. Croix, Abbey of, <a href="#Page_318">318.</a></li>
+
+<li>St. Croix d'Orleans, <a href="#Page_150">150-155</a>, <a href="#Page_376">376.</a></li>
+
+<li>St. Cyr and St. Juliette de Nevers, <a href="#Page_209">209.</a></li>
+
+<li>St. Denis, <a href="#Page_19">19,</a> <a href="#Page_61">61.</a></li>
+
+<li>St. Denis, Abbey of, <a href="#Page_93">93.</a></li>
+
+<li>St. Denis, Abbot of, <a href="#Page_94">94.</a></li>
+
+<li>St. Denis, Basilique de, <a href="#Page_93">93-100</a>, <a href="#Page_379">379.</a></li>
+
+<li>St. Denis, Church of (at St. Omer), <a href="#Page_225">225.</a></li>
+
+<li>St. Denis, Crypt of, <a href="#Page_96">96.</a></li>
+
+<li>St. Deodatus, <a href="#Page_254">254.</a></li>
+
+<li>St. Dié, <a href="#Page_226">226,</a> <a href="#Page_254">254-256.</a></li>
+
+<li>St. Dié (Cathedral), <a href="#Page_255">255,</a> <a href="#Page_256">256.</a></li>
+
+<li>St. Dionysius, <a href="#Page_97">97,</a> <a href="#Page_98">98.</a></li>
+
+<li>St. Etienne d'Auxerre, <a href="#Page_191">191-196</a>, <a href="#Page_369">369.</a></li>
+
+<li>St. Etienne de Bourges, <a href="#Page_199">199-208</a>, <a href="#Page_370">370.</a></li>
+
+<li>St. Etienne (Châlons-sur-Marne), <a href="#Page_251">251-253</a>, <a href="#Page_371">371.</a></li>
+
+<li>St. Etienne de Meaux, <a href="#Page_270">270-273</a>, <a href="#Page_374">374.</a></li>
+
+<li>St. Etienne du Mont (Paris), <a href="#Page_15">15,</a> <a href="#Page_19">19.</a></li>
+
+<li>St. Etienne de Nevers, <a href="#Page_212">212,</a> <a href="#Page_216">216.</a></li>
+
+<li>St. Etienne de Sens, <a href="#Page_279">279-282</a>, <a href="#Page_379">379.</a></li>
+
+<li>St. Etienne de Toul, <a href="#Page_247">247-250.</a></li>
+
+<li>St. Eustache, Church of, Paris, <a href="#Page_196">196.</a></li>
+
+<li>St. Fermin the Martyr, <a href="#Page_67">67,</a> <a href="#Page_68">68.</a></li>
+
+<li>St. Francis of Assisi, <a href="#Page_188">188.</a></li>
+
+<li>St. Gatien de Tours, <a href="#Page_147">147,</a> <a href="#Page_163">163,</a> <a href="#Page_206">206,</a> <a href="#Page_381">381.</a></li>
+
+<li>St. Gengoult, Church of (Toul), <a href="#Page_248">248.</a></li>
+
+<li>St. Germain, Church of (at Auxerre), <a href="#Page_195">195.</a></li>
+
+<li>St. Jean the Evangel, <a href="#Page_218">218.</a></li>
+
+<li>St. Jean des Vignes, Abbey of, <a href="#Page_54">54.</a></li>
+
+<li>St. John, <a href="#Page_69">69.</a></li>
+
+<li>St. Julien, Church of (at Tours), <a href="#Page_169">169.</a></li>
+
+<li>St. Julien, Le Mans, <a href="#Page_113">113-120</a>, <a href="#Page_373">373,</a> <a href="#Page_374">374.</a></li>
+
+<li>St. Laud, Bishop, <a href="#Page_315">315.</a></li>
+
+<li>St. Lazare d'Autun, <a href="#Page_257">257-261</a>, <a href="#Page_368">368.</a></li>
+
+<li>St. Lo, <a href="#Page_285">285,</a> <a href="#Page_321">321.</a></li>
+
+<li>St. Lo, Notre Dame de, <a href="#Page_315">315-318.</a></li>
+
+<li>St. Louis, <a href="#Page_34">34,</a> <a href="#Page_66">66,</a> <a href="#Page_188">188,</a> <a href="#Page_314">314.</a></li>
+
+<li>St. Louis, Arms of, <a href="#Page_169">169.</a></li>
+
+<li>St. Louis de Blois, <a href="#Page_156">156.</a></li>
+
+<li>St. Louis de Versailles, Cathedral of, <a href="#Page_108">108.</a></li>
+
+<li>St. Maclou, Church of (Rouen), <a href="#Page_19">19,</a> <a href="#Page_81">81.</a></li>
+
+<li>St. Malo, <a href="#Page_335">335,</a> <a href="#Page_338">338.</a></li>
+
+<li>St. Malo, Cathedral of, <a href="#Page_336">336-338.</a></li>
+
+<li>St. Mammes de Langres, <a href="#Page_218">218-220.</a></li>
+
+<li>Ste. Marguerite, <a href="#Page_188">188.</a></li>
+
+<li>St. Martin (of Tours), <a href="#Page_165">165.</a></li>
+
+<li>St. Martin, Tour de (at Tours), <a href="#Page_165">165.</a></li>
+
+<li>St. Maurice d'Angers, <a href="#Page_147">147,</a> <a href="#Page_173">173-182</a>, <a href="#Page_367">367,</a> <a href="#Page_368">368.</a></li>
+
+<li>St. Nazaire (Autun), <a href="#Page_258">258.</a></li>
+
+<li>St. Nicaise, <a href="#Page_82">82,</a> <a href="#Page_136">136,</a> <a href="#Page_142">142.</a></li>
+
+<li>St. Nicolas de Coutances, <a href="#Page_325">325.</a></li>
+
+<li>St. Mellor, <a href="#Page_82">82.</a></li>
+
+<li>St. Omer, <a href="#Page_27">27,</a> <a href="#Page_223">223,</a> <a href="#Page_225">225.</a></li>
+
+<li>St. Omer, Notre Dame de, 237 <a href="#Page_241">241,</a> <a href="#Page_380">380.</a></li>
+
+<li>St. Ouen, Church of (Rouen), <a href="#Page_15">15,</a> <a href="#Page_30">30,</a> <a href="#Page_80">80,</a> <a href="#Page_87">87,</a> <a href="#Page_241">241,</a> <a href="#Page_277">277.</a></li>
+
+<li>St. Peter's, at Rome, <a href="#Page_20">20.</a></li>
+
+<li>"St. Peter's of the North," <a href="#Page_71">71.</a></li>
+
+<li>"St. Peter's of the South," <a href="#Page_13">13.</a></li>
+
+<li>St. Peter and Paul, Church of (at Tours), <a href="#Page_165">165.</a></li>
+
+<li>St. Pierre d'Aleth, <a href="#Page_336">336.</a></li>
+
+<li>St. Pierre de Beauvais, <a href="#Page_28">28,</a> <a href="#Page_70">70-76</a>, <a href="#Page_140">140,</a> <a href="#Page_369">369.</a></li>
+
+<li>St. Pierre de Coutances, <a href="#Page_325">325.</a></li>
+
+<li>St. Pierre de Lisieux, <a href="#Page_301">301-304.</a></li>
+
+<li>St. Pierre de Nantes, <a href="#Page_183">183,</a> <a href="#Page_374">374,</a> <a href="#Page_375">375.</a></li>
+
+<li>St. Pierre de Troyes, <a href="#Page_274">274-278</a>, <a href="#Page_381">381,</a> <a href="#Page_382">382.</a></li>
+
+<li>St. Pol de Leon, <a href="#Page_255">255,</a> <a href="#Page_339">339,</a> <a href="#Page_345">345.</a></li>
+
+<li>St. Pol de Leon, Cathedral of, <a href="#Page_345">345-347.</a></li>
+
+<li>St. Potentien, <a href="#Page_279">279.</a></li>
+
+<li>St. Quentin, Maze at, <a href="#Page_131">131.</a></li>
+
+<li>St. Remi, <a href="#Page_31">31,</a> <a href="#Page_133">133,</a> <a href="#Page_134">134,</a> <a href="#Page_136">136.</a></li>
+
+<li>St. Samson, <a href="#Page_329">329-332.</a></li>
+
+<li>St. Savinien, <a href="#Page_279">279,</a> <a href="#Page_282">282.</a></li>
+
+<li>St. Sepulchre, Church of (at St. Omer), <a href="#Page_240">240.</a></li>
+
+<li>St. Servan, <a href="#Page_335">335,</a> <a href="#Page_338">338.</a></li>
+
+<li>St. Sixte, <a href="#Page_132">132.</a></li>
+
+<li>St. Urbain, <a href="#Page_275">275.</a></li>
+
+<li>St. Vaast d'Arras, <a href="#Page_242">242-246</a>, <a href="#Page_345">345,</a> <a href="#Page_368">368.</a></li>
+
+<li>St. Yves, <a href="#Page_341">341.</a></li>
+
+<li>"Sainte Ampoule," The, <a href="#Page_25">25,</a> <a href="#Page_143">143.</a></li>
+
+<li>Salisbury, Cathedral at, <a href="#Page_64">64,</a> <a href="#Page_384">384.</a></li>
+
+<li>Salisbury, John of, <a href="#Page_129">129.</a></li>
+
+<li>Saracen type of architecture at Bourges, <a href="#Page_201">201.</a></li>
+
+<li>Séez, <a href="#Page_61">61,</a> <a href="#Page_267">267,</a> <a href="#Page_277">277,</a> <a href="#Page_305">305.</a></li>
+
+<li>Séez, Notre Dame de, <a href="#Page_305">305-309.</a></li>
+
+<li>Seine, The, <a href="#Page_36">36,</a> <a href="#Page_106">106.</a></li>
+
+<li>Seine and Loire (by J. M. W. Turner), <a href="#Page_169">169.</a></li>
+
+<li>Seine, Department of, <a href="#Page_108">108.</a></li>
+
+<li>Senlis, <a href="#Page_266">266.</a></li>
+
+<li>Senlis, Notre Dame de, <a href="#Page_266">266-269.</a></li>
+
+<li>Sens, <a href="#Page_61">61,</a> <a href="#Page_279">279.</a></li>
+
+<li>Sens, Guillaume of, <a href="#Page_225">225,</a> <a href="#Page_280">280.</a></li>
+
+<li>Sens, St. Etienne de, <a href="#Page_279">279-282</a>, <a href="#Page_379">379.</a></li>
+
+<li>Seville, Cathedral at, <a href="#Page_20">20.</a></li>
+
+<li><a name="Shakespeare_on_Angers" id="Shakespeare_on_Angers"></a>Shakespeare on Angers (in "King John"), <a href="#Page_173">173.</a></li>
+
+<li>Societé des Monuments Historiques, <a href="#Page_35">35,</a> <a href="#Page_170">170,</a> <a href="#Page_176">176.</a></li>
+
+<li>Soissons, <a href="#Page_20">20,</a> <a href="#Page_32">32,</a> <a href="#Page_41">41,</a> <a href="#Page_117">117,</a> <a href="#Page_133">133,</a> <a href="#Page_268">268.</a></li>
+
+<li>Soissons, Bombardment of, by the Germans, <a href="#Page_56">56.</a></li>
+
+<li>Soissons, Notre Dame de, <a href="#Page_54">54-58.</a></li>
+
+<li>South Kensington, <a href="#Page_272">272.</a></li>
+
+<li>Stephen, Pope, <a href="#Page_136">136.</a></li>
+
+<li>Stevenson (Robert Louis), <a href="#Page_28">28,</a> <a href="#Page_42">42.</a></li>
+
+<li>Strasbourg, <a href="#Page_248">248.</a></li>
+
+<li>Strasburg, Cathedral at, <a href="#Page_126">126,</a> <a href="#Page_135">135,</a> <a href="#Page_227">227.</a></li>
+
+<li>Suger, Abbot, The, <a href="#Page_94">94,</a> <a href="#Page_97">97.</a></li>
+
+<li>"Suisse, The," <a href="#Page_80">80.</a></li>
+
+
+<li class="spc">Tancrede-de-Hauteville, <a href="#Page_323">323.</a></li>
+
+<li>Tapestries at Angers, <a href="#Page_181">181.</a></li>
+
+<li>Tapestries at Bayeux, <a href="#Page_310">310-311.</a></li>
+
+<li>Tapestries at Le Mans, <a href="#Page_120">120.</a></li>
+
+<li>Tapestries at Reims, <a href="#Page_142">142,</a> <a href="#Page_143">143.</a></li>
+
+<li>Tapestries at Soissons, <a href="#Page_58">58.</a></li>
+
+<li>Tapestries from Raphael's cartoons (at Beauvais), <a href="#Page_76">76.</a></li>
+
+<li>Tapestry-making at Beauvais, <a href="#Page_76">76;</a>
+<ul><li> at Paris; at Arras, <a href="#Page_76">76,</a> <a href="#Page_242">242,</a> <a href="#Page_245">245,</a> <a href="#Page_246">246.</a></li>
+</ul>
+</li>
+
+
+<li>Tetricus, <a href="#Page_226">226.</a></li>
+
+<li>Texier, <a href="#Page_126">126,</a> <a href="#Page_131">131.</a></li>
+
+<li>"Thérouanne, The Great God of," <a href="#Page_240">240.</a></li>
+
+<li>Torenai River, <a href="#Page_258">258.</a></li>
+
+<li>Torlonia, Prince Alex, <a href="#Page_233">233.</a></li>
+
+<li>Toul, <a href="#Page_226">226,</a> <a href="#Page_247">247-250.</a></li>
+
+<li>Toul, St. Etienne de, <a href="#Page_247">247-250.</a></li>
+
+<li>Toulouse, <a href="#Page_151">151.</a></li>
+
+<li>Tour d'Auvergne, Cardinal de la, <a href="#Page_244">244.</a></li>
+
+<li>Tour de Beurre (Rouen), <a href="#Page_84">84,</a> <a href="#Page_89">89.</a></li>
+
+<li>Tour de Charlemagne (at Tours), <a href="#Page_165">165.</a></li>
+
+<li>Tour de Hasting (at Tréguier), <a href="#Page_340">340.</a></li>
+
+<li>Tour Gougin (at Nevers), <a href="#Page_213">213.</a></li>
+
+<li>Tour de l'Horloge (at Tours), <a href="#Page_165">165.</a></li>
+
+<li>Tour St. Eloi (at Nevers), <a href="#Page_213">213.</a></li>
+
+<li>Tour de St. Martin (at Tours), <a href="#Page_165">165.</a></li>
+
+<li>Touraine, Old, <a href="#Page_163">163.</a></li>
+
+<li>Tournai, <a href="#Page_41">41.</a></li>
+
+<li>Tours, <a href="#Page_18">18,</a> <a href="#Page_33">33,</a> <a href="#Page_277">277.</a></li>
+
+<li>Tours, Church of St. Peter and Paul, <a href="#Page_165">165.</a></li>
+
+<li>Tours, St. Gatien de, <a href="#Page_147">147,</a> <a href="#Page_163">163,</a> <a href="#Page_206">206,</a> <a href="#Page_381">381.</a></li>
+
+<li>Tours (St. Martin of), <a href="#Page_165">165.</a></li>
+
+<li>Tours, West front of St. Gatien, <a href="#Page_74">74.</a></li>
+
+<li>Transition examples, <a href="#Page_39">39.</a></li>
+
+<li>Transition Style of Architecture, The, <a href="#Page_176">176.</a></li>
+
+<li>Tréguier, <a href="#Page_32">32,</a> <a href="#Page_255">255,</a> <a href="#Page_339">339.</a></li>
+
+<li>Tréguier, Cathedral of, <a href="#Page_339">339-341.</a></li>
+
+<li>"Tresor," The, at Reims, <a href="#Page_143">143.</a></li>
+
+<li>"Tresor," The, at Troyes, <a href="#Page_278">278.</a></li>
+
+<li>"Tresor," The, at Sens, <a href="#Page_282">282.</a></li>
+
+<li>"Tresor," The, at Bayeux, <a href="#Page_314">314.</a></li>
+
+<li>Treves, <a href="#Page_214">214.</a></li>
+
+<li>Trianons, The, <a href="#Page_108">108.</a></li>
+
+<li>Troyes, <a href="#Page_20">20,</a> <a href="#Page_61">61,</a> <a href="#Page_274">274,</a> <a href="#Page_275">275.</a></li>
+
+<li>Troyes, St. Pierre de, <a href="#Page_274">274-278</a>, <a href="#Page_381">381,</a> <a href="#Page_382">382.</a></li>
+
+<li>Turner (J. M. W.), "Seine and Loire," <a href="#Page_169">169.</a></li>
+
+
+<li class="spc">Valence, <a href="#Page_36">36.</a></li>
+
+<li>Valois Branch of the Orleans Family, <a href="#Page_169">169.</a></li>
+
+<li>Vannes, <a href="#Page_351">351.</a></li>
+
+<li>Vannes, Cathedral of, <a href="#Page_351">351,</a> <a href="#Page_352">352.</a></li>
+
+<li>Vauban, <a href="#Page_244">244.</a></li>
+
+<li>Vaucluse, <a href="#Page_184">184.</a></li>
+
+<li>Vendôme, Matthieu de, <a href="#Page_99">99.</a></li>
+
+<li>Versailles, Fountains at, <a href="#Page_108">108.</a></li>
+
+<li>Versailles, St. Louis de, <a href="#Page_108">108.</a></li>
+
+<li>Villeneuve, Bishop de, <a href="#Page_193">193.</a></li>
+
+<li>Villers-St.-Pol, <a href="#Page_35">35.</a></li>
+
+<li>Viollet-le-Duc, <a href="#Page_83">83,</a> <a href="#Page_96">96,</a> <a href="#Page_99">99,</a> <a href="#Page_139">139,</a> <a href="#Page_181">181,</a> <a href="#Page_349">349.</a></li>
+
+<li>Vire, River, <a href="#Page_315">315.</a></li>
+
+
+<li class="spc">Wellington, Duke of, <a href="#Page_175">175.</a></li>
+
+<li>Westphalia, Treaty of, <a href="#Page_249">249.</a></li>
+
+<li>William, Duke of Normandy, <a href="#Page_323">323.</a></li>
+
+<li>Winchester, Henry, Bishop of, <a href="#Page_121">121.</a></li>
+
+<li>Winchester, Prelate of, <a href="#Page_303">303.</a></li>
+
+<li>Wood-carving (at Amiens), <a href="#Page_68">68.</a></li>
+
+<li>Worms, <a href="#Page_214">214.</a></li>
+
+
+<li class="spc">Yonne, The River, <a href="#Page_191">191.</a></li>
+
+<li>Young, Arthur, <a href="#Page_36">36,</a> <a href="#Page_209">209.</a></li>
+</ul>
+
+<div class="image" style="width: 250px;">
+<a href="images/endpaper.png">
+<img src="images/endpaper_th.png" width="250" height="381" alt="endpaper" />
+</a>
+</div>
+
+<hr class="full" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Cathedrals of Northern France, by 
+Francis Miltoun
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRALS OF NORTHERN FRANCE ***
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+Project Gutenberg's The Cathedrals of Northern France, by Francis Miltoun
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Cathedrals of Northern France
+
+Author: Francis Miltoun
+
+Illustrator: Blanche McManus
+
+Release Date: August 27, 2009 [EBook #29820]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRALS OF NORTHERN FRANCE ***
+
+
+
+
+Produced by Juliet Sutherland, Chuck Greif and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+
+_The Cathedral Series_
+
+_The following, each 1 vol., library 12mo, cloth, gilt top profusely
+illustrated. $2.50_
+
+_The Cathedrals of Northern France BY FRANCIS MILTOUN_
+
+_The Cathedrals of Southern France BY FRANCIS MILTOUN_
+
+_The Cathedrals of England BY MARY J. TABER_
+
+_The following, each 1 vol., library 12mo, cloth, gilt top, profusely
+illustrated. Net, $2.00_
+
+_The Cathedrals and Churches of the Rhine BY FRANCIS MILTOUN_
+
+_The Cathedrals of Northern Spain BY CHARLES RUDY_
+
+_L. C. PAGE & COMPANY
+New England Building, Boston, Mass._
+
+[Illustration: NOTRE DAME ... _de NOYON_]
+
+
+
+
+THE CATHEDRALS OF NORTHERN FRANCE
+
+By FRANCIS MILTOUN
+
+WITH EIGHTY ILLUSTRATIONS,
+PLANS, AND DIAGRAMS,
+
+By BLANCHE McMANUS
+
+[Illustration]
+
+BOSTON
+
+L. C. Page and Company
+
+MDCCCCIIII
+
+_Copyright, 1903_
+BY L. C. PAGE & COMPANY
+
+(INCORPORATED)
+
+_All rights reserved_
+
+Published October, 1903
+
+Colonial Press
+
+Electrotyped and Printed by C. H. Simonds & Co.
+
+Boston, Mass., U. S. A.
+
+
+_THIS BOOK IS DEDICATED BY THE AUTHOR AND ARTIST TO THE GENIUS OF
+RACE WHICH MADE POSSIBLE THE EXISTENCE OF THESE ARCHITECTURAL
+"GLORIES OF FRANCE"_
+
+
+
+
+APOLOGIA
+
+
+_"There are two ways of writing a book of travel: to recount the journey
+itself or the results of it." This is also the case with regard to any
+work which attempts to purvey topographical or historical information of
+a nature which is only to be gathered upon the spot; and, when an
+additional side-light is shown by reason of the inclusion, as in the
+present instance, of the artistic and religious element, it becomes more
+and more a question of judicious selection and arrangement of fact,
+rather than a mere hazarding of opinions, which, in many cases, can be
+naught but conjecture, and may, in spite of any good claim to
+authoritativeness, be misunderstood or perverted to an inutile end, or,
+what is worse, swallowed in that oblivion where lies so much excellent
+thought, which, lacking either balance or timeliness, has become
+stranded, wrecked, and practically lost to view because of its
+unappropriate and unattractive presentation._
+
+_To-day, the purely technical writer may have little hope of immortality
+unless he is broad-minded enough to take a cultivated interest in many
+matters outside the ken of his own particular sphere. The best-equipped
+person living could not produce a new "Dictionary of Architecture," and
+expect it to fill any niche that may be waiting for such a work, unless
+he brought to bear, in addition to his own special knowledge, something
+of the statistician, something of the professed compiler, and, if
+possible, a little of the not unimportant knowledge possessed by the
+maker and seller of books, meaning--the publisher. Given these
+qualifications, it is likely that he will then produce an ensemble as
+far in advance of what otherwise might have been as is the modern
+printing machine, as a factor in the dissemination of literature, as
+compared with the ancient scribes working to the same end._
+
+_The sentimentalist and rhapsodist in words and ideas is a dwindling
+factor at the present day, and a new presentation of fact is
+occasionally to be met with in the printed page. The best "book of
+travel" within the knowledge of the writer, and perhaps one of the
+slightest in bulk ever written in the English language, is Stevenson's
+"Inland Voyage"--here were imagination, appreciation, and a new way of
+seeing things, and, above all, enthusiasm; and this is the formula upon
+which doubtless many a future writer will build his reputation, though
+he may never reach the significant heights expressed by Stevenson in the
+picturesque wording of his wish to be made Bishop of Noyon._
+
+_This apparent digression into a critical estimate of the making of
+books is but another expression of the justification of the writer in
+the attempt herein made to set forth in attractive and enduring form
+certain facts and realities with regard to the grand and glorious group
+of cathedrals of Northern France._
+
+_They have appeared as demanding something more than the conventional
+guide-book, or even technical estimates as to their perfections, and the
+belief is that the gathering together, after this fashion, of the
+contemporary information not always to the hand of the general reader
+presents an attraction as appealing and deserving of a place on the
+book-shelf as would be an avowed reference work, or a volume made to
+sell on the strength of its bulk or ornateness, or, lacking these
+questionable attributes, presented in the guise of a whilom text-book,
+the sole province of which is to impart "knowledge" after a certain
+well recognized and set pattern._
+
+_It is believed that, regardless of much that has been said and written
+anent the subject, the fact remains that some considerable numbers of
+persons may be supposed to exist who would be glad of a further
+suggestion which would make possible an acquaintance with the cathedrals
+of France as a part of their own personal experience. To all such, then,
+it is to be hoped this book will appeal._
+
+F. M.
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+
+Introduction                                                          11
+
+PART I. TRANSITION EXAMPLES
+
+I. Introductory                                                       41
+
+II. Notre Dame de Laon                                                43
+
+III. Notre Dame de Noyon                                              49
+
+IV. Notre Dame de Soissons                                            54
+
+
+PART II. THE GRAND GROUP
+
+I. Introductory                                                       61
+
+II. Notre Dame d'Amiens                                               64
+
+III. St. Pierre de Beauvais                                           70
+
+IV. Notre Dame de Rouen                                               79
+
+V. Basilique de St. Denis                                             93
+
+VI. Notre Dame de Paris                                              101
+
+VII. St. Julien; Le Mans                                             113
+
+VIII. Notre Dame de Chartres                                         123
+
+IX. Notre Dame de Reims                                              132
+
+
+PART III. THE CATHEDRALS OF THE LOIRE
+
+I. Introductory                                                      147
+
+II. St. Croix d'Orleans                                              150
+
+III. St. Louis de Blois                                              156
+
+IV. St Gatien de Tours                                               163
+
+V. St. Maurice d'Angers                                              173
+
+VI. St. Pierre de Nantes                                             183
+
+
+PART IV. CENTRAL FRANCE
+
+I. St. Etienne d'Auxerre                                             191
+
+II. St. Etienne de Bourges                                           199
+
+III. St. Cyr and St. Juliette de Nevers                              209
+
+IV. St. Mammes de Langres                                            218
+
+V. Notre Dame d'Auxonne                                              220
+
+
+PART V. EAST OF PARIS
+
+I. Introductory                                                      223
+
+II. Notre Dame de Boulogne-sur-Mer                                   231
+
+III. Notre Dame de Cambrai                                           234
+
+IV. Notre Dame de St. Omer                                           237
+
+V. St. Vaast d'Arras                                                 242
+
+VI. St. Etienne de Toul                                              247
+
+VII. St. Etienne, Chalons-sur-Marne                                  251
+
+VIII. St. Die                                                        254
+
+IX. St. Lazare d'Autun                                               257
+
+X. St. Benigne de Dijon                                              262
+
+XI. Notre Dame de Senlis                                             266
+
+XII. St. Etienne de Meaux                                            270
+
+XIII. St. Pierre de Troyes                                           274
+
+XIV. St. Etienne de Sens                                             279
+
+
+PART VI. WESTERN NORMANDY AND BRITTANY
+
+I. Introductory                                                      285
+
+II. Notre Dame d'Evreux                                              288
+
+III. Notre Dame d'Alencon                                            296
+
+IV. St. Pierre de Lisieux                                            301
+
+V. Notre Dame de Seez                                                305
+
+VI. Notre Dame de Bayeux                                             310
+
+VII. Notre Dame de St. Lo                                            315
+
+VIII. Notre Dame de Coutances                                        321
+
+IX. St. Pierre d'Avranches                                           326
+
+X. St. Sol, Dol-de-Bretagne                                          329
+
+XI. St. Malo and St. Servan                                          335
+
+XII. Treguier                                                        339
+
+XIII. St. Brieuc                                                     342
+
+XIV. St. Pol de Leon                                                 345
+
+XV. St. Corentin de Quimper                                          348
+
+XVI. Vannes                                                          351
+
+
+APPENDICES
+
+I. The Architectural Divisions of France                             353
+
+II. A List of the Departments of France                              356
+
+III. The Church in France                                            359
+
+IV. A List of the Larger French Churches
+    Which Were at One Time Cathedrals                                362
+
+V. Chronology of the Chief Styles and Examples of Church Building    365
+
+VI. Dimensions and Chronology                                        366
+
+VII. The French Kings from Charlemagne Onward                        383
+
+VIII. Measurements of the Cathedrals at Amiens and Salisbury         384
+
+IX. French Metres Reduced to English Feet                            385
+
+X. A Brief Glossary of Architectural Terms                           386
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                                                    PAGE
+
+Notre Dame de Noyon                                        _Frontispiece_
+
+Notre Dame de Laon                                                    43
+
+Notre Dame de Noyon                                                   47
+
+Notre Dame d'Amiens                                                   64
+
+St. Pierre de Beauvais                                                70
+
+Notre Dame de Rouen                                                   77
+
+Basilique de St. Denis                                                91
+
+Oriflamme of St. Denis                                               100
+
+Notre Dame de Paris                                                  101
+
+Notre Dame de Paris from the River                                   107
+
+St. Julien; Le Mans                                                  111
+
+Notre Dame de Chartres                                               123
+
+Notre Dame de Reims                                                  132
+
+St. Croix d'Orleans                                                  150
+
+St. Louis de Blois                                                   156
+
+St. Gatien de Tours                                                  161
+
+Flying Buttress, St. Gatien de Tours                                 170
+
+St. Maurice d'Angers                                                 171
+
+St. Pierre de Nantes                                                 183
+
+St. Etienne d'Auxerre                                                191
+
+St. Etienne de Bourges                                               197
+
+St. Cyr and St. Juliette de Nevers                                   209
+
+St. Mammes de Langres                                                218
+
+Nancy                                                                227
+
+Boulogne, St. Omer, Arras                                            229
+
+Notre Dame de Cambrai                                                236
+
+St. Etienne de Toul                                                  247
+
+St. Etienne, Chalons-sur-Marne                                       251
+
+St. Die                                                              254
+
+St. Lazare d'Autun                                                   257
+
+St. Benigne de Dijon                                                 262
+
+Notre Dame de Senlis                                                 266
+
+St. Etienne de Meaux                                                 270
+
+St. Pierre de Troyes                                                 274
+
+St. Etienne de Sens                                                  279
+
+Notre Dame d'Evreux                                                  289
+
+Window Framing--Evreux                                               295
+
+Notre Dame d'Alencon                                                 296
+
+St. Pierre de Lisieux                                                299
+
+Notre Dame de Seez                                                   305
+
+Notre Dame de Bayeux                                                 310
+
+Notre Dame de St. Lo                                                 315
+
+Notre Dame de Coutances                                              319
+
+St. Pierre d'Avranches                                               326
+
+Column of St. Pierre d'Avranches                                     328
+
+St. Samson, Dol-de-Bretagne                                          329
+
+St. Malo and St. Servan.--Treguier                                   333
+
+St. Brieuc                                                           342
+
+St. Corentin de Quimper                                              348
+
+Notre Dame d'Amiens (diagram)                                        366
+
+Map of Angers                                                        367
+
+St. Etienne de Bourges (diagram)                                     370
+
+Notre Dame de Laon (diagram)                                         372
+
+St. Julien, le Mans (diagram)                                        373
+
+Map of Nantes                                                        374
+
+Notre Dame de Noyon (diagram)                                        375
+
+Notre Dame de Paris (diagram)                                        376
+
+Notre Dame de Reims (diagram)                                        377
+
+Flying Buttresses, Reims                                             377
+
+Notre Dame de Rouen (diagram)                                        378
+
+Basilique de St. Denis (diagrams)                                    380
+
+Map of Tours                                                         381
+
+Charles VII.                                                         383
+
+Ground Plan                                                          386
+
+Cross Section                                                        387
+
+Interior                                                             388
+
+Cross Section                                                        389
+
+
+
+
+_The Cathedrals of Northern France_
+
+
+
+
+INTRODUCTION
+
+
+An attempt to enumerate the architectural monuments of France is not
+possible without due consideration being given to the topographical
+divisions of the country, which, so far as the early population and the
+expression of their arts and customs is concerned, naturally divides
+itself into two grand divisions of influences, widely dissimilar.
+
+Historians, generally, agree that the country which embraces the
+Frankish influences in the north, as distinct from that where are spoken
+the romance languages, finds its partition somewhere about a line drawn
+from the mouth of the Loire to the Swiss lakes. Territorially, this
+approaches an equal division, with the characteristics of architectural
+forms well nigh as equally divided. Indeed, Fergusson, who in his
+general estimates and valuations is seldom at fault, thus divides
+it:--"on a line which follows the valley of the Loire to a point between
+Tours and Orleans, then southwesterly to Lyons, and thence along the
+valley of the Rhone to Geneva."
+
+With such a justification, then, it is natural that some arbitrary
+division should be made in arranging the subject matter of a volume
+which treats, in part only, of a country or its memorials; even though
+the influences of one section may not only have lapped over into the
+other, but, as in certain instances, extended far beyond. As the peoples
+were divided in speech, so were they in their manner of building, and
+the most thoroughly consistent and individual types were in the main
+confined to the environment of their birth. A notable exception is found
+in Brittany, where is apparent a generous admixture of style which does
+not occur in the churches of the first rank; referring to the imposing
+structures of the Isle de France and its immediate vicinity. The "Grand
+Cathedrals" of this region are, perhaps, most strongly impressed upon
+the mind of whoever takes something more than a superficial interest in
+the subject as the type which embodies the loftiest principles of
+Gothic forms, and, as such, they are perhaps best remembered by that
+very considerable body of persons known as intelligent observers.
+
+The strongest influences at work in the north from the twelfth century
+onward have been in favour of the Gothic or pointed styles, whilst, in
+the south, civic and ecclesiastical architecture alike were of a
+manifest Byzantine or Romanesque tendency. No better illustration of
+this is possible than to recall the fact that, when the builders of the
+fifteenth century undertook to complete that astoundingly impressive
+choir at Beauvais, they sought to rival in size and magnificence its
+namesake at Rome, which, under the care of the Pontiff himself, was then
+being projected. Thus it was that this thoroughly Gothic structure of
+the north was to stand forth as the indicator of local influences, as
+contrasted with the Italian design and plans of the St. Peter's of the
+south.
+
+A discussion of the merits of any territorial claims as to the inception
+of what is commonly known as Gothic architecture, under which name, for
+the want of a more familiar term, it shall be referred to herein, is
+quite apart from the purport of this volume, and, as such, it were best
+ignored. The statement, however, may be made that it would seem clearly
+to be the development of a northern influence which first took shape
+after a definite form in a region safely comprehended as lying within
+the confines of northeastern France, the Netherlands, and the northern
+Rhine Provinces. Much has been written on this debatable subject and
+doubtless will continue to be, either as an arrow shot into the air by
+some wary pedant, or an equally unconvincing statement, without proof,
+of some mere follower in the footsteps of an illustrious, but behind the
+times, expert. It matters not, as a mere detail, whether it was brought
+from the East in imperfect form by the Crusaders, and only received its
+development at the hands of some ingenious northerner, or not. Its
+development was certainly rapid and sure in the great group which we
+know to-day in northern France, and, if proof were wanted, the existing
+records in stone ought to be sufficiently convincing to point out the
+fact that here Mediaeval Gothic architecture received its first and most
+perfect development. The _Primaire_: the development of the style
+finding its best example at Paris. The _Secondaire_: the
+Perfectionnement at Reims, and its Apogee at Amiens. The _Tertiaire_:
+practically the beginning of the decadence, in St. Ouen at Rouen, only
+a shade removed from the debasement which soon followed. As to the
+merits or demerits of the contemporary structures of other nations, that
+also would be obviously of comparative unimportance herein except so far
+as a comparison might once and again be made to accentuate values.
+
+The earliest art triumphs of the French may well be said to have been in
+the development and _perfectionnement_ of Mediaeval (Gothic)
+architecture. Its builders planned amply, wisely, and well, and in spite
+of the interruptions of wars, of invasions, and of revolutions, there is
+nowhere to be found upon the earth's surface so many characteristic
+attributes of Mediaeval Gothic architecture as is to be observed in this
+land, extending from the Romanesque types of Frejus, Perigueux and
+Angouleme to that classical degeneration commonly called the
+Renaissance, a more offensive example of which could hardly be found
+than in the conglomerate structure of St. Etienne du Mont at Paris, or
+the more modern and, if possible, even more ugly Cathedral Churches at
+Arras, Cambrai, or Rennes in the north.
+
+There may be attractive Italian types in existence out of Italy; but
+the fact is that, unless they are undoubted copies of a thoroughly
+consistent style to the very end, they impress one as being out of place
+in a land where the heights of its own native style are so exalted.
+
+Gothic, regardless of the fact as to whether it be the severe and
+unornamental varieties of the Low Countries or the exaggerations of the
+most ornately flamboyant style, appears not only to please the casual
+and average observer, but the thorough student of ecclesiastical
+architecture as well. It has come to be the accepted form throughout the
+world of what is best representative of the thought and purpose for
+which a great church should stand.
+
+With the Renaissance we have not a little to do, when considering the
+cathedrals of France. Seldom, if ever, in the sixteenth century did the
+builder or even the restorer add aught but Italian accessories where any
+considerable work was to be accomplished. Why, or how, the Renaissance
+ever came into being it is quite impossible for any one to say, _sans
+doubt_, as is the first rudimentary invention of Gothic itself. Perhaps
+it was but the outcome of a desire for something different, if not new;
+but in the process the taste of the people fell to a low degree.
+Architecture may be said to have been all but divorced from life, and,
+while the fabric is a dead thing of itself, it is a very living and
+human expression of the tendencies of an era. The Renaissance sought to
+revive painting and sculpture and to incorporate them into architectural
+forms. Whether after a satisfactory manner or not appears to have been
+no concern with the revivers of a style which was entirely unsuited in
+its original form to a northern latitude. That which answered for the
+needs and desires of a southern race could not be boldly transplanted
+into another environment and live without undergoing an evolution which
+takes time, a fact not disproven by later events.
+
+The Italians themselves were the undoubted cause of the debasement of
+the classical style, evidences having crept into that country nearly a
+hundred years before the least vestiges were known in either France or
+Germany, the Netherlands, or England, and which, though traceable, had
+left but slight impress in Spain. It is doubtless not far wrong to
+attribute its introduction into France as the outcome of the wanderings
+in Italy of Charles VIII., in the latter years of the XV. century. As a
+result of this it is popularly supposed that it was introduced into the
+domestic architecture of the nobles who had accompanied the king. Here
+it found perhaps its most satisfying expression; in those magnificent
+chateaux of the Loire, and the neighbourhood of Tours and Blois, ever a
+subject for sentimental praise. One would not seek to pass condemnation
+upon the application of revived classic features where they were but the
+expression of an individual taste, as in a chateau whose owner so chose
+to build and embellish it. Certainly no more splendid edifices of their
+kind are known than the magnificent establishments at Blois, Chenonceau,
+Chambord, or Chaumont. The style appears, however, out of place; an
+admixture meaningless in itself and in its application when, with a
+Gothic foundation bequeathed them, builders sought to incorporate into a
+cathedral such palpable inconsistencies as was frequently done.
+
+The building of the chateaux was perhaps the first anti-Gothic step in
+France and proved to be an influence which spread not slowly, as to
+decorative detail at least, and soon of itself established a decided
+non-Gothic type.
+
+It was but natural that the cathedral builders should have followed to
+some extent this new influence. The Church was ever seeking to
+strengthen its popularity, the bishops ensconced themselves in their
+cathedral cities as snugly as did a feudal lord in his castle, and their
+emulation of wealth outside of the Church was but an effort to keep
+their status on a plane with that of the other power which also demanded
+allegiance of the people. It is to be regretted that they did not pass
+this manifestation by, or at least not encumbered an otherwise
+consistent Gothic fabric with superimposed meaningless detail. Such
+decorative embellishments as are represented by the tomb of Louis XII.
+at St. Denis, and the tombs of the cardinals at Rouen, may be considered
+characteristic, though they bear earlier dates by some twenty years than
+the south portal of Beauvais, which is thoroughly the best of Gothic, or
+St. Maclou at Rouen, which, though highly florid, is without a trace of
+anti-Gothic. The extreme (though not a cathedral church) may be seen at
+St. Etienne du Mont, wherein the effort is made to incorporate large
+masses of pseudo-classical decoration with Gothic, and, alas, with sad
+effect.
+
+For the most part, the Gothic cathedrals of France, as such, while
+closely related to each other in their design and arrangements, have
+little to do with those which lie without the confines of the country,
+either in general features or in detail. The type is distinctively one
+which stands by its own perfections. In size, while in many instances
+not having the length of nave of several in England, they have nearly
+always an equal, if not a greater, width and an almost invariably
+greater height, though not equal in superficial area to St. Peter's in
+Italy, the Dom at Cologne, or even the cathedral at Seville in Spain.
+
+Such Romanesque types as are to be seen to the northward of the Loire
+are mostly found in the smaller churches of Brittany, while the early
+transition type, so familiar throughout the Netherlands, is, in France,
+usually seen in the neighbourhood of the frontiers of the Low Countries.
+
+"Les Grandes Cathedrales" of the north are distinctly those of Paris,
+Amiens, Reims, Rouen, Beauvais, and Chartres; and it is to them that
+reference must continually be made; while the severely plain transitory
+types of Noyon or Soissons, or the more effective development of Laon,
+and the flamboyant structures of Troyes and Nantes, at least lean toward
+the decadence.
+
+The difficulty of assigning ranks to these monumental cathedrals is made
+the greater by reason of the fact that to-day it is with but one people
+that we have to reckon, so far as their temperament and environment is
+concerned. Since feudal times the movement has ever been toward one
+nation, one people, and one view, different from that presented in the
+middle ages.
+
+For centuries after the break of Roman power it had been mostly one
+local influence against another which prevented perfect cohesion to any
+national spirit, and thus it was that the tendencies of the cathedral
+builders, though Roman as to their teaching and religion, and doubtless,
+in many instances, with regard to their birth as well, followed no
+special style until the era of Gothic development. Unconsciously,
+transitory types crept in, until suddenly throughout northern Europe
+there bloomed forth within less than a century of time the so-called
+Gothic in all its splendour, and with scarce a century between the
+commencement and the completion of some of the most notable of the
+group. The Romanesque types which still lingered in Brittany, though
+well worthy of special consideration to-day, are unimportant and in a
+way insignificant when compared with the grand group.
+
+To most of us it will be impossible to conjure up any more significant
+thought with regard to mediaeval church architecture than that fostered
+by the memories of acquaintanceship with these examples of north France;
+an opinion which is further strengthened when it is also recalled that
+they are representative of the first really national artistic
+expression. For this reason alone, if for no other, the hasty critics
+who have so handily claimed precedence elsewhere, might profitably
+review the facts of the circumstance which led to so universal an
+adoption of the full-blown style in the twelfth and thirteenth
+centuries.
+
+The Romanesque peoples were confined southwards of mid-France at the
+time of the withdrawal of the Roman legions, while, in the north, the
+conquering Franks sought to wipe out every vestige of their past
+influence; hence it may be considered that the new manner of building
+had everything in favour of its speedy growth. It was thus definitely
+assured of a warm welcome, and, following in the footsteps of Clovis
+himself, the rulers were more than willing to aid what they believed
+might be a strengthening influence, politically, as well as morally.
+
+The style may be justly said to be a natural and growthful expression of
+a race, and more significant than all else is the fact that nowhere,
+not even on the Rhine, which with northern France claims the origin of
+the style, is to be found any single example equalling in any like
+measure the perfections of "Les Grandes Cathedrales Francaises," though
+it be recalled that in many instances the German buildings were planned
+and often erected by French architects and artisans.
+
+Among the two thousand or more "Monuments Historiques" paternally cared
+for by the French government and under the direct control of the
+Ministry of Public Instruction and the Beaux Arts, none are of the
+relative importance, historically or artistically, of the Grand
+Cathedrals. Certain objects, classed as megalithic and antique remains,
+may be the connecting links between the past and the present by which
+the antiquarian weaves the threads of his historical lore; but neither
+these nor the _reliques_ which have been dug from the ground or untombed
+from later constructive elements, all of which are generously included
+in the general scheme by the Department of Beaux Arts, which has
+provided a fund for their preservation and care, have one tithe of the
+appealing interest which these great churches bespeak on behalf of the
+contemporary life of the times in which they were built, reflecting as
+they do many correlated events, and forming, in the interweaving of the
+history of their inception and construction, an epitome of well-nigh all
+the contemporary events of their environment, as well as the greater
+parts which they may have played in general affairs of state.
+
+The best example of a part so played is that of the cathedral at Reims,
+which saw the crowning within its walls of nearly every monarch of
+France from the time of Philippe Augustus (1173) to that of Charles X.
+(1823). The monarchs of France, a long and picturesque line, have ever
+sought to ally the Church on their side, and right well they have been
+served, not ignoring, of course, certain notable lapses. In the main,
+however, the rulers and the people alike, whatever may have been the
+periodical dissensions, combined the forces which made possible the
+projection and erection of these noble examples of an art which, in the
+Gothic forms at least, here came to its greatest and most interesting
+phase.
+
+Invasion, revolution, and the stress of weather and time, all played
+their part in the general desecrations which sooner or later followed;
+far the most serious of these visible damages reflected upon us to-day
+being the malpractices occurring at the Revolution, whether at the hands
+of a _sans culotte_ or of the most respectable of bourgeois, led away by
+the excitement of revolt. The depredations were irreparable; they razed,
+burned, or ruthlessly shattered shrines, statues, or even reliquaries,
+as at Reims, where the Sainted Ampulla, which contained the miraculous
+oil brought by a dove from heaven, now preserved in reconstructed
+fragments in the sacristy, was dashed to pieces in a fury of
+uncontrollable wrath.
+
+The paucity of sculptured decoration in certain places only too plainly
+designed for it is, too, frequently painfully apparent. Such sculptured
+decoration and glass as were easily to hand met with perhaps the most
+ready spoliation, while here and there, from some miraculous reason, a
+gem was left entire, though likely enough in a bruised and shattered
+setting.
+
+This is what befell most of the great churches, and, for this reason,
+any work treating of these architectural glories of France must make due
+allowance in hazarding opinions as to the merit or lack of merit of any
+particular example as it now exists, as compared with what it may have
+been as it once was, or had it been completed in accordance with the
+original design.
+
+In local and cathedral archives much valuable and interesting
+information exists, treating in this very manner such embellishments as
+may to-day be lacking; but unfortunately such facts are often buried in
+a mass of other irrelevant material which would make its discovery
+unusually difficult to any but a very learned local antiquarian. In this
+same connection, also, there is a dearth of illustrative material which
+can be depended upon as to minutiae or accuracy of detail. Hence it is
+possible to deal only with such general facts as may be supported by the
+best contemporary information based upon the researches of others. It
+may be well to note here, however, a fact which is often overlooked,
+namely, that the written records of France are not only very complete
+and exhaustive, but, with respect to Paris itself, to cite an example,
+the documentary history, consecutive and exact, from the time of the
+decline of Roman power is preserved intact,--a record which is perhaps
+not so true of any other large city in Europe.
+
+In dealing with the cathedrals of the north, territorially, we have to
+consider those examples which are generally accepted as being all that
+a cathedral church should be. Of the first rank are those gathered not
+far from the confines of the mediaeval Isle of France. They too, are best
+representative of the true Gothic spirit, while the southernmost
+examples, those of Dijon and Besancon, are of manifest Romanesque or
+Byzantine conception. Each, too, is somewhat reminiscent of the early
+German manner of building, the latter in respect to the double apse,
+which is often found across the Rhine, but seldom seen in France. The
+most northerly of all is at St. Omer, where are the somewhat battered
+remains of a satisfactory Gothic cathedral, although Amiens, not far to
+the south, is perhaps the ideal cathedral when considered from a general
+point merely. For the western representative, a line running due west
+from Paris almost into the Atlantic finds at Quimper, a small port
+fifteen miles from the sea, the Cathedral of St. Corentin, which, though
+not as lofty, is more of the manner of building of the Isle of France
+than one might suppose would be the case here in this outpost of
+Brittany, where are found so many evidences of Romanesque influences,
+retained long after they had been given over elsewhere.
+
+Such, then, are the extremes of latitude and of architectural style
+which combine to give variety to the interest which is always aroused by
+the contemplation of the masterworks of any of the arts, where outside
+and contiguous influences have something in common therewith.
+
+As a type to admire, there is no doubt but that the cathedral that
+possesses an apsidal termination of the easterly or choir end, as is
+nearly the universal custom in France, has charms and beauties which may
+be latent, but which are simply winning, when it comes to picturing the
+same structure with the squared-off ends so common in England.
+
+It was Stevenson, was it not, who wrote of the satisfaction with which
+one always looks upon the east end of a French cathedral, "flanging out
+as it often does in sweeping terraces, and settling down broadly upon
+the earth as though it were meant to stay." Certainly nothing of the
+sort is to be more admired than the rare view of the choir buttresses of
+Notre Dame at Paris, likened unto "kneeling angels with half-spread
+wings;" the delicate and symmetrical choir buttresses of Amiens; the
+sheer fall of Beauvais; or the triply effective termination of the
+one-time cathedral of Noyon, which falls away in three gracefully
+gentle slopes to the ground. Again Stevenson's power as a descriptive
+writer lingers in our memory. He says, of no cathedral in particular,
+"where else is to be found so many elegant proportions growing one out
+of the other, and all together in one?... Though I have heard a
+considerable variety of sermons, I have never yet heard one that was so
+expressive as a cathedral. 'Tis the best preacher itself, preaches day
+and night, not only telling you of man's art and aspirations in the
+past, but convicting your own soul of ardent sympathies; or rather, like
+all good preachers, it sets you preaching to yourself,--and every man is
+his own doctor of divinity in the last resort."
+
+To best estimate the charms and values of these architectural monuments
+one should consider; first, the history and topography of their
+environment,--_i. e._ as to why and when they may have been planned and
+built; secondly, their personality, as it were,--who were their
+founders, their patrons, their bishops; thirdly, the functions in which
+they may have partaken, any significant events which may have passed
+within their walls or centred within their sees; and fourthly, the
+artistic beauties of their fabric and its embellishments.
+
+In most cases all of these values are so interwoven and indissolubly
+linked with the growth of the structure itself from its very earliest
+foundations that it is hardly possible to detail this information in
+true chronological order. The picturesque and romantic elements, of
+which there is not a little; the sordid and baneful, of which we may
+wish there were less; and the splendid ceremonials of Church and State;
+all go to make up a chronicle which no account, of even a special
+nature, could afford to neglect.
+
+The picturesque elements of the conversion and baptism of Clovis by St.
+Remi at Reims in 496, where, on the site of the present cathedral, he
+was adjured to "revere that which thou didst burn and burn that which
+thou didst revere," and the crowning on the same spot of Charles VII. in
+1429 through the efforts of the Maid, well represent these phases. The
+meanness and the unjustness of her later trial and condemnation in the
+Abbey Church of St. Ouen at Rouen is another. The affairs of state
+consist chiefly of the coronation ceremonies which mostly took place at
+Reims, and present a splendid record. Of the monarchs from 1173 onwards
+who were not here crowned, Henry IV. was crowned at Chartres; Napoleon
+I., at Paris; Louis Philippe, Louis XVIII., and Napoleon III. were not
+crowned at all.
+
+Throughout this continuity of state events these great churches were
+performing their natural functions of the dissemination of the Word.
+Jealousies and bickerings took place, to be sure, but in the main there
+was harmony, if rivalry did exist; else it were not possible that so
+many of these splendid monuments would have endured to remind us of
+their past as well as present existence.
+
+Certain of the sees were merged into greater ones, and others were
+abandoned altogether. In this connection there is a curious circumstance
+with regard to the one-time Bishop of Bethleem, who, driven from the
+Holy Land, was given a see at Clamecy, which see comprehended only the
+village in which he resided. What remains of the former cathedral is now
+an adjunct to a hotel. The rearrangement of political divisions of
+France after the Revolution was the further excuse for establishing but
+one diocese to a department, until to-day there are but eighty-four
+sees, administered by sixty-seven bishops and seventeen archbishops.
+
+The itinerary of the conventional tour of the Continent usually keeps
+well to the beaten track, and so does the conventional traveller. He
+does not always get over to Reims, and often does not stop _en route_ at
+Amiens; seldom visits Beauvais, and, unless he specially sets out to
+"tour" Brittany, a popular enough amusement of the lean of purse in
+these days, knows little of the unique charms of Treguier, Quimper, or
+even of Le Mans, with its sublime choir, or of Evreux. As for even a
+nodding acquaintance with Noyon or Soissons, two of the most
+convincingly beautiful and impressive transitory types, they might as
+well be in the wilds of Kamchatka, though they are both situated in a
+region well travelled on all sides; while Laon, not far distant, is
+hardly known at all, except as a way station _en route_ to Switzerland.
+The cathedrals of mid-France are, it is to be feared, even less known
+than would on first thoughts seem probable. A certain amount of
+sentimentality attaches itself to the chateaux of the Loire, and some
+acquaintance with their undeniable pleasing attributes is the portion of
+most travellers; but, again, such cathedral cities as Besancon, Nantes,
+and Langres are off the well-worn road, and their cathedrals might be
+myths so far as a general acquaintance with them is concerned; while
+the splendid churches of Bourges, Nevers, and Autun are likewise
+practically unknown to the casual traveller.
+
+Tours, Orleans, and Chartres alone appear to be the only recognized
+representatives of this section of France which have hitherto attracted
+due attention.
+
+With the southland this volume does not deal; that is a subject to be
+considered quite by itself,--and significantly, more real interest has
+been shown with respect to the architectural monuments of Avignon,
+Arles, Nimes, Le Puy, Perigueux, Carcassonne, and Poitiers than to those
+of the Midi. Is it that the days of cheap travel and specially conducted
+tours, when ten or fifteen guineas will take one to the Swiss or Italian
+lakes, or e'en to Rome and Florence, has caused this apparent neglect of
+the country lying between? Certainly our forefathers travelled more
+wisely, but then prices and means of locomotion were on quite a
+different scale in those days, and not infrequently they were obliged to
+confine their travels and observations to more restricted areas.
+
+Perhaps the most lucid arrangement of architectural species is that
+given by De Caumont's "Abecedaire d'Architecture," which divides the
+country ethnologically into Brittany; Normandy; Flanders, including
+Artois and Picardy; Central France (the Isle of France, Champagne,
+Orleanois, Main, Anjou, Touraine, and Berri); and Burgundy,
+comprehending the former divisions of Franche Comte, Lorraine, Alsace
+(now Belfort), Nivernois, Bourbonnois, and Lyonnois. Of the above
+divisions, only that of the Isle of France with La Brie was originally
+held by the Crown. The political divisions throughout France now number
+eighty-seven departments, taking their names from the principal
+topographical features, and replacing in 1790 the thirty-two mediaeval
+provinces, each of which had their own characteristics of social and
+political life, and of which each in turn progressed, stagnated, or fell
+backward according to local or periodical conditions. Both the arts of
+peace and of war have left an ineradicable impress. In the thirteenth
+century the various provinces became welded together into one perfect
+whole under Philippe Augustus and the sainted Louis, but retained to no
+small extent, even as they do unto to-day, their distinctive local
+characteristics.
+
+Because of its cathedrals alone, the Isle of France stands preeminent
+among the provinces for each of the thirteen provincial styles of
+architecture which are allocated by the Societe des Monuments
+Historiques. A comparatively small and unified province, it comprehends
+within and contiguous to its borders more of the attributes and
+principles of a consistent Mediaeval architectural style than is
+elsewhere to be observed. From Rouen on the west to Reims on the east,
+northward to Amiens and southwesterly to Chartres, are grouped the show
+pieces of the world's Gothic architecture. Not alone with the respect to
+the Grand Cathedrals is this region so richly endowed, but also because
+of the smaller and less important, but no less attractive or interesting
+examples of Noyon, Senlis, Laon, Soissons, with their one-time cathedral
+churches and other varied ecclesiastical and secular edifices.
+
+Beauvais, Gisors, Gourney, Cires-les-Mello, Creil, Royamont,
+Nogent-les-Vierges, Villers-St.-Pol, indeed nearly every village and
+town within the royal domain, present values and comparisons which place
+nearly all of its contemporary structures, be they large or small, at a
+grand height above those of other less prolific sections. Lest it be
+thought that this statement is drawn largely, and that fineness and
+balance of estimate are lacking, it suffices to state that it is not
+alone from study and research, but from frequent personal intimacies
+that the region has ever proved an inexhaustible store of architectural
+values, and one which most well-known authorities, with one accord,
+place in the very first rank.
+
+Arthur Young, than whom no more perspicuous observer has ever chronicled
+his impressions, wrote (1704) that to see the best of France, the part
+most varied in topography, and resourceful and attractive in its
+monuments, one should land at Havre and follow the sinuosity of the
+Seine to Paris, thence the highroad to Moulins and on to the Rhone at
+Valence, an outline which somewhat approaches the limitations of
+territory of which this book treats. To be sure, he wrote of economic
+and agricultural conditions, and he mostly made his pertinent
+observations on land holdings, stock keeping, and hedgerows, or rather
+that lack of them which is so apparent throughout France; but these
+details of themselves only suggest more complete evidences of the
+existing forces which indicate the growth of the wealth and power which
+has made this region so rich in its architectural memorials of the
+past, and which ought to more than compensate for any lack of scenic
+grandeur.
+
+It is to be regretted, of course, that none of these larger cathedrals
+are to be seen to-day in their completely perfected forms. To what
+extent would not the glories of Reims, of Amiens, of Beauvais, or of
+Rouen, be enhanced, were it possible for us to even imagine their
+splendour, were they possessed of the symmetry and well-favoured
+situation of the Dom at Cologne? And so it is that we can but feel
+regret when we mentally note the lack of nave at Beauvais, of spires at
+Bourges, and, yet again, regret even with more pain the monstrousness of
+the cast-iron _fleche_ which has been added to the central tower at
+Rouen. But these are after all minor imperfections--seldom, if ever, in
+aught but pleasurable anticipation, do we see in the masterpieces of art
+or nature a perfect unity; so why seek to negative their virtues by
+futile criticism? It would seem to be all-sufficient that such details,
+sins of omission or commission, should be noted merely, that we may pass
+on to other charms which must compel our allegiance.
+
+When we visit the cathedrals of the Isle of France, we are at once in
+the midst of the best examples of French Gothic architecture, or of
+French Mediaeval architecture, if the phrase is to be preferred.
+
+
+
+
+_PART I_
+
+_Transition Examples_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+Soissons, with Noyon and Laon, all within perhaps thirty miles of one
+another, may be said to best represent the nurturing and development of
+the early Gothic of France. These simple and somewhat plain types
+exemplify the style which was in vogue at the same time in the Low
+Countries. It is good Gothic, to be sure,--at least, good as to its
+planning,--but without that ornateness or lightness known to-day as
+characteristic of the distinctive French type, which so early developed
+boldly and beautifully.
+
+One observes the resemblances in style between the notable cathedral at
+Tournai, in Belgium, the neighbouring types of French Flanders, and the
+cathedrals of this trinity of French towns lying contiguous thereto,
+Noyon itself being for long interdependent with the see of Tournai.
+Nevertheless, it is a beautiful type which was cradled here in the
+country called, by Caesar, Suessiones; and difficult it would be to
+attempt to assign preeminence to any one edifice.
+
+Noyon, without a doubt, has the greatest charm of environment, and is of
+itself in every way a pleasing and satisfying example of what should
+most truly inspire and impress us in a cathedral. Stevenson describes it
+as being "the happiest inspiration of mankind, a thing as specious as a
+statue at the first glance, yet, on examination, as lively and
+interesting as a forest in detail. The height of its spires cannot be
+taken by trigonometry: they measure absurdly short, but how tall they
+are to the admiring eye.... I sat outside of my hotel and the sweet
+groaning thunder of the organ floated out of the church like a
+summons";--and much more of the same sort, all of which tells us that,
+once we find ourselves on a plane of intimacy with a great church, we
+continually receive new impressions and inspirations, and it is in this
+vein that one who has known this group of simple but fascinating
+churches on their own ground, so to put it, can but seek to convey the
+idea that it is good that we have such contrasting types as a relief and
+an antidote to an appetite which otherwise might become sated.
+
+
+
+
+[Illustration: _CATHEDRAL of NOTRE DAME LAON_]
+
+II
+
+NOTRE DAME DE LAON
+
+
+For over twelve hundred years, until the see was abolished at the
+Revolution, Laon was the seat of a bishop who in point of rank was
+second only to the primate at Reims. Crowning the apex of a long
+isolated hill, upon which the entire town, now a fortress of the third
+class, is situated, the cathedral of Notre Dame de Laon, still so called
+locally, has endured since the beginning of the twelfth century, and may
+be considered a thoroughly representative transition example.
+
+The present structure is on the site of one burned in 1112, and during
+comparatively recent years has been entirely restored.
+
+Its crowning glory is in the disposition and number of its fine group of
+towers: two flank the western facade, and are rectangular at the base,
+dwindling to a smaller polygon, which is flanked with corner belfries
+and pierced by a tall lancet in the central structure, showing a
+wonderful lightness and open effect. A curious and unique feature of
+these towers is the addition of four oxen in carven stone perched high
+aloft in the belfries. These sculptured animals may be merely another
+expression of symbols of superstition, and if so are far more pleasing
+than some of the hideous and monstrous gargoyles ofttimes seen. Two
+other towers, each 190 feet in height, adjoin the transepts, to each of
+which is attached a double-storied, apsidal, ancient chapel. Two
+similarly projected towers are lacking. The lantern is square, with a
+shallow, conical, modern roof.
+
+In the transition type Romanesque influences were evidently dying hard.
+The Gothic was seldom full blown, and at Laon shows but the merest trace
+of pointedness to the arches of the western facade, either in the
+portals or in the higher openings.
+
+The lack of a circular termination to the choir is but another
+indication of a link with a transitory past; an undeniably false note
+and one very unusual in France, the choir being of the squared-off
+variety so common in England. This may be coincident with the English
+custom of the time, or it may be directly due to a local English
+influence;--most probably the latter, inasmuch as an English prelate
+held the see for a time, and the city, in the early fifteenth century,
+was for a number of years in English hands. It is significant that in
+some of the smaller churches of the diocese is to be noted the same
+treatment.
+
+The rose windows of both the eastern and western facades are Gothic in
+inception and treatment, and are unusually acceptable specimens of these
+supreme efforts of the French mediaeval builders, the glass therein being
+distinctly good, though perhaps not remarkable.
+
+The transepts are rectangular and, with the ensemble of the entire
+structure, were their towers completed, there would be produced, not
+only a unique example, but a towering effect only a degree less
+interesting than the perfectly proportioned pyramidal form so much
+admired in the perfectly developed Gothic.
+
+The interior is equally attractive with the exterior, and, though the
+church is not by any means of remarkable dimensions, it presents in its
+appropriate disposition of detail a far more roomy and pleasing
+arrangement than many a larger example.
+
+The transepts are divided into a nave and side aisles, the columns which
+partition them, like those of the nave proper, being cylindrical and of
+massive proportions, which, however, lighten as they rise to the
+vaulting. They are unusually symmetrical when viewed together, the
+capitals of the lower series being ornately carved, each of a varying
+design.
+
+Above the aisles are lofty galleries. The nave chapels were added in the
+sixteenth and seventeenth centuries. The stained glass, like that of the
+rose windows, is in the nave distinctly good, particularly that of the
+lower range on the southerly side. The pulpit, of carved wood of the
+Renaissance period, is not of the importance and quality of this class
+of work to be seen across the Rhine border.
+
+The former Bishop's palace, adjoining the left of the choir, is now the
+Palais de Justice. A few remains of a former Gothic cloister are to be
+remarked, surrounded by the later construction.
+
+
+
+
+[Illustration: _Notre Dame de Noyon_]
+
+III
+
+NOTRE DAME DE NOYON
+
+
+In Notre Dame at Noyon, Notre Dame at Laon, and the cathedral at
+Tournai, is to be noted the very unusual division of the interior
+elevation into four ranges of openings, this effect being only seen at
+Paris and Rouen among the large cathedrals. Noyon and Laon borrowed,
+perhaps, from Tournai, where building was commenced at least a century
+before either of the French examples first took form. It is perhaps not
+essential that such an arrangement be made in order to give an effect of
+loftiness, which might not otherwise exist; indeed, it is a question if
+the reverse is not actually the case, though the effect is undeniably
+one of grandeur. Soissons, too, may rightly enough be included in the
+group, though the points of resemblance in this case are confined to the
+rising steps to either transept, coupled with the joint possession of
+circumambient aisles, and at least the suggested intent of circular
+apsidal terminations to the transepts; though it appears that here this
+plan was ultimately changed and one transept finished off with the usual
+rectangular ending.
+
+In this Noyon plainly excels, and there is found nowhere else in France
+the perfect trefoil effect produced by the apsidal terminations of both
+transepts and choir. So far as the transepts are concerned, they are of
+the manner affected by the builders on the Rhine, notably in the Minster
+at Bonn, at Cologne, and again at Neuss in the neighbourhood of Cologne.
+With Noyon apparently nothing is lacking either in the perfections of
+its former cathedral or in its immediate environment. The country round
+about is thoroughly agricultural, and free from the soot and grime of a
+manufacturing community. Amid a setting at once historic and romantic,
+it has for neighbours the chateaux of Coucy and Perrifonds, with
+Compiegne and Chantilly not far distant. The town is unprogressive
+enough, and the vast barge traffic of the Oise sidles by, not a mile
+away, as if it were all unconscious of the existence of any signs of
+modern civilization. As a matter of fact, it hardly is modern. The
+accommodation for the weary traveller is of a satisfying and gratifying
+quality, as the comparatively few visitors to the place well know. The
+city is an ancient foundation, having been known as the Noviodunum of
+the Romans. Here Charlemagne was crowned King of the Franks in 768, and
+Hugh Capet elected king in 987; and here, in an important stronghold of
+Catholicism, as it had long been, Calvin was born in 1509.
+
+Altogether there is much to be found here to charm and stimulate our
+imagination. As a type the cathedral stands preeminent. As to detail and
+state of preservation, they, too, leave little to be desired, though the
+appreciative author of a charming and valuable work treating of a good
+half hundred or more of the "architectural glories of France" bemoans
+the lack of a satisfying daily "Office." This may be a fault, possibly,
+if such be really the case. The fabric of the church has stood the wear
+and tear of time and stress exceeding well. Built in the eleventh and
+twelfth centuries, it is a thoroughly harmonious and pleasing whole, and
+we can well believe all that may have been said of it by the few able
+critics who have passed judgment upon its style, as well as the
+sentiment conveyed by the phrase that it is "one of the most graceful
+and lovable of all the cathedrals of France." The bishopric was
+suppressed after the Revolution, and the church is now a dependency of
+the Bishop of Beauvais.
+
+The elongated belfry towers are perhaps the first and most noticeable
+feature; secondly, the overhanging porch with its supporting frontal
+buttresses; thirdly, the before-mentioned tri-apsidal effect of the
+easterly end; and, last but not least, the general grouping of the whole
+structure in combination with the buildings which are gathered about its
+haunches, though with no suspicion of a detracting element as in some
+sordid and crowded cities, where, in spite of undeniable
+picturesqueness, is presented a squalor and poverty not creditable
+either to the city of its habitation or to the cathedral authorities
+themselves. From every point of vantage the steeples of Notre Dame de
+Noyon add the one ingredient which makes a unity of the entire
+ensemble,--a true old-world atmosphere, a town seen in not too apparent
+a state of unrepair and certainly not a degenerate.
+
+The interior presents no less striking or noble features. It is not
+stupendous or remarkably awesome; but it is grand, with a subtleness
+which is inexpressible. Round and pointed arches are intermixed, and
+there is a notable display of the round variety in the upper ranges of
+the quadrupled elevation of the nave, the lightness, which might
+otherwise have been marred, being preserved through the employment of a
+series of simple lancets in the clerestory of the choir. Rearward of the
+south transept are the chapter-house and the scanty remains of a Gothic
+cloister, where a somewhat careworn combination of the forces of nature
+and art have culminated in giving an unusually old-world charm to this
+apparently neglected gem, as well representative of early French Gothic
+as any in existence to-day.
+
+
+
+
+IV
+
+NOTRE DAME DE SOISSONS
+
+
+Soissons, the other primitive example, is at once a surprise and a
+disappointment. From the railway, on entering the town, one is highly
+impressed with the grouping of a sky-piercing, twin-spired structure of
+ample and symmetrical proportions; and at some distance therefrom is
+seen another building, possibly enough of less importance. Curiously, it
+is the cathedral which is the less imposing, and, until one is well up
+with the beautifully formed spires, he hardly realizes that they
+represent all that is left of the majestic Abbey of _St. Jean des
+Vignes_, where Becket spent nine long years. It is a mere bit of stage
+scenery, with height and breadth, but no thickness. It is a pity that
+such a charming structure as this noble building must once have been is
+now left to crumble. The magnificent rose window, or rather the circular
+opening which it once occupied, is now but a mere orifice, of great
+proportions, but destitute of glazing. The entire confines of the
+building, which crowns a slight eminence at the entrance of the town,
+are now given over to the use of the military authorities.
+
+A little to the right lies the one-time cathedral of Notre Dame,
+Soissons being another of the ci-devant bishoprics suppressed after the
+Revolution by the redistribution which gave but one diocese to a
+Department. Though not unpleasing, its facade is marred by its lack of
+symmetry, while the tower, which rises on the right 215 feet, is not
+sufficiently striking to redeem what otherwise is an ordinary enough
+ensemble. The tower to the left was never raised above where it now
+ends, and the facade, lacking the charm which the edifice might
+otherwise have had, were the towers as complete and well proportioned as
+are those of a later date which grace the remains of the old abbey, will
+be for ever wanting until this completion be carried out.
+
+Romanesque is plainly noticeable in mixture with the early Gothic. The
+three portals are not remarkable, or uniform, and are severely plain,
+and, though of a noticeable receding depth, are bare and unpeopled. A
+well-proportioned rose window, though not so large as many in the
+greater cathedrals, has graceful radiating spokes and good glass. This
+is flanked by two unpierced lancet-pointed window-frames which but
+accentuate the plainness of the entire facade. Above is an arcaded
+gallery which was intended to cross the entire front, but which now
+stops where the gable joins the northerly tower. Restoration has been
+carried on, not sparingly, but in good taste, with the result that, in
+spite of its newness at the present writing, it appears as a consistent
+and thoroughly conscientious piece of work, and not the mere patchwork
+that such repairs usually suggest.
+
+The guide-books tell one that Soissons is famous for its trade in
+haricot beans, and incidentally for the beans themselves, and for the
+great number of sieges which it has undergone, the last being that
+conducted by the Germans, who took possession in October, 1870, after a
+bombardment of three days.
+
+Fergusson makes the statement, which is well taken, that the Cathedral
+of Notre Dame de Soissons, while not in any sense meriting the term
+magnificent, presents, in its interior arrangements, at least, a most
+symmetrical and harmonious ensemble. A curious though not unpleasing
+effect is produced by the blackened pointing of the interior masonry,
+of piers, walls, and vaulting alike. An unusual feature is the
+circumambient aisles to the transepts and the suggestion that a trefoil
+apsidal termination was originally thought of, when the rebuilding was
+taken in hand in the twelfth century. The transept is so completed on
+the south side, which possesses also an ancient portal, and, with the
+two at Noyon so done, presents a feature which is as much a relief from
+the usual rectangle as are the rounded choirs of Continental churches a
+beauty in advance of the accepted English manner of treatment of this
+detail.
+
+The choir rises loftily above the transepts and nave, and, while the
+general proportions are not such as to suggest undue narrowness, the
+effect is of much greater height than really exists. This, too, is
+apparent when viewing the abside itself.
+
+The Chapel of the Rosary in the north transept is overtopped by an
+effective arrangement of perpendicular window-framing, supporting a
+beautiful rose window of the spoke variety. It is safe to say that, had
+the entire space provided been glazed, the effect of lighting would have
+been unique among the cathedrals of the world.
+
+The only other decorative embellishments are some tapestries, a few
+well-preserved tombs, and an "Adoration" supposed to be by Rubens, which
+is perhaps more likely to be genuine, because of the situation of the
+church near unto Flanders, than many other examples whose claims have
+even less to support them.
+
+
+
+
+_PART II_
+
+_The Grand Group_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+Expert opinion, so called, may possibly differ as to just what, or what
+not, cathedrals of France should be included in this term. The French
+proverb known of all guide-book makers should give a clue as to those
+which at least may not be left out.
+
+    "Clocher de Chartres, Nef d'Amiens
+    Choeur de Beauvais et Portale de Reims."
+
+Rouen, Paris, and Le Mans should be included, as well possibly as the
+smaller but no less convincing examples at Seez, Sens, Laon, and Troyes,
+as being of an analogous manner of building, and, by all that goes to
+make up the components of a really great church, Bourges might well be
+considered in the same group. For practical and divisional purposes it
+is perhaps well to compose an octette of the churches of the Isle of
+France and those lying contiguous thereto, Paris, Beauvais, St. Denis,
+Amiens, Reims, Rouen, Chartres, and Le Mans, which may be taken together
+as representative of the greatest art expression of the Gothic builders,
+as well as being those around which centred the most significant events
+of Church and State. To attempt to catalogue even briefly the charms and
+notable attributes of even the first four, would require more than the
+compass of several volumes the size of the present, whereas the attempt
+made herein is merely to lead with as little digression as possible up
+to the chief glories for which they are revered, and to suggest some of
+the many important and epoch-making events intimately associated
+therewith. More would be impossible, manifestly, unless the present work
+were to transcend the limitations which were originally planned for it,
+hence it is with no halting assertion that we enter boldly upon that
+chronology or resume which, in a way, presents a marshalled array of
+correlated facts which the reader may care to follow in further detail
+in the list of bibliographical references included at the end of the
+volume.
+
+Certain facts relating to the history and the architectural features
+generally of these great cathedrals are known to all, and are chronicled
+with more or less completeness in many valuable and authoritative
+works, ranging from the humble though necessary guide-book to the
+extensive if not exhaustive architectural work of reference. The facts
+given herein are such, then, as are often overlooked in the
+before-mentioned classes of works, and as such are presented, not so
+much with the avowed object of imparting information, as to remind the
+reader of the wealth of interest that exists with relation to these
+shrines of religious art. This seems to be the only preamble possible to
+the chapters which attempt to even classify these magnificent buildings,
+wherein much is attempted and so little accomplished in recounting their
+varied attractions. Let this explanation stand, therefore, for any
+seeming paucity of description which may exist.
+
+
+
+
+[Illustration: _Le Bon Dieu d'Amiens_]
+
+II
+
+NOTRE DAME D'AMIENS
+
+
+The ever impressive Cathedral of Notre Dame d'Amiens is in most English
+minds the _beau ideal_ of a French cathedral. It is contemporary with
+Salisbury in period, at least, but it has little to remind one of the
+actual features of this edifice. Often associated therewith, as a
+similar type, it has little in reality in common, except that each is
+representative of a supreme style. Beyond this it is hard to see how any
+expert, archaeologist, antiquary, or what not, would seek to discover
+relationship between two such distinct types. Salisbury is the ideal
+English cathedral as to situation, surroundings, and general charm and
+grace. This no one would attempt to deny; but, in another environment,
+how different might it not appear,--as for instance placed beside
+Amiens, where in one particular alone, the mere height of nave and
+choir, it immediately dwindles into insignificance. Under
+such conditions its graceful spire becomes dwarfed and attenuated. Need
+more be said?--The writer thinks not, since the present work does not
+deal with the comparative merits of any two cathedrals or of national
+types; but the suggestion should serve to demonstrate how impossible it
+is for any writer, however erudite he may be, to attempt to assign
+precedence, or even rank, among the really great architectural works of
+an era. This observation is true of many other examples of art
+expression.
+
+[Illustration: NOTRE DAME _d'AMIENS_ ...]
+
+The cathedral at Amiens is dedicated to the Virgin, and is built in the
+general form of a Latin cross. Over the principal doorway of the south
+portal, on one of the upper plinths, may be seen the inscription which
+places the date of the present edifice.
+
+     [+] En l'an`[=q]ue l'Incarnati[=o] valait mcc et xx. Ro....rs, ifu:
+     rimisit: le premiere piere: iasis,... le cors.... Robert...
+
+The work was undertaken by one Robert de Luzarche, in the episcopate of
+Evrard de Fouilloy, the forty-fifth Bishop of Amiens, whose tomb may be
+seen just within the western doorway, and occupies the site of other
+structures which had been variously devastated by fire or invasion in
+850, 1019, 1137, and 1218. For fifty years the work went on
+expeditiously under various bishops and their architects. "Saint" Louis,
+Blanche of Castille, Philippe the Hardy, and the city fathers all aided
+the work substantially, and the fabric speedily took on its finished
+form. Through the later centuries it still preserved its entity, and
+even during the Revolution its walls escaped destruction and defilement
+through the devotion of its adherents.
+
+In later days important work and restoration has been carried out under
+the paternal care and at the expense of the state; and the city itself
+only recently contributed 45,000 francs for the clearing away of
+obstructing buildings.
+
+A French writer has said, "It is only with the aid of a Bible and a
+history of theology that it is possible to elucidate the vast
+iconographic display of the marvellous west front of the cathedral at
+Amiens." Like Reims, its three portals of great size are peopled with a
+throng of statues. The central portal, known as the Porche du Souvenir,
+contains the statue of the Good God of Amiens; that on the right is
+called after the Mere de Dieu, and that on the left for St. Fermin the
+Martyr. Above the gables is the "Gallery of Kings," just below the
+enormous rose windows. Above rise the two towers of unequal loftiness,
+and lacking, be it said, thickness in its due proportion. The carven
+figures in general are not considered the equal in workmanship of those
+at Reims, though the effect and arrangement is similar. For a complete
+list of them, numbering some hundreds on this facade alone, the reader
+must refer to some local guide-book, of which several are issued in the
+city.
+
+The south portal, the _Portal de la Vierge doree_ or _Portal de Saint
+Honore_, shares company with the west facade in its richness of
+sculpture and its rose window and its gable. Here also are to be seen
+the supporting buttresses which spring laterally from the wall of the
+transept and cross with those which come from the choir.
+
+The north portal, on the side of the Bishop's Palace, does not show the
+same richness as the others, though perhaps more than ordinarily ornate.
+
+The spire above the transept crossing is a work of the sixteenth
+century, and is perhaps more remarkable than its rather diminutive
+appearance, in contrast with the huge bulk of the edifice, would
+indicate.
+
+The extreme height of nave and choir (147 feet), adds immeasurably to
+the grand effect produced by the interior, a height in proportion to
+breadth nearly double that usual in the English cathedrals. The vaulting
+is borne aloft by over one hundred columns. The natural attribute of
+such great dimension is a superb series of windows, a promise more than
+fulfilled by the three great rose windows and the lofty clerestory of
+nave and choir. The sixteenth century glass is exceedingly profuse and
+brilliant.
+
+The lateral chapels of the nave were added subsequent to the work of the
+early builders, all being of the sixteenth century, while the eleven
+choir chapels are of the thirteenth century, all with very ornate iron
+grilles, which are a feature only second to a remarkable series of
+"choir stalls," numbering over one hundred, showing a wonderful variety
+of delicate carved figures of the sixteenth century, the work of one
+Jean Turpin, the subjects being mainly Biblical.
+
+A stone screen with elaborate sculptures in high relief surrounds the
+choir, that on the south representing the legend of St. Firmin, the
+patron of Picardy, and that on the north, scenes connected with the life
+of John the Baptist. In a side chapel dedicated to St. John reposes the
+alleged head of John the Baptist. Others have appeared elsewhere from
+time to time, but as they are not now recognized as being genuine, and
+the said apostle not being hydra-headed, it is possible that there will
+be those who will choose to throw the weight of their opinions in favour
+of the claim of Amiens.
+
+The flying buttresses at Amiens are not of the singular lightness
+associated with this notably French characteristic; they are in the
+main, however, none the less effective for that, and assuredly, so far
+as the work which they have to perform is concerned, it was doubtless
+necessary that they should be of more than ordinary strength.
+
+The view of the ensemble from the river shows the massiveness and
+general proportions in a unique and superb manner. Amiens is not
+otherwise an attractive city, a bustle of grand and cheap hotels,
+decidedly a place to be taken _en route_, not like Beauvais, where one
+may well remain as long as fancy wills and not feel the too strong hand
+of progress intruding upon his ruminations.
+
+
+
+
+III
+
+ST. PIERRE DE BEAUVAIS
+
+
+Beauvais is by no means an inaccessible place, though how often have we
+known one who could not tell in what part of France it was situated. Of
+course, being "off the line" is sufficient excuse for the majority of
+hurried travellers to pass it by, but, leaving this debatable point out
+of the question, let us admit, for the nonce, that it is admirably
+located if one only chooses to spend a half-day or more in visiting the
+charmingly interesting city and its cathedral, or what there is of it,
+for it exists only as a luminous height _sans_ nave, _sans_ tower, and
+_sans_ nearly everything, except a choir of such immensity that to see
+it is to marvel if not to admire. It is indeed as Hope has said, "a
+miracle of loftiness and lightness; appearing as if about to soar into
+the air."
+
+[Illustration: ST. PIERRE ... _de BEAUVAIS_]
+
+How many readers, who recognize the charms for which the cathedral is
+most revered, know that it was intended to rank as the
+St. Peter's of the north, and like its Roman prototype, was to surpass
+all other contemporary structures in size and magnificence. This was
+marked out for it when, in the middle sixteenth century, the builders of
+its central spire, which fell shortly after, sought to rival the Italian
+church in a vast Gothic fabric which should be the dominant northern
+type in contra-distinction to that of the south. This of itself, were
+there no other contributory interests, which there are to a very great
+degree, should be all-sufficient to awaken the desire on the part of
+every one who journeys Parisward to obtain a more intimate acquaintance
+with this great work. Here was an instance of ambition overleaping
+itself,--exceeding by far the needs and conditions of its environment
+and like many another ill-planned venture, it fell to ruin through a
+lack of logic and mental balance. To-day we see a restored fabric,
+lacking all the attributes of a great church except that which is
+encompassed by that portion lying eastward of the nave proper, its frail
+buttresses knitted together by iron rods, its piers latterly doubled in
+number, and many more visible signs of an attempt to hold its walls and
+roofs up to the work they have to perform.
+
+The present structure, in so far as certain of its components go, was
+commenced within five years of Amiens (1225), which calls to mind the
+guide-book comparison, which seems so appropriate that it must really
+have previously originated from some other source,--Amiens, "a giant in
+repose;" Beauvais, "a Colossus on tiptoe."
+
+Its designer built not wisely, nor in this case too well, for before the
+end of the century the roof had fallen, and this after repeated
+miscalculations and failures. At this time the intermediate piers of the
+choir were built and a general modified plan adopted.
+
+Ruskin's favourite simile, with respect to St. Pierre de Beauvais, was
+that no Alpine precipice had the sheer fall of the walls of this
+choir,--or words to that effect, which is about as far-fetched as many
+other of his dictums, which have since been exploded by writers of every
+degree of optimism and pessimism. Certainly it is a great height to
+which this choir rises, one hundred and fifty-three feet it has been
+called, which probably exceeds that of Amiens by a dozen or more feet,
+though authorities (_sic_) vary with regard to these dimensions, as
+might be supposed; but it is no more like unto a wall of rock than it
+is to a lighthouse.
+
+With the crumbling of the sixteenth-century spire on Ascension Day,
+1573, restoration of the transepts was undertaken and work on the nave
+resumed, which only proceeded, however, to the extent of erecting one
+bay to the westward, which stands to this day, the open end filled in
+with scantling, weather proofing, and what not,--a bare, gaunt, ugly
+patch. Had it been possible to complete the work on its original
+magnificent lines, it would have been the most stupendous Gothic fabric
+the world has ever known.
+
+Not entirely without beauty, in spite of its great proportions, it is
+more with wonder than admiration that one views both its details and
+proportions. Though it is perhaps unfair to condemn its style as
+unworthy of the Augustan age of French architecture, surely the ambition
+with which the work was undertaken was a laudable one enough, and it is
+only from the fact that it spells failure in the eyes of many who lack
+initiative in their own make-up, that it only qualifiedly may be called
+a great work.
+
+The choir, which now dates from 1322, perforce looks unduly short, by
+reason of the absence of a nave to add to the effect of horizontal
+stability; and the great height of the adjoining transept; but the
+chevet and buttresses are certainly a marvel of grace and towering
+forms.
+
+The portals of the transept are of the period of Francis I., with
+flowing lines and ornate decorations--"having passed the severity and
+ethical standards of maturity, and progressed well along the path to
+senility," as a vigorous Frenchman has put it. True enough in its
+application is this livid sentiment,--perhaps,--but its jewel-like south
+portal, like the "_gemmed_" west front of Tours, forms an attractive
+enough presentment to please most observers who do not delve too deeply
+into cause and effect. The north portal is less ornate, but its
+beautifully carved doors are by the same hand as that which worked the
+opposite portal. The ornamental stonework here is unusual, suggesting an
+arrangement which may or may not have been intended as a representation
+of the "Tree of Jesse." In any case it is a remarkable work of flowing
+Gothic "branches," which, though mainly lacking its intended
+interspersed figures, is not only unique among exterior decorations,
+but appears as a singularly appropriate treatment of a grand doorway.
+
+Adjoining the choir on the right is a sacristy occupying a small
+structure, and to the westward is a fragmentary edifice known as the
+_Basse OEuvre_,--one of the oldest existing buildings in France; a
+Romano-Byzantine work, variously stated as of the sixth to eighth
+century and forming a portion of the original church which occupied the
+site of the present Cathedral.
+
+The general impressiveness of this great church--the memory which most
+of us will carry away--is caused by its immensity, its loftiness, and
+the general effect of lightness. These form an irresistible galaxy of
+features which can hardly fail to produce a new and startling sensation
+upon any observer.
+
+As to decorative embellishments, the church is by no means lacking. The
+coloured glass, typical of the best period of the art, is luxurious and
+extensive; that contained in the north and south transept rose windows
+being the exceedingly beautiful work of Le Prince, a celebrated
+sixteenth-century artist.
+
+Numerous side chapels surround the ambulatory of the choir, and on the
+west wall of the transept are hung the eight tapestries after the
+sixteenth-century Raphael cartoons now at South Kensington. These
+tapestries are, it is to be presumed, late copies, since, of the two
+early sets woven at Arras, one is preserved in the Vatican and the other
+at the Museum at Berlin. A modern fresco of Jeanne Hachette, a local
+Amazon, adorns one of the choir chapels. A modern astronomical clock,
+with numerous dials, striking figures, and crowing cocks, is placed near
+the north transept. It might naturally be supposed that in our day the
+canons of good taste would plead against such a mere "curio" being
+housed in a noble church.
+
+The former Bishop's Palace, dating from the fourteenth to sixteenth
+centuries, is now the Palace of Justice. The present episcopal residence
+is immediately to the north of the Cathedral and is modern.
+
+As a tapestry-making centre Beauvais ranks with the famous Gobelin
+Manufactory at Paris.
+
+
+
+
+[Illustration: _Notre Dame de Rouen_]
+
+IV
+
+NOTRE DAME DE ROUEN
+
+
+Rouen, of all the mediaeval cities of France, is ever to the fore in the
+memories of the mere traveller for pleasure. In no sense are its charms
+of a negative quality, or few in number. Quite the reverse is the case;
+but the city's apparent attraction is its extreme accessibility, and the
+glamours that a metropolis of rank throws over itself; for it must not
+be denied that a countrified environment has not, for all, the appealing
+interest of a great city. It is to this, then, that Rouen must accredit
+the throngs of strangers which continually flock to its doors from the
+Easter time to late autumn. In addition there are its three great
+churches, so conveniently and accessibly placed that the veriest tyro in
+travel can but come upon them whichever way he strolls. Other monuments
+of equal rank there are, too, and altogether, whether it be the mere
+hurried pecking of a bird of passage, or the more leisurely attack of
+the studiously inclined, Rouen offers perhaps much greater attractions
+than are possessed by any other French city of equal rank.
+
+So closely, too, have certain events of English history been interwoven
+with scenes and incidents which have taken place here, that the wonder
+is that it is not known even more intimately by that huge number of
+persons who annually rush across France to Switzerland or Italy.
+
+Chroniclers of the city's history, its churches, and its institutions
+have not been wanting, in either French or English; and even the
+guide-books enlarge (not unduly) upon its varied charms. Once possessing
+thirty-two churches, sixteen yet remain; quite one-half of which may be
+numbered to-day as of appealing interest. _En passant_, it may be stated
+that here at Rouen, in both Notre Dame and the Abbey Church of St. Ouen,
+is found that gorgeous functionary, commonly called "the Suisse," who
+seeks your gold or a portion thereof, in return for which he will favour
+you by opening an iron wicket into the choir, an incumbrance unnoticed
+elsewhere, except at Paris and St. Denis.
+
+The late Gothic church of St. Ouen, where the Maid of Orleans received
+her fatal sentence, shows a wonderful unity of design even as to its
+modern western towers; a consistency not equally the possession of the
+neighbouring cathedral, or even of most great churches. Altogether, this
+grand building is regarded as an unparallelled example of the
+realization of much that is best of Gothic architecture at its greatest
+height. In its central tower alone--which may or may not be suggestive
+of a market-basket, accordingly as you will take Ruskin's opinion, or
+form one of your own--is the least evidence of the developed flamboyant
+found. Its interior is clean-cut and free of obstruction; the extreme
+length of its straight lines, both horizontal and perpendicular,
+entirely freed from chapel or choir screen, embrace and uphold its
+"walls of glass" in an unequalled manner.
+
+In strong contrast to this expressively graceful style is the
+ultraflorid type of St. Maclou, the other of that trinity of
+architectural splendours, which, with the Cathedral of Notre Dame, form
+the chief ecclesiastical monuments of the city. St. Maclou, which dates
+from the early fifteenth century, though not of the grand proportions of
+either of the other great churches, being rather of the type of the
+large parish church as it is known in England, holds one spellbound by
+the very daring of its ornaments and tracery, but contains no trace of
+non-Gothic. The French passion for the curved line is nowhere more
+manifest than here (and in the west front of Notre Dame), where flowing
+tracery of window, doorway, portal, and, in general, all exterior
+ornament, is startling in its audacity. To view these two contrasting
+types before making acquaintance with the Cathedral of Notre Dame
+itself, is to prepare oneself for a consideration in some measure of a
+combination of the charms of both, woven into one fabric. Nowhere, at
+least in no provincial town of France, are to be found such a
+categorical display of ecclesiastical architectural details as here.
+
+Rouen has from the second century been an important seat of
+Christianity. St. Nicaise, not to be confounded with him of the same
+name of Reims, first held a conversion here and was shortly followed by
+St. Mellor, who founded the city's first church, on the site of the
+present cathedral. In succeeding centuries this foundation gradually
+took shape and form until, with the occupation by the Norsemen under
+Rollo, was founded a dynasty which fostered the development of theology
+and the arts in a manner previously unknown. The cathedral was enlarged
+at this time, and upon his death in 930 Rollo was interred therein, as
+was also his son in 943. Richard the Fearless followed with further
+additions and enlargements, his son Richard being made its forty-third
+archbishop. From this time on, the great church-building era, Christian
+activities were notably at work, here as elsewhere, and during the
+prolific eleventh century great undertakings were in progress; so much
+so that what was practically a new church received its consecration, and
+dedication to Our Lady, in 1063, in the presence of him who later was to
+be known as the Conqueror. To-day it stands summed up thus--a grand
+building, rich, confused, and unequal in design and workmanship.
+
+The lower portion of the northwest tower, called the _Tour St. Romain_,
+is all that is left of the eleventh-century building, the remainder of
+which was destroyed by fire in 1200. Rebuilding followed in succeeding
+years and shows work of many styles. Additions, repairs, and
+interpolations were incorporated with the fragment of the tower, so that
+the structure as we now know it stood complete with the early thirteenth
+century. Viollet-le-Duc is the authority for the statement that the
+apse and transept, chapels, choir, and two doorways of the west facade
+were quite complete before the influence of the perfected Gothic of the
+Isle of France was even felt. One Enguerrand was the chief designer of
+the new church, assisted by Jean d'Andeli as master mason. The early
+century saw the nave chapels built, having been preceded by the _Portail
+aux Libraires_, a sort of cloistered north entrance, still so referred
+to, one of the most charming and quiet old-world retreats to be found
+to-day even within the hallowed precincts of a cathedral. The _Portail
+de la Calende_ did not follow until a century later, when the _Tour St.
+Romain_ was completed to its roof; at which time was also added the
+screen or arcade which separates the _Portail aux Libraires_ from the
+street.
+
+This century, too, saw the beginning of the famous _Tour de Beurre_,
+built mostly by the contributions of those who paid for the indulgence
+of being allowed to eat butter during Lent. Its foundation was laid in
+1487 under Archbishop Robert de Croixmore, and it was completed under
+Cardinal d'Amboise in 1507. A chapel at the base of the tower is
+dedicated to St. Stephen. The ornate decorations of the west front,
+added by Georges d'Amboise, are mainly of the sixteenth century and form
+no part of the original plan or design. It borders upon the style we
+have since learned to decry, but it is, at least, marvellous as to the
+skill with which its foliaged and crocketed pinnacles and elaborate
+traceries are worked. Ruskin was probably right in this estimate at
+least,--"The central gable is the most exquisite piece of pure
+flamboyant style extant." At the present day this west front is
+undergoing such restoration and general repair that the entire gable,
+rose window, and part of the flanking towers are completely covered with
+a most hideous array of scaffolding.
+
+The central spire as it exists to-day, in reality an abomination of
+abominations, is naturally enough admired by all when first viewed from
+afar. It certainly looks not dwarfed, or even fragile, but simply
+delicate, and withal graceful, an opinion which ultimate association
+therewith speedily dispels. It must be one of the very first examples of
+modern iron or steel erection in the world, dating from 1827, following
+three former spires, each of which was burned. The architect responsible
+for this monstrosity sought to combine two fabrics in incoherent
+proportions. More than one authority decries the use of iron as a
+constructive element, and Chaucer's description of the Temple of Mars in
+the Knight's Tale reads significantly:
+
+    "Wrought all of burned steel...
+      Was long and straight and ghastly for to see."
+
+The great part of the exterior of this remarkable church is closely
+hidden by a rather squalid collection of buildings. Here and there they
+have been cleared away, but, like much of the process of restoration,
+where new fabric is let into the old, the incongruity is quite as
+objectionably apparent as the crumbling stones of another age. _Notre
+Dame de Rouen_ is singularly confined, but there seems no help for it,
+and it is but another characteristic of the age in which it was
+built,--that the people either sought the shelter of churchly
+environment, or that the church was only too willing to stretch forth
+its sheltering arms to all and sundry who would lie in its shadow.
+
+In an assignment of ranking beauty to its external features, the
+decorative west front must manifestly come first; next the _Portail aux
+Libraires_, with its arcaded gateway and the remains of the booksellers'
+stalls which still surround its miniature courtyard; then, perhaps,
+should follow the _Tour St. Romain_ and the _Portail de la Calende_,
+with its charmingly recessed doorway and flanking lancet arches. The
+sculptured decorations of all are for the most part intact and
+undisfigured. The gable of the southern doorway rises pointedly until
+its apex centres with the radiated circular window above, which, by the
+way, is not of the exceeding great beauty of the other two rose windows,
+which rank with those at Reims and Chartres as the _beaux ideals_ of
+these distinctly French achievements.
+
+The interior, viewed down the nave, and showing its great length and
+that of the choir, impresses one with a graver sense of unity in the
+manner of building than is possible to conceive with regard to the
+exterior. The height and length both approximate that of St. Ouen, and,
+though the nave rises only to ninety-eight feet, an effect of greater
+loftiness is produced by the unusual quadripartite range of openings
+from pavement to vaulting: two rows of arches opening into the aisles
+before the triforium itself is reached. The lantern at the crossing
+supports the ironwork spire, and admits light to the centre of the
+church, only to a small degree, however. The south transept, like that
+of the north, with its ample double aisles, is of great width, and, were
+the framing of the great rose window of less angularity, it would indeed
+produce a remarkable effect of grandeur. The other windows, and the
+arcading of the triforium, are singularly graceful; not lacking either
+strength or firmness, though having no glass of great rarity or
+excellence. In this transept is the altar of St. Romain, a
+seventeenth-century work of little pretensions.
+
+The north transept contains two features which give it immediate
+precedence over any other, when viewed from within: its gracefully
+traceried rose window and fine glass, and the delightful stone staircase
+leading to the chapter library. Mere description cannot do this stairway
+justice. Renaissance it certainly is, and where we might wish to find
+nothing but Gothic ornament, it may prove somewhat of a disappointment;
+but it is magnificent. Its white marble balustrading gleams in the
+strong light thrown from the western transept window and gives an
+unmistakable note of richness and sonority. It was built late in the
+fifteenth century under orders of Cardinal d'Estonteville. The upper
+doorway leads to the treasury, and that of the first landing to the
+chamber in which were formerly kept the bibliographical treasures, now
+housed in the special building which forms the western wall of the
+outside court.
+
+The north and south aisles of the nave are broken into by a series of
+chapels, the chief of which are the Chapel to St. Stephen in the base of
+the _Tour de Beurre_ and _du Petit St. Romain_, where an abbe or cure
+speaking the English tongue is often to be found. On the south side is a
+chapel containing the tomb of William Longsword, second Duke of
+Normandy, and son of Rollo.
+
+The great attraction of the choir, far more than its beauties of
+architectural forms, shown in its graceful columns and deep graven
+capitals, will be, for most visitors, its array of elaborate monuments,
+including those of Pierre and Louis de Breze, of whom the former, the
+Grand Seneschal of Normandy under Charles VII., fell at Monthery, and
+was buried here in 1465. More pretentious is the tomb of Louis, his
+grandson, erected by his wife Diane de Poitiers, with a significant
+inscription which the curious may be pleased to figure out for
+themselves. This noble monument is one of those examples hesitatingly
+attributed to Jean Goujon. The _piece de resistance_ is the Renaissance
+tomb of the Cardinals d'Amboise. Georges I. was memorialized in 1556 by
+his nephew Georges II., who in turn came to share the same tomb. Both
+their kneeling figures are beautifully chiselled, and the whole erection
+is gorgeously representative of the late sixteenth-century monumental
+work, little in keeping with the Gothic fabric which houses it, but
+characteristic of the changing thought and influence of its time. Six
+symbolical figures of the virtues form a lower course, while the canopy
+is surmounted by nineteen figures of apostles, saints, etc. In 1793 the
+ashes of these great prelates were scattered to the winds, but the
+effigies and their setting fortunately remained uninjured. Other
+archbishops of the cathedral are buried in the choir, and the heart of
+Richard Coeur de Lion once rested here, as did also the bodies of his
+brother Henry, and John, Duke of Bedford.
+
+The choir stalls, mostly the work of Flemish wood-carvers, are notable
+examples.
+
+[Illustration]
+
+[Illustration: _Basilique de St. Denis_]
+
+
+
+
+V
+
+BASILIQUE DE ST. DENIS
+
+
+The Basilica of St. Denis, so-called to-day, built over the remains of
+the martyred St. Denis, is in a way the counterpart of the Cathedral of
+Reims, in that it also is intimately associated with the Kings of
+France. In the former they were, almost without exception, crowned; and
+here, at St. Denis, are the memorials of their greatness, and in many
+cases their actual tombs. Thus far and no farther may the similarity be
+said to exist. The old Abbey of St. Denis has little in common,
+architecturally, with the grand Cathedral of Notre Dame de Reims. Of the
+two, St. Denis is much the older foundation, and from the point of view
+of romance and sentiment holds perhaps the premier place, as well.
+
+The history of the city is one of the most interesting and diversified
+of all in the domain of the Kings of France. A Benedictine abbey was
+founded here in the reign of Dagobert I., and, under the Carlovingian
+dynasty, immediately took on political as well as devout significance.
+The Abbot of St. Denis journeyed to Rome in 751 A. D. and secured for
+Pepin the papal confirmation of his kingship. Pope Stephen took refuge
+here from the Lombards in 754 A. D., during which time he anointed the
+king's sons, Charles and Charlemagne; upon the consecration of which act
+Pepin handed over to his sons the right and title to his dominions.
+
+Upon the advice of the Abbot Suger, Louis VI. adopted the _Oriflamme_,
+or standard of St. Denis, as the banner of the Kings of France, and, for
+long after, its red and gold colourings hung above the altar,--only to
+be removed when the king should take the field in person.
+
+Abelard, of famed romance, was a monk of the abbey in the twelfth
+century; and, in the absence of the sovereign (Louis VII.) in the Holy
+Land during the mid-century, the Abbe Suger administered full well the
+affairs of the kingdom. This renowned abbot and true lover of art died
+in 1151 at St. Denis.
+
+In 1429 "the Maid of Orleans" here delivered up her arms; and a century
+and a half later that sturdy Protestant, Henry, abjured the faith to
+which he had hitherto so tenaciously clung. In this church, too, the
+great Napoleon married Marie Louise in 1810; and his later namesake,
+some fifty years after, erected a mausoleum in the crypt, known as the
+_Caveau Imperial_, the burial vault of his dynasty, which, however, has
+never been so used.
+
+Such in brief is the record of some of the more important affairs of
+church and state, which are identified with this fine old cathedral. The
+usual books of reference give lengthy lists of the various tombs and
+monuments which exist. It is a pity, however, that, in spite of the
+laudable ambition of preserving here, in a sort of kingly Valhalla, the
+memory of the rulers of a past age, it has degenerated, in turn, to a
+mere show-place, with little enough of the real sentiment remaining to
+satisfy the seriously inclined, who perforce would wish to be reminded
+in some more subtle way than by a mere "rush around the exhibits," which
+is about all the half-hourly, personally conducted excursions, with
+appropriate fees to be delivered up here and there, amounts to. But for
+this, there would still be some of the charm and reverence which such a
+noble memorial should inspire, in spite of the fact that revolution and
+desecration have played more than a usual share in the general
+derangement of the original plans.
+
+Up to the time of Henry IV., the monarchs were mostly interred in
+separate tombs, but, following him, his immediate successors were buried
+in a common vault. During the Revolution, the Convention decreed that
+the royal tombs should be destroyed, and so they mostly were,--the
+bodies dug up and interred, if so the process can be called, in a common
+grave. In 1817 Louis XVIII. caused the remains of his ancestors, as well
+as Louis XVI. and Marie Antoinette, to be transferred here from the
+Madeleine, and in turn he himself was buried here, as well as the Duc de
+Berry and several of his children. The preservation of such of the tombs
+as survived the many vicissitudes to which they were put, is due to the
+fact that many of them were at one time removed to the Musee des
+Petits-Augustines, now the Palace des Beaux Arts, at Paris; but in 1817
+Louis XVIII. ordered them to be replaced in the crypt of St. Denis; not,
+however, on the sites which they formerly occupied, but in an arbitrary
+manner which only the great abilities of M. Viollet-le-Duc, who
+undertook their rearrangement and restoration, were able to present in
+some coherent manner for the marvel of future generations. There are now
+therein over fifty monuments and tombs, besides various statues,
+medallions, and other memorials.
+
+From an architectural point of view, we have to consider the _Basilique
+de St. Denis_ no longer a cathedral, as one of the earliest Gothic
+examples in France, though at first glance little enough of the true
+Gothic feeling is apparent. About the year 275 a chapel was built here
+above the grave of St. Dionysius, the first Bishop of Paris. This was
+followed by a large _basilica_, ultimately given over to the uses of
+monks of the Benedictine order. Evidences of this former construction
+are supposed by archaeologists to still remain, but little, earlier than
+the structure of the Abbe Suger, meets the eye to-day. Strong is the
+trace of the development from the Romanesque facade, completed in 1140,
+to pure Gothic construction of a century later. In this church is
+commonly supposed to be exhibited for the first time, bearing in mind
+that the date of its consecration was 1144, a complete system of
+buttresses accompanying the pointed arch of the vaulting, though in
+conjunction with semicircular vaulting in the choir aisles.
+
+The west facade is the most notable part of Suger's building. It
+contains three deeply recessed round arched portals, decorated with
+sculpture, but so disfigured, or at least modified from their original
+forms in an attempt to replace the ravages of time and spoliation, that
+one can not well judge of their original merit. The south portal shows
+symbolical figures of the months and of "St. Dionysius in Prison;" the
+central doorway a "Last Judgment," and the "Wise and Foolish Virgins;"
+while the north portal depicts "St. Dionysius on His Way to Martyrdom,"
+and "The Signs of the Zodiac."
+
+A curious and unusual effect of the upper portion of this grim facade,
+like a similar work at Dol-de-Bretagne, is a range of battlements which
+were erected for defensive purposes in the fourteenth century. The nave
+rises high above this, surmounted by a statue of St. Denis. Above the
+lateral portals of the facade are two towers, that on the right rising
+two stages above the embattled crest, while that on the left stops at
+that level. The spire with which it was formerly surmounted was ruined
+by lightning early in the nineteenth century.
+
+The choir, with its radiating chapels, is of a Romanesque order, with
+the Gothic attribute of the flying buttress in a high degree of
+development.
+
+A general restoration was carried out in the thirteenth century by the
+successors of Suger, the Abbes Eudes Clement and Matthieu de Vendome, in
+the best Gothic of the time; and it is to their excellently planned work
+that the general fine effect of the present interior arrangements may
+properly enough be accredited, though for a fact it seldom is so. A
+later restoration, the removing of the ruin wrought by the Revolution,
+did not succeed so well. It was not until the really great work of
+Viollet-le-Duc, under Napoleon III., that this grand building finally
+took on again an acceptable form.
+
+The general interior arrangements, though to-day apparently subservient
+to the common attributes of a show-house with its innumerable guides,
+functionaries, and fees, are simple and impressive so far as structural
+elements are concerned. As for decorations, they are mostly to be found
+in that gorgeous array of monuments and tombs before mentioned. The
+entrance proper, or vestibule, is of Suger's era and is gloomy and dull,
+in strong contrast with the noble and impressive nave, which contains
+thirty-seven enormously high windows and a handsome triforium gallery.
+This portion dates from the thirteenth century, or immediately following
+Suger's regime. The excellent stained glass is modern. The transepts are
+mere rudimentary elements, suggested only by the interior arrangement of
+the piers, and are simple and impressive.
+
+[Illustration: _Oriflamme of St. Denis_]
+
+
+
+
+[Illustration: NOTRE DAME _de PARIS_...]
+
+VI
+
+NOTRE DAME DE PARIS
+
+
+Of all the cathedrals of France, Notre Dame de Paris is most firmly
+impressed on the minds of English speaking people. At least, it is more
+familiarly known by all who visit that delectable land, and perhaps
+rightly so. Poets have sung its praises, and writers of all ranks have
+used it in well-nigh every possible fashion as an accessory; indeed,
+books almost without number have been written about it, and around it.
+This is as it should be, for perhaps no great church is more worthy, or
+more prolific in material. For those who would probe deeply into its
+story, there is but one way to acquire an intimate knowledge
+thereof,--to undertake a course of reading and study in some such way as
+a lawyer sets about reading up on a great case. By no other method could
+be acquired a tithe of the commonly known facts regarding its past
+history; hence the impossibility of attempting to deal fully in a few
+pages with this great church, even in a perfunctory manner. The most
+that can be safely ventured upon, is to recount some of the facts.
+
+How many have really noticed that none of the diagrams, which show the
+ground-plan of this cathedral, indicate the existence of any transepts?
+Take, for instance, that which accompanies this volume, which, it may be
+said, is drawn correctly,--beyond the omission of a couple of pillars on
+either side of the nave, there is nothing to break into the long
+parallelogram-like structure, with an apsidal termination. As a matter
+of fact, there are a pair of very beautiful transepts, as most
+photographs of the exterior, and drawings of the interior, show. They
+are, too, in no way attenuated, and are only lost in the ground-plan by
+reason of the fact that they follow the very unusual arrangement of not
+extending laterally beyond the ample width of the nave and its chapelled
+aisles. The south transept facade, with the portal dedicated to St.
+Stephen, and two magnificent rose windows, is unquestionably more
+pleasing than the west facade itself as to design and arrangement.
+
+Begun in 1163 and consecrated in 1182, the church has undergone many
+vicissitudes, changes, and restorations. It has fared ill on many
+occasions; perhaps the greatest defilement being that which befell it
+during the Revolution, when it was not only foully desecrated, its
+statues and other imagery despoiled, but the edifice was actually doomed
+to destruction. This fortunately was spared to it, but in the same year
+(1793) it became a "Temple of Reason," one of those fanatical exploits
+of a set of madmen who are periodically let loose upon the world.
+Mysticism, palaverings, and orgies unspeakable took place between its
+walls, and it only became sanctified again when Napoleon caused it to be
+reopened as a place of divine worship. Again, three-quarters of a
+century later, it fell into evil times--when it was turned into a
+military rendezvous by the Communards of '71. In turn, they too
+retreated, leaving the church, as they supposed, to the mercy of the
+flames which they had kindled. Fortunately these were extinguished and
+the building again rescued from an untoward fate.
+
+The thirteenth-century facade is usually accredited the finest part of
+the church. It comes upon one as rather plain and bare after the
+luxuriance of Amiens, Reims, or Rouen. As a model and design, however,
+it has served its purpose well, if other examples, variously
+distributed throughout England and France, are considered. Its lines, in
+fact, are superb and vary little in proportion or extent from what must
+perforce be accepted as ideal. Its portals are of good design, and so
+also is such sculpture as survived the ravages of the past, though the
+outlines of the doorways are severely plain. A series of modern
+sculptured effigies of the kings, replacing those destroyed at the
+Revolution, forms a plain horizontal band across the entire front; a
+none too graceful or pleasing arrangement of itself. A rose window
+forty-two feet in width occupies the centre of the next stage, flanked
+by two blunt-pointed windows rather bare of glass. Above is an arcaded
+gallery of small pointed arches in pairs, also extending across the
+entire front. The balustrade, above, holds a number of grotesque
+creatures carved in stone. They may be gargoyles, but are not, however,
+in this case, of the spout variety, being some of those erections of a
+superstitious age which were so frequently added to a mediaeval building;
+though whether as a mere decoration, or with greater significance,
+authorities do not seem to agree. The two uncompleted square towers
+overtop all, pierced by the two great lancets, which, with respect to
+mere proportions, are unusual if not unique.
+
+The spire above the crossing is a wooden structure covered with lead,
+and dates only from the middle of the nineteenth century. Both the north
+and south transepts contain magnificent rose windows of even larger
+dimensions than that of the west facade. The doorway of the south
+transept is ornamented with effective ironwork, but otherwise the
+exterior presents no remarkable features.
+
+To the artist's eye the gem of the building is undoubtedly the fine
+grouping and ensemble of the flying buttresses at the rear of the choir.
+Most persons, so gifted, have tried their prentice, or their master,
+hands at depicting this grand marshalled array of "folded wings," and,
+but for the gruesome morgue at its foot, which ever intrudes into the
+view, one might almost say it is the most idyllic and most specious view
+of a great cathedral that it were possible to have. Were it not for this
+charming view of these buttressed walls, with the river flowing at their
+feet, the Isle de la Cite would be indeed a gloomy spot, with its lurid
+historical past, and its present gruesome association with the "house of
+the dead." Indeed, it has been questioned as to whether the choir and
+chevet of Notre Dame de Paris is not the most beautiful extant. The Isle
+de la Cite was the ancient island village of the Parisii.
+
+A sixteenth-century Dutch writer (De Sauteuil) has delivered himself of
+these few lines concerning the Seine at this point:
+
+"When first it enters the metropolis it ambitiously stays its rapid
+course, and, being truly enamoured with the place, forgets its way, is
+uncertain whither to flow, and winds in sweet meanders through the town;
+thence filling the pipes with its waters. That which was once a river,
+joys to become a fountain."
+
+To carry the suggestion of contrast still farther one should read Hugo's
+"Notre Dame" on the spot. It will give a wonderful and whimsical
+conception of those weird gargoyles and devils, which have only to be
+seen to awaken a new interest in what this great writer has put forth.
+For another sensation, pleasant or otherwise, one might look up a copy
+of Meyron's wonderful etching of the same subject, or refer to a most
+excellent monograph, written not many years since, entitled "The Devils
+of Notre Dame." The interior shows the earliest example wherein the
+double aisles of the nave are continued around the choir, and the first
+introduction of the quadruple range of openings from the pavement to
+the vaulting. The aisles and nave are of almost equal height.
+
+The choir, besides being merely apsided, is, in fact, a true semicircle,
+a sufficiently unusual arrangement in an early Gothic church to be
+remarked; and, in addition, is exceedingly narrow and lofty. The glass
+of the rose windows is of old and gorgeous quality, it having escaped
+destruction in Revolutionary times, whereas that of the lower range of
+windows was mostly destroyed.
+
+The choir stalls are of excellent wooden carving, but the high altar is
+modern, dating only from 1874. The choir screen, of the fourteenth
+century, shows twenty-three reliefs in stone, once richly gilded, but
+now tarnished and dull.
+
+[Illustration: _Notre Dame de Paris from the River_]
+
+
+ST. LOUIS DE VERSAILLES
+
+Allied with the see whose jurisdiction includes the Diocese of the
+Department of the Seine, should be considered that of Seine and Oise,
+which has its bishop's throne esconced in the Cathedral of St. Louis at
+Versailles. To all intents and purposes the town is one of those
+conglomerate units which go to make up the "traveller's Paris." More can
+hardly be said with due regard to the magnificent edifices with which
+this cathedral must naturally be classed. The other attractions of this
+"court suburb" are so appealing to the sentimentally inclined that it is
+to be feared that such will have little eye for the very minor
+attractions of the cathedral. The Trianons, the "Grandes Eaux" and the
+"Petites Eaux" are all in all to the visitor to Versailles.
+
+As a matter of fact and record, the Cathedral of St. Louis must be
+mentioned, if only to be dismissed in a word. Bourasee refers to it as
+"a thing cold, unfeeling, and without life." Truthfully, it is a
+remarkably ugly building of the middle eighteenth century, with no
+details of note and no memorials worthy of even a passing regard, except
+a monument to the Duc de Berry, who died in 1820. What embellishment is
+given to the interior, is accounted for by the exceeding ruddy glow shed
+by the contemporary coloured glass of the none too numerous windows.
+
+
+
+
+[Illustration: _St. Julien; Le Mans_]
+
+VII
+
+ST. JULIEN; LE MANS
+
+
+Le Mans, like Chartres, sprang from an ancient Celtic hill fort, and,
+through successive stages, has since grown to a Roman, a mediaeval, and
+finally a modern city. It crowns the top of a very considerable
+eminence, the like of which, says Professor Freeman, does not exist in
+England. Like Chartres, too, it has always retained the balance of power
+which has made it the local civil and ecclesiastical capital of its
+province. It is, too, more closely associated in English minds than is
+Chartres, forming as it did a part of the dominion of a common
+sovereign; also by reason of being the birthplace of Henry II., and the
+burial-place of Queen Berengaria, the wife of Richard Coeur-de-Lion.
+
+Le Mans stands, without doubt, in advance of Chartres in the importance
+and number of its secondary churches, as well as its ecclesiastical,
+civil, and military establishments in general. In spite of all this,
+the city has never ranked as of supreme importance as a European city;
+nor did it ever attain the rank in Gallic times, that the events which
+have been woven around it would seem to augur. To-day it is a truly
+characteristic, large, provincial town of little or no importance to the
+outside world. Self-sufficient as to its own importance, and the events
+around which its local life circles, it gives little indication of ever
+becoming more of a metropolis than it now is; indeed the census figures
+would indicate that the department, of which it is the capital, has
+remained stationary as to the numbers of its population, since the
+Revolution.
+
+Writers have endeavoured to carry the similarity to English interests
+and conditions still farther than the events of history really go to
+prove, and have declared that Maine and England should have united in
+repelling their common invader. Endeavour has also been made to trace
+similarity between the communistic principles of days gone by, which
+took form here and at Exeter across the Channel, and have even remarked
+the similarity of the topographical features of the surrounding
+landscape, wherein the country round about differs so from other parts
+of France, being here rolling, hilly, and wooded, as in certain parts
+of England; and even stretching a point to include the hedgerows, which,
+it must be admitted, are more in evidence in Maine than elsewhere in
+France. But these observations apparently prove nothing except that the
+majority of persons probably know very little of the real conditions
+which exist in the provinces of France, preferring rather that their
+journeyings afield should follow more the well-worn road of their
+compatriots.
+
+The Cathedral of St. Julien well represents the two distinct epochs in
+which church architecture, as it remains to us to-day, was practised
+here, and shows, to well-nigh the fullest expression possible, the two
+principal transformations of Christian architecture.
+
+As the Angevin style partakes so closely of northern and southern types
+intermixed, so the distinctive architectures of Maine, if such there be,
+may be said to favour the styles of both Normandy and Anjou; at least so
+far as the cathedral at Le Mans shows a combination of Angevin and
+Norman detail. The really distinctive southern influence is to be noted
+in the Romano-Byzantine nave, the exterior of which, so far as the
+western front is concerned, is far more notable in the rigidness and
+austerity of its lines, than by any richness of ornamentation or
+decoration. Nothing could be more simply plain than this portal, and the
+wall and gable which surmount it. A large bare window, of the variety of
+that at Angers, stands above the doorway, which, itself, lacks all
+attempt at embellishment. What decoration the facade bears is after the
+true Byzantine manner, of the nature of brickwork displayed and set into
+the wall in geometrically angular fashion. What sculpture there is, two
+grotesque animals on either of the buttresses which flank the facade, is
+of minor account. This, then, is the extent of the detail of this severe
+western facade, the grand portal of the usually accepted great church
+being entirely lacking and evidently not thought of as a desirable
+detail when this portion of the structure was erected. It has nothing of
+the prodigious art expression of the frontispieces of the grand Gothic
+churches of the north, or of the less poverty-stricken Byzantine
+decoration of its own Meridional portal, which, in so far as the style
+can be said to take on richness of form, shows the transition tendencies
+of the early twelfth century. This doorway is surmounted by a tympanum,
+ornamented by a figure of the Saviour surrounded by the four
+Evangelists, a subject which has always proved itself a highly
+successful and popular ecclesiastical symbol, and one which in this
+case, as in most others, is well made use of. All the figures have
+suffered considerably from the ravages of time, but retain much of their
+interest and charm in spite of such mutilation. A tower of Romanesque
+foundation, but of fifteenth and sixteenth century completion, flanks
+this south transept.
+
+The ranking portion of this interesting church is its choir, larger in
+superficial area than the entire cathedrals of Noyon or Soissons. Both
+from inside and out, it is all that one's imagination could possibly
+invent. Its great proportions are as harmonious and graceful as the
+lines of a willow-tree; in fact, as to general effect, it may be set
+down as a thing of extraordinary grandeur, worthy to rank with Beauvais
+or Amiens, and yet different from either, of a quality its very own. At
+the commencement of the thirteenth century the canons obtained, from
+Philip Augustus, permission to extend their church beyond the city walls
+in an easterly direction, and then it was that this wonderful choir took
+shape. The work was undertaken in 1217 and was completed soon after the
+middle of the same century, and the body of St. Julien, the first
+apostle to Le Mans, for whom the church was named, was placed therein by
+Geoffroy de Loudon, then bishop, who decorated the windows of the choir
+with the magnificent glass with which they are still set.
+
+From a certain distance to the eastward the cathedral at Le Mans
+presents a view of the choir, unique in all the world. Other greater
+ones there are, if mere height be concerned, and others with more
+perfect appendages; but none give the far-spreading effect of encircling
+chapels, or are possessed of high springing buttresses of more grace or
+beauty than are seen here. He was a rash man who ranked the flying
+buttresses as a sign of defective construction, indicating structural
+weakness, meaningless and undecorative ornament, and what not. Few have
+agreed with this dictum, and few ever will after they have seen Paris,
+Beauvais, and Le Mans.
+
+The interior is one of great interest; the nave, even in its early
+forms, is none the less attractive because of its austerity. It is, as a
+matter of fact, far more interesting here than in its exterior, the
+swarthy circular pillars holding aloft arches with just a suspicion of
+the ogival style, with narrow, low, and disproportionately small
+windows in the aisles, where are also a series of strengthening pillars
+of black and white stone, presenting again a reminiscence of the
+southern manner, or at least recalling the slate and stone of Angers. In
+the choir, with its girdling chapels and double ambulatory, we come upon
+the most impressive portion of all. Slightly orientated from the east
+and west, it presents by itself, like Beauvais, nearly all of the
+attributes of a great church. The columns, arcades, and windows
+throughout are all of an unusual elegance and grace, the vaulting rising
+with much daring to a remarkable height, which must approach one hundred
+and ten or more feet, and the equal of certain other "popularly notable"
+buildings.
+
+The rose window of the south of the transept is a remarkable example of
+these masterpieces of the French builder. The framing and the glass with
+which it is set is of the richest quality, though it dates only from the
+fifteenth century. The organ case is here found in the south transept,
+an unusual arrangement in a French church, where it is usually placed
+over the western doorway. The vaulting, too, is much loftier here than
+in the nave. The aisles of this remarkable choir have the further
+unusual attribute of three ranges of openings, while the clerestory,
+only, rises above, but with great and imposing beauty. There are a few
+funeral monuments of more than ordinary interest, including that of
+Queen Berengaria, wife of Richard, the Lion-Hearted, brought from the
+Abbey de l'Epau in 1821; a sarcophagus and statue in white marble of
+Charles of Anjou, Count of Maine, King of Jerusalem and Sicily (d.
+1472), and the mausoleum of Langey du Bellay. In the north aisle are a
+number of fifteenth or sixteenth century tapestries. The former bishop's
+palace was burned by the Germans in 1871.
+
+
+
+
+[Illustration: _Notre Dame de Chartres._]
+
+VIII
+
+NOTRE DAME DE CHARTRES
+
+
+Aside from their wonderful, though non-similar, cathedrals, Chartres and
+Le Mans, its neighbour, have much in common. Both have been possessed of
+a brilliant array of counts and prelates, both grew from a Celtic
+village to their present grand proportions through a series of
+vicissitudes, wars, and conquests, until to-day each is preeminent
+within its own sphere, and has become not only a centre of
+ecclesiastical affairs, but of civil life as well.
+
+The Counts of Chartres and of Blois, in the middle ages, were a powerful
+race of men, and should ever be associated with profound respect in
+English minds by the fact that here was the birthplace of Adela, the
+mother of King Stephen of Blois, and of Henry, Bishop of Winchester.
+
+As for local conditions to-day, Chartres, while having grown to the
+state which it now occupies through events which have made it a city of
+mark, remains a somnolescent, sparsely built town, with little
+suggestion of the progress of modernity. More frequently mentioned in
+the note-books of the traveller than Le Mans, it offers perhaps no
+greater charms. To be sure, its cathedral, by reason of its open
+situation and the charming quality and effect produced by its spires and
+its one hundred and thirty windows of coloured glass, at once places it
+at the very head amongst the great "show pieces" of France; but it is in
+connection with Le Mans, scarcely eighty miles away and so little known,
+that it ought really to be studied and considered; which as a matter of
+fact it seldom is. The city is hardly in keeping with what we are wont
+to associate with the environment of a great cathedral, though this of
+itself in no way detracts from its charms. The weekly cattle-market
+takes place almost before its very doors, and the battery of hotels
+which flank the open square present the air of catering more to the need
+of the husbandman than to the tourist;--not a wholly objectionable
+feature, either.
+
+Beyond such evidences as an occasional sign-board announcing the fact
+that the hostelry possesses a _garage_, _fosse_, or what not for the
+necessitous requirements of the automobilist, the inns remain much as
+they always were, mere _bourgeoise_ caravansaries.
+
+The Cathedral of Notre Dame de Chartres jumps full into view immediately
+on leaving the railway station, though here it is to be noted that no
+delineation has ever been made by modern hand which shows its facade in
+its entirety. The roofs of the houses and shops around its base indicate
+no special squalor or poverty, as is the case with regard to some
+Continental churches, and there is a picturesque grouping of firs and
+poplars to the left which adds considerably to an already pleasing
+prospect. The whole grouping is, perhaps, none the less attractive than
+if the facade, with those extraordinarily beautiful non-contemporary
+spires, stood quite unobstructed. In fact, it is doubtful if many a
+monumental shrine might not lose considerably, were it taken from its
+environment and placed in another which might not suit its graces so
+well.
+
+These really fascinating spires, famed of all writers, archaeologists,
+and painters alike, are the _clef_ by which the whole harmony is
+sounded. One cannot but echo, and reecho, all that has been said of
+them, though in a quandary as to which of the two is the more
+beautiful: the plain, simple, symmetrical, older spire, or that
+wonderful work of Texier's, replacing another burned in 1506, which
+rises in gently sculptured and tapered ranges to a height which exceeds
+its companion by some twenty-five feet. No more appropriate or
+convincing wording could be given of it than by quoting Fergusson's
+estimate, which sums it up as being "the most beautifully designed spire
+in Europe, surpassing even Strasburg and Antwerp."
+
+It is rather a pity that from no suitably near-by point can one obtain a
+full view of the effect of the western facade. One poor little house
+seems ever to thrust itself into the ensemble, though it is to-day
+apparent that certain others, which must have cut into the front still
+more, have been cleared away. Clearly, with all its charm and beauty of
+detail, it is for its great and general excellencies that the cathedral
+at Chartres most impresses itself upon the memory.
+
+Visitors to-day will have no easy task in locating Lowell's "little
+pea-green inn," in which he indited the lines, "A Day in Chartres;" as
+appreciative and graceful an estimate of an inanimate thing as ever was
+made in verse:
+
+    "The Grecian gluts me with its perfectness
+    Unanswerable as Euclid, self-contained,
+    The one thing finished in this hasty world.
+      But ah! this other, this that never ends,
+    Still climbing, luring fancy still to climb,
+    As full of morals, half divined, as life,
+    Graceful, grotesque, with ever new surprise
+    Of hazardous caprices, sure to please,
+    Heavy as nightmare, airy light as fern,
+    Imagination's very self in stone."
+
+Among the other attractions of the west facade is the Porte Royale, so
+called, the central doorway which was only opened for the entrance of
+the sovereign. It is decorated with the "signs of the zodiac" and
+"symbols of the months." Next in point of richness are the grandly
+effective north and south porches, with their triple doorways or
+portals, setting back some twenty feet from their jambs, which, as at
+Noyon, and in the smaller church at Louviers, are pierced with a
+transverse passage.
+
+The north porch, with its range of three open-sided and deeply recessed
+doorways, has unmistakably debased tendencies, but is filled with
+sculptured statuary of more than ordinarily effective disposition, more
+remarkable for magnitude and ornateness than for finesse of skill and
+workmanship, or even as a detail of good taste.
+
+The life-size statues of all three recesses are held aloft by pedestals,
+on pillars of twisted and of spiralled trunks, a formation reviled by
+Ruskin, but producing an effect much more pleasing than some galleries
+of effigies we have seen, where the figures appear as if hung up by the
+hair of their heads, or are clinging to the walls by invisible spurs at
+their heels, or, as is not infrequently the case, are standing or hung
+on nothing, as though they were graven of some bewitched magnetic stone.
+Here for the first time is seen, in the sculptured figures of the three
+great portals, the plastic forms which were to add so greatly to the
+Gothic architecture: male and female saints, Evangelists, and Apostles
+in great array, all somewhat more than life-size. Only one adverse
+impression is cast: that of petrifaction. The figures, almost without
+exception, appear as integral parts of the architectural fabric, rather
+than as added ornament. They are most ungainly, tall, stiff, and
+column-like, much more so than similar works at Reims, or at Amiens,
+where the sculpture has something of the vigour and warmth of life.
+
+The south porch, erected in the reign of Henry I. by Jean Cormier,
+partly from donations of Matilda, queen of the Norman Conqueror,
+contains a series of _basso relievos_,--seen also in the arches of the
+choir,--manifestly not of good Gothic principle, and one which is the
+very antithesis of the northern spirit, as the name itself implies.
+
+The earliest portion of the existing church, the crypt, is that of a
+timber-roofed structure burned in 1020. It was erected early in the
+eleventh century by Fulbert, the famous Bishop of Chartres, also
+remembered--possibly revered--as being the prolific letter-writer of his
+time.
+
+John of Salisbury was bishop in the next century, and under him were
+built the lower stages of the western facade and towers. In this church
+Edward III. called for the help of Heaven to aid his plans, and here
+Henry of Navarre was crowned King of France, a change of venue from
+Reims, where so many previous and subsequent coronations were held.
+
+The interior gives a deal of the thrill for which one should always be
+prepared. The gloom, so apparent at first, slowly brightens as the eye
+becomes accustomed to the finely filtered light, which penetrates
+through the gorgeous coloured glass, a feature which ranks with the
+spires as a vivid impression to be carried away. Nearly all of this
+glass is of equal worth and attractiveness, being, with the exception of
+three windows of a late date, and a few uncoloured ones, all of the
+gorgeous thirteenth-century variety.
+
+The whole mass of the clerestory throughout gives the effect of windows
+heavily hung with tapestries through which the outside light pierces in
+minute rays. This comparison is made advisedly, inasmuch as, regardless
+of the quality and value of the glass, it is composed mainly of those
+minute and fragmentary particles often more rich in colour than design.
+
+There is little doubt but that the result of the deep rich blue, claret,
+and orange gives a first effect of insufficient lighting which would try
+an artist or photographer sorely, though not a detracting element in
+churches which would often appear cold and unconvincing were such an
+attribute lacking. There are also three magnificent rose windows of
+great size (thirty to forty feet), containing equally good glass.
+
+A double ambulatory surrounds the seven-chapeled choir, which is further
+enclosed by a magnificent sculptured stone screen begun in the sixteenth
+century by Texier, who designed the marvellous north spire. The _Vierge
+du Pilier_ of the north choir aisle, a fifteenth-century shrine, is the
+subject of great local veneration. The treasury contains a _relique_ in
+the form of the veil of the Virgin, supposed to have been presented by
+Charlemagne to Princess Irene.
+
+Other interior details of note are an eleventh-century font; the large
+crypt beneath the choir; the unequal level of the pavement of nave and
+choir; and the maze, which still exists in the nave. This last feature
+is a winding circular path some forty odd feet in diameter, and, in all,
+perhaps a thousand feet long. As a penance in place of a pilgrimage to
+Jerusalem, "the journey of the maze" was performed by the penitent on
+his knees--taking perhaps an hour or more, according to the size and
+length of the path, which varied with different churches where they
+formerly existed. The other most notable example in France is at St.
+Quentin, northeast of Paris.
+
+
+
+
+IX
+
+NOTRE DAME DE REIMS
+
+
+The very ancient city of Reims, now the capital of the Department of the
+Marne, was a large centre of population when it first fell under the
+sway of the Romans. During Caesar's occupation it was known as
+Duroctorum, in the Praefecture of the Gauls.
+
+A powerful metropolis and a faithful adherent of the Romans, the city
+early attained prominence as a centre of Christianity. St. Sixte
+preached the word here shortly after the first bishopric was founded,
+after capture by the Vandals in 406 A. D. The city was practically razed
+by Attila, who afterward met defeat at Chalons. During the Roman Empire
+it was the most important town of the Province of Belgica Secunda, later
+becoming known as the capital of the Remi, the name given to the people
+inhabiting the country round about.
+
+[Illustration: NOTRE DAME _de REIMS_ ...]
+
+In 508 A. D. the Franks under Childeric captured the city, and in 720 A.
+D. Charles Martel captured it from Bishop Rigobert. Here, too, Pope
+Stephen had his famous interview with Pepin, and attended the crowning
+of Louis le Debonnaire in 816 A. D. In 744 it was made an archbishop's
+see, with suffragans at Amiens, Beauvais, Chalons, and Soissons. It is
+to-day the ecclesiastical capital of France--the Archbishop of Reims
+being the metropolitan prelate.
+
+Clovis, son of Childeric, King of the Ripuarian Franks, in 496 A. D.
+conquered the last Roman stronghold at Soissons, and, having married a
+Burgundian princess, Clotilda, was induced to accept Christianity. He
+was accordingly baptized here by St. Remi on Christmas Day, 496 A. D.
+
+Leo III. met Charlemagne here; a council was held in 1119 A. D. by
+Calixtus II. in an attempt to reconcile Henry I. and Louis le Gros; and,
+later, another, to excommunicate another Henry.
+
+Succeeding years saw a continuity of archbishops, who achieved by their
+religious works a world-wide fame and glory. In these early days they
+held the temporal as well as spiritual power of the cities, and in some
+instances even coined their own specie.
+
+In spite of the changes of the times and conditions of life, the
+ancient capital of Belgica Secunda still remains the chief city of the
+Departments of the Marne, Ardennes, and Aisne. Its ecclesiastical and
+secular monuments, headed by the grand Cathedral of Notre Dame, form an
+array which is well worthy of such extended consideration as the
+traveller or student can give. The Benedictine Abbey, the Church of St.
+Remi, is likewise notable in all of its dimensions and details. Its
+construction dates from 1162-1506, though the remains of a former
+tenth-century structure are made use of therein. Its chief treasure is
+the tomb of St. Remi, a wonderful Renaissance funeral monument of
+imposing proportions. Another monumental feature of more than unusual
+note, is the magnificent Roman arch of the former fortress of Porte
+Mars. This truly majestic specimen of the work of the Roman builder is
+supposed to have been erected by Agrippa in 25 B. C., in honour of
+Augustus, although another authority puts it as late as the period of
+Julian, 361 A. D. At any rate, it has stood the rigours of a northern
+clime as well as any Roman memorial extant; indeed, has seen fall all
+its contemporaries of the city, for at one time Reims was possessed of
+no less than three other gateways, bearing the pagan nomenclature of
+Ceres, Mars, and Venus.
+
+The various other memorials of the city are on a no less grand scale,
+but the average person will hardly have eyes and ears for more than a
+contemplation of the wealth of splendour to be seen in its overpowering
+cathedral. Of the glorious group of monumental churches of northern
+France, the Cathedral of Notre Dame de Reims, if not admittedly the most
+beautiful and memorable Gothic edifice in all France, needs but little
+qualifying comment. It has a preeminence which has been generally
+conceded, and even elaborately endorsed, by most observers qualified to
+pass opinion hereon. Contemplation of the wealth of detail, and of the
+disposition of its wonderful west front, no less than of its general
+excellencies, can but compel the decision that in its exterior, at
+least, the Cathedral of Reims is the peer of any existing Gothic fabric.
+Though less huge than Strasburg or Cologne, and lacking the doubled tier
+of flying buttresses of the latter, it is altogether the most splendid
+and well-proportioned Gothic mass extant. The diminishing or pyramidal
+effect of the towers and gable of this west facade is an exemplification
+of the true symmetry of Gothic form. Lofty, and not closely hemmed in
+by surrounding structures, it looms, from any adjacent view-point, fully
+two-thirds of its decorated splendour above the general skyline round
+about. Aside from modern adulation we have the praise of an early
+historian, who delivers himself thus:
+
+_"Decor et majestes praeclarissime hugus structurae omnem scribendi
+peritiam longe superat, ob elegantum omnibus est admirationi, at que
+sibi similem non habet in tota Gallia."--Met. Rememsis Hist. Dom.
+Guliol. Marlot S. Nicasii Rem. Prioris, Tom ii. p. 470._
+
+Following the preaching of St. Remi, and the murder of St. Nicaise, who
+founded a church on this site in 400 A. D., Ebo, bishop in 818 A. D.,
+laid the foundations of a new church, Louis I. granting that such
+material as might be needed be taken from the city wall. To assist, the
+sovereign also sent his architect, Rumaldi. In 847 A. D. Archbishop
+Nicman secured a renewal of the privileges, and in the presence of the
+king the building was consecrated in 862 A. D. The western entrance was
+ornamented with graven statues of Louis I., the patron, Pope Stephen,
+and the archbishop himself.
+
+This entire fabric succumbed to fire on the 6th of May, 1210, and the
+present structure rests merely on the remains of the ancient crypt,
+which in a measure survived. Few visible remains of this ancient
+foundation are to-day visible. The new church reared itself rapidly
+under the immediate supervision of the Archbishop Alberic de Humbert.
+The choir, begun within two years of the fire, made such progress as to
+allow of the high altar being ceremoniously dedicated within three
+years; and, before the middle of the century, the records tell us that
+the main body of the church was entirely completed. The right tower was
+uncompleted at this time, but was finished by Cardinal Philastre in
+1430, up to which time intermittent labour had evolved a superlative
+combination of constructive and decorative excellencies. The extreme
+lightness of the west front is brought more and more to impress itself
+upon one by reason of the consistent disposition of the excellency and
+delicacy of its sculptured ornament.
+
+This western front, from the grand portals upward, is the _apogee_ of
+French Gothic ornament,--at once the admiration and boast of all France.
+Here is no mixture or confusion of style, in design or decoration. The
+pointed arches of window and doorway are of the accepted "best manner,"
+the heavy detail is placed low and rises gracefully to the "Gallery of
+Kings," a grand succession of stone effigies of royalties from Clovis to
+Charles VII., a decorative arrangement not made use of elsewhere to
+anything like a similar extent, a fact which of itself stamps the
+cathedral as the royal church of France. Conceived by one Gaucher, the
+portals are not only superior to all others in richness, depth, and
+quality of the sculpture shown in the hundreds of figures with which
+they are peopled, but are of exceedingly true and appropriate
+dimensions, taken in relation with the other parts of their setting.
+Immediately above the gable of the central portal is a wonderful rose
+window, of the spoke variety, containing thirty-four sections,--of
+immense size and nearly forty feet across. This "most perfect rose,"
+designed by Bernard de Soissons, may well be credited as one of the
+masterworks of architectural decoration in all the world. Flanking this
+great window on either side are two open lancet arches, while above is
+the "Gallery of Kings" before mentioned. The twin mullioned towers on
+either side rise for two hundred and sixty-seven feet. Light and airy,
+they depend for their effect of grace and symmetry entirely upon
+structural design, lacking sculptured ornament of any kind. Formerly
+they possessed spires of a great height, which, however, were destroyed
+by fire in the fifteenth century.
+
+"Were all its original attributes complete," says Fergusson, "we should
+have the _beau ideal_, externally, of a cathedral." This is probably an
+adaptation of Viollet-le-Duc's estimate, which he expresses thus: "This
+west facade is the most splendid conception of the thirteenth
+century,--Paris, like Laon, being really a transition example, Amiens
+representative of different epochs, Chartres a mere reunion of
+fragments, and Bourges and Rouen a _melange_ of three centuries."
+
+The south transept portal, which is of great breadth, contains statues
+of the Archbishops of Reims, and one of Clovis. A similar doorway on the
+north side, though now walled up, contains, in the tympanum, a fine
+sculptured "Last Judgment," while the transept itself houses one of
+those great clocks so frequently met with in Continental churches,--in
+this instance said to be the oldest running time-piece in existence.
+
+Seven flying buttresses, between the transept and the west front, flank
+the nave, each holding aloft an elegantly canopied niche containing a
+full-length winged figure, a further unique arrangement being a similar
+figure which caps or pinnacles the outer piers, from which the
+buttresses spring. Above the point of contact of the buttresses with the
+main body, runs an effective balustrade of small pointed arches, while
+the abside shows, again, a wonderful combination of the buttress as a
+decorative and utile feature, combined.
+
+The exterior may be summed up briefly as being the most gorgeously
+peopled and decorated structure of its age--as though it were expressly
+designed to show off this great throng of statues to the best possible
+advantage. Taken collectively, the series forms, says one writer, "the
+most complete and magnificent collection of mediaeval iconography
+extant." The figures were originally perhaps as many as five thousand,
+representing nearly all the families of mankind.
+
+In size the Cathedral of Reims ranks third among the four largest in
+France, being exceeded only by Amiens and Chartres, while Paris is
+slightly smaller.
+
+The interior presents by no means the awe-inspiring grandeur of the
+exterior mass, and is possibly inferior to both Amiens and Chartres,
+and though well disposed, lacks the lightness of Cologne or Beauvais. A
+first impression rather indicates large proportions of length, breadth,
+and height in the nave, though these dimensions are not actually of the
+greatest. The transepts, including their aisles, are, however, of an
+extreme width, but very short; and the absence of side chapels, either
+here or in the nave, produces a regularity of outline unusually
+convincing.
+
+The nave piers, of which there are ten on either side, with two window
+piercings, are of a manifestly heavy order, the capitals unusually so,
+being very deep and weighty with carving in high relief. The triforium
+is severely plain, being a mere shallow gallery of small pointed arches.
+The nave itself is, moreover, somewhat gloomy, when contrasted with the
+brilliant lighting of the aisles, caused by the peculiar arrangement of
+plain and coloured glass, the former filling the windows of the
+clerestory and the latter those of the aisles, the reverse being the
+case with the opposite ranges. The aisles have no chapels between the
+rather low windows, but groups of clustered columns against the walls.
+The vaulting is deep, with simple ribs, coloured with a blue ground
+spangled with stars and _fleurs-de-lys_. The choir is surrounded by
+seven chapels.
+
+There are ten columns in the choir, all with beautifully wrought
+capitals. The pavement here is composed of marble taken from Libergier's
+abbey church of St. Nicaise, from which edifice, since destroyed, was
+transferred the tomb of Jovinus, the Roman prefect of Reims, who became
+converted in 366 A. D. The sarcophagus consists of a huge block of
+marble, nine feet by four, with a figure of Jovinus, "lion hunting on
+horseback," carved in high relief. The roof of the choir is curiously
+constructed of wood, of chestnut, say the authorities, as no spiders are
+found. The high altar, as reconstructed by Poncelet Paroissien in 1550,
+was a very beautiful affair if old prints, usually none too reliable as
+to detail, are regarded. It was, however, destroyed during the middle of
+the eighteenth century.
+
+The glass of the rose window dates in part from the period of the
+greatest richness (thirteenth century).
+
+The sepulchral monuments, aside from the sarcophagus of Jovinus, are
+to-day practically _nil_, having been swept away during the terrors of
+the Revolution. Two interesting effigies still remain, however, near
+the western doorway, a figure of a mailed knight and an abbess.
+
+Among the real riches of the Cathedral are the remarkable and unique
+tapestries; well preserved, and of the finest quality of design and
+texture. Fourteen, by Lenoncourt, date from 1530-70; those in the south
+aisle, the Pepersacks, the gift of Abbe Lorraine, from 1640; and the
+modern Gobelins of the nineteenth century, the gift of the government.
+The "Tresor," which includes the church plate, most of which appears to
+have endured the ravages of invasion and wars, is truly magnificent and
+intrinsically of great value. The chief of these are: the chalice of St.
+Remi, of the eleventh century; a reliquary containing a thorn from the
+Holy Crown; the marble font in which Clovis was baptized in 496 A. D.;
+the chasuble of Louis XIII., and the _Sainte Ampoule_, which contained
+the holy oil brought by a dove from heaven for use at the conversion of
+Clovis, now a mere fragment enclosed in a modern setting, after having
+been ruthlessly shattered by a _sans-culotte_ in 1793.
+
+Adjoining the Cathedral, on the right, is the Episcopal Palace, which,
+with its dependencies, occupies a hectare or more of ground. In the
+first courtyard is the modern library building, which houses the
+cathedral's rich bibliographical treasures. Further, through a gateway,
+is a structure, in itself a grand building, of the time of Louis XIV.
+The right wing was constructed by Le Tellier in 1690. This portion is
+now occupied as a dwelling by the archbishop. At the end of the furthest
+courtyard is "The House of the Kings," a truly grand establishment, so
+called in the official documents because it was the _logement_ of the
+monarchs who visited the city on affairs of state. This recalls to mind
+not the least notable of the functions performed by the great cathedral
+itself.
+
+With four exceptions all the Kings of France, from Clovis to Charles X.,
+here first entered into their kingly state. The monarchs of France were
+a long and picturesque line, and the ceremonies attendant upon their
+coronations were accordingly imposing and magnificent. The culmination,
+for theatrical splendour and effect, was doubtless that of Charles VII.,
+who, through the efforts of the "Maid," here came into his own. It was a
+splendid, if gaudy, pageant, and the most memorable event among that
+long series which only ended with the coronation of Charles X. in 1823.
+
+
+
+
+_PART III_
+
+_The Cathedrals of the Loire_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+The Loire Valley for its whole length may, in every sense, be well
+considered the dividing-line between northern and southern influences.
+The romance and sentiment which cradled itself here could only have
+emanated from the more languid south, and from vastly differing
+conditions to those of the colder north. The admiration usually bestowed
+upon the attractions of its domestic architectural forms is, no doubt,
+fully merited; albeit that the cathedrals of these wealthy and powerful
+communities are, no one can possibly deny, if not of a mongrel type, at
+least of a degenerate one. It is perhaps hardly fair to note such an
+expression without qualification where it is applied to St. Gatien at
+Tours, which is really a delightfully picturesque structure; or to St.
+Maurice, at Angers, which is unique as to its charm of situation, and
+one of the most interesting churches anywhere to be found. But the fact
+is that the general plan and design is not only open here to much just
+criticism, but is not of the order of consistency which alone entitles
+an architectural monument to rank as truly great. In no instance, from
+Orleans to Nantes, are the cathedrals of these cities possessed of the
+consistent array of charms which would entitle them to a proportionate
+share of the admiration which is usually accorded to the great domestic
+establishments, the Chateaux of Blois, Chenonceau, Chambord, Langeais,
+or Loches.
+
+The climatic conditions of this region hardly more than intimate the
+suggestion of the southland, but there is to be seen in the vineyards,
+and indeed in things that grow, generally, a notable tendency toward a
+luxuriance that is not found northward of this valley. Productive,
+prosperous, influential, and possessed of historical and sentimental
+associations as a touring ground far beyond any other section of France,
+the Valley of the Loire at once takes rank as the land _par excellence_
+where the traveller can be sure of a maximum of pleasure and profit; and
+one worthy in every way of as prolonged study and sojourn as one's
+possibilities and circumstances will allow.
+
+The towns group themselves naturally _en suite_ in the following order:
+Orleans, Blois, Tours, Angers, and Nantes, and are so considered in the
+pages that follow.
+
+
+
+
+[Illustration: _CATHEDRAL of Ste CROIX ORLEANS_]
+
+II
+
+ST. CROIX D'ORLEANS
+
+
+The association of Orleans, in English minds, mostly rests upon the
+events connected with the siege. Its history in the past has been mainly
+that of bloody warfare and massacre. As the Genabum of Gallia, it was
+burned by Caesar in 52 B. C. in revenge for a previous massacre of the
+Romans. By Aurelian it was rebuilt and named Aurelianum, the progenitor
+of its present nomenclature. St. Aignan in 451 secured the safety of the
+city to the cause of Christianity by warding off Attila's attack.
+Clovis captured it in 498, but at his death it became the capital of an
+independent kingdom which was afterward, in 613, united with that of
+Paris. Activities no less extensive or vivid followed, till the English
+besieged the city in 1429, only retiring before the conquering hosts led
+by the Maid of Orleans on the 7th of May; the Huguenots held it as a
+stronghold under Coligny; and latterly the Germans occupied it, were
+driven out, and again reoccupied it as a base in 1870-71. Such, in
+brief, is a partial record of its troubles and trials, with scarce a
+reference to a Christian or religious motive, if we except Attila's
+unsuccessful attack and Coligny's Protestant fervour.
+
+The almost legendary part played by Jeanne d'Arc should suffice to
+impress indelibly upon the mind the chief event in connection with any
+city with which her name and fame were associated.
+
+In the third century seven bishops were sent out from Rome, to extend
+the influence of the Church, to Tours, Orleans, Toulouse, Narbonne,
+Paris, Limoges, and Auvergne; though, in spite of the success with which
+they met, and the zeal with which they worked, their meetings were
+chiefly held in the houses of their more opulent converts, and church
+building at the time appears not to have been so much desired as the
+dissemination of the Word itself. Since its occupation by the Germans in
+"'71," great contrasting elements have sprung up. Nowhere, not even in
+the "up-to-date" Rhine cities of Germany, is better exemplified the
+trend of the age in which we live. There are notable indications of its
+modernity in the architecture of public and private buildings, many
+streets and boulevards of the city being laid out anew and bisecting the
+older portions.
+
+The Cathedral of St. Croix, of widely contrasting styles and eras, forms
+a pleasing enough key-note to it all, in spite of its garish crudities.
+At its best, when viewed from the bridge which spans the well-nigh dry
+bed of the Loire, it composes well with what is at all times a pleasing
+prospect, and is set off to great advantage by the fringe of green
+boulevard along the river bank,--a fine enough setting for an
+architectural monument of whatever rank, be it new or old, consistent or
+conglomerate. As for the classification of the architectural style of
+the cathedral itself, it is an unprincipled mixture of components, but
+little related to each other. The southern influence is apparent, alike
+in the scanty remains of the Romanesque, and the restored Renaissance
+portions, while Gothic peeps out here and there, in no mean proportions,
+as though it were misplaced and out of its true environment. The
+cathedral, which was destroyed in 1567 by the Huguenots, in spite of the
+admonitions of the Condes, is still visible in the fragments of the
+choir aisles, the fourteenth-century chapels appearing to have been
+uninjured. This much remains of the Gothic of Henry IV.'s time. The late
+seventeenth-century work is a manifest expression of the debasement of
+Gothic, and such other additions as were made in the reigns of the Louis
+carry the vulgarities still further, the acme being reached in the
+pseudo-classical north and south porches, which are sepulchral-looking
+of themselves, and not even of the most admired variety of the species.
+The most that can be remarked, considering all the distinctive features,
+is the fact that this cathedral is the only Gothic church, so ranking,
+that is not of Mediaeval growth, a fact which may well account for its
+unsatisfactory style.
+
+The facade follows the usual enough arrangement of three portals, though
+very ugly ones, flanked by rising towers on either side. In this case
+these doorways are of the nondescript variety commonly accepted as base
+Gothic, but hardly warranting even such a term of endearment. They are
+in fact flamboyant as to their lines, though of a remarkable poverty as
+to further embellishment, if we bar a series of misplaced armorial
+blazonings.
+
+Topping the gables of the portals are a series of circular apertures,
+with framing of a sort, but without glass,--a poor imitation of what a
+rose window might be at its worst. Above is an arcaded gallery of nine
+graceful arches, the first really attractive ornament of this debased
+facade. The towers, finished so late as 1789 by M. Paris, the king's
+architect, rise loftily some two hundred and eighty feet, with ranges of
+slight columns and perpendicular lines, which give the grand and
+imposing effect of height of which the cathedral is undeniably
+possessed, and which, when viewed from down the Rue Jeanne d'Arc, is
+without doubt impressive,--far more so than greater intimacy will
+sustain.
+
+The nave, of a height of one hundred feet, is flanked by double aisles,
+and in appearance is every way superior to the exterior.
+
+No remarkable art treasures are to be seen, if we except a series of
+sculptured Stations of the Cross beneath the windows, and the Gothic
+altars of the transepts.
+
+
+
+
+[Illustration: _CATHEDRAL of S. LOUIS BLOIS_]
+
+III
+
+ST. LOUIS DE BLOIS
+
+
+Regardless of the sentiment which attaches itself to Blois by reason of
+its magnificent chateau, and in spite of its undeniably picturesque and
+interesting environment, it hardly takes sufficient rank as a cathedral
+city to warrant more than a passing consideration. As it is, one cannot
+get from under the shadow of its overpowering attraction, and, in spite
+of the poverty and depressing qualities of the Cathedral of St. Louis,
+perhaps no place in the Loire valley has more claim upon the attention
+of the enthusiastic tourist. The wonderful chateau is all that has been
+said of it, and more. The picturesqueness of the city's streets of
+stairs, and its general up and down hill situation, offering charming
+vistas, unique in a city of the north, are, except for its size, really
+more suggestive of Genoa or Naples. In the general ensemble of the city,
+the Loire is an attraction of itself, when viewed from across that
+wonderful stone bridge, the first public work endowed by Louis XV. But
+even then, the awkward and uninteresting cathedral does not enter into
+the view with that liveliness and impressiveness which we are wont to
+associate with such an environment. In short, it must be set down that
+in the lack of pleasing qualities in its cathedral, is found Blois'
+greatest disappointment.
+
+The tourist _pur sang_ will care little about this. He usually rushes in
+and out during the daylight, and recalls but little except the
+fascinating staircase of the chateau attributed, as to its spiral
+formation, to Da Vinci; the ornamental chimney-pieces; and the fact that
+historical events of the past have intermingled inextricably the
+gruesome stories of the royal houses which bore respectively the arms of
+hedgehog and salamander. This only, with perhaps the memory that at one
+time or another a certain event took place involving the use of some
+forty odd daggers.
+
+Perhaps, after all, it would be an embarrassment of riches did the town
+possess a cathedral, or even other monuments, to vie with this
+spectacular attraction which, from every view-point realizes the ideal
+of our imagination, as to just what a chateau and its history might be.
+
+From near or far the cathedral shows no charm of outline. Its ridgepole
+is marred by three unusually obtrusive "lightning conductors," which
+could hardly have been more offensive had they been turned into those
+lath-like crosses which are seen elsewhere. Its tower is a monstrosity,
+with an egg-shaped protuberance which is neither shapely nor impressive,
+while the southern range of the nave and aisle, when viewed laterally,
+shows a bareness and poverty of design unusual and painful. The
+ensemble, from this point, is one of a certain impressiveness. It could
+hardly be otherwise, with the situation which it commands, even were it
+the grossest thing that ever took shape in architecture. Its
+irregularities and inconsistencies, and the great variety of outline
+shown by the roof-tops of the town, perhaps, make up in a measure for
+the lack of individual beauties in the church itself.
+
+There is this much to be said, however, for the functions which this
+church performs. If all were as much made use of by the market-day
+peasants, streaming in from the surrounding country, who, with their
+jugs, market-baskets, and what not, in their hands, enter the building,
+say a short prayer or two, and toddle out again, there would doubtless
+be fewer churches with a poverty-stricken air and more of a better and
+more prosperous class.
+
+The greater part of the cathedral which originally stood on this site
+was destroyed during the Revolution, and that which was afterward reared
+here was merely a restoration by Mansard, who, it is to be presumed,
+made such use as was possible of what remained.
+
+The interior, most will agree, is no more remarkable than the exterior
+adornments; in fact the same paucity of plan and of detail appears from
+one end to the other, inside and out. The aisles are astonishingly low;
+the choir and nave, each unusually short. There are no transepts, and
+there is no triforium whatever, no chapels of any remarkable beauty, and
+little glass that is even passable. On the walls of the nave, beneath
+the low clerestory windows, are a series of four carven Renaissance
+marble panels, with other blanks suggesting the ultimate addition of
+similar sepulchral-looking ornaments. Such, in brief, is a resume of the
+attractions, or rather the lack of them, as it will strike the average
+person. It is perhaps no small wonder that the traveller who desires to
+study architectural forms, or to sketch them, should prefer the less
+holy precincts of the chateau, where every facility is offered for the
+pursuance thereof, to that more "blessed ground," covered by the
+cathedral, which offers little enough in itself, and that little under a
+surveillance which makes one regret that the feudal times are not still
+with us,--when we might vent our spleen and anger upon any who offend
+us.
+
+
+
+
+[Illustration: _St. Gatien de Tours_]
+
+IV
+
+ST. GATIEN DE TOURS
+
+
+The _soi-disant_ provincial metropolis of Mr. James' appreciative
+favour, the capital of old Touraine, is possessed of great and many
+charms for the seeker after new things. He may be passionately fond of
+churches; if so, the trinity here to be seen, and the history of their
+founders and prelates, and the important part which they played in
+church affairs, will edify him greatly. If romance fills his or her
+mind, there is no more convenient centre than Tours from which to "_do_"
+the chateaux of the Loire. If it be French history, or the study of
+modern economic or commercial conditions, the past activities and
+present prosperity of the city will give much food for thought. If to
+literature one's mind turns, there is the association with Balzac's
+birth in the Rue Royale, and his delightful picturings of the city's
+environment in the "Cure de Tours," "Le Lys dans la Vallee," and "La
+Grenadiere." Says Balzac of the habitant: "...He is a listless and
+unobliging individual." But the sojourner for a day will probably not
+notice this, and, if he should, must simply make allowance, and think
+with Henry James of the other memories of "this land of Rabelais,
+Descartes, and Balzac; of good dinners, good company, and good houses."
+To link the city still closer with letters, the first printing-press in
+Touraine was set up here in 1496. Nicolas Jensen, famed as the foremost
+Venetian printer of his time, was born in the neighbourhood and was at
+one time "Master of the Mint" at Tours. Christopher Plantin, the head of
+the famous Antwerp family of printers, likewise was born in the near-by
+suburb of St. Avertin pres Tours.
+
+Climatically, Touraine appears to linger between the rigours of the
+north and the mildness of the southland; at least we are conscious of
+another atmosphere, made apparent by such evidences as palms and prunes
+growing in the open.
+
+Tours, says her historian, has ever employed the pure French in her
+spoken and written word; "patois and provincialisms have no place
+here."
+
+St. Martin of Tours erected a church here, in honour of St. Peter and
+Paul, as a sort of antidote to the many pagan temples which he had
+caused to be destroyed. His successors built several others round about
+the city, but they appear to have been all of small size until, in the
+fifth century, Perpetus, Bishop of Tours in the reign of Childeric,
+caused to be built a more splendid church to replace that which Briceius
+had erected over the tomb of St. Martin. This, in turn, was rebuilt by
+the celebrated Gregory of Tours, or so ordered by him; until finally in
+the seventh century the abbey church of St. Martin of Tours became a
+place of pilgrimage for all the Turones. To-day, nought remains of this
+great church but the two towers, which have been bisected by the running
+of a street throughout the old nave of the church; and thus they stand
+as silent sentinels of the means through which Tours arose to its
+ecclesiastical dignity. The Tour St. Martin or "de l'Horloge" is of the
+twelfth century, and the other, called the Tour de Charlemagne, being
+the burial-place of his wife Luitgarde, is, in its lower portions, of
+the eleventh century.
+
+The Cathedral of St. Gatien, which should be greatly endeared to the
+English people, was commenced by Henry II. in 1170, the choir being the
+earliest portion. The transepts followed in the next century, and the
+facade as late as the fifteenth, or the beginning of the sixteenth,
+century. Of manifestly Renaissance tendency, this facade for sheer charm
+and picturesqueness must rank with the best, with the qualifying
+statement added that it offends against many consistent artistic and
+architectural principles. It is certainly an effective type, although
+perhaps not warranting the statement of a certain monarch, whose art
+training may to some degree have been wanting, that it was a "jewel in a
+gemmed setting." An exceedingly picturesque and attractive pair of
+towers rise, through no less than three different styles, to the
+inverted egg-cups, which in a purer example might perhaps prove less
+pleasing, but which in the present case seem at least to be imbued with
+something of the Oriental or Mediterranean influence, not yet fallen
+before the actual decadence. Another peculiarity of this charmingly
+toned west front is that the rose window is of a peculiar lozenge shape,
+"neither square nor round," as one authority puts it. This, of itself,
+is decidedly not a graceful arrangement; but the proportions are ample
+and the glass is good, so its deficiencies may in a measure be said to
+be overbalanced by its merits; and, for that matter, as it is only seen
+in its minutia of detail from the inside, where the excellent coloured
+glass is seen at its best, it hardly detracts from the general fine
+effect of the exterior facade. The western doorways are thoroughly
+Renaissance, both inside and out, while the portals themselves offer a
+livid suggestion as to what they might have been, were all the bare
+niches and blocks filled and mounted with worthy statues. The effect
+would have been an undeniable approach to the best matured Gothic, and
+would have enhanced greatly this already highly interesting facade. The
+buttresses of the choir follow the accepted forms of grace and
+effectiveness, and, while not numerous or remarkable as to size, each
+springs to a supporting pier gracefully pinnacled and gargoyled. One
+instance of the functions of this valuable adjunct to the towering forms
+taken by most Gothic structures, is a buttress which springs,
+unsymmetrically enough, from the north transept. This rather ungainly
+limb flies out like the tentacles of an octopus, grasps a small building
+on the opposite side of a narrow roadway, and forms a support to the
+irregular construction of the north transept. This was perhaps
+necessary as a means of bracing the transept wall, which it might not
+have been possible to accomplish otherwise.
+
+The interior presents the unusual feature of the omission of the organ
+case from over the western doorway, the organ being in this instance in
+the south transept, as at Le Mans. The wall space centered upon the nave
+proper is entirely given over to the lozenge-shaped "rose," which, in
+spite of its rather heavy framing and kaleidoscopic and patchworky
+glass, is withal effective beyond many more gracefully formed openings,
+where the glass is either too severely plain, or worked into a supposed
+design, which, by reason of its minute particles, is undecipherable. The
+design and arrangement of a series of lancets supporting the lozenge
+would be remarkable, were it in company with the best glass of the
+middle ages. It depicts an "Adoration" in which kings, saints, and
+bishops are modelled brilliantly, and with evidence of much good
+drawing, a detail often wanting in old, or, for that matter, modern
+glass.
+
+The glass of the choir, on the other hand, is far better in arrangement,
+and shows deep, rich particles which are only at their best in the work
+of the early period here shown. In this glass are depicted the arms of
+St. Louis, Blanche of Castile, and of the City of Tours. The choir
+itself widens out from the crossing of the transept, causing that
+deviation between the piers of nave and choir which made necessary the
+ungainly flying buttress of the north wall.
+
+The aisles of the nave are of no great width and are fringed with a
+series of chapels of which only one, that of the Sacred Heart, is in any
+way remarkable. The radiating chapels of the choir are more interesting,
+notably the lady-chapel, which contains old glass removed thither from
+the church of St. Julien, the subject of one of Turner's rhapsodies in
+his "Seine and Loire."
+
+The clerestory of the nave consists of plain glass only; and on the
+triforium alone, of exceedingly graceful arcaded columns, depends the
+beauty of the upper ranges.
+
+The chief treasure of artistic value and moment is unquestionably the
+tomb of the children of Charles VIII. and Anne of Brittany, by whose
+early deaths the throne passed to the Valois branch of the Orleans
+family. This remarkable monument is of the early sixteenth century and,
+according to the report of the _Commission des Monuments Historiques_,
+is the work of Guillaume Regnault, a statement which is much more likely
+to be correct than the usual guide-book information, which in some
+instances credits it to Goujon, and in others to a local apprentice of
+his, named Juste. On a Renaissance sarcophagus lie the two tiny
+effigies, in white marble, surrounded by guardian angels and other
+symbolical figures. The base bears escutcheons of the Dauphins of
+France, the arms and two inscriptions referring to the princes and their
+birth.
+
+[Illustration: _Flying Buttress, St. Gatien de Tours_]
+
+
+
+
+[Illustration: _St. Maurice d'Angers_]
+
+V
+
+ST. MAURICE D'ANGERS
+
+
+Historically and romantically, Angers, the former capital of Anjou, is
+possessed of a past (which may be said to have actively commenced in
+989) that cannot fail to arrest and hold one's attention. Capital of the
+Dukes of Anjou, and the home of Margaret of Anjou, daughter of Rene, who
+married Henry VI. of England; likewise the cradle of the first
+Plantagenets; and immortalized by Shakespeare's King John, who
+soliloquizes anent "The flinty ribs of this contemptuous town." With all
+this, Angers has perhaps a supreme claim for English consideration. In
+spite of all this, and the added attraction of a "real castle," such as
+is seldom found outside the children's fairy-tale books, not to mention
+the Cathedral of St. Maurice,--of which more anon,--Angers leaves one
+with the impression that very much is wanting in order to merit
+preeminence in the classification of those memories which a traveller
+is wont to store up as a result of his travels and observations. Perhaps
+it is the city's pitiful attempt to be gay, to be modern, to undertake
+pretentious improvements,--all of which appear to fail utterly in their
+purpose. These things cannot be unless they are of a spontaneous growth,
+which here they apparently are not. Not that the city still merits the
+opprobrious (_sic_) term of "Black Angers" with which most writers and
+all makers of guide-books are pleased to refer to it,--it hardly does.
+In fact it is doubtful as to just what the term originally meant.
+Perhaps it was merely a reference to the gloom caused by the extensive
+use in the construction of its buildings of the black slate in which the
+neighbourhood abounds;--at any rate the expression is one of undoubted
+antiquity.
+
+The two chief attractions are the cathedral and the castle, both
+"historical monuments." The latter, as before noted, is the ideal
+military stronghold of our early imagination; and if age, magnitude, and
+the general air of good preservation, count for anything, it must be one
+of the most impressive monuments of its class still to be seen.
+Originally its wall, now minus battlements, fronted close upon the
+river. It is surrounded by a dry yawning _fosse_, formerly a moat, and
+possesses no less than seventeen enormous and perfectly formed towers,
+each perhaps eighty feet in height, banded near the top in white and
+black stripes. Hardly more than a circling wall to-day, it has stood
+well the test of time since it was erected by Philip Augustus and
+completed under St. Louis in 1180. Little remains of the Renaissance
+portion originally occupied by the Counts of Anjou. Its charm lies
+rather in its exterior, the interior confines resembling more a
+lumber-yard than anything else,--not worth spending one's time upon,
+under the present facilities which are offered for its inspection. One
+small structure within the walls is notable as being that in which King
+Rene was born. It is recorded that Wellington received a part of his
+military education in Angers. If so, it is probable that he studied this
+military defence with some care and minuteness. To us, at least, who
+have not been educated with respect to military fortification, it seems
+to fill all demands that are likely to be made upon a building of its
+class. Doubtless it could have been besieged successfully, and even
+battered through to the extent of allowing the outside foe to enter, but
+it would probably have been at a fearful cost, and it is possible that
+the attempt would be given up before any surrender took place. Such
+would appear to an outsider to be the lines on which these magnificent
+works of feudal times were built.
+
+One should not speak slightingly of the Cathedral of St. Maurice, though
+it comes upon one who journeys from the north, as a thing apart from
+anything he has met before; so much so that he is hardly likely to be
+able to judge it dispassionately until he has turned his impressions of
+it many times over in his mind.
+
+The Angevine style, seen here, is representative of but a very
+restricted area. The _Societe des Monuments Historiques_ defined it as
+"a small district on both sides of the Loire between Normandy and
+Acquitaine." It is suggestive of the Roman manner, far more than the
+Gothic; though the primitiveness shown in the long, upright lines of the
+west front of this cathedral marks it at once as something different
+from either Romanesque or Transition,--though Transition it must be,
+unless we delimit the confines of that useful term. In any case, it
+points unto heaven in a truly devout manner, is not debased in any
+particular, and, if not a consistent style, has many of the good
+qualities of both. The Cathedral of St. Maurice is best seen from a
+point of view which will exaggerate its height, its slimness, and its
+straight and upright lines; but even this does not appear to work out to
+its disadvantage, in spite of the new note it strikes. It is an
+interesting work when viewed from any distance sufficient to throw its
+outline well into the air. From across the Maine, it is charming; from
+the foot of the stairwayed street which runs downwards from its western
+portal, it is picturesque and irresistible, while from any other
+view-point in the town, it is grand.
+
+The easterly end is dwarfed by close-lying houses, picturesque enough in
+themselves; but the gracefulness of the buttress is wanting. The south
+side is, here and there, broken into by additions and interpolations,
+none apparently of a contemporary era. It offers a grand effect for an
+artist who would study gray walls and crumbling roofs, but the lack of
+uniformity will offend most people.
+
+The facade of the west is the most effective feature, so far as
+genuineness is concerned. It towers to the sky, its needle-pointed
+spires overtopping a crooked street which rises sharply from the river.
+There is but one portal, and that is centred with a curious Romanesque
+arch half-way across its height, above which is a bas-relief of great
+size. The sculpture of this portal, while not as excellent as that seen
+in the Isle of France, is of an unusual richness and execution. The next
+range is unique among west fronts, being a large central window, but
+slightly pointed and little removed from the Romanesque. It is bare of
+coloured glass, and is decidedly not an attractive feature. On each side
+of this great window are a series of blunt pointed lancets, which form a
+sort of arcade which otherwise relieves the bareness which would exist.
+Immediately above is a row of niches which hold eight armour-clad
+knights of the fifteenth century, inferior perhaps, in execution, to the
+sculpture of the portal, but producing an effect, when viewed from the
+ground, undeniably fine. It is a detail as interesting, in its way, as
+the long "Gallery of the Kings" at Reims. Above rise the slim spires,
+with an octagonal cupola superimposed over a central structure, which
+looks to this day as though it were originally intended as one of a
+battery of three uniform spires. The general plan of this facade is the
+masterpiece of design of the building, and, except for the ludicrously
+diminutive clock-face, could withstand nobly the cavil of the most
+exacting pedant who ever read or studied architectural forms, solely out
+of books. In the immediate foreground falls the before mentioned street
+of steps. Many old tumble-down houses have recently been cleared away,
+and, at the present writing, the view from this point is one which has
+apparently not previously existed, and one which it is to be hoped will
+not be marred by the erection of any so-called modern improvements.
+
+The interior fills no accepted formula of architectural expression, save
+that it is of the manner common to Anjou, the borderland between the
+Gothic aisled and the great and aisle-less southern naves, but it holds
+one's interest none the less. Perhaps, after all, it is the quality to
+interest, quite as much as that to please, which is the standard by
+which one makes estimates and forms opinions. There is a not very long
+nor very wide nave and choir, neither with aisles, and both with a
+vaulting which gives the appearance of being much lower than it really
+is, quite the contrary impression to that received from contemplation of
+the exterior. The bishop's throne sets midway on the right of the nave.
+Each bay of the side walls of the nave is composed of a wide pointed
+arch resting immediately upon the ground and filled with stone instead
+of glass; reminiscent of a similar effect in the Church of Notre Dame de
+la Cloture at Le Mans. The true windows of the nave rise in pairs above
+this arch, and contain rich, though somewhat fragmentary, glass of the
+thirteenth century. As characteristic of the Angevine style, there is no
+triforium or clerestory, and hence, it is claimed, no necessity for
+flying buttresses, the support being accomplished by less graceful, if
+as effective, heavy square piers built into the outer wall.
+
+The transepts are not pronounced as to length or breadth, their chief
+beauty being their rose windows.
+
+The choir, of the twelfth century, shows an interpolated and elaborately
+flamboyant doorway of a much later period.
+
+An ornate oaken pulpit of none too good Renaissance carving is in the
+nave, and the organ case over the western doorway is supported on the
+shoulders of a series of huge, grotesque, but monstrously human, wooden
+caryatides. This, with the gigantic, high canopied carven wood pulpit,
+one of the most extraordinary in the country, forms a relief to coldly
+chiselled stone, certainly;--but few will consider their charms such as
+would warrant counting them amongst ecclesiastical treasures.
+
+The fourteenth-century tapestries from Arras (or Paris) were made for
+King Rene and by him given to the cathedral. They represent scenes from
+the Apocalypse, and, though having suffered somewhat from the
+depredations of the Revolution, still exhibit evidences of rare
+qualities of workmanship in their design and colouring.
+
+The _benitier_ of _verd-antico_ marble supported by figures of lions is
+a Byzantine work of the eastern empire, given to the cathedral by King
+Rene.
+
+The Dukes of Anjou and Margaret of Anjou were buried here, but the tomb
+of the latter was desecrated and destroyed during the Revolution. Aside
+from these, no other monuments of note are to be seen.
+
+The Bishop's Palace, of the twelfth century, standing high beside the
+cathedral, was restored by Viollet-le-Duc and reflects a mediaeval
+splendour unseen elsewhere in the city, with respect to any great or
+small domestic establishment.
+
+The Maison Barrault in the Logis Barrault, built by a former mayor of
+the city, one time Chancellor of Brittany, was the scene of the
+magnificent entertainment offered Caesar Borgia in 1497. Afterwards it
+became the residence of Marie de Medicis; later, a monastic
+establishment, then a seminary, and lately simply an ordinary private
+school. Says one writer, "No wonder its remains should be so scanty and
+ill preserved."
+
+
+
+
+[Illustration: _CATHEDRAL of St. PIERRE NANTES_]
+
+VI
+
+ST. PIERRE DE NANTES
+
+
+As a city of commercial and strategic importance, no one will deny that
+Nantes is supreme in the Loire valley; that its relations with the
+affairs of Church and State are equally important, is a debatable point.
+True, the edict in favour of Protestant worship, fathered by Henry IV.,
+was a momentous and significant event; but the revocation, and the
+subsequent massacres of the rascally Carrier, well-nigh wiped that out.
+The history of the city is one long record of warfare and bloodshed.
+Though holding the command of the Loire, the city has ever been more
+closely identified with Brittany. Here, in its frowning tenth-century
+castle, which fronts upon the river immediately in the foreground of the
+Cathedral of St. Pierre, with which it forms an unusual grouping of
+ecclesiastical and military architecture (M. H.), lived at one time or
+another, most of the Kings of France, from Charles VIII. downward. Here,
+too, Anne of Brittany was born, and here she married Charles VIII., thus
+uniting the Duchy of Brittany with the crown of France. Her subsequent
+marriage, in the chapel of the castle, with Louis XII., made for ever
+impossible the future independence of the city.
+
+Following the edict came the Revolution; and, as if the preliminary
+horrors of massacres and atrocities, which spread to Orange in Vaucluse
+and to Arras in Picardy, were not of sufficient stringency, the
+"Noyades," or drownings, carried off the poor unfortunates, a boatload
+at a time, until it is estimated that perhaps nine thousand were thus
+cruelly murdered,--women, children, royalty, and the clergy alike. The
+wrath which spent itself seemed to know no rank. The guillotine,
+disease, and famine finished the work, so that the population of the
+city was, at the beginning of the nineteenth century, immeasurably
+inferior in numbers to what it had been a decade before. The details of
+these significant events are recounted quite fully enough by historians
+generally; but, in reality, it has little to do with the aspect of the
+city as it exists to-day, which, if not one of great splendour, partakes
+in no small measure of the attributes of a large metropolis, amply
+planned, beautifully laid out, and possessing, in addition to the
+characteristics of Brittany with which it has been so long identified,
+not a little of the influences and attributes of the south.
+
+Immediately to the rear of the chateau is the Cathedral of St. Pierre,
+ancient as to its foundation, and grand as to its general effect, both
+inside and out, though its exterior is marred by its uncompleted towers.
+Lofty, but of heavy proportions, St. Pierre de Nantes would, at first
+sight, appear to offer much that goes to make a satisfying
+ecclesiastical building. As a matter of fact, it fails in many
+particulars to realize any ideal which we have come to admire. The
+western facade is more indebted to the rich and reasonably ornate
+portals for its undeniable impressiveness, than to the gable of towers,
+which have crumbled exceedingly from the effects of wind and weather,
+rather than of great age, since they date only from the fifteenth
+century.
+
+The choir rests on the remains of an older church, hardly to be seen
+to-day in any appreciable evidence, in that restoration and rebuilding
+have been so extensively carried on.
+
+The windows throughout are but weak decorative elements, and lack
+tracery and glass of a decorative quality, an obvious detraction in any
+great architectural work. The south transept shows indications of four
+successive periods of construction, and contains the best glass in the
+church; otherwise it is severely plain.
+
+The interior is by no means as incoherent as the exterior, the height of
+the nave, one hundred and thirty feet, giving an otherwise
+unapproachable grandeur; though this admirable dimension is qualified to
+no small degree by a triforium of a luxurious florid growth, little in
+keeping with the other attributes of firmness and strength.
+
+The chapels throughout are bare and uninteresting so far as their altars
+or decorative embellishments are concerned,--what they may be at some
+future time, if the _Art Nouveau_ gets a foothold in church decoration,
+is fearful to contemplate. Paintings, none too common in French
+churches, are here somewhat in excess of customary numbers, though, as
+to quality or interest, in no church in France can they vie with those
+of the great churches of Italy or Flanders.
+
+Like the neighbouring city of Tours, Nantes has in its cathedral, for
+its _piece de resistance_, a magnificent sepulchral monument, the tomb
+of Francois II., the last Duc de Bretagne, and Marguerite de Foix, his
+second wife, erected to their memory by their daughter Anne. This
+remarkable mausoleum was executed in 1502-07, after designs of Jehan
+Perreal, by Michel Colomb and his pupils, Regnault and Jean de Chartres,
+with the assistance of Jerome de Fiesole, who contributed the ornamental
+portion. It fortunately escaped demolition at the Revolution, and was
+brought hither and placed in the south transept from the Eglise des
+Carmes in 1817. It is a wonderful exemplification of the very best
+quality of Renaissance. The main portion of the tomb is of marble, with
+black mouldings somewhat shattered in places, but not so much so as to
+affect the contour or design. The effigies lie recumbent upon a slab,
+their feet resting on a lion and a greyhound, upheld by a series of
+miniature figures of the twelve apostles in niches of red marble. At
+the corners are four nearly life-size figures, depicting Justice, with
+sword and scales, said to be a portrait of the Duchess Anne; Power,
+strangling the dragon of Heresy; Prudence, a double face, showing also
+Wisdom, with mirror and compass; and Temperance, bearing a curb-bit and
+a lantern. A tablet at the head bears the figures of St. Louis and
+Charlemagne, and one at the foot, those of St. Francis of Assisi and
+Ste. Marguerite, the patrons of the duke and duchess.
+
+
+
+
+_PART IV
+
+Central France_
+
+
+
+
+[Illustration: ST. ETIENNE _d'AUXERRE_]
+
+I
+
+ST. ETIENNE D'AUXERRE
+
+
+The entrance to the Burgundian city of Auxerre is more or less confused
+if one would, at the first glance, attempt to recognize its cathedral
+from among the three fine churches which in true mediaeval fashion loom
+up over the river Yonne; not that the entrance is not pleasing: the
+reverse is actually the case, though one's way into the town lies
+through newly made roads. However, upon contemplation of the pleasant
+prospect of town and river, he would be an uninspired person indeed who
+would not be able to pick out the Cathedral of St. Etienne, with its
+singular reddish brown roof, from among its less imposing neighbours. It
+is the central building of the three, and it rises majestically above
+all, enhanced by the fine grouping of its one lone tower.
+
+As a type to admire, the cathedral, be it said, is not of a superlative
+quality; but as a thing of beauty in many of its details and because of
+its aforesaid commanding situation, it is one not to be ignored when the
+really fine gems of mediaeval treasures are catalogued. It is another of
+those types, so far as its choir is concerned, which rise to a loftiness
+of soaring height, which, in later days, degenerated, or were lost
+altogether in the fabric of the transepts and nave. The height of the
+choir is perhaps not so great as it really appears, when gauged by its
+sheer rise from the river level; but such is the suggestion, at least,
+which, after all, is what the eye and certain other of our senses
+admire, quite as much as a professed expert classification.
+
+The western front is of unusual appearance in that the southern tower
+glances off into the angle of the gable in most curious fashion; not
+beautiful, nor as originally intended to remain, but so it is, and
+offers at least a comparison of how a lofty gable looks when it lacks
+towers of an appropriate height. At the right of this low tower of the
+facade, hidden behind a wall, is a thoroughly Pagan doorway, which might
+well pass unobserved, did one not actually stumble upon it unawares. It
+is a curious reminder of other days and other ways, and how it became an
+adjunct of this mediaeval church the local records fail to state. The
+three main portals of the facade, as that of the transept, are somewhat
+bare of ornament, though the main tympanum and the spring of the arch
+are fairly filled. These portals are of the late thirteenth century, and
+exhibit no traces of the debasement which subsequently entered into the
+upper ranges of the tower and lateral portals.
+
+Both the transepts and the west front contain rose windows of good,
+though not remarkable design, and each is exceedingly generous in size.
+The interior, generally, does not give the effect of the great height
+suggested from the rear view of the choir overhanging the river front;
+but both nave and choir are of unusual width, and so also is the
+clerestory, which is lofty, and set with rare old glass of the most
+splendid and valuable quality, in the main the gift of Bishop de
+Villeneuve in 1220.
+
+The choir terminates with the usual apse, which is further elongated by
+the far-reaching lady-chapel, which adjoins the main fabric in a
+graceful and unusual manner. The north tower was completed as late as
+the sixteenth century, and that of the south was left unfinished,--as it
+is to-day. The gable and its portals are highly decorated with statues,
+niches, and crockets.
+
+Around the aisles of nave and choir is a curiously suggested arcade with
+an overhanging balustrade ornamented with a series of indifferently
+sculptured heads. The bosses of many of the intersecting groins of the
+vaults are coloured with questionable effect. There are also many
+visible evidences of coloured wall decorations, which might perhaps as
+well have been left covered, inasmuch as they have suffered exceedingly
+in the attempted restoration; so much so, that it is impossible to say
+whether they ever approached acceptable perfection; possibly not, as
+they are supposed to date only from the period when much of this class
+of work was of none too good a quality.
+
+The triforium of the nave is gracefully balustraded, and the choir
+stands apart from the nave, separated by an elaborate eighteenth century
+iron _grille_. The ambulatory of the choir sets three steps lower than
+the nave, though the platform is on the same level. The crypt beneath
+the choir, so often the only existing remains of an earlier church, is
+here grandly in evidence, and dates from the eleventh century at least.
+
+There are a few interesting tombs of former Bishops of Auxerre and
+others of local celebrity.
+
+On the whole the charm of Auxerre and its cathedral must be admitted to
+lie in its general surroundings and immediate environment, quite as much
+as because of any remarkably distinctive features of a superlative
+quality in the cathedral itself, though an undeniable wealth of
+picturesque detail exists.
+
+The conventional guides speak of it as "highly interesting," and so it
+is, with its Romanesque remains, its ungainly facade, its three fine but
+weather-worn doorways, and its charming river view.
+
+Beside the cathedral stands the old-time Episcopal Palace with its fine
+arcaded Romanesque gallery overlooking the river, where the prelates
+took their "constitutionals," safely guarded from wind and weather.
+To-day this grand building represents the officialdom of the local
+Prefecture.
+
+Two other noble ecclesiastical monuments are to be seen here, the Church
+of St. Germain, or rather, the fragment which was spared by the
+Huguenots, now being used as an adjunct to a hospital; and the Church of
+St. Pierre. The latter is the most appalling example of a Renaissance
+building which one is likely to meet with, and shows in its remarkable
+facade, in sheer perversion of misdirected labour, the grossness of
+pseudo-classicism, which quite entitles it to rank with that other
+equally abominable example in Paris, St. Eustache.
+
+The _portail_ of this remarkable church, locally so called, though in
+reality it is only a detached gateway, far from the church building
+itself, is a wonderful Italian suggestion, now mellowed and weathered
+and undeniably charming in colour in spite of its being so manifestly
+out of its environment.
+
+
+
+
+[Illustration: _St. Etienne de Bourges_]
+
+II
+
+ST. ETIENNE DE BOURGES
+
+
+The Cathedral of St. Etienne de Bourges partakes of the same honours
+which are accorded to the premier quartette of the Isle of France.
+Nearly contemporary with Paris and Laon, this cathedral steps into its
+rank with a grandeur and firmness that in a less stolid or more ornate
+edifice is often wanting. It retains certain of its Romanesque features,
+perhaps unduly pronounced; likewise it has certain attributes of
+Burgundian luxuriance; but withal it presents the highly developed
+Gothic tendency to a far greater degree than either. Although not far to
+the south of Paris, Bourges is thoroughly of another climatic
+environment, which not only shows itself in the changed conditions of
+life, but in the manner of building as well.
+
+The great transeptless church of St. Etienne is another of those soaring
+monuments which rise skyward and hold the eye whenever one is in its
+vicinity. Standing on an eminence of not very great height, it
+dominates, from every point of view, the plain which surrounds the city
+and reminds one of Noyon or Laon in its comparative isolation. Not
+because its domicile is not a place of some magnitude, but rather
+because the neighbouring houses lie so huddled in a valley or plain,
+does the city give the impression of being of less size than it really
+is.
+
+The view from the railway on entering the town is, as it has been called
+by some imaginative Frenchman, "but the _hors d'oeuvre_ of the
+architectural feast to follow," and on drawing still closer, it composes
+grandly with the swift-flowing little river lined with the tall slim
+trees which are so distinguished a feature of a French landscape.
+
+Like Beauvais, Amiens, and, in only a slightly lesser degree, Le Mans,
+the sheer fall of the nave and choir from ridge to ground startles one
+by its exaggeration of perpendicular lines. Though by no means of the
+great height of these other examples, its great size first impresses one
+as its distinguishing feature. It sits, too, on the edge of a beautiful
+wooded park which, in conjunction with the modern Episcopal Palace,
+forms an ensemble of stone and verdure not often to be seen as the
+environment of a French cathedral. The gardens are quite open to the
+public and are set forth with clipped hedges, trees, and monumental
+stone work of no mean order.
+
+Bourges is another of those ancient foundations of mid-France where
+Romish influences died hard, and Gothic, as a perfected type, never, as
+it were, attained its majority. Here, the mixture of style is notable;
+pointed and rounded arches intermingled, apparently indiscriminately,
+with thoroughly Gothic supports, mullions, and piers. These, with the
+characteristically Renaissance north and south porches, with their
+carven doorways, all go to complete a series of typically fashioned
+details, each true to its own age. Such a combination of varying virtues
+should give the student, or the seeker after new sensations, something
+more to think about than a mere catalogue of consistent charms; for it
+cannot be denied that this church, standing aloof from any other single
+type, is a marvel of grandeur and impressiveness, whatever may be its
+failings when dessicated by the theorist or the archaeologist.
+
+It is unlikely that Saracen or even Moorish influences were ever at work
+so far north as this; but there is an unquestionable tendency in much
+of the debased decoration of this church to more than suggest a
+similarity to both. It is, of course, not Gothic, as we know it, nor
+Byzantine, _pur sang_, and it is certainly not Italian, but something
+quite different. It is, perhaps, worthy of record that the inverted
+horseshoe arch more nearly approximates what is commonly considered the
+Moorish form; or, to give it a wider _locale_, Mediterranean, at least.
+The polygonal turrets which flank the towers and the chapels of the
+abside look, too, not unlike a sub-tropical feature, possibly Saracen.
+Such details are markedly noticeable here, and it is because of features
+such as these that one is minded to consider the church as something
+quite different from anything seen elsewhere.
+
+To carry the argument still farther, if these details are to be
+considered in any sense Gothic, or any outgrowth thereof, it certainly
+augurs much for the possibility of this style having come originally
+from the East, or at least the Mediterranean countries. It has been
+claimed before now by English and French writers alike, that it may have
+developed from the arts of the Moors of Spain, or that it may have grown
+up from a primitive style in vogue in the Far East. The comment is given
+without further elaboration; but here, at least, we see some basis for
+the claim that Gothic is but a transplanted flower after all, and that
+it developed so boldly only from the seed's having been blown hither
+from some other land, and finding a favourable soil in which to take
+root and flourish.
+
+Without transepts, the long flank of the nave and choir is singularly
+beautiful, broken into at regular intervals by buttresses which, if not
+remarkable examples, are at least graceful, though so light that they
+have been visibly stayed by iron rods, as is frequently the case
+elsewhere, at Beauvais particularly, where the whole fabric appears to
+be hung together by wires.
+
+The actual inception of the cathedral is attributed to Rudolphe de
+Turenne, forty-sixth Archbishop of Bourges. Of his known work only the
+round-arched crypt remains, upon which foundation the present grand pile
+was reared.
+
+The west front possesses a quintette of portals, deeply recessed, but of
+a decidedly mixed Gothic and Renaissance treatment as to decoration.
+Such a range of elaborated doorways is hardly to be found in such
+luxuriance elsewhere, though the fact that there are five in all,
+standing grandly in a row, is perhaps not unique of itself. They are
+profusely decorated with sculptured forms of angels, saints, and kings.
+The tympanum of the central portal contains a "Last Judgment,"
+remarkable alike for its magnitude and workmanship. Throughout, these
+portals vary in date of their construction, their treatment, and their
+excellencies, but in general they are homogeneous and convincing. In the
+gables of three are circular piercings which open into a sort of
+vestibule or porch; but these are entirely without glass. Another unique
+feature of this western front is a curious lofty double-storied
+structure, a chapel-like building, of whose functions most will remain
+in ignorance. It is connected with the main body of the church by a long
+tentacle-like ligature through which, says Henry James, "the groaning of
+the organ or the pealing of bells must be transmitted with distressing
+clearness."
+
+The hybrid tower on the extreme left, with many round-arched windows and
+much florid ornament, is familiarly called the "Tour de Beurre," and, as
+its compeer at Rouen, was built from the contributions of those who were
+willing to forego themselves the luxury of butter. To the right is a
+much less imposing tower, but one that is much more true as to its
+style. It rises scarcely above the central gable, and helps to
+exaggerate the lack of uniformity of the facade, a condition much
+deplored by the true Gothic builder, though whether such varying detail
+does not after all make a more interesting, and perhaps as edifying a
+work for pleasurable contemplation, is an open question. There is, in
+any event, a marvellous power in this massive west front to confirm
+one's opinion that it is a comprehensive and yet varied thing. Another
+curious feature of this front is a pair of overlying buttresses of no
+apparent purpose as to staying power, since the wall space which they
+flank is of no inordinate height. The window space, though, is ample;
+and, though mostly in blank to-day, at a future time those blanks might
+be broken out; hence the necessity for these extra props.
+
+The interior gives, likewise, a grand impression, one of vaster
+magnitude than in reality exists. The length is probably exaggerated by
+reason of the lack of transepts; but its breadth, including nave and
+aisle, is unusually great, and the height is further magnified by the
+fact that the aisles themselves have three ranges of openings, above
+which, in the nave, rise the triforium and clerestory,--surely alone a
+sufficiently unusual arrangement to account the church as of remarkable
+planning. Its great beauty may be said to be the magnificent proportions
+throughout, rather than the preeminent intrinsic value of any specific
+detail.
+
+The rose window of the west end, though of grand proportions, appears to
+fail utterly as a supreme effort because of the flatness and depression
+given to its circumferential outline. Like that of St. Gatien at Tours
+it is of an uncertain lozenge shape, while the effect is further
+lessened by the mediocrity of its glass and framing.
+
+The general appearance of the interior is one of symmetrical grandeur,
+wherein the effect of each dimension is probably enlarged, but with a
+fine and consistent proportion. Its conventional embellishments are not
+unduly ornate; though, for that matter, they do not give the impression
+of being wanting to any great degree either in quality or quantity. In
+no particular, however, is the sculptured form of figure or foliage of
+that excellence and magnitude of that of the cathedral at Reims or at
+Amiens.
+
+The magnificent proportions of the choir well merit the term of
+"Burgundian opulence." Its termination opens with an amplitude often
+wanting in even a larger building, the piers being wide apart, without
+screening, which heightens still more its generous proportions.
+
+The two picturesque cardinal's hats, with cord and tassels, have long
+been pendant from the vault of the choir, and are now dimmed in colour
+and thick deep with dust, seemingly destined to fall of sheer old age
+and decrepitude. Further particulars concerning this picturesque detail
+are wanting only from the lack of any one in attendance from whom one
+might get this information,--perhaps some reader of these lines may be
+more fortunate.
+
+On the pavement of the nave is a brass rule, inlaid diagonally from the
+north to the south wall. Its original use appears to be clothed in some
+obscurity, one informative person stating that it is the line of
+departmental division, and another that it marks the meridian of Paris,
+which is shown on all French navigation charts. Its real purpose is
+evidently topographical rather than of religious or symbolical
+significance.
+
+An ardent French writer deplores the fact that there is no monument
+here to show respect for Louis XI., who was born at Bourges and baptized
+in the cathedral; a pity, perhaps, and certainly a subject worthy of the
+consideration of "the powers that be."
+
+
+
+
+[Illustration: _CATHEDRAL of S. CYR & Ste. JULIETTE NEVERS_]
+
+III
+
+ST. CYR AND ST. JULIETTE DE NEVERS
+
+
+A unique experience is one's first contemplation of the "gay little city
+of Nevers" from the Pont du Loire, with the none too large Cathedral of
+St. Cyr and St. Juliette crowning, as it were, the apex of a series of
+steep rises from the Loire, which, even at this distance from the sea,
+still retains its ample breadth. Said Arthur Young in his plain and bald
+phraseology, "Nevers makes a fine appearance." Here, on the very
+threshold of the southland, it is something of a shock to be brought at
+once into intimate association with Italian influences and types of
+architecture; for, be it recalled, Nevers has been truly "an Italian
+stronghold in the midst of France," with little to remind one, but its
+speech, that it is merely a provincial French market-town. Nevers was
+the seat of the Italian Dukes and Counts of Nievre, who built the ducal
+palace, the _ci-devant_ chateau, now the Palace of Justice. Here, later,
+dwelt the nephew of the great Mazarin, who said his king "had a heart
+more French than his speech." Through his efforts the Nivernais was
+incorporated with the French crown in 1669.
+
+This fine turreted, towered, and decorated building, with its sculpture
+attributed to Goujon, is to-day, in appearance at least, what it was in
+the past,--the typical urban domestic establishment of grand proportions
+and splendid appointments; though it may hardly be said to vie with such
+masterpieces as Chambord, Chenonceau, or Blois. Nor, for that matter, is
+the town itself entitled to rank, as to its events of historical
+importance or the fame or personality of its bishops or counts, with
+either Chartres or Le Mans, both of which it somewhat approaches in
+point of size.
+
+Aside from its many and varied charms, which have been duly set forth
+by most writers on the French provinces who have had anything whatever
+to say about it, Nevers should be doubly endeared to all makers of
+guide-books and students of ecclesiastical architecture, from the fact
+that the Abbe Bourasse, Honorary Canon of Nevers, here wrote and
+dedicated to his bishop, Mgr. Dufetre, a work treating of the French
+cathedrals which will ever rank as one of the most delightfully written
+and useful books of its class. This fact perhaps is hardly to be
+reckoned as of historical moment, but pertinent to the plan of the
+present work nevertheless.
+
+Nowhere, not even in Provence or Acquitaine, are to be noted more
+significant tendencies toward a southern influence in the matter of
+civil and ecclesiastical building. True, many of the minor structures
+have to-day descended unto base uses, and many of their perfections and
+beauties are therefore sunk below the surface. For instance, where a
+palace has become a warehouse, or a church been turned into a stable, or
+been given over to the uses of a wine factor.
+
+Before even considering the cathedral itself,--dedicated to the hero of
+the legendary tale concerning St. Cyrus, who, depicted as a naked child
+riding astride a wild boar, was able to turn the infuriated beast from a
+certain King Charles (further designation not given) and preserve him
+from danger,--it is well to know that most authorities agree in giving
+habitation here to one of the most perfect Romanesque churches in all
+northern Europe, that of St. Etienne, built in 1063-96, and consecrated
+in the latter year by Ivor, Bishop of Chartres. Of the century
+contemporary with this fine work, as yet hardly spoiled by any offensive
+restorations, are two columns, in the easterly portion of the Cathedral
+of St. Cyr, which bear the date of 1024. From this foundation the lover
+of churches will rear for himself an exceedingly interesting and
+uncommon type.
+
+Not of the first rank, St. Cyr has the power to hold one's attention far
+more closely and interestingly than many of greater worth and magnitude;
+and its environment, from every point of view, composes itself into a
+picture which it would be hard to duplicate. The grouping of the chevet
+of the choir with the low roofs of the town lying at its base, and the
+gardens of the ducal chateau in the immediate foreground, forms an
+unusually varied combination of the picturesque.
+
+The wealth of Nevers in architectural monuments would be notable in a
+town many times its size. The Port de Paris, a not especially attractive
+Renaissance gateway, guards the northerly, and the Port du Croux the
+westerly, end of the town. This latter groups nobly with the west end
+and tower of the cathedral, and is of itself a monument of the first
+rank, being so designated by the _Commission des Monumentes
+Historiques_. A feudal defence, square, broad-based, turreted, flanked
+with circular watch-towers, and still further strengthened by a barbican
+which once held a portcullis, this wonderfully effective barrier more
+than suggests the mediaeval stronghold. Two other towers of the ancient
+_enceinte_ still remain, the Tour Gougin, and the Tour St. Eloi.
+
+Intimate acquaintance with the cathedral shows a blending, not
+offensive, but in no slight manner, of the Romanesque, early and late
+Gothic, and finally Renaissance styles. Nevertheless there is an
+apparent cohesiveness often lacking in a larger work, or in one built
+within a shorter period of time. One distinctly northern feature there
+is; namely, the singular effect given by the double apse of the nave and
+choir, reminiscent mainly of the Rhine builders, that of the eastern
+end being much the older. The half-obliterated frescoes of the domed
+vaulting of the western apse indicate that it was completed after the
+pure Italian manner at a considerably later time than the opposite end.
+It is hardly a beautiful or even a necessary feature to either the
+exterior or interior of a great church, and, fortunately, is unusual in
+France, though common enough in Germany, notably at Mainz, Worms, and
+Treves. The most remarkable interior effect, aside from this western
+apse, is that of the lofty Gothic arches, springing high above the
+Romanesque arches of the nave, and naturally of a much later date.
+Certainly this must be, so far as the respective proportions of each are
+concerned, an entirely unique feature. Notable evidences are to be seen
+of frescoes, probably the work of some Italian hand, both on the screen
+and in the domed apse. They have apparently been whitewashed over many
+times, but remorse, if tardily, has evidently come lately, and such
+restoration or renovation as has been possible, has been undertaken.
+
+A dainty and diminutive spiral stairway, suggestive of having been
+modelled on the lines of the grand spirals at Chambord or Blois, and
+half enclosed in the surrounding wall, leads to the Chapter Room above.
+The eastern apse, and the crypt beneath, are the earliest parts readily
+to be observed and are probably the remains of the Romanesque structure
+built by Hugh II. early in the eleventh century, after the common type
+of the Auvergnat and Angevine churches.
+
+Perhaps the best workmanship to be noted is that of the
+thirteenth-century chapels surrounding the choir. Reclus, a French
+authority, has declared that the ornamental foliage here is not only
+really admirable as to itself, but is the "perfection of imitation," and
+extends this commendation also to the work on the pillars and capitals
+of the north doorway by which the church is usually entered.
+
+The interior generally is brilliant and pleasing, though good glass is
+mostly wanting, and the uninterrupted flood of light detracts measurably
+from the warmth and geniality suggested by the memory of Bourges,
+Chartres, or Auxerre. The rose window over the western apse is pitifully
+weak and quite lacking in effectiveness.
+
+A canopied _baldacchino_ rises above the altar and, being of stone
+treated in a graceful Gothic manner, is an ornament much more in good
+taste than the hideous mahogany or oaken serpentine atrocities which are
+often erected.
+
+It is impossible to come into close contact with the exterior of this
+cathedral except by approaching it from the eastern end. West front
+there is none. As one has said, "It possesses merely a western end." The
+western tower, of two non-contemporary orders of Gothic (fourteenth and
+fifteenth centuries), whether viewed from near or far, is far more
+pleasing than any other general exterior feature. The chevet of the
+choir extends, as it were, well into the nave, there being no transepts.
+This is evidently a local custom, recalling the neighbouring cathedrals
+at Bourges and Auxerre.
+
+The sculptured decoration of the later portion is exceedingly well
+disposed, and of such magnitude and numbers as to lack that poverty in
+the ensemble often apparent in a more pretentious work.
+
+The Church of St. Etienne in Nevers, so thoroughly Roman in inception of
+design and execution of detail, indicates more vividly than any other
+example that might possibly be taken, the shortness of time in which the
+Gothic development actually took place. With Notre Dame at Paris full
+in mind, it is well to recall that these accepted perfect examples of
+two contrasting types are scarce a hundred and fifty miles apart, and,
+in point of time, but sixty years. What an exemplification this surely
+is of the transition which came to the art of church building in the
+twelfth century; what extraordinary rapidity of conception and
+development, and how narrow were the confines of the true Gothic spirit,
+indigenous only to the royal domain, which alone produced the churches
+which fully merit the concisely expressed definition of Gothic: "A
+manner of building maintained (sustained) by a system of thrust and
+counter thrust."
+
+
+
+
+[Illustration: _CATHEDRAL of S. MAMMES LANGRES_]
+
+IV
+
+ST. MAMMES DE LANGRES
+
+
+Langres is reminiscent of but one other cathedral city in the north of
+France; like Laon, it occupies and fortifies the crest of a long drawn
+out hill, or, to give it dignity, it had perhaps best be called in the
+language of the native "de la montagne de Langres," since from its apex,
+it is truly dominant of a wide expanse of horizon.
+
+Of the Burgundian transition type, the Cathedral at Langres, dedicated
+to St. Jean the Evangel and St. Mammes, is in many ways a remarkable
+architectural work, but contaminated beyond cure by two overbearing
+Greco-Roman towers and a portal of the mid-eighteenth century. As a
+relief, there adjoins the main body of the church, on the southeast, one
+of those masterworks of the supreme Gothic era,--a canon's cloister of
+an exceeding thirteenth-century beauty. In other respects, the exterior
+is of little note except as to its wonderful degree of prominence in the
+general grouping of the roofs of the town, when the city is viewed from
+below.
+
+The interior spreads itself out in severe and imposing lines with hardly
+a remarkable feature in either transepts or nave. The organ-loft, a
+Calvary, and a marble statue of the Virgin, by Lescornel, a sculptor of
+Langres, and a few modern sculptured monuments, are the only decorative
+attributes to be seen, if we except the Renaissance Chapelle des Fonts
+Baptismaux with its sculptured vaulting on the left.
+
+The symmetrical choir is in itself the true charm of St. Mammes. It has
+a fine ambulatory, and a range of eight monolithic columns, removed,
+says tradition, from an ancient Pagan temple. Their capitals are
+ornamented with carven foliage, grimacing heads, and fantastic animals.
+
+A sixteenth-century screen surrounds the choir, but is more like unto a
+triumphal arch than a churchly accessory.
+
+The high altar is a comparatively modern work, as may be supposed, and
+dates only from 1810.
+
+On the right of the choir is an elaborate Roman doorway, and preserved
+in the Chapter Room are five paintings depicting the "Chaste Susanne." A
+remarkable collection of reliques is shown by the sacristan, in the
+Chapelle des Reliques.
+
+
+
+
+V
+
+NOTRE DAME D'AUXONNE
+
+
+The small town of Auxonne, lying between Dijon and Besancon, is seldom
+thought of in connection with a cathedral church. There is little there
+to compel one's attention beyond the fact that the Church of Notre Dame,
+of the fourteenth-sixteenth century, is an interesting enough example of
+a minor edifice which at one time was classed as a cathedral.
+
+The church is mainly Gothic and has the unusual arrangement of a
+Romanesque tower rising above the transept.
+
+
+
+
+_PART V
+
+East of Paris_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+No arbitrary territorial arrangement can be made to include with
+exactness each and every ecclesiastical division, but, since the Royal
+Domain and the immediately adjacent territory includes the major portion
+of what are commonly accepted as the Grand Cathedrals, it has been
+thought permissible, in the present case, to make a further subdivision
+which shall include Boulogne and St. Omer, north of Paris; eastward to
+the Rhine and southward to include Dijon and Besancon. A topographer
+might not make such a division or arrangement of territory; but no other
+seems possible which shall include the region lying between the extremes
+of Besancon and Boulogne.
+
+The local characteristics or architectural types differ widely within
+these limits, both as to style and excellence. In one way, only, have
+they advanced under conditions of unity, that of the establishment of a
+Christian church, but, otherwise, now favouring the northern influence
+and now the southern. The frontier provinces have, as a natural course,
+been subject to many retarding influences which have been wanting
+elsewhere; for invasion from without may be depended upon to be as
+baneful for the preservation of a nation's art treasures as a revolution
+from within. The Christian element early forced its way among the
+Franks, and Clovis, at the solicitation of his Christian queen and her
+bishop, was not averse to adopting what he might otherwise have regarded
+as a superstition. His conversion at Reims not only fostered and
+propagated Christianity, but gave an impetus to the foundation and
+building of churches in a most generous fashion.
+
+The region to the eastward of Paris, which has played no unimportant
+part in the history of France, while prolific as to varied types of
+church building, possesses but one example of the very first rank,--and
+that, as a style which typifies Gothic art, may be said to rank supreme
+over all others,--Notre Dame de Reims. As the seat of the Metropolitain,
+and the City of Coronations, it was allied closely with early affairs of
+Church and State.
+
+The principles and manner adopted by Guillaume of Sens in his great
+works early affected the style here, as seen by the many transition
+examples, just as the influence of the Monk of St. Benigne of Dijon
+caused the round-arched species of the west of France. At all events the
+primitive Gothic influences were early at work and in a measure absorbed
+the Romanesque tendencies which had flourished previously.
+
+The most notable exception, an example of the distinctly southern type,
+is at Besancon, which has a remarkable array of contrasting style, with
+the Romanesque, though not of the best, predominating.
+
+With the cathedrals in the extreme northerly section we have little to
+do,--in fact there is little that can be said. St. Omer is possessed of
+a wonderful old church which at one time ranked as a cathedral, and
+which has glimpses here and there of very good Gothic. There are also,
+in this otherwise not very interesting city, two other church buildings
+worthy of more than an ordinary amount of attention, the ruins of the
+Abbey of St. Bertin and the Church of St. Denis.
+
+Boulogne-sur-Mer has a modern pseudo-classical structure built well into
+the nineteenth century. It is more notable as a monument to the
+industry of the man who brought about its erection, taking the place of
+a former structure burnt during the Revolution, than as a satisfactory
+example of a great church. The same may be said with equal truth of the
+atrocious Renaissance and Pagan structures to be seen at Cambrai and
+Arras, though the conditions under which they were built differ. At
+Cambrai, however, the present building replaces a former structure
+levelled by fire.
+
+Chalons-sur-Marne,--dear to every French patriot as being renowned for
+the manufacture of flags, a suffragan of Reims, has a remarkable
+cathedral of Romanesque foundation of the fifth to the seventh
+centuries. Its warlike record, from 273 A. D., when Aurelian vanquished
+Tetricus, to the occupation by the Germans in 1871, is one long
+succession of military affairs. To-day the city is the domicile of the
+most important army corps of France.
+
+These towns, with Nancy, Toul, and St. Die in the valley of the Moselle,
+complete the list of those cities which by any stretch of territorial
+boundaries could be classed under the head of "East of Paris."
+
+It may be a debatable point as to whether Strasbourg and Metz might not
+have been included; the writer is inclined to think that they might have
+been, though their interests and influences have always been more
+Teutonic than Gallic,--still, they are thoroughly Germanized to-day,
+and, as we cannot interrupt the march of time, and the present volume
+will otherwise approach the limits originally set out for it, they must
+perforce be omitted.
+
+[Illustration: _CATHEDRAL NANCY_]
+
+
+
+
+[Illustration: _BOULOGNE_]
+
+[Illustration: _St. OMER_]
+
+[Illustration: _ARRAS_]
+
+II
+
+NOTRE DAME DE BOULOGNE-SUR-MER
+
+
+Boulogne-sur-Mer is one of those neglected tourist points through which
+the much travelled person usually rushes en route to some other place.
+It perhaps hardly warrants further consideration except for the history
+of its past, and its intimate association with certain events which
+might seriously have affected the history of England. It is, however, an
+interesting enough place to-day, if one cares for the bustle and rush of
+a seaport and fishing town,--not very cleanly, and overrun with
+tea-shops and various establishments which cater only to the cockney
+abroad, who gathers here in shoals during the summer months. There is,
+too, a large colony of resident English, probably attracted by its
+nearness to London, and possibly for purposes of retrenchment, for there
+is no question but that the franc, of twenty per cent. less value than
+the shilling, accomplishes quite as much as a purchasing power. This
+must be quite a consideration with _pater-familias_ with a limited
+income derived from Consols or some other traditionally "excellent
+investment."
+
+Most travellers are familiar with what attractions Boulogne really does
+offer, but few if any would consider its very modern and ugly cathedral
+one of them.
+
+Perched in the centre of the _Haute-Ville_, overlooking the city and
+port, the Cathedral of Notre Dame exists to-day more as a monument to
+the energy and devotion of its founder than as a notable architectural
+work. It follows no particular style, except that it is Italian of the
+most debased general type, though no doubt parts of it meet the
+dimensions and formulas laid down by accepted good examples in its
+native land. There is no doubt but that its domed cupola is manifestly
+out of place, though this detail is the only feature which gives the
+cathedral any distinction.
+
+A Gothic church stood here up to the Revolution, and the building of the
+present structure was devotedly undertaken to replace its loss by a
+doubtless earnest man, who, in his zeal, sought to build after what he
+considered a newer if not a better style. Parts of the crypt are of the
+ancient twelfth century church; but the structure above dates from
+1827-66.
+
+Its facade, of a poor classical order, is flanked by two slight cupola
+towers equally meaningless and insignificant. Surmounting the central
+dome is a colossal statue of the Virgin.
+
+The interior is in no way remarkable or interesting. There are a few
+monuments and a gorgeous high altar of precious marbles, mosaic, and
+bronze, the gift of Prince Alex Torlonia. The lady-chapel is still
+resorted to as a place of pilgrimage by the seafaring and fisher folk of
+the neighbourhood.
+
+A modern reproduction of a sarcophagus from the catacombs at Rome forms
+the tomb of Mgr. Haffreingue (1871).
+
+
+
+
+III
+
+NOTRE DAME DE CAMBRAI
+
+
+Cambrai is one of that quartette of cathedral cities of northern France
+which in no sense take rank as ecclesiastical shrines of even ordinarily
+interesting, much less beautiful, attributes. Of the other three, Arras,
+St. Omer, and Boulogne, St. Omer alone is possessed to-day of anything
+approaching the great Gothic churches which were spread broadcast
+throughout France during the five centuries of church building in the
+middle ages.
+
+In manners and customs, and indeed in speech to some extent, these
+cities all partake somewhat of the _locale_ of those of the Low
+Countries. These attributes, which have retained their original
+identities across the borders, were for many centuries, and even so late
+as the seventeenth century, existent in French Flanders. Curiously
+enough, in none of these cities are any of the primitive Gothic types to
+be noted in the cathedral churches, though many possess their
+olden-time belfries and watch towers, preserved to-day with something of
+the local pride which evinces itself elsewhere with respect to
+cathedrals. It is possible that this is due to the fact that this great
+industrial centre of northern France is more given to the arts of
+manufacture than to the devotion of church-going or even of church
+building. Another notable and almost universal feature of these cities
+are the Renaissance or Romanesque gateways,--silent reminders to-day of
+the mediaeval communities which they once protected, and of the warlike
+invasions of the past.
+
+The Cathedral of Notre Dame de Cambrai is on the site of an older abbey
+church, which was of the same ugly style as the present edifice itself,
+but which dated, however, only from the early eighteenth century. The
+present building is said to furnish a replica, of the vintage of 1859,
+of the tasteless and crude style of the earlier building. There are
+statues therein of Fenelon, Bishop Belmas, by David d'Angers, and of
+Cardinal Regnier; and a series of grisaille windows, after originals by
+Rubens, by Geeraerts of Anvers.
+
+The chimes of Cambrai rank among the most noted in Europe. They are
+composed of thirty-nine bells and produce a carillon, "very agreeable,"
+says a French authority. They certainly do,--the author can endorse this
+from a personal knowledge,--and they have not as yet descended to such
+banalities as popular military marches. The largest bell, given by
+Fenelon in 1786, weighs 7,500 kilos.
+
+
+
+
+[Illustration: Notre Dame de Cambrai]
+
+IV
+
+NOTRE DAME DE ST. OMER
+
+
+Under Baldwin of Hainault, Artois, including St. Omer, was ceded to the
+kingdom of France as late as the mid-seventeenth century. Few minor
+churches are possessed of the galaxy of charms and attractions of the
+_ci-devant_ Cathedral of Notre Dame at St. Omer. Hardly in the accepted
+forms of good taste are the Byzantine slabs of marble stuck upon the
+walls here and there, as in a museum; the Renaissance screens; the
+overpowering organ case; the votive offerings and tablets without
+number; and the alleged wonderful astronomical clock, with its colossal
+wooden figures of the sixteenth century,--all of which go to compose a
+heterogeneous mass more interesting as to occasional detail than as a
+thorough expression of saintly temperament.
+
+The decorative scheme is carried still further by the large number of
+paintings with which the church is hung; a tribute none too common in
+France, and more usually associated with the Flemish churches of nearly
+every rank. A reflection of their preeminence in this respect is
+naturally enough visible in French Flanders.
+
+"The Descent from the Cross," attributed to Rubens, appears likely
+enough to be a genuine master, but it has been so roughly restored by
+overpainting, that it is to-day of impaired value.
+
+St. Omer, among all the group of northeast France, presents a true
+Gothic example in its great Basilique de Notre Dame, and it is a pity
+that its further development was along lines which indicate a trend, at
+least, toward debasement. This is plainly to be noted in the tracery of
+the lower and clerestory windows of nave and aisles.
+
+Its enormous tower covers nearly the entire western end of nave and
+aisles, in much the same way as those of some of the fortified churches
+of the south. Its Gothic is of the true perpendicular style, however,
+and, with the general grand proportions of the building, gives that
+immensity and massiveness which is associated only with a church of the
+first rank. The _arcs-boutant_ of the nave are hardly deserving of
+mention as such, though they are manifestly sturdy props which perform
+their functions in perhaps as efficacious a manner as many more graceful
+and delicate specimens elsewhere. There is just a suggestion of a
+central tower, which, as is often the case in France, has dwindled to a
+mere cupola, if it had ever previously grown to a greater height. The
+transepts are of imposing dimensions, that on the south having an
+enormous rose of perhaps thirty-five feet in diameter, with an
+elaborately carved portal below, which contains a "Last Judgment" in the
+tympanum. The choir, chevet, and chapels, while existent to a visible
+and very beautiful degree, are somewhat overshadowed by the great size
+of the transepts. There is this to be said, however: that the choir, a
+restoration of our own day, presents, as to style, the type of Gothic
+purity at its height. It has five radiating chapels, not including that
+of Notre Dame des Miracles, which adjoins the south transept and
+contains innumerable votive tablets. For the rest, except for the fact
+that the interior partakes of a mere collection of curios and relics, it
+is in general no less imposing in its proportions than the exterior. The
+clerestory windows, however, are of ill proportions for so grand a
+structure, being short and squat; and here, as elsewhere throughout the
+building, is to be found only modern glass.
+
+The great bell of the western tower weighs 8,500 kilos.
+
+Chief among the notable accessories and reliques is the monolithic tomb
+of St. Erkembode, bishop of the one-time see of Therouanne, period
+725-37. The sarcophagus itself, dating from the same century, was
+brought here from the original site. The tomb of St. Omer was restored
+in the thirteenth century and shows a remarkable sculptured group of
+Christ, the Virgin, and St. John, called the "Great God of Therouanne."
+It was saved from the ruin of the church at Therouanne, which was
+destroyed with the greater part of the town in 1533 by Charles V., in
+revenge for the "loss of three bishoprics," as history states. At this
+time the sees of St. Omer and Boulogne were founded.
+
+The near-by Palace of Justice, built by Mansart in 1680 and enlarged for
+its present use in 1840, was the former Episcopal Palace.
+
+St. Omer has also two other grand churches, St. Sepulchre, of the
+fourteenth century, and the ruins of St. Bertin (1326-1520), which,
+before the Revolution, with St. Ouen at Rouen, and the collegiate church
+at San Quentin, was reckoned as one of the most beautiful Gothic abbeys
+in France. To-day it is a magnificent ruin, its huge tower (built in
+1431) and portions of the nave and crossing being all that remain. It
+was considered the finest church in the Low Countries, and for size,
+purity, and uniformity of style it ranked with the best of its
+contemporaries.
+
+
+
+
+V
+
+ST. VAAST D'ARRAS
+
+
+The capital of ancient Flanders was removed from Arras to Ghent when
+Artois was ceded to France, and thus it was that the city became French,
+as it were, but slowly, its Low Country traditions and customs clinging
+closely to it until a late day. The former Cathedral of Notre Dame
+ranked as a grand example of the ogival style of the fourteenth century,
+in which it was built, and gave to the city of the "tapestry makers" the
+distinction of possessing a church composed of much that was best of the
+architecture of a fast growing art. Such was the mediaeval rank to which
+the cathedral at Arras had attained. The new Cathedral of St. Vaast,
+dating from 1755 to 1833, is of the Grecian style of temple building,
+little suited to the needs of a Christian church. The crucial plan
+consecrated by catholic usages of centuries is not however wholly
+abandoned. There is something of a suggestion of the Latin cross in its
+design, but its abside faces toward the southeast rather than due south,
+with its principal entrance to the northwest, a sufficiently unusual
+arrangement, where most French churches are duly orientated, to be
+remarked, particularly as there is little that can be said in praise of
+the structure. The interior follows the general plan of the Corinthian
+order; the windows, neither numerous nor of sufficiently ample
+dimensions to well serve their purpose, number nine only in the choir,
+and five on each side of the nave.
+
+There are, to the abside, seven collateral chapels, some of which
+contain passable sculptured monuments, removed from the old abbey of St.
+Vaast, a foundation erected in the sixth century and reconstructed by
+Cardinal de Rohan in 1754. The remains of the old abbey buildings have
+been built around and incorporated in the present Episcopal Palace, the
+extensive Musee, and Bibliotheque; and are situated immediately to the
+right of the facade of the cathedral.
+
+The grisaille glass seen in the interior is unusual, but mediocre in the
+extreme.
+
+There are, however, some good statues in white marble in the Chapelle de
+St. Vaast, while in another chapel, given by Cardinal de la Tour
+d'Auvergne, is one equally good of Charles Borromee.
+
+There are four great statues at the extremities of the transepts,
+representing the four evangelists; and three others in the choir, of
+Faith, Hope, and Charity.
+
+In the north transept, also, are two triptychs of the Flemish school, by
+Bellegambe, a native of Douai (1528).
+
+The Abbe Bourasse, in his charming work on the cathedrals of France,
+says, plainly, and without fear or favour: "We have tried to speak
+impartially of all species of architecture--but why do we not admire the
+Cathedral of Arras? It is against all traditions of '_notre art
+catholique_.' We contend that this is not good. What, say you, can we
+praise? It is a great work--of the stone-mason; you should study it from
+some distance. It is without life, without movement, without dignity."
+
+Whatever may be the faults of its cathedral, Arras is, nevertheless, an
+interesting city,--modernized, to be sure, by boulevards laid out along
+the old fortifications. The Citadel of Vauban (1670), called ironically
+"_la belle inutile_," may be classed as a worthless, if not wholly
+unpicturesque, ruin, though ranking, when built, as among the most
+wonderful fortifications of the times. The wave of Renaissance which
+swept northward has left its ineradicable marks here. The Hotel de Ville
+is a remarkable specimen of that art of overloading ornament upon a
+square hulk, and making it look like a wedding-cake; though, truth to
+tell, coming upon it after the chilliness of the cathedral itself, it is
+a cheerful antidote. Dating from 1510, at which time was built the
+curious Gothic facade of seven arches, each different as to size and
+spring. The added wings in elaborate Renaissance are of the late
+sixteenth century and rank among the most effective examples of the
+style in France. A belfry surmounts all, 240 feet in height, the
+"_joyeuse_" of which weighs nearly nine tons.
+
+Arras may perhaps be most revered for its tapestries, its workers taking
+rank with those of the famous manufactories at Paris and Beauvais.
+Indeed, it would appear as though experts knew not to which of these
+three centres to assign precedence, both Arras and Paris claiming the
+honour of having set up the first looms. It is an ancient art, as the
+work of craftsmen goes, and more than one writer who has studied deeply
+the fascinating intricacies of _haute_ and _basse lisse_, of colour,
+texture, design, and what not, has not hesitated to proclaim the city as
+having been the grandest centre of tapestry-making which the world has
+ever known; and regret can but be universal that it came to an end when
+its citizens were put to the sword by Louis XI.
+
+
+
+
+[Illustration: _TOUL_]
+
+VI
+
+ST. ETIENNE DE TOUL
+
+
+Annexed to France, in company with Metz and Verdun, in 1556, Toul,
+situated on the left bank of the Moselle, is to-day ranked as a fortress
+of the first order. "Can be seen in two hours"--such is the description
+usually given by the guide-books to the city which contains, in its
+one-time Cathedral St. Etienne, an example which, with respect to the
+decorative tracery of its facade savants have declared the equal even of
+Reims.
+
+One of the three former bishoprics of Lorraine, Toul is none too ample
+to merit the cognomen of a large town. It once held within its walls,
+beside the Cathedral, the Church of St. Gengoult, and several parish
+churches and monasteries. Shorn to-day of some of these dignities, with
+its bishopric removed to Nancy, it ranks as a military and strategic
+stronghold rather than a centre of churchly domination. Since Metz and
+Strasbourg were given over to the Germans, Toul's former fortress has
+been greatly strengthened.
+
+The cathedral itself may truly be said to bear the characteristics of
+both the German and French manner of building, the western or later end
+being a superb front, after the French manner, and the easterly or
+earlier end having a simple apse and long narrow windows, in the German
+fashion. A comparison has been made by Professor Freeman between the
+western facade of this church and Notre Dame de Reims. He says, "We are
+daring enough to think that, simply as a design, the west front of Toul
+outdoes that of Reims; though it will be hardly needful to prove that,
+as a whole, Reims far outdoes that of Toul." Quite non-committal, to be
+sure, as was this charming writer's way; but, of itself, a sort of
+preparation to the observer for the beauties which he is to behold. Here
+is the case of a superb richness having been added to a plainer body,
+and by no means inharmoniously done. The gable is nearly perfect as to
+its juxtaposition. The towers are higher in proportion than at Reims,
+giving the effect of being the finished thing as they stand, though
+lacking spires or pinnacles. The walls are of those just proportions in
+relation to the window piercings which is again French, as contrasted
+with a neighbouring example at Metz, where the reverse is the case.
+
+The city was the seat of a bishop as early as the sixth century, and its
+government was under his control until 1261, when it became a free
+commune. Finally it was conquered by Henry II., and its future assured
+to France by the Treaty of Westphalia.
+
+The cathedral dates in part from Romanesque remains of the tenth
+century, but its entire interior arrangements were much battered during
+the Revolution.
+
+The choir and transept are of the best of thirteenth-century building,
+while the nave and side aisles are of the century following. Two towers,
+which flank the magnificent facade, rise for nearly two hundred and
+fifty feet, and are the work of Jacquemin de Commercy in the fifteenth
+century. Adjoining the right aisles are the very beautiful Gothic
+cloisters of the thirteenth and fourteenth centuries. They form a
+rectangular enclosure, 225 feet by 165 feet, and are made up of
+twenty-four sections of four arches, each with clustered columns.
+
+A fine sculptured altarpiece, "The Adoration of the Shepherds," is in
+the Chapelle de la Creche, entered from the cloister.
+
+The present Hotel-de-Ville was formerly the bishop's palace.
+
+
+
+
+[Illustration: _North Portal Cathedral Chalons-sur-Marne_]
+
+VII
+
+ST. ETIENNE, CHALONS-SUR-MARNE
+
+
+Chalons is perhaps first of all famed as the scene of Attila's great
+defeat in the fifth century, one of the world's fifteen decisive
+battles.
+
+The Cathedral of St. Etienne is not usually considered to be a
+remarkable structure; but it is thoroughly typical and characteristic of
+a _locale_, which stamps it at once with a mark of genuineness and
+sincerity. Of early primitive Gothic in the main, it shares interest
+to-day with the four other churches of the city, not overlooking Notre
+Dame de l'Epine, some five miles distant to the northward, one of the
+most perfectly designed and appointed late Gothic churches which the
+world has ever known. It has been called a "miniature cathedral," using
+the term, it may be supposed, in the sense of referring only to a
+magnificently ornate church. It is indeed worth a pilgrimage thither to
+see this true gem of architecture in a wholly undefiled countrified
+setting.
+
+The Cathedral at Chalons-sur-Marne follows somewhat the traditions of
+the German manner of building, at least so far as a certain plainness
+and lack of ornate decoration in the main body of the church is
+concerned; likewise in the arrangement of its towers, which lie to the
+eastward of the transepts; and further with respect to its decidedly
+Teutonic arrangement of the rounded columns, or, more properly, pillars,
+of its nave.
+
+In general this thirteenth-century church is in the best style of its
+era; but the west front presents an incongruous seventeenth-century
+addition in the whilom classical style of that day, bad as to its art,
+and apparently badly welded into conjunction with the older portion. The
+aisles and clerestory windows are of the later decorated period of
+Gothic, and present, whether viewed from without or from within, an
+exceedingly fine appearance.
+
+Probably the finest and most pleasing impression of the whole structure
+is that obtained of the interior, with its pillars of nave and choir, of
+the massive order made familiar in the Rhine churches. A reasonable
+share of twelfth to sixteenth century glass is still left as its
+portion, and the general arrangement of the choir, prolonged, as it is,
+well into the nave, gives a certain majesty to this portion of the
+church which is perhaps not warranted when we take into consideration
+that it must perforce dwarf the nave itself. The arrangement, though not
+common, is by no means an unusual one, and it is recalled also, that it
+is so employed at Reims.
+
+Situated near the frontier, Chalons-sur-Marne has ever been subject to
+that inquietude which usually befalls a border city. German influences
+have ever been noticeable, and, even to-day, the significant fact is to
+be noted that a cure will hear confessions in German, and that services
+are held in that tongue on "Saturdays in St. Joseph's Chapel."
+
+The Episcopal Palace, behind the cathedral, contains a collection of
+some sixty paintings, the gift, in 1864, of the Abbe Joannes.
+
+
+
+
+[Illustration: _S. DIE_]
+
+VIII
+
+ST. DIE
+
+
+St. Die gets its name, by the corruption of Dieudonne, from St.
+Deodatus, who founded a monastery here in the seventh century. It was
+built, as was many another great cathedral, in accordance with the
+custom of erecting a church over the body or relic of a saint whom it
+was especially desired to honour; usually one of local importance, a
+patron or a devotee.
+
+The town is perhaps the most inaccessible and "out-of-the-way" place
+which harbours a cathedral in all northern France. We might perhaps
+except St. Pol-de-Leon and Treguier in Brittany, neither of which is on
+a railway, whereas St. Die is, but at the very end. When you get there
+and want to go on, not back, you simply journey on foot, or awheel if
+you can find a conveyance, and take up with another "loose end" of
+railway some fifteen miles away, which will take you southward, should
+you be going that way. If not, there appears to be nothing for it, but
+to retrace your steps whence you came.
+
+The cathedral (locally "La Grande Eglise," it only having been made a
+cathedral so recently as 1777) has a fine Romanesque nave of the
+eleventh century, with choir and aisles of good Gothic, after the
+accepted Rhine manner of building.
+
+The portal, of red sandstone, is of inferior thirteenth-century
+workmanship, with statues of Faith and Charity on either side. The
+facade is flanked by two square towers.
+
+The interior is curiously arranged with a cordon of sculpture, high in
+the vaulting. The capitals of the pillars are likewise ornamented with
+highly interesting and ornately sculptured capitals. The choir, as is
+most usual, is the masterpiece of the collection, the windows, in
+particular, being of the purest ogival style.
+
+In the first chapel, on the right, is a painting, "The Martyrdom of St.
+Sebastian," and behind the choir is an ancient work commemorative of
+"_Le Peste de St. Die_."
+
+
+
+
+[Illustration: ST. LAZARE _d'AUTUN_]
+
+IX
+
+ST. LAZARE D'AUTUN
+
+
+This ancient episcopal city has ever been devoted to the cause of
+Christianity. "Nowhere," says a French historian, "has the Church
+enjoyed more repute than here." The Dukes of Burgundy, its bishops and
+people alike, joined in a fervour of labour and zeal to assure its
+permanence and progress. In addition, the Gallo-Roman remains point to a
+former city of proud attainments. The fine Roman walls, beautifully
+jointed, _sans_ cement, are distinctly traceable for a circuit of
+perhaps three miles around the city. Other interesting remains are two
+fine gateways, commonly referred to as triumphal arches, which they
+probably were not, the Porte d'Arroux and the Porte St. Andre; the ruins
+of an amphitheatre; and a tower assigned to a former temple of Minerva.
+All these, and more, are found inside the old walls; while, without, are
+remains of an aqueduct, of a tower dedicated to Janus, and a Roman
+bridge crossing the river Torenai. It may be interesting for an
+Englishman to recall that the Bishop of Autun, who often presided over
+the National Assembly, pleaded in vain with George III. for the
+adoption, in England, of the French metric system.
+
+During the destruction of a former building, St. Nazaire, which at one
+time performed the functions of a cathedral, the bishops held their
+offices in the chapel of the chateau of the Dukes of Burgundy; but, upon
+the removal of the residence of the house of Burgundy to Dijon,
+transferred their services to the present edifice, which had by that
+time been completed.
+
+The Cathedral of St. Lazare is a charmingly graceful, though not great,
+structure, mainly of the style "_ogivale premier_," its early Lombard
+work of the nave and west front being of the foundation of Robert I.,
+Duke of Burgundy. This vast western portal is encased in a great
+projective porch, a feature indigenous apparently to Burgundy, and
+commonly referred to as the "Burgundian narthex." Following come the
+chapels and spires, of exceeding grace and beauty, of the third
+_ogivale_ style.
+
+The interior enrichments, like the western doorway, with its Romanesque
+sculptures, take rank with the best in Burgundy. The delicately carved
+rood-loft, or jube, the small sculptures of the choir and nave, and the
+flamboyant chapels of the fifteenth to seventeenth century, challenge
+minute attention from those who would study decorative detail _in
+extenso_. The capitals of certain columns in the nave have fluted
+pilasters in imitation of the antique, but are most curiously ornamented
+with grotesque and fantastic human figures on a background of foliage.
+
+The choir, of early pointed style, in its actual disposition and
+arrangement, may be included in that classification which comprehends
+some of its more important northern compeers, though, as a matter of
+fact, it lacks their magnitude. Indeed, the building is one of the
+smallest cathedrals in all France. The exterior offers an imposing and
+picturesque ensemble, with its crocketed spire rising some two hundred
+and fifty or more feet above the roof-tops of the ancient city.
+
+Nearer inspection shows a certain incoherence of construction,
+particularly in reference to the evidences of garish crudities in the
+work done under Robert I. in 1031-76, in contrast to the later pointed
+work.
+
+The doorway of the lateral southern wing is ornamented with a series of
+grossly exaggerated columns, in imitation of the antique, with the
+addition of an apse, which contrastingly shows work of a late flamboyant
+order.
+
+The spire itself is the masterwork of the entire structure, and, unlike
+those which surmount many another church, appears not to have suffered
+the dangers of fire. As a fifteenth-century work, it merits special
+mention. Rising abruptly from a heavy square base, the pyramid is very
+acute, and is ornamented at the angles with foliaged crockets, basely
+called stone cauliflowers by unimaginative persons. One might say, with
+the gentle Abbe Bourasse, that the "ornamentation breaks into sky and
+cloud with an exceedingly agreeable effect, far beyond that of a
+straight line." The inconsistency lies only in the juxtaposition of the
+two western transition towers, which have hardly enough of the Gothic in
+them to merit the name.
+
+The lower windows of the nave are of good flamboyant style, with a sort
+of Romanesque triforium, and a simple round-headed window in each bay of
+the clerestory, which is the more poor in treatment and effect in that
+it holds no notable glass. There are none of those distinctly northern
+accessories, the great rose windows, and the whole reeks of distinctly a
+milder atmosphere. There is a luxuriance of decoration in the many
+chapels of different epochs.
+
+The exterior, in general, is of excessive simplicity; but, if it is not
+to be placed among those cathedrals and churches accredited the most
+notable and most beautiful, it will, at least, take rank as one of the
+most ancient to be seen to-day, and has the further benefit of a
+glorious environment and association with the past.
+
+
+
+
+[Illustration: _CATHEDRAL of S. BENIGNE DIJON_]
+
+X
+
+ST. BENIGNE DE DIJON
+
+
+The power and wealth of the Dukes of Burgundy, whose influence extended
+northward to the Netherlands, where they often held court at Ghent and
+Bruges, were, in a way, responsible for the opulence and splendour of
+the life of the day. So, too, Burgundian architecture became a term
+synonymous for the amplitude and grandeur with which many of its
+institutions were endowed.
+
+The reign of Philippe le Bon, with that of Charles the Bold, the most
+ambitious prince who ever graced his line, was the Augustan age of
+Burgundian art. It was the dream of the latter to reincarnate the old
+Burgundian kingdom by annexing Lorraine and subduing the advancing Swiss
+Confederacy, an ambition which failed, like many others as, or more,
+worthy. The conquered duke was killed at Nancy, and was finally buried
+in Notre Dame at Bruges.
+
+The Cathedral of St. Benigne is an outgrowth from the old abbey church,
+from which the Italian monk, Guillaume, set forth to found that
+remarkable series of monasteries in Normandy and Brittany. It is said,
+too, that he crossed the Channel, and had a large share in the works
+which were erected at that period in the south of England. The bishop's
+throne has been established in this church only since the Revolution,
+caused by the destruction of his former cathedral. The early foundations
+of the old abbey date far back into antiquity, but the present cathedral
+dates only from the thirteenth century. Commonly considered as of Gothic
+style, it is in every way more suggestive of the late Romano-Byzantine
+type, or at least of the early transition. There is, to be sure, no
+poverty of style; but there is an air of stability and firmness of
+purpose on the part of its builders, rather than any attempt to either
+launch off into something new or untried, or even to consistently remain
+in an old groove.
+
+As a fact, it is not a very grand building. Its choir is small, and its
+transepts short. In its plan, at least, it resembles the Byzantine form
+much more than the elongated Gothic, where every proportion seems to
+reach out to its utmost extent.
+
+The west facade is truly fine in the disposition of its parts and
+arrangements. It suggests, more than anything, a traditional local
+style, favouring nothing else to any remarkable degree except the German
+solidity so often to be noted in eastern France. The towers are firmly
+set with unfrequent pointed openings. The central portal and vestibule
+are deep, and rich with a sculptured "Martyrdom of St. Peter" and a
+delightfully graceful arcade just above the portal arch, and another
+crossing the gable and joining the towers in a singularly effective
+manner. A somewhat heavy but rich pointed window of three lights,
+surmounted by a quatrefoil rose, with a slight needle-like spire which
+rises just above the gable, completes the ensemble.
+
+The earlier work, seen at its best in the interior, is that of the choir
+and transepts, where again the distinguishing features are local. In
+the transepts the arches open directly on the side chapels, the southern
+arm being gorgeous with brilliant glass. The windows of choir and
+transepts throughout are richly traceried and set. The choir itself is
+destitute of either ambulatory or chapels.
+
+A lantern is placed at the crossing, supported by gracefully foliaged
+shafts.
+
+The nave is of a much later period, and is not of the richness of the
+portion lying to the eastward. The windows of the clerestory, in
+particular, will not be considered of the excellence of those of either
+transept or choir.
+
+The south tower encloses the tombs of Jean sans Peur and Philippe le
+Hardi. The crypt contains the tomb of St. Benignus.
+
+
+
+
+[Illustration: _CATHEDRAL of NOTRE DAME SENLIS_]
+
+XI
+
+NOTRE DAME DE SENLIS
+
+
+"Truly rural" is a term which may well be applied to the situation of
+Senlis, the ancient Civitas Sylvanectensium of the Romans. Quaint and
+attractive to the eye is the entrance to the town from the railway, with
+its low-lying roofs, over which tower the spires of the ancient
+Cathedral of Notre Dame and the Church of St. Pierre. It forms a
+heterogeneous mass of stone, to be sure, and one which looks little
+enough, at first glance, like the delicate and graceful cathedral which
+makes up the mass in part. It is, in reality, a confused jumble of
+towers and turrets which meets the eye, and it takes some little
+acquaintance with the details thereof to separate the cathedral from the
+adjacent church.
+
+The proximity of the sees of Beauvais, Amiens, and Paris perhaps
+accounts for the lack of importance attached to this cathedral. As for
+the structure itself, among the minor cathedrals of France, Senlis, with
+Seez and Coutances, must ever rank as the peers of that order, with
+respect to the grace and beauty of their spires. It may be doubted if
+even the spires of Chartres are to be considered as more beautiful than
+the diminutive single example to be seen here, particularly when grouped
+with its surrounding environment. Individually, as well, its grace and
+beauty might even take that rank. The demarcation between the base of
+the tower and the gently dwindling spire is almost entirely eliminated,
+without the slightest tendency toward debasement in the steeple, which
+too often is merely a series of superimposed, meaningless, and
+unbeautiful details. Latter-day builders, who want a model for the spire
+of a moderate-sized Gothic church, could, it would seem, hardly do
+better than to make a replica of this graceful example.
+
+In its facade, the Cathedral of Notre Dame de Senlis partakes largely of
+the characteristics of the primitive lowland types, reminiscent, at
+least, of Noyon or Soissons, and, as such, it may properly be considered
+and compared with them.
+
+The transepts of the north and south are not grand members, but they are
+compact and graceful, and the facade of the southern arm is of a highly
+ornate character, bespeaking a wealth of ambition, if not of ability, on
+the part of the architect.
+
+The interior, in spite of the lack of sculptured ornament, shows no
+paucity of style, and, except that it is of the bijou variety, might
+take rank at once as representative of Gothic style at its best. Under
+these conditions, the nave is naturally confined, and lacks a certain
+grandeur both as to width and height.
+
+The choir is of true, though not lofty, proportions, the aisles
+appearing perhaps too low, if anything, for the height of the nave,
+which otherwise appears exceedingly generous with respect to the extent
+of its triforium and clerestory.
+
+The transepts, though shallow, are possessed of unusually amplified
+aisles, there being, as a matter of fact, two in that portion which
+adjoins the nave on the west, a sufficiently unusual arrangement to
+warrant comment. The rose windows of the transepts have graceful design
+and good framing, though the glass is not of the splendour which we
+associate with the most pleasing examples seen elsewhere.
+
+
+
+
+XII
+
+ST. ETIENNE DE MEAUX
+
+
+To the eastward of Paris, one first finds the true country atmosphere at
+Meaux, famous for its bishops, its grist-mills, and its generally
+charming environment.
+
+The picturesque little city is situated on the Marne, some thirty miles
+from Paris, amid a verdure which, if not luxuriant, is, at least, a
+"fringe of green" that is appealing alike to local pride, and to the
+artist or stranger within the gates. It is an ancient bishopric (now
+suffragan of Paris), founded in 375 A. D.
+
+[Illustration: ST. ETIENNE _de MEAUX_]
+
+The Cathedral of Saint Etienne de Meaux is called by the French the
+"Child of Amiens," and it would have all the dignity of its mother had
+but the nave received the same development as the choir. Its general
+dimensions are restrained, and it shows in no way any remarkable
+architectural ensemble; but, for all that, its power to please is none
+the less great. Lacking a certain symmetry, in itself no great fault,
+the exterior gives the impression of being to-day much less grand and
+imposing than was really planned. Battled by wind and weather, its outer
+walls have that scarred and aged look which is a beauty in itself. There
+are two towers, one of which is unfinished and capped with an ugly and
+angular slate roof, so low that it hardly exists at all, so far as
+forming a distinct feature of the facade is concerned. Its companion,
+however, rises boldly and in graceful lines to a generous height above
+the gable.
+
+The interior plan is regular and simple, with a nave of five bays, the
+first two from the west being divided into the infrequent quadruple
+range of openings, while the remainder consist of the usual triforium
+and clerestory only. The double aisles of the nave are of unusual
+height, in order to admit of this double range of openings.
+
+The transepts, if transepts they can be considered, are very shallow,
+being merely the depth of the double aisles of the nave and choir, and
+are bare and unadorned so far as any notable sculpture or glass is
+concerned, though the arched windows which hold the plain glass are of
+grand proportions and excellent design as to their framing.
+
+The triforium, throughout, is an arcaded cloister-like effect of slight
+arches, supported by slender columns, with a series of glazed windows
+behind. It would be a notable and wholly charming arrangement were the
+glass of these windows rich in colour, or even old in design.
+
+There is an air of singular lightness, if not actually of grace,
+throughout the entire nave and choir, superinduced, perhaps, by the
+recent whitening and pointing of the masonry; but the not infrequent
+bulging piers, particularly those nearest to the transept crossing, give
+a suggestion of ungainliness if not of actual insecurity.
+
+The columns of the choir, supporting a series of firm and gracefully
+poised arches, are of unusual height, something over forty feet, it
+would appear,--producing a harmony of form and elegance which again
+reminds one of Amiens.
+
+There are here copies of the nine Raphael tapestry cartoons, the
+originals of which are preserved at South Kensington, also of frescoes
+by Guido Reni and Domenichino.
+
+The chief artistic, if not architectural, charm to be seen within the
+purlieus of the cathedral is that of the ancient chapter-house, across a
+narrow way, to the right of the church itself. This gem of mediaeval
+building is perhaps not remarkable as to any of the principles which it
+sets forth in its manner of construction, but it takes one back some
+hundreds of years, a sheer plunge far beyond the age of the most
+prominent features of the main church, and gives a thrill somewhat akin
+to the emotion which one feels when he comes across a single leaf torn
+from an old illuminated manuscript. This charming ruin, for it is hardly
+more than that, being a mere lumber-room, shows in the weathered look of
+its covered stairway nearly all of the qualities which the painter loves
+to depict,--colour, texture, and, above all, that indescribable charm
+which artistic folk, and others who can see as they do, call life.
+
+Clearly, the Cathedral of St. Etienne de Meaux, as an interesting
+shrine, may be classed well at the head of the secondary cathedrals of
+the third Gothic period.
+
+
+
+
+[Illustration: CATHEDRAL OF SAINT PIERRE TROYES]
+
+XIII
+
+ST. PIERRE DE TROYES
+
+
+To the thorough student of English history, Troyes is perhaps first
+recalled as being the birthplace of the treaty "_decreeing for ever a
+common sovereign for England and France_," a treaty which, it is minded,
+"stood no while." Again, some dubious antiquary has put it forward as
+the home of that variety of weights "which are not avoirdupois."
+
+The Counts of Champagne had, in the once well-walled city, both a castle
+and a palace. Olden-time houses, good Gothic woodwork and Renaissance
+stonework, are here in abundance; also, according to the authority of
+Fergusson, a well-nigh perfect Gothic church in St. Urbain; likewise a
+great cathedral,--rather ugly as to its general outline. All these are
+possessed by Troyes, and to-day the reminders and remains of each and
+all are exceedingly vivid and substantial.
+
+Certain cathedrals of France show plainly the different phases and
+developments of the art of building through which they have passed;
+others indicate little, if any, deviation from a certain accepted style.
+St. Pierre de Troyes is of the first category. Here is Gothic in all its
+variations. Its environment, too, is characteristic of the many varying
+moods through which its constituency has passed. A truly mediaeval city
+in the picturesqueness of its older portions, Troyes is famed alike in
+affairs of Church and State. The dimensions of the Cathedral at Troyes,
+which approach those of the grand group, and the general majesty of its
+interior only further this opinion.
+
+The main body covers the none too frequent arrangement of five aisles,
+which, following through the transept, continue, with the double pair on
+each side, to likewise girdle the choir. The splendour of immensity is
+further enhanced by its large windows, including two rose openings set
+with old glass, and the general richness of its sculptured decorations.
+The abside of the choir is ranked among the best Gothic works of the
+time.
+
+The choir, begun in 1206, is composed of thirteen arcades, symbolical of
+Christ and the twelve apostles, from the chief of whom the cathedral
+takes its name. The windows of the triforium are large and divided into
+four compartments. The general disposition of the choir, with its
+radiating chapels, is superb; and it is exactly this satisfying, though
+perhaps undefinable, quality that is ofttimes lacking in an originally
+well-planned work which fails to inspire one. The choir contains an iron
+_grille_ of the thirteenth century, of very beautiful workmanship, and
+is surrounded by five hexagonally sided chapels.
+
+The principal portion of the nave, erected in the fourteenth, fifteenth,
+and sixteenth centuries, interrupted now and again by war and civil
+distractions, bears indelible impress of its continued centuries of
+growth.
+
+The principal facade of the fifteenth century--accredited to one Martin
+Chambige and erected just after the nave took form--is of the richness
+of Gothic only just previous to its decline. There are three portals,
+which are bare of sculptured figures, as indeed is the whole west front.
+In arrangement, it resembles the frontispieces of certain of the grand
+cathedrals, and, though lacking their sculptured ornateness, is
+thoroughly satisfying as a decorative frontage. Had it been executed
+fifty years later, it would be hard to imagine to what depths its lines
+might not have fallen. As it is, the upper ranges of the tower suggest
+the thought. The windows of the aisle and of the clerestory of the nave,
+when viewed from the exterior, are grandly traceried and gracefully
+coupled by a series of light, firm buttresses, which rise, only from the
+gables of the lower set, over the low-lying roof to the spring of the
+arch of the upper range. St. Pierre de Troyes suggests, in a mild way,
+the "sheer glass walls" so frequently referred to by adulous French
+critics when chanting the praises of the highly developed lightness of
+their indigenous style. This is further accentuated when one notes the
+glazed triforium, a decorative feature reminiscent of that at Seez,
+Nevers, Tours, and St. Ouen at Rouen.
+
+Troyes is one of those prominent cathedral cities of Catholic France
+whereof the churchman deplores the fact that its men are not of the
+church-going class, and that its congregations are mostly of the fair
+sex. Be this as it may, except in Brittany, where the whole population
+appears unusually devout, the stricture is probably true in a great
+measure of all of the north of France; and, be it here said, recent
+political edicts will doubtless not tend to increase the propaganda of
+piety.
+
+The north gable, with its portal and rose window, is of the fifteenth
+century, and, with the "lustrous rose" of the south transept, forms a
+pair of brilliant jewels which are hardly excelled elsewhere, not even
+by the encircled splendour of the forty-foot openings at Reims and
+Amiens, the equally extensive one of the north transept at Rouen, or,
+most splendid of all, the galaxy at Chartres. These marvels of French
+ingenuity and invention are nowhere more splendidly proportioned or
+embellished than at Troyes, and are equally attractive viewed from
+either within or without.
+
+The chief "_tresor_" consists of a series of wonderful mediaeval
+enamels.
+
+
+
+
+[Illustration: CATHEDRAL OF SAINT ETIENNE SENS]
+
+XIV
+
+ST. ETIENNE DE SENS
+
+Says the Abbe Bourasse, "One of the most beautiful titles to glory in a
+church is the antiquity of its foundation," hence, most French
+antiquaries who have written upon the subject of the celebrated
+Cathedral of St. Etienne of Sens have enlarged upon its "glorious
+antiquity." To prove or verify the fact as to whether St. Savinien or
+St. Potentien was the first to preach Christian religion here would be a
+laborious undertaking. Evidences and knowledge of Roman works are not
+wanting, and early Christian edifices of the Romanesque order must
+naturally have followed. One learns that an early church on this site
+was entirely destroyed by fire in 970, and that a new edifice had
+progressed so far that it was dedicated in 997. This, in turn, was
+mostly rebuilt, and, two hundred years later (1168), took the form of
+the present cathedral. It was completed, in a rather plain and heavy
+ogival style, under the capable direction of the William who came to
+Canterbury, in response to a call, to rebuild the choir of that English
+church in 1174. It is this link, and possibly a sight of the vestments
+of A Becket, now preserved among the "_tresor_" of Sens, that binds its
+memory with English contemporary life. Whatever may be the contentions
+waged as to the claims of English Gothic, it is universally and
+unimpeachably admitted that Guillaume de Sens rebuilt that famous choir
+of Canterbury, and built it well, and of a newer order of design than
+any previous work in England. So let it stand.
+
+Taken by itself, the Cathedral at Sens is a high example of Christian
+art. When, however, it is compared with the grand group, it is relegated
+immediately to the second rank. The interior, far more than the
+exterior, shows a visible disparity of unified style. Romano-Byzantine,
+transition, and ogival are all found in the nave and choir, with the
+flamboyant, of the fifteenth century, in the ornamental tracery of the
+windows of the transepts.
+
+Some visible remains of the earlier structure are shown, built into the
+eleventh century walls. Of the same period are other evidences of a
+former erection, to be noted in the aisles. The transept and the greater
+part of the nave are of the century following, and of the early
+thirteenth, and finally the three arcades, by which the nave is entered,
+are something very akin to the full-blown Renaissance of the fifteenth
+century.
+
+The general plan is symmetrical, and severe, only the twenty chapels
+being ungracefully disposed. Ten of these are in the choir and ten in
+the nave. For the antiquary, versed in religious archaeology, the
+Cathedral of Sens would appear, from the very inconsistencies and
+exuberance of its style, to be of great interest. The fragments that
+remain of its former magnificent glass, the sculptured monuments, and
+the tombs and curiosities of the "_tresor_," which escaped Revolutionary
+spoliation, all combine in a glorious attraction for one who has the
+time and inclination to delve into the reminiscence of history and
+association of a past age.
+
+The glass of the choir, and of the chapel of St. Savinien, is of the
+thirteenth century. The colour is exceedingly brilliant, lively, and
+harmonious, with the iridescence of a mosaic of precious stones.
+
+The sixteenth-century glass, none the less than the framing itself, of
+the grand rose windows of the north and south transepts, is equally
+remarkable as to design and colour. The former represents the
+"Glorification of Jesus Christ," and the latter "Events in the Life of
+St. Etienne."
+
+The "_tresor_" of the cathedral is very numerous and is considered the
+richest in all France. The most notable are a reliquary of gold, set
+with sapphires and pearls, containing a fragment of the True Cross,
+given by Charlemagne in the year 800; four magnificent tapestries of the
+time of Charles V., representing the "Adoration of the Magi;" and the
+pontifical robes of St. Thomas (a Becket), chasuble, aube, stole,
+manipule, cordon, two mitres, and two collars. This courageous
+archbishop, persecuted by Henry II., took refuge in Sens in 1162. An
+elaborate tomb (of the eighteenth century), by Constant, is the
+mausoleum of the Dauphin, father of Louis XVI.
+
+
+
+
+_PART VI_
+
+_Western Normandy and Brittany_
+
+
+
+
+I
+
+INTRODUCTORY
+
+
+Most people who have read Ruskin, and most people have done so--in the
+past, will undoubtedly concur with his dictum that Rouen's "associated
+Norman cities," Bayeux, Caen, Coutances, St. Lo, Lisieux, and Dieppe,
+run the entire gamut of mediaeval architectural notes; or, as Ruskin
+himself has put it, "from the Romanesque to the flamboyant." He might
+well have added, the Renaissance and the pseudo-classicism of a later
+day.
+
+Beauties there are in this region, galore; and the examples which no
+longer exist, but of which the records tell, point to a still larger
+aggregate.
+
+Who thinks to-day of Coutances as of being a "cathedral town?" And yet,
+there is within it, as to the general effect of situation and the
+magnitude of its towering pinnacles, an edifice which perhaps outranks
+all but the very greatest. Most likely no thought is given it at all,
+except that Coutances is somewhere on the railway line between Cherbourg
+and Paris, or that it is near unto Bayeux; also possessed of a
+magnificent cathedral, but whose greatest fame lies in a certain false
+sentiment associated with its famous tapestry. Not that this great work
+is to be decried,--far from it, but the spirit with which it is so often
+viewed should be a matter of scorn for every broad-minded traveller.
+
+Lisieux, too, has a wealth of attraction for those who fondly admire
+reeking picturesqueness and old timbered houses, though its cathedral
+will not please.
+
+Pugin could not resist depicting many of these delightful old houses of
+Lisieux in his book on Normandy, though, unlike Ruskin, he had no eye
+for its cathedral; most of us will not have.
+
+So much, then, as a plea for a more sincere and thorough appreciation of
+the charms of western Normandy. It is cheap; accessible, and has a
+practically inexhaustible store of treasure for the traveller or student
+of limited time or money, but who will not make of it the usual mere
+"bank-holiday" scamper. The same applies also to Brittany, which is
+treated elsewhere, with this proviso, that the tourist afoot or awheel
+is far better equipped than he who has to depend upon steam and the
+rail, two at least of Brittany's cathedrals being "off the line."
+
+
+
+
+II
+
+NOTRE DAME D'EVREUX
+
+
+The Cathedral at Evreux is another of those edifices which gives one its
+best impression when first seen upon entering the city. Charmingly,
+possibly romantically, situated, it lies in a shallow valley with all
+the picturesqueness of its varied style limned against the sky in truly
+impressionistic fashion. This impression, when viewed from the slight
+eminence by which the railway enters the town, is a vista of rambling
+roofs and a long, sloping street running gently down to the very foot of
+the structure, which, set about and interspersed with verdure, as it is
+in the spring and summer months, warrants one in counting his
+introduction to this charmingly attractive, though non-consistent, type
+of church, as one of the events which will live in memory for years.
+
+[Illustration: _Notre Dame d'Evreux_]
+
+If towering spires and pinnacles were a _sine qua non_ for a great and
+imposing architectural style, this church would at once rank as one
+of the most delightful examples extant; for these very features, albeit
+they are mostly of what we have come to accept as a debased form of art,
+are nevertheless possessed of a grandeur and magnificence which in many
+worthy examples are entirely lacking. The pair of western towers, of
+Romanesque foundation, were developed, not in what one knows as Gothic,
+but of the manifest and offensive pseudo-classic order. They are capped,
+however, with something more akin to Moorish or an Eastern termination
+than Italian. The spire which surmounts the central crossing is, without
+question, a reminiscence of much that has been accepted as good Gothic
+form in the great central-towered English churches. Up to a certain
+point this can hardly be denied; but this rather weak, effeminate spire,
+which forms such an unusual attribute of a French cathedral, more than
+qualifies its right to a place in the first rank of spires. As for the
+rest of the exterior, it is a _melange_ of nearly every known
+architectural style. Undeniably fine in parts, like "the curate's egg,"
+if a time-worn simile may be permitted, it forms an ensemble which would
+preclude its ever being accorded unqualified praise from even the most
+liberal-minded and optimistic enthusiast.
+
+By far the most coherent view to be had near by is that from the gardens
+of the Archbishop's Palace immediately to the rearward of the choir.
+Here the clipped trees, the warm coloured wall, along which the vines
+are trained, and what was once a canal, or moat, in the foreground,
+combine to present a singularly artistic and pleasing composition.
+
+The north transept, of Bishop le Veneur, is of the superlative degree of
+its era (early sixteenth century), bordering upon the profusion of
+splayed ornament which so soon after turned to dross, but standing, as
+it does, of itself, clearly defined. The gulf was finally crossed when,
+less than a half-century later, the incongruous west front with its
+ill-mannered towers was built,--in itself a subject worth a deal of
+study from the artist who would picture graven stone, but contrasting
+unfavourably enough with the heights to which French ecclesiastical
+architecture had just previously soared. Here is offered the one unified
+Renaissance facade of a French cathedral, welded, as it were, in
+unworthy fashion, to a fabric with which it has nothing in common. The
+stone-mason here superseded the craftsman; and, with the termination of
+the reign of Francois I., and following with that of Henry II., came the
+flowering rankness of a degenerate weed, leaving, as evidence of its
+contaminating influence in this one example alone, traces of nearly
+every classical order, from the simple Doric column to a hybrid which
+shall be unnamed.
+
+The interior presents a general array of incongruities quite as
+remarkable as those of the exterior. The nave is very narrow; but the
+choir widens out perhaps a dozen feet on either side, adding
+immeasurably to an effect which is far more impressive than might
+otherwise be supposed.
+
+The nave itself shows many varieties of building, ranging from the
+Gothic of the early twelfth to the late fifteenth centuries; the lower
+part and the easterly bays are Romanesque, or what perhaps has been
+popularly accepted as Norman, and date from 1125; the remainder and the
+triforium are of a century later.
+
+The choir is of the decorated species of the early fourteenth century,
+with its arcaded triforium glazed, whereas in the nave it is without
+glass. The lady-chapel, of the time of Louis XI., shows that inevitable
+mark of degeneracy, the "_fleur-de-lys_," in the elaborated tracery of
+the window framing. The glass here is, however, excellent, in effect at
+any rate, with its gorgeous figures of knights, angels, and peers of
+France, drawn with a masterly skill which is often lacking in even more
+precious glass.
+
+The chapel screens, some twenty in all, are wondrously turned and carved
+of wood. This leads one to venture the thought that the similar
+decorative embellishments of the Renaissance chateaux of the Loire
+country were slowly creeping northward, and leaving their impress upon
+the work of the ecclesiastical builder and decorator. Certainly, the
+numerous fine examples of the art of the wood-carver, to be seen in this
+cathedral, bespeak much for the decorative quality of wood, when used
+considerately in conjunction with stone.
+
+There are two rose windows, of the petal species, unquestionably fine as
+to framing, but leaving little space for the effect of the glass, which
+they hold only in small proportion.
+
+The "treasury," alone, is enclosed with iron bars, and a _grille_ of
+graceful late flowing ironwork forms the screen of the choir. Altogether
+the Cathedral at Evreux will be remembered quite as much for its
+wonderful array of wooden and iron _grilles_ as for any other of the
+specific details among its mass of general attributes.
+
+[Illustration: _Window Framing--Evreux_]
+
+
+
+
+[Illustration: _Notre Dame d'Alencon_]
+
+III
+
+NOTRE DAME D'ALENCON
+
+
+This former capital of the duchy of the same name is a sleepy,
+countrified French town, with little but its reputedly valuable and
+beautiful lace to commend it to the average observer.
+
+As a cathedral town, of even secondary rank, it will fall far short of
+any preconceived ideas which one may be possessed of concerning it,
+though its Cathedral of Notre Dame is in many ways one of those
+irresistible shrines, which at least promise, and often fulfil, a great
+deal more than their lack of magnitude indicates.
+
+Its facade, lacking the conventional towers, advances well into the
+roadway, as a sort of forward porch; as at Louviers near by. This porch
+is very ornate, with decorations of the late Gothic period of flowing
+tracery.
+
+After all, it is an incongruous sort of a building, in that only this
+porch and its squat central tower, which is nought but a mere cupola,
+are in the least decorative.
+
+The nave, the choir and chevet, and chapels, are all of a bareness which
+only exaggerates the floridness of these other appendages. The nave
+itself is but one hundred and ten feet long, and perhaps a scant thirty
+wide, and dates from the fourteenth century. It contains good glass of
+the same period, which luckily escaped the spoliation of the Revolution.
+
+The choir is more modern, and much plainer in treatment, and is but
+fifty-five feet in length and of the same width as the nave.
+
+There are no transepts; in short, the chief and most interesting
+features of the church are the before mentioned details, which,
+unquestionably bordering upon the debasement of Gothic art, are in every
+way attractive, with lightness and colour, if such an expression may be
+applied to gray stone.
+
+Certainly the play of sunlight on gracefully carven stone is indicative
+of a brilliancy which might be termed an effect of colour; and it is
+with respect to that quality that the west facade of Notre Dame
+d'Alencon appeals; more than as an otherwise grand or even highly
+interesting structure.
+
+
+
+
+[Illustration: _St. Pierre de Lisieux_]
+
+IV
+
+ST. PIERRE DE LISIEUX
+
+
+Lisieux, the city of the Lexavii, taken by Caesar and besieged by
+Geoffrey Plantagenet; its old houses; its crooked streets and
+picturesque decay; with its former Cathedral of St. Pierre (M. H.),
+memorable as the marriage place of Henry III. and Eleanor of Guienne;
+all go to make up the formula of one of the stock sights of Normandy.
+
+It is scarcely an attractive town, in spite of its picturesque
+sordidness, made the more so by the smoke arising from many belching
+factory chimneys. In fact, one has difficulty in thinking of it as a
+cathedral town at all; and, as such, it hardly claims more than a brief
+resume of its important features. A much more interesting, impressive,
+and commanding church is that of St. Jacques, which at least has the
+stamp of a personality, which in the cathedral itself is entirely
+wanting, so far as one's latent sympathies are concerned. In spite of
+the purity of that which is Gothic in its fabric, it has little of that
+quality which arouses admiration, and which, regardless of the edict of
+a certain seer and prophet, is mostly that for which we revere a great
+monument,--its power to sway us impressively.
+
+Mr. Ruskin has taken great pains to commend the southern portal as being
+"one of the most quaint and pleasing doors in all Normandy,"--a
+non-committal enough statement, most will admit, and one with which we
+are not obliged to agree. A broader-minded observer would have said that
+the main body of the church presents a unity of design, very unusual in
+a mediaeval work,--excelled by no other example in France. The greater
+part of the nave, choir, and transepts is the work of one epoch only;
+and, as some writers have it, of one man, Bishop Odericus Vitalis, who
+died shortly after its completion, in the latter part of the eleventh
+century. As a style, it may be said to be either the last of the
+transition or of the very earliest Gothic. Certainly this is something
+in its favour; but the general charm of its immediate surroundings is
+lacking, and the effect of its interior, with the diminutive windows of
+the nave and clerestory, does not tend to satisfy, or even gratify, one
+with the sense of pleasure which perhaps its more creditable features
+deserve. These are not wholly wanting; for, of course, one must not
+forget that doorway of Ruskin's nor the quite idyllic proportions of the
+nave with its uniform massive pillars.
+
+The lady-chapel was founded in the fifteenth century by the rascally
+Cauchon, Bishop of Beauvais, who, with his brother, prelate of
+Winchester, so gleefully burned Joan of Arc. This much he did in
+expiation of "_his false judgment_," though, except as a memorial of his
+significant remorse, the chapel itself would hardly be remarkable. The
+clerestory of nave and choir is considerably later. The transepts vary
+as to their windows, and the triforium arches are here at a different
+level from those in the nave.
+
+The general exterior view of the cathedral is hardly satisfactory from
+any point. On three sides it is almost entirely hemmed in by surrounding
+structures, and the frontage, on the great open Place Thiers, is the
+first and the last opportunity of an unobstructed view. As the Abbe
+Bourasse wrote of the Cathedral at Arras, it is best seen from a
+distance, about that, we should say, from which the accompanying drawing
+was made. The gardens of the Sous-Prefecture, formerly the Bishop's
+Palace, should form in a way a cool green setting for the church; but,
+as a matter of fact, they do nothing of the sort, since the enormous
+mass of a none too good Renaissance facade extends along quite
+two-thirds of the length of the cathedral on the north, and blankets it
+thoroughly, scarcely more than the rather stubby tower of the west front
+being visible above the roof of the other structure.
+
+Lisieux apparently never ranked as an important see, but depended for
+the prominence which it attained previous to the Revolution, when the
+see was abolished, on its association with Rouen, to which it was
+attached. The neighbouring Cathedrals of Seez, Bayeux, and Coutances far
+outrank St. Pierre de Lisieux in size, beauty, and importance.
+
+
+
+
+[Illustration: NOTRE DAME _de SEEZ_ ...]
+
+V
+
+NOTRE DAME DE SEEZ
+
+
+The ancient Civitas Sagiorum of the Romans is now a bishopric, suffragan
+of Rouen. This ancient Gallic stronghold, which fared hardly in the
+Anglo-Norman wars, presents to-day the impression of being a town
+somewhat smaller than the usual small town of France. It also has this
+advantage,--it is comparatively unknown to tourists, and likewise to
+some map-makers; all of which is decidedly in its favour. Seldom is Seez
+included in the itinerary of the tourist, even though it is situated in
+the heart of the "popular province."
+
+Except for the fact that its charming cathedral is not of the generous
+proportions first impressed upon one, it is difficult to realize that
+such a noble architectural memorial should so often be overlooked and
+apparently neglected by those who might find a great deal of pleasure,
+and incidental profit, from a contemplation thereof.
+
+As a town of celebrated history, Seez is of far more relative rank than
+its cathedral, which, in spite of its many beauties and charm of detail,
+has suffered perhaps more than any other in France, and yet kept a
+fairly pure early Gothic style; referring to the many additions and
+repairs made necessary by crumbling walls and sinking foundations.
+
+The worst that has arisen from this unhappy state of affairs is, not
+that there has been any serious admixture of style, but rather that one
+gross interpolation has been foisted upon an otherwise symmetrical
+whole,--the enormous advancing buttresses which flank the portal of the
+western facade; an addition of the fourteenth century, neither graceful
+nor decorative, and only made necessary by a tottering wall. A pity it
+is that some other equally effective method was not adopted.
+
+The cathedral is, in a way, a satisfying representation of the cathedral
+of our imagination. From a distance, at least, and in comparison with
+the low-lying structures round about, it certainly appears as of great
+proportions, uniform and complete in itself. Immediate contact with it
+somewhat dispels these charms.
+
+All things considered, one finds here, in this idyllic, countrified
+setting, a very attractive and fairly consistent Mediaeval Gothic church
+of the epoch contemporary with that of the best work of the northern
+builders, showing unmistakable evidence of having been laid down on good
+lines, and after a good design, in spite of the structural defects of
+its foundations. From any direction it may be viewed across a quarter of
+a mile of ploughed fields. The great national highroad, from the Channel
+to Bordeaux, passes straight as a die through the town, and the
+cross-country line of the _Chemin de-Fer de Ouest_ ambles slowly
+northward or southward; with little occurring to break the quietude of
+local ease. The native is for the most part engaged in garnering from
+his truck farm, or in carrying its product to the railway, to be
+transported to market, and pays little attention to the stray traveller
+who occasionally wanders in to study the architectural offering of the
+town.
+
+A completed church was here in 1050, having been erected by a monk, Azon
+by name. This was burned to the ground in an attempt to drive out a
+robber band which had taken shelter therein. Leo IX. engaged Yves, Count
+of Bellene and the Bishop of Alencon, to rebuild it, and restore its
+former splendour. This was in the twelfth century, but, later, owing to
+the insecure foundations, it was pulled down and rebuilt again. Now
+nothing remains of the former twelfth and thirteenth century work but
+the lady-chapel of the choir.
+
+The interior of the nave is, at present, entirely filled with
+scaffolding, which looks as though it might not be removed for years. As
+a restorative policy this is commendable and was necessary, but it
+detracts from one's intimate acquaintance with details. About the only
+lasting impression of the nave that can now be obtained is that its
+proportions are superb, and that its cylindrical pillars, with their
+foliaged capitals, would be notable anywhere.
+
+In general effect the choir is charming, having gone through the
+restorative process and apparently suffered little thereby. It presents
+the unusual basilica form of setting the altar forward on a platform
+raised a few steps.
+
+The transepts are of quite idyllic proportions, each possessing an ample
+rose window which makes up in design and framing what it may lack in the
+quality of glass with which it is set. These transepts, too, have
+undergone the usual restoration, and have come safely through with
+little sad effect. It is to be hoped that these continued restorations
+will be carried out with the same good taste, and in a like consistent
+manner. If so, there will be presented for the delectation of
+generations of the near future one of the most pleasing of the smaller
+cathedrals in all France. The triforium of the choir, and of the nave so
+far as it can be observed through the obstructing scaffolding, is
+singularly light and graceful, and the window framing throughout, though
+entirely lacking notable glass, is of manifest good design.
+
+In fine, then, the general effect of the Cathedral of Notre Dame de Seez
+is one of lightness and grace, and it may be considered as an
+extraordinarily fine architectural monument, in spite of the anomalies
+of its west front.
+
+The twin spires rise gracefully for perhaps two hundred and fifty feet,
+and are after the best manner of the great Gothic builders; of true
+proportions, and of the dwindling pyramidal form so much approved.
+
+The facade, between the towers and the extraordinary buttresses, is
+completely filled with an ample Gothic portal, which, though entirely
+destitute of sculpture, or indeed carving of any sort, offers a
+significant opportunity for some future efforts in this direction.
+
+
+
+
+[Illustration: _CATHEDRAL of NOTRE DAME BAYEUX_]
+
+VI
+
+NOTRE DAME DE BAYEUX
+
+
+The magnificently impressive Cathedral of Notre Dame is perhaps less
+intimately associated with Bayeux in the average mind than is the
+wonderful story-telling tapestry which is domiciled in the same city. As
+for this treasure of the past, it is a subject so vast, and of such
+great significance, in both history and art, that it has many times been
+made the subject of weighty consideration. A well-known English amateur,
+the Honourable E. J. Lowell, has stated that popular tradition has
+credited it as the handiwork of Matilda, Queen of William the
+Conqueror, who worked it to commemorate his glorious achievements. If
+this be really so, the queen was probably assisted largely by the ladies
+of her court, as the extensive work, measuring some hundred and sixty
+odd feet, could hardly have been accomplished single-handed. Professor
+Freeman assigns it to a similar period, but worked, as he thinks, by
+English workmen, for Odo, Bishop of Bayeux, the Conqueror's
+half-brother.
+
+A previous acquaintance with the great cathedrals of the Isle of France
+will tend somewhat to nullify the effect which is produced by Notre Dame
+de Bayeux, although, in point of size and general arrangements, at
+least, it fulfils its functions perhaps more acceptably than many a more
+renowned edifice. Its situation, on the side of a steep slope, produces
+a curious effect, first, with respect to the choir chevet, which is thus
+shown as rather gaunt and bare in its lower elongated stages, though
+undeniably a fine work in itself; secondly, in the general interior view
+where, from the western entrance, one comes upon the nave pavement a
+dozen or more steps below the portal, and again meets with the same
+effect further on at the transept crossing. There would appear to have
+been no other way but this of placing above ground what might otherwise
+have been the crypt; adding immeasurably to the fine appearance of the
+interior, the nave and choir appearing to lengthen out interminably by
+reason of the western elevation from which they are viewed.
+
+A portion of the western towers, and the crypt which is beneath the
+choir, are thought to date from as early as the eleventh century, having
+been built by Odo, the half-brother of William the Norman. The
+splendidly proportioned Norman nave, with its decorated spandrels and
+archivolts, a worthy decorative embellishment developed before the days
+of coloured glass, possesses that bright and fresh appearance which is
+usually associated with a recent work, whereas, as a matter of fact, it
+can hardly be, in its five circular arches at least, later than the late
+eleventh or early twelfth century. If it were true that modern
+restorative processes commonly disfigured no more than this, it is a
+pity that the dust and cobwebs, and a little of the grime of ages, were
+not more often removed. Here is the very excess of dog-tooth, arabesque,
+and grotesque carving, never found in connection with a building which
+is constructively decorative. Here also is an ornate frieze of no great
+depth and possessing none of the beauties of the two other distinct
+elements. As there is no triforium in the nave proper, this decoration
+is, of course, intended merely as a relief to a bareness which, on
+account of the generous height, would otherwise exist.
+
+In the choir, the triforium, which is omitted in the nave, springs into
+being in beautiful and ornate form. The lower arches, with the supports,
+the attributed work of an English architect, are of the usual Gothic
+form, in contra-distinction to the rounded heads of those of the nave.
+The clerestory, though delicate and graceful, is somewhat curtailed from
+the dimensions of that of the west end of the church.
+
+The transepts are unusually bright and cheerful, with a series of
+windows more beautifully designed than those of either the choir or
+nave. The choir stalls are of oak, carved in the best manner of the
+Renaissance.
+
+The charming tower group of this cathedral is as effective, perhaps, as
+any among all the northern churches. The central belfry, albeit of a
+base, though pretentious, rococo design, follows no accepted style, but
+adds imposingly to the general outline. (Its height is over three
+hundred feet.) In this tower, as in the window tracery, the
+_fleur-de-lys_, always a sign of the decadent in Gothic style, is to be
+seen. The western towers, with their spires, follow the truest pyramidal
+form, and, though carrying both pointed and round-arched openings, are
+in every way representative of the best work of their period. The
+northwesterly tower has an elongated turret, extending from the lower
+ranges, which, when seen from a distance over the roof of the nave,
+appears as a protuberance not unlike a dove-cote. This contains the
+spiral staircase up which visitors are earnestly implored, by the
+caretaker, to wend their way and participate in the view from the
+heights above. This view, though undeniably wider in range than are most
+elevated view-points, is hardly of interest to one who seeks the
+beauties of the structure itself. There are three porches on the west
+facade, all fairly well filled with foliaged ornament and bas-reliefs.
+They are of the thirteenth century, and of a thoroughly florid order.
+
+Included in the "_tresor_" are two gifts from St. Louis, the chasuble of
+St. Regnobert, and an ivory and enamel casket.
+
+
+
+
+[Illustration: _CATHEDRAL of NOTRE DAME SAINT LO_]
+
+VII
+
+NOTRE DAME DE ST. LO
+
+
+This picturesquely situated city of the Cotentin, St. Lo, is so named
+from the Bishop St. Laud, who lived in the neighbourhood in the sixth
+century. Later, it became a Huguenot stronghold, and was ably, though
+unsuccessfully, defended by Colombiers. It forms, with its former
+Cathedral of Notre Dame crowning its height, another of those ensembles
+which will always linger in the memory of the traveller who first comes
+upon it clad in spring and summer verdure. The rippling Vire at its very
+feet gives at once the note; it not only binds and enwraps it like the
+setting of a precious stone, but adds that one feature which, lacking,
+would be a chord misplaced. Perhaps no other cathedral in all France,
+with regard to its bijou setting, certainly no other so accessible to
+the English tourist, has more dainty charm than this not very grand, but
+graceful, church at St. Lo. Its towers, though not uniform as to size,
+are of apparently the same gradual proportions, and, if not the most
+impressive, are at least the most beautiful in Normandy. They rise high
+above the wooded crest which encircles their base in true picture-book
+fashion. The attraction of the river, here, is unusual, in that it
+presents no accustomed "slummy" picturesqueness, but winds slowly, amid
+its green, to the very base of the cliff which upholds the chief portion
+of the town and its cathedral.
+
+The facade presents a _melange_ of the work of at least three epochs, a
+not unusual feature in some of the smaller cathedrals. It has a mean
+little house built into its northwest corner, a crude and ugly
+clock-face stuck unmeaningly on its facade, and a general air of
+dilapidation, with respect to the statues originally contained in its
+archivolts and niches, which, to say the least, is not creditable to
+those who have been responsible for its care. It would seem that so
+lively and important a centre of local activity might have devoted a
+little more thought and care to the maintenance of this charming
+building.
+
+Built up from a foundation of which but little, if any portion, visibly
+remains, Notre Dame shows a debasement of design and decoration of its
+facade which is not only not admirable, but is, in addition, sadly
+disfigured. The one detail, for the most part good in style, is a not
+unduly florid arcade, which plainly indicates its superiority over the
+rest of the building.
+
+On the north side is an open-air pulpit of stone overhung with a canopy,
+a highly interesting detail, though, of course, not a unique one. Unable
+to command admiration as an absolute novelty, it is assuredly a charming
+feature, and is delicately and profusely sculptured. It suggests much in
+conjunction with the busy life of the rather squalid neighbouring
+market-place, whose only picturesque attribute is when it is crowded
+with the gaiety of a market or a fete day. By far the most compelling
+interest in the building, after an inspection of its interior, is the
+view to be had from a distance.
+
+The nave is late Gothic, and widens out in curious fashion toward the
+east; otherwise the interior arrangements are not remarkable. One
+bulbous chapel on the south side supplants the usual transept.
+
+There is no triforium either in choir or nave, the lighting principally
+being effected by the large windows of the aisles.
+
+It is pertinent to recall here that one of Charlemagne's own foundations
+of the ninth century, destroyed by the barbarians, was situated near by,
+the famous Abbey of St. Croix.
+
+
+
+
+[Illustration: _Notre Dame de Coutances_]
+
+VIII
+
+NOTRE DAME DE COUTANCES
+
+
+Like many another town of western Normandy, like Falise, Domfront, St.
+Lo, Granville, Avranches, and Mont St. Michel itself, Coutances rises
+high above the surrounding plain and stands dominant in the landscape
+for miles on either hand. Of perhaps more magnitude, as to area, than
+any of the other examples, the city has the added attribute of three
+towered ecclesiastical edifices, which rise nobly in varying stages far
+over the neighbouring roof-tops of the town itself and the tree-clad
+slopes which embank it.
+
+The oldest of the Norman Gothic cathedrals, and that which partakes the
+most of local character, is Notre Dame de Coutances. Certain French
+archaeologists have said that the main body of the church is actually
+that of the eleventh century. It is more likely, however, that none of
+the building at present in view is earlier than the thirteenth century,
+the epoch during which contemporaneous Gothic first grew to its
+maturity. In any event, such building and construction was going on from
+1208 to 1233 as would indicate that it was the entire present edifice
+which was being planned at that time. In this case it is quite possible
+that the rebuilding was going on slowly, foot by foot, in a manner which
+not only encompassed and absorbed the older building, but in reality
+eradicated every vestige of it. Says a French writer of enthusiasm, "The
+Cathedral of Coutances, as it now stands, is one of the most noble and
+grand religious edifices in France, with all the qualities of a monument
+of the first order, of perfect dimension, beauty of plan, unity of
+workmanship, and distinction of form." Any one of these attributes, were
+it literally so, might well turn a commonplace structure into an
+unapproachable masterpiece. In a measure, all of his eulogy is quite
+true, and the pity is that more do not know of its fascination and
+charm.
+
+The facade of the Cathedral of Notre Dame is of the indigenous
+Norman-Gothic type. The fine towers, in addition to combining the
+symmetrical elements of Gothic, have, each, as well, a flanking
+towerlet, attached to their outer sides, enclosing a spiral stairway.
+These extend to quite the full height of the tower proper; and, though
+by no means a wholly attractive feature, are not as offensive as might
+at first be supposed. It is doubtful, in fact, if the general strength
+and impressiveness of the entire structure would not be impaired were
+the arrangements otherwise.
+
+The present ogival structure is built on the remains of a Romanesque
+church erected by a famous Bishop of Coutances, Geoffroy de Montbray,
+with funds supplied by Guillaume Bras-de-Fer, Odon, Roger, Onfroy, and
+Robert, sons of Tancrede-de-Hauteville, the Norman conquerors of Sicily
+and Calabria, whose names have been given fabled prominence in more than
+one epic poem. The early structure was consecrated in 1056, in the
+presence of William, then Duke of Normandy, a few years before he became
+the Conqueror. Supposedly none of this former church remains; in fact,
+what fragments, if any, exist, are doubtless covered in the present
+foundations.
+
+Mainly, the present structure is thirteenth-century work, with a
+lady-chapel of the fourteenth century.
+
+An unusual, and exceedingly beautiful, effect is given by the Gothic
+window mullions, between the chapels, in reality a series of
+geometrical window-frames, without glass. No florid ornament either
+inside or out is to be found to offend against accepted ideals. In
+short, "the whole is of a piece complete." The parapets of triforium and
+clerestory, with foliaged carvings, are about the only ornate
+decorations to be seen.
+
+The central tower, of great proportions, but incomplete as to the
+addition of a spire, is a marvel of strength and power. Its interior,
+elaborately decorated, forms a lantern at the crossing. Here, as at
+Bayeux, the choir is raised a few steps above its aisles, giving a
+certain impressiveness beyond what might otherwise exist.
+
+The interior, generally, is admirable. Clustered columns, as they are
+commonly called,--in reality they are clustered pillars, if word
+derivations are to be considered,--separate both nave and choir from the
+aisles; and, in case of the choir, a series of elongated circular
+pillars are coupled, one behind the other, an unquestionably unique
+arrangement.
+
+The transepts are practically non-existent, as the widening does not
+extend beyond the extent of the nave chapels. This leaves the
+ground-plan, at least, a mere parallelogram with a rounded eastern end.
+
+Notre Dame de Coutances is one of the few really great Gothic churches
+not possessing an example of those French masterworks, the rose window.
+
+Again referring to the fine tower group, it is probably true that, were
+the huge central tower properly spired, the ensemble would rival Laon in
+regard to its impressive situation and elaborate pinnacles.
+
+St. Pierre, of the fifteenth century, and St. Nicolas, of the
+fourteenth, complete the trinity of fine churches which Coutances
+possesses. The latter contains the unusual arrangement in a Continental
+church of pews in place of chairs, although formerly, it is said, this
+feature was not uncommon in Normandy.
+
+The somewhat considerable remains of a Roman acqueduct, near by, are
+sufficiently remarkable to warrant passing consideration, even by the
+"mere lover of churches."
+
+[Illustration]
+
+
+
+
+
+IX
+
+ST. PIERRE D'AVRANCHES
+
+
+There is little to recount concerning the See of Avranches. Its
+bishopric and its cathedral were alike destroyed during the parlous
+times of the bickerings and ravages of Royalists and Republicans of the
+Revolutionary period. All that remains to-day is a trifling heap of
+stones which would hardly fill a row-boat,--a fragment of a shaft on
+which is a tablet reading:
+
+               "ON THIS STONE,
+  HERE AT THE DOOR OF THE CATHEDRAL OF AVRANCHES,
+       AFTER THE MURDER OF THOMAS A BECKET,
+           ARCHBISHOP OF CANTERBURY,
+                  HENRY II.,
+      KING OF ENGLAND AND DUKE OF NORMANDY,
+            RECEIVED ON HIS KNEES,
+         FROM THE LEGATES OF THE POPE,
+           THE APOSTOLIC ABSOLUTION,
+            ON SUNDAY, 22D MAY 1172."
+
+At its feet is another slab, the aforementioned door-step, on which,
+before the papal legate, the remorseful monarch did penance before his
+later expiation at Canterbury.
+
+A little farther on is a small heap consisting of shafts and capitals of
+columns, a stone sarcophagus and a brass plate stating that they are the
+"Derniers restes de la cathedrale d'Avranches; commencee vers 1090 et
+consacree par l'eveque Turgis en 1121." The nave having fallen in, the
+rest of the edifice had to be taken down in 1799.
+
+Because of its picturesque environment and situation, Avranches is
+perhaps a more than ordinarily attractive setting for a shrine, and it
+is well worthy of the attention of the passing traveller, in spite of
+its ancient cathedral being now but a heap of stones. Apart from this
+it is of little interest, and hence, to most, it will probably remain,
+in the words of a French traveller, a mere "silhouette in the distance."
+
+[Illustration]
+
+
+
+
+[Illustration: _CATHEDRAL of S. SAMSON DOL_]
+
+X
+
+ST. SAMSON, DOL-DE-BRETAGNE
+
+
+The one-time Cathedral of St. Samson, at Dol, is, says an unusually
+expressive Frenchman, "a grand, noble, and severe church, now widowed of
+its bishops. Its aspect is desolate and abandoned, as if it were but a
+ruin _en face sur la grande place_, of itself, but a mere desert of
+scrub." This is certainly a vivid and forceful description of even a
+wholly unprepossessing shrine. This St. Samson is not, and due allowance
+should be made for verbal modelling which, in many cases, is but the
+mere expression of a mood _pro tempo_. There is, however, somewhat of
+truth in the description. About the granite walls there is a grimness
+and gauntness of decay; of changed plans and projects; of devastation;
+of restoration; and, finally, of what is, apparently, submission to the
+inevitableness of time.
+
+The enormous northwesterly tower is stopped suddenly, with the daylight
+creeping through its very framework. Its facade is certainly bare of
+ornament, and gives a thorough illustration of paucity of design as well
+as of detail. There is, indeed, nothing in the west facade to compel
+admiration, and yet there is a fascination about it that to some will be
+irresistible.
+
+A sixteenth-century porch, of suggested Burgundian style, forms the main
+entrance to the church, and is situated midway along the south side.
+Almost directly opposite, on the north, is the curiously contrasting
+feature of a crenelated battlement, a reminder of the time when the
+church was doubtless a temporal as well as a spiritual stronghold.
+
+The interior, as the exterior, is gloomy and melancholy. One has only to
+contemplate the collection of ludicrously slender clustered columns of
+the nave, bound together with markedly visible iron strands, to realize
+the real weakness of the means by which the fabric has been kept alive.
+
+The nave itself is of true proportions, and, regardless of the severity
+of its lines, and the ludicrous pillars, is undeniably fine in effect.
+
+A curiously squared choir-end, but with the small apsed lady-chapel
+extending beyond, is another of those curious details which stand out in
+a way to be remarked in a French church. In this squared end, and above
+the arch made by the pillars of the choir aisle, is a large pointed
+window filled with ancient glass which must have been inserted soon
+after the church was reconstructed after the fire in the twelfth
+century.
+
+The general effect of the nave and aisles is one of extreme narrowness,
+which perhaps is not so much really the case when actual measurements
+are taken.
+
+In general, the church is supposed by many to resemble the distinct type
+of Gothic as it is known across the Channel; and, admitting for the
+nonce that possibly many of the Brittany structures were the work of
+English builders, this church, in the absence of any records as to who
+were its architects, may well be counted as of that number.
+
+The stalls of the choir are of delicately carved wood, before which is
+placed a monumental bishop's throne, with elaborate armorial
+embellishments. A Renaissance tomb of the sixteenth century, by a pupil
+of Michel Colomb, now much injured in its sculptured details of angels
+and allegorical figures, is locally considered the "show-piece" of the
+church.
+
+
+
+
+[Illustration: _S. MALO & S. SERVAN_]
+
+[Illustration: _TREGUIER_]
+
+XI
+
+ST. MALO AND ST. SERVAN
+
+
+Welshmen throughout the world rejoice that it was one of their
+countrymen, a monk of the sixth century, who gave his name as founder to
+the "walled city of St. Malo by the sea." With its outlying and
+contiguous towns of St. Servan, Dinan, and Parame, St. Malo is a
+paradise for the mere lover of pleasure resorts. Further, with respect
+to the first three places mentioned, there is present not a little of
+the romance and history of the past, reflected as it were in a modern
+mirror. Not but that the old town of St. Malo, within the walls, is
+ancient and picturesque enough, and dirty, too, if one be speciously
+critical; but the fact is that the modern Pont Roulant, and the omnific
+toot of the steam-tram, ever present in one's sight and hearing, are
+forcible reminders of the march of time.
+
+St. Servan, so far as its cathedral is concerned, may be dismissed in a
+word. The ancient see of St. Pierre d'Aleth had, at one time, its
+dignity vested in a bishop who enthroned himself in a cathedral, the
+remains of which exist to-day only as a fragment built into the
+fortifications. The bishopric was removed in 1142 to St. Malo.
+
+With St. Malo a difference exists. Its cathedral, now degenerated to a
+parish church, is a Gothic work mainly of the fifteenth century, and,
+regardless of its unimposing qualities, is one of those fascinating old
+buildings which, in its environment and surroundings, appeals perhaps
+more largely to us as a component of a whole than as a feature to be
+admired by itself. The church, safely sheltered from the ravage of gale
+and storm, sits amid narrow winding streets, whose buildings are so
+compressed as to rise to heights unusual in the smaller Continental
+towns.
+
+The edifice is mainly of the fifteenth century, but has been variously
+renovated and restored. Gothic, Renaissance, and the transition between
+the two are plainly discernible throughout. Perhaps the best art to be
+noted is that found in the interior of the choir, with its fine
+triforium and clerestory windows above. Here, again, is to be observed
+the squared east end of the English contemporary church, a further
+reminder, if it be needed, of the influences which were bound to be more
+or less exchanged with regard to the arts and customs of the time, on
+both shores of _La Manche_.
+
+A few features of passing interest are here, an ivory crucifix, a few
+tombs, and some indifferent paintings.
+
+The spire is modern, but gives a suggestion, at least, in viewing the
+city from a distance, of something of what a mediaeval walled seaport,
+with its population huddled close beneath the shadow of the church, and
+within the city walls, must have been like. The best example of this
+which ever existed in mediaeval France, and which exists to-day in a more
+than ordinary remarkable state of preservation, is the famous Mount St.
+Michel, a few miles only to the eastward, and famed of all, historian,
+ecclesiast, artist, and mere pleasure-seeker, alike. Most writers are
+pleased to refer to the confiding attitude of mine host, who conducts
+the principal hostelry on the Mount, and who guilelessly asks the wary
+traveller (ofttimes they _are_ wary) what he has partaken of during his
+stay, and makes up the account accordingly. This is, perhaps, not the
+least of attributive charms, though it should be a minor one where this
+wonderful and real Mount, which takes its name from legendary St.
+Michel, is concerned. Indeed, leaving the cathedrals at Rouen, Chartres,
+and Le Mans out of the question, it is doubtful if the Abbey of Mont St.
+Michel is not the chief remaining architectural glory of the middle
+ages, west of Paris.
+
+It is but a short distance from St. Malo to St. Servan, but what a
+difference! It is called by the French themselves the daughter of St.
+Malo,--the "faubourg grown into a city."
+
+Rabida's "Bretagne" states that there are "nombreux des Anglais a St.
+Servan, des jeunes gens vivant dans les pensions brittaniques--des
+familles venant l'ete faire en Bretagne une cure d'economies pour
+l'hiver." Continuing, this discerning author says: "Bathers, bicyclists,
+golfists, promenaders, and excursionists abound." Better then let them
+hold forth here to their hearts' content; there is little that the lover
+of churches will gain from what remains to-day of the town's former
+Cathedral of St. Pierre.
+
+
+
+
+XII
+
+TREGUIER
+
+
+This old cathedral city, at the junction of two small streamlets, a
+short distance from the sea, lies perhaps a dozen miles away from the
+nearest railway. With St. Pol de Leon and St. Brieuc it is, in local
+characteristics and customs alike, a something apart from any other
+community in northern France. The Bretons are commonly accredited as
+being a most devout race, and certainly devotion could take no more
+marked turn than the many evidences here to be seen in this "land of
+Calvaries." St. Brieuc is a bishopric, suffragan of Rennes, whose
+cathedral is a hideous modern structure of the early nineteenth century
+quite unworthy as a shrine; but Treguier's power waned with the
+Revolution. Its fourteenth-century church, however, is sufficiently
+remarkable by reason of its situation and surroundings, none the less
+than in its fabric, to warrant a deviation from well-worn roads in
+order to visit it. Chiefly of a late period, it possesses in the Tour de
+Hasting, named after the Danish pirate (though why seems obscure), which
+enfolds the north transept, a work of the best eleventh-century class.
+This should place the church, at once, within the scope of the
+designation of a "transition" type. In this tower the windows and
+pilasters are of the characteristic round variety of the period. The
+south porch is the most highly developed feature as to Mediaeval style,
+but the attraction lies mainly in its ensembled massiveness, with its
+two sturdy towers and a ridiculously spired south _clocher_. Beyond a
+certain grimness of fabric the church fails, not a little, to impress
+one with even simple grandeur, even when one takes into consideration
+the charms of its florid but firmly designed cloister, which, with the
+church itself, is classed by the _Departement des Beaux Arts_ as one of
+the twenty-three hundred "_Monumentes Historiques_." Nevertheless, the
+building proves more than ordinarily gratifying, though by no stretch of
+the imagination could it be classed as grand.
+
+Loftiness and grandeur are equally lacking in the interior, and there is
+great variation of style with respect to the pillars of nave and choir.
+This is also the case with the windows, which play the gamut from the
+severe round-headed Romanesque to the latest flamboyant development, a
+feature which not only disregards most conventions, but, as every one
+will admit, most flagrantly offends, with sad results, against the
+general constructive elements. A plain triforium, in the nave, blossoms
+out, in the south transept and choir, in no hesitating manner, into
+exceeding richness. The choir has an apsidal termination and contains
+carved wooden stalls which are classed as work of the mid-seventeenth
+century, though appearing much more time-worn.
+
+The really popular attribute of the church lies in the reconstructed
+monument to St. Yves, the patron saint of advocates, and commonly
+considered the most popular in all the Brittany calendar.
+
+Born near Treguier in 1253, St. Yves' "unheard-of probity and
+consideration for the sick and the poor" gained such general respect
+that, with his death on the nineteenth of May, 1303, there was
+inaugurated a great feast which to-day is yearly celebrated, and all
+grieving against a real or fancied wrong have recourse promptly to the
+supposedly just favour of this universal patron of the law.
+
+
+
+
+[Illustration: S. BRIEUC]
+
+XIII
+
+ST. BRIEUC
+
+
+Unlike many of the smaller towns which contain cathedral churches, St.
+Brieuc is a present day bishopric; hence the Cathedral takes on,
+perhaps, more significance than it would, were it but an example of a
+Mediaeval church.
+
+In reality it is not a very wonderful structure, and the guide-books
+will tell one practically nothing about it. The town itself is a dull
+place, a tidal port, at some little distance from the sea, which flushes
+in upon it twice during the round of the clock.
+
+A monastery was founded here in the fifth century by St. Brieuc, from
+whom the town itself and the present cathedral take their name. He was a
+Celtic monk from Wales, who, upon being expelled from his native land,
+located his establishment here, on the site of a former Gallo-Roman
+town. The patronal feast of St. Brieuc is held each year on the first of
+May and is a curious survival of a mediaeval custom.
+
+Some remains of an early church are built into the choir walls, but in
+the main this not very grand edifice is of the thirteenth and fourteenth
+centuries.
+
+The tower, with its loopholes, would supposedly indicate that the church
+was likewise intended as somewhat of a fortification. The apse is
+rounded in the usual form, and on either side extend transepts to the
+width of two bays.
+
+Within, the Cathedral is more attractive than without. The elements of
+construction and embellishment, while perhaps not ranking with those of
+the really great churches, are sufficiently vivid and lively to indicate
+that the work was consciously and enthusiastically undertaken. The
+lady-chapel is of the thirteenth century, and the transept rose is of
+the fifteenth, as is also the Chapel of St. Guillaume, named for the
+monk of Dijon who built so many of the monasteries throughout Brittany
+and who, it is to be presumed, planned or built the original structure,
+the remains of which are found in the present choir.
+
+The windows throughout are either of not very good modern glass, or of
+plain leaded lights, which, in the majority of cases, may be considered
+as no less an attraction. An elaborate rose is in the western gable.
+
+There are, in the church, various monuments and tombs to former
+bishops.
+
+
+
+
+XIV
+
+ST. POL DE LEON
+
+
+In the midst of that land which furnishes the south of England with most
+of its cauliflowers, artichokes, onions, and asparagus, truly off the
+beaten track, in that it is actually off the line of railway, is the
+strange and melancholy city of St. Pol de Leon, its _clochers_
+dominating, by day at least, both land and sea. It contains the famous
+"Kreisker," a name which sounds as though it were Dutch or North German,
+which it probably is along with other place names on the near-by coast,
+such as Grouin, St. Vaast, Roscoff, and La Hougue.
+
+The tower and spire of this wonderful "Kreisker" rise boldly, from the
+transept crossing, in remarkable fashion, and as a marvel of
+construction may be said to far outrank the cathedral structure itself.
+"Curious and clever" well describes it. As for the former cathedral over
+which the Kreisker throws its shadow, it is one of those majestic
+twin-towered structures not usually associated with what, when compared
+with the larger French towns, must perforce rank as a mere village.
+
+There is much to be said in favour of these little-known near-by places,
+namely, that the charm of their attractions amply repays one for any
+special labour involved in getting to them, with the additional
+advantage, regardless of the fact that a stranger appears somewhat to
+the native as a curiosity, that they are "good value for the money
+paid." Perhaps the cheapest Continental tour, of say three weeks, that
+could be taken, amid a constantly changing environment, if one so
+choose, would comprehend this land of Calvaries.
+
+The two cathedral towers of early Gothic flank a generous porch. There
+is good glass throughout the church, the circular "rose" of the transept
+being a magnificent composition in a granite framing. The nave is of
+thirteenth-century Gothic, from the south aisle of which projects a
+large chapel dedicated to St. Michael. The double-aisled choir is
+garnished with sculptured stalls of the fifteenth century, and,
+separated from its aisles by a stone screen, is of much larger
+proportions than the nave, and likewise of a later epoch of building.
+The apse is flamboyant, as are also the windows of the south transept.
+In the chapels are various vaults and tombs, remarkably well preserved,
+but of no special moment. In one of these chapels, however, is a curious
+painting in the vaulting, representing a "Trinity" possessing three
+faces, disposed in the form of a trefoil with three eyes only. A ribbon
+or "_banderalle_" bears an inscription in Gothic characters; in the
+Breton tongue, "_Ma Donez_" (Mon Dieu).
+
+
+
+
+XV
+
+ST. CORENTIN DE QUIMPER
+
+
+"C'est Quimper, ce melange du passe et du present." A true enough
+description of most mediaeval cities when viewed to-day; but with no
+centre of habitation is it more true than of this city by the
+sea,--though in reality it is not by the sea, but rather of it, with a
+port always calm and tranquil. It takes rank with Brest as the western
+outpost of modern France.
+
+For centuries unconquered, and possessing an individuality of its very
+own, this now important prefecture has much to remind us of its past.
+History, archaeology, and "mere antiquarian lore" abound, and, in its
+grandiose Cathedral of St. Corentin, one finds a large subject for his
+appreciative consideration.
+
+[Illustration: ST. CORENTIN _de QUIMPER_ ...]
+
+It is of the robust and matured type that familiarity has come to regard
+as representative of a bishopric; nothing is impoverished or
+curtailed. Its fine towers with modern spires, erected from the proceeds
+of a "butter tax," are broad of base and delicately and truly
+proportioned. Its ground-plan is equally worthy, though the choir is not
+truly orientated. Its general detail and ensemble, one part with
+another, is all that fancy has told us a great church should contain,
+and one can but be prepared to appreciate it when it is endorsed, and
+commented on, by such ardent admirers as De Caumont, Viollet-le-Duc,
+Corroyer, and Gonse, those four accomplished Frenchmen, who probably
+knew more concerning Mediaeval (Gothic) architecture than all the rest of
+the world put together.
+
+From the thirteenth to the fifteenth century there grew up here a work
+embracing the ogival and the flamboyant, neither in an undue proportion,
+but as well as in any other single structure known. This well shows the
+rise, development, and apogee of the style which we commonly call
+Gothic, but which the French prefer to call "ogival," and which should
+really, if one is to fairly apportion credit where it is due, be best
+known as French Mediaeval architecture.
+
+Its west facade, with its generous lines, is strongly original. The two
+towers, pierced with enormously heightened lancets, are indubitably
+graceful and impressive, while a flanking pair of flying buttresses,
+with their intermediate piers, form an unusual arrangement in the west
+front of a French cathedral.
+
+Above the western gable is a curiously graven effigy of King Grollo in
+stone.
+
+Considered as a whole, the exterior is representative of the best
+contemporary features of the time, but contains few if any which are so
+distinctly born of its environment as to be otherwise notable.
+
+The interior vies with the outer portion of the fabric in the general
+effect of majesty and good design. The triforium is remarkably beautiful
+and is overtopped by a range of clerestory windows which to an
+appreciable extent contain good early glass. The easterly end is the
+usual semicircular apse.
+
+Among the relics of the Cathedral is a crucifix which is supposed to
+emit drops of blood when one perjures himself before it. It is, perhaps,
+significant that the people of Finistere, the department which claims
+Quimper as its capital, have the repute of being honest folk.
+
+The Bishops of Quimper were, by virtue of the gift of _le roi Grodlon le
+Grave_, the only seigneurs of the city during the middle ages.
+
+
+
+
+XVI
+
+VANNES
+
+
+Vannes was the ancient capital of the Celtic tribe of the Veneti, its
+inhabitants being put to rout by Caesar in 57 B. C. Afterward it became
+the Roman town of Duriorigum, and later reverted back to a corruption of
+its former name. Christianity having made some progress, a council was
+held, and a bishop appointed to the city, and from that time onward its
+position in the Christian world appears to have been assured. For
+centuries afterward, however, it was the centre of a maelstrom of
+internal strife, in which Armoricans, Britons, Franks, and Romans appear
+to have been inextricably involved. Then came the Northmen, who burned
+the former Cathedral of St. Peter. This was rebuilt in the eleventh
+century, and in no small measure forms the foundation of the present
+structure, which to-day is the seat of a bishop, suffragan of Rennes.
+
+From this early architectural foundation, to the most florid and
+flamboyant of late Gothic, is pretty much the whole range of Mediaeval
+architectural style. By no means has a grand or even fine structure
+resulted. The old choir, suffering from the stress of time, was pulled
+down and rebuilt as late as 1770. Thus, this usually excellently
+appointed and constructed detail is here of no worthy rank whatever. The
+nave and transepts were completed within the hundred years following
+1452, and show the last flights of Gothic toward the heights from which
+it afterward fell. Transformation and restoration have frequently been
+undertaken, with the result that nowhere is to be seen perhaps greater
+inconsistencies. The latest of these examples of a perverted industry is
+seen in the nineteenth-century additions to the tower and the west
+facade. The result is not, be it said, to the credit of its projectors.
+
+
+THE END.
+
+
+
+
+_Appendices_
+
+
+
+
+I
+
+_The Architectural Divisions of France_
+
+
+It is quite possible to construct an ethnographic map of a country from
+its architectural remains,--but there must always be diverse and varying
+opinions as to the delimitation of one school, as compared with another
+lying contiguous thereto.
+
+One may wander from province to province, and continually find
+reminders, of another manner of building, from that which is recognized
+as the characteristic local species. This could hardly be otherwise. In
+the past, as in the present, imitators were not few, and if the adoption
+of new, or foreign, ideas was then less rapid, it was no less sure.
+Still, in the main, there is a cohesiveness and limitation of
+architectural style in France; which, as is but natural to suppose, is
+in no way more clearly defined than by the churches which were built
+during the middle ages, the earliest types retaining the influence of
+massive forms, and the later again debasing itself to a heavy classical
+order, neither a copy of anything of a pre-Gothic era, or a happy
+development therefrom. Between the two, in a period of scarcely more
+than three hundred years, there grew up and developed the ingenious and
+graceful pointed style, in all its fearlessness and unconvention.
+
+Political causes had, perhaps, somewhat to do with the confining of a
+particular style well within the land of its birth, but on the other
+hand, warfare carried with it invasion and conquest of new sections, and
+its followers, in a measure, may be said to have carried with them
+certain of their former arts, accomplishments, and desires; and so grew
+up the composite and mixed types which are frequently met with.
+
+There are a dozen or more architectural styles in what is known as the
+France of to-day. The Provencal (more properly, says Fergusson, it
+should be called "Gallia Narbonese,") one of the most beautiful and
+clearly defined of all; the Burgundian, with its suggestion of
+luxuriance and, if not massiveness, at least grandeur; the Auvergnian,
+lying contiguous to both the above, with a style peculiarly its own,
+though of an uncompromising southern aspect; Acquitanian, defining the
+style which lies between Provence, the Auvergnat and the Pyrenees, and a
+type quite different from either. The Angevinian, which extends
+northward from Limoges to Normandy and Brittany, and northeasterly
+nearly to Orleans, is a species difficult to place--it partakes largely
+of southern influence, but is usually thought to merit a nomenclature of
+its own, as distinct from the type found at Anjou. Turning now to the
+northern or Frankish influence, as distinct from the Romance countries;
+Brittany joins to no slight degree influences of each region; Normandy
+partakes largely of the characteristics of the type of Central France,
+which is thoroughly dominated by that indigenous to the Isle of France,
+which species properly might include the Bourbonnais and Nivernoise
+variants, as being something of a distinct type, though resembling, in
+occasional details, southern features. This list, with the addition of
+French Flanders, with its Lowland types, completes the arrangement, if
+we except Alsace and Lorraine, which favour the German manner of
+building rather more than any of the native French types.
+
+
+
+
+II
+
+_A List of the Departments of France, and of the Ancient Provinces from
+which they have been evolved._
+
+
+_Provinces and date of        _Departements_       _Chefs-Lieux_
+union with France_
+
+Ile de France, with La         Seine                Paris
+Brie, etc. Always held         Seine-et-Oise        Versailles
+by the Crown                   Seine-et-Marne       Melun
+                               Oise                 Beauvais
+                               Aisne                Laon
+
+Picardie. Louis XIV, 1667      Somme                Amiens
+
+Artois and Boulonnais.         Pas-de-Calais        Arras
+1640
+
+Flandre and Hainault           Nord                 Lille
+Francais. Louis XIV.
+1667-1669
+
+Normandie. Philippe            Seine-Inferieure     Rouen
+Auguste, 1204                  Eure                 Evreux
+                               Calvados             Caen
+                               Orne                 Alencon
+                               Manche               Saint-Lo
+
+Bretagne. Francois I.          Ille-et-Vilaine      Rennes
+1532                           Cotes-du-Nord        Saint-Brieux
+                               Finisterre           Quimper
+                               Morbihan             Vannes
+                               Loire-Inferieure     Nantes
+
+Orleanais. Louis XII.          Loiret               Orleans
+1498                           Loir-et-Cher         Blois
+
+Beauce and Pays Chartrain      Eure-et-Loire        Chartres
+
+Maine. Louis XI. 1481          Sarthe               Le Mans
+                               Mayenne              Laval
+
+Anjou. Louis XI. 1481          Maine-et-Loire       Angers
+
+Touraine. Henri III. 1584      Indre-et-Loire       Tours
+
+Poitou. Charles VI. 1416       Vendee               Bourbon-Vendee
+                               Deux-Sevres          Niort
+                               Vienne               Poitiers
+
+Berri. Philippe I. 1100        Indre                Chateauroux
+                               Cher                 Bourges
+
+Marche. Francois I. 1531       Creuse               Gueret
+
+Limousin. Charles V.           Haute-Vienne         Limoges
+1370                           Correze              Tulle
+
+Angoumois. Charles V.          Charente             Angouleme
+1370
+
+Saintonge and Aunis.           Charente-Inferieure  La Rochelle
+1370
+
+Guienne and Gascogne.          Dordogne             Perigueux
+  Charles VII. 1451            Gironde              Bordeaux
+                               Lot-et-Garonne       Agen
+                               Lot                  Cahors
+                               Tarn-et-Garonne      Montauban
+                               Aveyron              Rodez
+                               Gers                 Auch
+                               Hautes-Pyrenees      Tarbes
+                               Landes               Mont-de-Marsan
+
+Bearn and French Navarre.      Basses-Pyrenees      Pau
+  Louis XIII.
+
+Comte de Foix. Louis XIII.     Ariege               Foix
+
+Roussillon. 1659               Pyrenees-Orientales  Perpignan
+
+Languedoc. John, 1361          Haute-Garonne        Toulouse
+                               Tarn                 Albi
+                               Aude                 Carcassonne
+                               Herault              Montpellier
+                               Gard                 Nimes
+
+Vivarais                       Ardeche              Privas
+
+Gevaudan                       Lozere               Mende
+
+Velay                          Haute-Loire          Le Puy
+
+Comtat Venaissin, Orange,      Vaucluse             Avignon
+  etc. Louis XIV. 1713
+
+Provence. Louis XI. 1481       Bouches-du-Rhone     Marseille
+                               Var                  Draguignan
+                               Basses-Alpes         Digne
+
+Dauphine. Philippe de          Isere                Grenoble
+  Valois, 1343                 Drome                Valence
+                               Hautes-Alpes         Gap
+
+Lyonnais and Beaujolais        Rhone                Lyon
+
+Forez                          Loire                St. Etienne
+
+Auvergne. Philippe Auguste,    Puy-de-Dome          Clermont
+1210                           Cantal               Aurillac
+
+Bourbonnais. Louis XII.        Allier               Moulins
+1505
+
+Nivernais. Charles VII.        Nievre               Nevers
+1457
+
+Bresse, Bugey, etc.            Ain                  Bourg
+
+Bourgogne (duche). Louis       Saone-et-Loire       Macon
+XI. 1477                       Cote-d'Or            Dijon
+                               Yonne                Auxerre
+
+Comte de Bourgogne, or         Doubs                Besancon
+Franche-Comte. Peace           Jura                 Lons-le-Saulnier
+of Nimeguen, 1678              Haute-Saone          Vesoul
+
+Champagne. Philippe le         Aube                 Troyes.
+Bel, 1284                      Marne                Chalons-sur-Marne
+                               Haute-Marne          Chaumont
+                               Ardennes             Mezieres
+
+Lorraine.[*] On the death      Meurthe and Moselle  Nancy
+of Stanislas Leczinsky,        Meuse                Bar-le-Duc
+1766                           Vosges               Epinal
+
+Alsace.[*] Louis XIV. 1648     Territory of Belfort Belfort
+                               Haut-Rhin            Colmar
+
+Corsica. 1794.                 Corse                Ajaccio
+
+Comte de Nice. 1861            Alpes Maritimes      Nice
+
+Savoy                          Savoie               Chambery
+                               Haute-Savoie         Annecy
+
+[*] The greater part of these provinces as they formerly stood
+were ceded to Germany, May 10, 1871.
+
+
+
+
+III
+
+_The Church in France_
+
+
+_La France Catholique_ is to-day divided into eighty-four dioceses,
+administered, as to spiritual affairs, by seventeen archbishops and
+sixty-seven bishops. To each diocese is attached a seminary for the
+instruction of those who aspire to the priesthood. Each chief town of a
+canton has its _cure_, each parish its _desservant_.
+
+_Archbishops and Bishops_    _Dioceses_
+
+PARIS                         Seine
+
+  Chartres                    Eure-et-Loire
+
+  Meaux                       Seine-et-Marne
+
+  Orleans                     Loiret
+
+  Blois                       Loir-et-Cher
+
+  Versailles                  Seine-et-Oise
+
+CAMBRAI                       Nord
+
+  Arras                       Pas-de-Calais
+
+LYON-ET-VIENNE                Rhone, Loire
+
+  Autun                       Saone-et-Loire
+
+  Langres                     Haute-Marne
+
+  Dijon                       Cote-d'Or
+
+  Sainte Claude               Jura
+
+  Grenoble                    Isere
+
+BOURGES                       Cher-et-Indre
+
+  Clermont                    Puy-de-Dome
+
+  Limoges                     Haute-Vienne et Creuse
+
+  Le Puy                      Haute-Loire
+
+  Tulle                       Correze
+
+  Saint Flour                 Cantal
+
+ALBI                          Tarn
+
+  Rodez                       Aveyron
+
+  Cahors                      Lot
+
+  Meude                       Lozere
+
+  Perpignan                   Pyrenees-Orientales
+
+BORDEAUX[*]                   Gironde
+
+  Agen                        Lot-et-Garonne
+
+  Angouleme                   Charente
+
+  Poitiers                    Vienne-et-Deux Sevres
+
+  Perigueux                   Dordogne
+
+  La Rochelle                 Charente-Inferieure
+
+  Lucon                       Vendee
+
+AUCH                          Gers
+
+  Aire                        Landes
+
+  Tarbes                      Hautes-Pyrenees
+
+  Bayonne                     Basses-Pyrenees
+
+TOULOUSE-NARBONNE             Haute-Garonne
+
+  Montauban                   Tarne-et-Garonne
+
+  Pamiers                     Ariege
+
+  Carcassonne                 Aude
+
+ROUEN                         Seine-Inferieure
+
+  Bayeux                      Calvados
+
+  Evreux                      Eure
+
+  Seez                        Orne
+
+  Coutances                   Manche
+
+SENS ET AUXERRE               Yonne
+
+  Troyes                      Aube
+
+  Nevers                      Nievre
+
+  Moulins                     Allier
+
+REIMS                         Arr. de Reims-et-Ardennes
+
+  Soissons                    Aisne
+
+  Chalons-sur-Marne           Marne except Arrond. de Reims
+
+  Beauvais                    Oise
+
+  Amiens                      Somme
+
+TOURS                         Indre-et-Loire
+
+  Le Mans                     Sarthe
+
+  Angers                      Maine-et-Loire
+
+  Nantes                      Loire-Inferieure
+
+  Laval                       Mayenne
+
+AIX, ARLES, AND EMBRUN        Bouches-du-Rhone except Marseilles
+
+  Marseilles                  Arr. de Marseilles
+
+  Frejus and Toulon           Var
+
+  Digne                       Basses-Alpes
+
+  Gap                         Hautes-Alpes
+
+  Nice                        Alpes-Maritimes
+
+  Ajaccio                     Corse
+
+BESANCON                      Doubs et Haute-Saone
+
+  Verdun                      Meuse
+
+  Belley                      Ain
+
+  St. Die                     Vosges
+
+  Nancy                       Meurthe
+
+AVIGNON                       Vaucluse
+
+  Nimes                       Gard
+
+  Valence                     Drome
+
+  Viviers                     Ardeche
+
+  Montpellier                 Herault
+
+RENNES                        Ille-et-Vilaine
+
+  Quimper                     Finisterre
+
+  Vannes                      Morbihan
+
+  St. Brieuc                  Cotes-du-Nord
+
+CHAMBERY
+
+  Annecy                      Haute-Savoie
+
+  Tarentaise                  Val-de-Tarentaise (Savoie)
+
+  Maurienne                   Val-de-Maurienne (Savoie)
+
+[*] The Archbishop of Bordeaux has three suffragans outside
+France: St. Denis and La Reunion, St. Pierre and Fort de France
+(Martinique), Basseterre (Guadaloupe).
+
+
+
+
+IV
+
+_A List of the Larger French Churches which were at one time Cathedrals
+and usually referred to as such._
+
+
+NOTE.--Those marked H. M. are classed as Les Monuments Historiques by La
+Commission de la Conservation des Monuments Historiques.
+
+Agde            _Herault_                             H. M.
+
+Alais           _Garde_
+
+Alencon         _Orne_             Notre Dame         H. M.
+
+Alet            _Aude_             Notre Dame         H. M.
+
+Apt             _Vaucluse_                            H. M.
+
+Arles           _Bouches-du-Rhone_ St. Trophimus      H. M.
+
+Arras                              St. Vaast
+
+Auxerre         _Yonne_            St. Etienne        H. M.
+
+Auxonne         _Cote-d'Or_        Notre Dame
+
+Avranches       _Manche_           (remains only)     H. M.
+
+Bazas           _Gironde_          St. Jean           H. M.
+
+Bethleem                           (There was once a Bishop of
+                                   Bethleem whose see was the
+                                   village of Clamecy only, but
+                                   no cathedral.)
+
+Beziers         _Herault_          St. Nazaire        H. M.
+
+Boulogne        _Pas-de-Calais_    Notre Dame
+
+Bourg           _Ain_              Notre Dame
+
+Brioud          _Haute-Loire_                         H. M.
+
+Cambrai                            Notre Dame
+
+Carcassonne     _Aude_             St. Nazaire        H. M.
+
+Carpentras      _Vaucluse_         St. Siffrein       H. M.
+
+Castres         _Tarn_             St. Benonit
+
+Cavaillon       _Vaucluse_         St. Veran          H. M.
+
+Condom          _Gers_                                H. M.
+
+Conserons       _Ariege_           (See St. Lizier)
+
+Die             _Drome_                               H. M.
+
+Dinan           _Cotes-du-Nord_    St. Saveur         H. M.
+
+Dol             _Ille-et-Vilaine_  St. Samson         H. M.
+
+Elne            _Pyrenees-Orientales_                 H. M.
+
+Embrun          _Hautes-Alpes_                        H. M.
+
+Glandeves       _Basses-Alpes_     (Bishopric transferred
+                                    to Entrevaux)
+
+Grasse          _Alpes-Maritimes_  (Bishopric in XIVth
+                                      century)
+
+Laon            _Aisne_            Notre Dame         H. M.
+
+Lavaur          _Tarn_             (Bishopric in XIVth
+                                      century)
+
+Lectours        _Gers_             (Bishopric in Xth century)
+
+Lescar          _Basses-Pyrenees_                     H. M.
+
+Lisieux         _Calvados_         St. Pierre
+
+Lodeve          _Herault_          St. Fulcran        H. M.
+
+Lombez          _Gers_                                H. M.
+
+Macon           _Saone-et-Loire_   St. Vincent        H. M.
+
+Mallezais       _Vendee_
+
+Mirepoix        _Ariege_           (Bishopric in XIVth
+                                    century)
+
+Noyon           _Oise_             Notre Dame         H. M.
+
+Oloron          _Basses-Pyrenees_                     H. M.
+
+Orange          _Vaucluse_         Notre Dame
+
+Perigueux       _Dordogne_         St. Etienne
+
+St. Bertrand    _Haute-Garonne_                       H. M.
+de Comminges
+
+St. Die         _Vosges_
+
+St. Lizier      _Ariege_                              H. M.
+
+St. Lo          _Manche_          Notre Dame          H. M.
+
+St. Malo        _Ille-et-Vilaine_
+
+Ste. Marie      _Basses-Pyrenees_
+
+St. Omer        _Pas-de-Calais_   Notre Dame          H. M.
+
+St. Papoul      _Aude_                                H. M.
+
+St. Paul Trois  _Drome_                               H. M.
+Chateaux
+
+St. Pol de Leon _Finisterre_                          H. M.
+
+St. Servan      _Ille-et-Vilaine_  St. Pierre d'Aleth
+
+Sarlat          _Dordogne_                            H. M.
+
+Seez            _Orne_             Notre Dame         H. M.
+
+Senez           _Basses-Alpes_                        H. M.
+
+Senlis          _Oise_             Notre Dame         H. M.
+
+Sisteron        _Basses-Alpes_
+
+Soissons        _Aisne_            Notre Dame         H. M.
+                                   St. Gervais
+                                   St. Protais
+
+Tarbes          _Hautes-Pyrenees_  Eglise de la Sede  H. M.
+
+Toul            _Meurthe_          St. Etienne        H. M.
+
+Toulon          _Var_              Ste. Marie-Majeur
+
+Treguier        _Cotes-du-Nord_                       H. M.
+
+Uzes            _Gard_             St. Thierry
+
+Vabres          _Aveyron_
+
+Vaiso           _Vaucluse_                            H. M.
+
+Versailles      _Seine-et-Oise_    St. Louis
+
+Vence           _Alpes-Maritimes_                     H. M.
+
+Vienne          _Isere_            St. Maurice        H. M.
+
+
+
+
+V
+
+_Chronology of the chief styles and examples of church building in the
+north of France from the Romano-Byzantine period to that of the
+Renaissance_
+
+
+1050-1075 Nevers    St. Etienne               Distinct round-arch
+1075-1100 Bayeux    Notre Dame                style
+          Caen      St. Etienne
+
+1125-1150 Autun     St. Lazare                Pointed arch in
+          St. Denis (choir)                   vaulting and
+1150-1175 Angers    St. Maurice               larger works, with
+          Paris     Notre Dame                the retaining of
+          Sens      St. Etienne               the round in the
+                                              smaller
+
+1200-1225 Reims     Notre Dame                General adoption
+          Auxerre   St. Etienne               of the ogival
+          Troyes    Sts. Peter and Paul       style
+
+1225-1250 Amiens    Notre Dame                The completed
+          Dijon     St. Benigne               ogival style
+          Bourges   St. Etienne
+1250-1275 Noyon     Notre Dame (cloisters)
+1300-1325 Rouen     Notre Dame (lady-chapel)
+1350-1375 Chartres  Notre Dame
+
+1425-1450 Auxerre   St. Etienne (N. transept) Introduction of
+                                              Renaissance detail
+1450-1475 Evreux    Notre Dame (transepts     in Italy and
+                    and tower)                elaboration of
+                                              Gothic in France
+
+1475-1500 Rouen     Notre Dame (S. W.         Renaissance firmly
+                    tower)                    grafted in Italy
+          Nevers    St. Etienne (S. porch)    and gradually
+1500-1525 Beauvais  St. Pierre (S. transept)  appearing in the
+          Chartres  Notre Dame (N. W.         Gothic of France
+                    spire)
+
+1525-1550 Beauvais  St. Pierre (N. transept)
+          Amiens    Notre Dame (fleche)
+
+1550-1575 Beauvais  St. Pierre (central tower Renaissance firmly
+                    since destroyed)          established
+1600-1625 Orleans   Ste. Croix
+
+
+
+
+VI
+
+_Dimensions and Chronology_
+
+
+NOTRE DAME D'AMIENS
+
+[Illustration: _Notre Dame d'Amiens_]
+
+_Dimensions_
+
+Length of nave and choir, 469 feet
+
+Width including transepts, 214 feet
+
+Width of nave, 59 feet
+
+Width of aisles, 33-1/2 feet
+
+Height of nave, 141 or 147 feet, estimated variously
+
+Height of aisles, 65 feet
+
+Length of choir, 135 feet
+
+Width of nave including aisles, 150 feet
+
+Length of transepts, 194 feet
+
+Width of transepts, 36 feet, 6 inches
+
+Height of spire, 422 feet
+
+Superficial area, 70,000 square feet (approx.)
+
+_Chronology_
+
+Nave and choir, 1220-1288
+
+Choir stalls, 1520
+
+Western towers completed, 1533
+
+Lateral chapels of nave, XVIth century
+
+Choir chapels, XIIIth century
+
+
+ST. MAURICE D'ANGERS
+
+[Illustration]
+
+_Dimensions_
+
+Length of nave and choir, 300 feet
+
+Width of transepts, 40 feet
+
+Height of transepts, 80 feet
+
+Height of nave, 110 feet
+
+Width of nave, 53 feet
+
+Height of spires, 225 feet
+
+_Chronology_
+
+Lower walls, Romano-Byzantine
+
+Main body completed, 1240
+
+Choir, XIIth century
+
+Bishop's Palace, XIIth century
+
+Arras tapestries, XIVth century
+
+Choir doorway, XIIIth century
+
+(Recently restored by Viollet-le-Duc)
+
+
+ST. VAAST D'ARRAS
+
+_Dimensions_
+
+Length of nave and choir, 302 feet
+
+Height of nave, 66-1/2 feet
+
+Width of nave, 49 feet
+
+Height of tower, 154 feet
+
+_Chronology_
+
+Former Cathedral of Notre Dame begun, end of XIIth century
+
+Former Cathedral of Notre Dame completed, 1499
+
+Present Cathedral of St. Vaast, 1755-1833
+
+Triptych of Bellegambe in present Cathedral, 1528
+
+Former Abbey of St. Vaast, now Episcopal Palace since 1754
+
+
+ST. LAZARE D'AUTUN
+
+_Dimensions_
+
+Height of spire, 325 feet
+
+_Chronology_
+
+Transition portion constructed by Robert I.,
+Duke of Burgundy, 1031-1076
+
+Spire, XVth century
+
+Sculpture of choir, XVIth century
+
+Flamboyant chapels, XVIth century
+
+
+AUXERRE
+
+_Chronology_
+
+Crypt (remains of early work), XIth century
+
+Choir and glass, 1215-1234
+
+Western portals, XIIIth century
+
+Nave, 1334-1373
+
+North transept, 1415-1513
+
+N. W. tower, 1525-1530
+
+Iron _grille_ of choir, XVIIIth century
+
+
+NOTRE DAME DE BAYEUX
+
+_Dimensions_
+
+Central belfry, 300 feet
+
+Length interior, 335 feet
+
+Height interior, 74 feet, 9 inches
+
+Height of western towers, 252 feet
+
+_Chronology_
+
+Odo's crypt, XIth century
+
+Circular arches of nave, late XIth or early XIIth century
+
+Portals of west facade, XIIIth century
+
+Chasuble of St. Regnobert, gift of St. Louis, 1226
+
+Date of tapestry (in inventory of church property), 1476
+
+
+ST. PIERRE DE BEAUVAIS
+
+_Dimensions_
+
+Height of nave, 150 feet
+
+Height of original spire, which fell in 1573, 486 feet
+
+Area of choir, about 28,000 square feet
+
+_Chronology_
+
+The Basse OEuvre, VIth to VIIIth centuries
+
+Present building begun, 1225
+
+Dedicated, 1272
+
+Roof fell, 1284
+
+South transept begun, 1500
+
+North transept begun, 1530
+
+North transept finished, 1537
+
+Central spire fell, 1573
+
+Ancient Bishop's Palace, now Palais de Justice,
+XIVth to XVIth centuries
+
+
+ST. ETIENNE DE BOURGES
+
+[Illustration: _St. Etienne de Bourges_]
+
+_Dimensions_
+
+Length, 405 feet
+
+Width, 135-1/2 feet
+
+Height of nave, 124-1/2 feet
+
+Height of inner aisle, 66 feet
+
+Height of outer aisle, 28 feet
+
+Height north tower, 217-1/2 feet
+
+Height south tower, 176 feet
+
+Superficial area, 73,170 square feet (approx.)
+
+_Chronology_
+
+Dedicated, 1324
+
+Sepulchre, 1336
+
+Crypts, XIIth century
+
+North tower, 1508-1538
+
+Tower St. Etienne completed, 1490
+
+Tower St. Etienne fell, 1506
+
+Choir stalls, 1760
+
+
+ST. ETIENNE DE CHALONS-SUR-MARNE
+
+_Chronology_
+
+Tower next north door, Romano-Byzantine
+
+Part of nave and choir, Ogival primaire
+
+Aisle and chapels of apse, XIVth century
+
+Apse restored, after fire, in 1672
+
+
+NOTRE DAME DE CHARTRES
+
+_Dimensions_
+
+Length nave and choir, 430 feet
+
+Width, 110 feet
+
+Length nave only, 121 feet
+
+Width nave, 46 feet
+
+Width nave aisles, 19 feet
+
+Height nave, 106 feet
+
+Length transepts, 202 feet
+
+Width transepts, 70 feet
+
+Height of north spire, 403 feet
+
+Height of south spire, 365 feet
+
+Rose window, diameter, 40 to 43 feet
+
+Area, 65,000 square feet (approx.)
+
+_Chronology_
+
+Wooden church burned, 1020
+
+Crypt under chevet of choir, 1029
+(only remains of original church)
+
+Work of rebuilding stopped, 1048
+
+South portal erected, 1060
+
+Work aided by Matilda, queen of William I., 1083
+
+Lower portion of main body built, 1100-1150
+
+Western towers, 1145
+
+Fire damaged greater part, 1194
+
+Vaulting completed, 1220
+
+Porches of transepts added, 1250
+
+Building consecrated, October 17, 1260
+
+Sacristy and screen in crypt, XIIIth century
+
+North spire burned, 1506
+
+Texier's spire erected, 1507-1515
+
+Texier's spire repaired, 1629
+
+South spire repaired, 1754
+
+Belfry and roof burned (vaulting unharmed), 1836
+
+
+NOTRE DAME D'EVREUX
+
+_Dimensions_
+
+Length, 368 feet, 6 inches
+
+Transept, length, 112 feet
+
+Transept, width, 23 feet
+
+_Chronology_
+
+Church consecrated, 1076
+
+Church burnt, 1119
+
+Northwest tower foundations laid, 1352
+
+Northwest tower completed, 1417
+
+North transept, XVIth century
+
+Nave, early XIIth to late XVth century
+
+Choir, XIVth century
+
+Lady-chapel, XIIIth century
+
+
+NOTRE DAME DE LAON
+
+[Illustration: _Laon_]
+
+_Dimensions_
+
+Length of nave and choir, 351 feet
+
+Height of nave, 80 feet
+
+Width of nave, 67 feet, 7 inches
+
+Length of transepts, 174 feet
+
+Width of transepts, 35 feet, 9 inches
+
+Height of western towers, 173 feet
+
+Height of southwest tower and spire (formerly), 328 feet
+
+Western circular window, 26 feet
+
+Superficial area, 44,000 square feet (approx.)
+
+_Chronology_
+
+Original church burned, 1112
+
+New edifice begun, 1114
+
+Entirely rebuilt, 1190
+
+General restoration, 1851
+
+
+ST. JULIEN, LE MANS
+
+[Illustration: _LE MANS_]
+
+_Dimensions_
+
+Length of nave and choir, 369 feet
+
+Width of nave and aisles, 78 feet
+
+Width of choir, 123 feet
+
+Height of choir, 108 feet
+
+Area of choir, 30,000 square feet (approx.)
+
+Length of transept, 178 feet
+
+Width of transept, 32 feet
+
+_Chronology_
+
+West facade, XIth century
+
+Transition, south portal, XIIth century
+
+Nave and transepts reconstructed, XIIth century
+
+Church extended beyond city walls, XIIIth century
+
+Choir rebuilt, 1200
+
+Choir restored, 1858
+
+Coloured glass, XIIIth, XIVth, XVth centuries
+
+Rose window, south transept, XVth century
+
+Former Bishop's Palace destroyed by Germans, 1871
+
+
+ST. ETIENNE DE MEAUX
+
+_Dimensions_
+
+Height of nave, 109 feet
+
+Length of nave, 275 feet
+
+Length of transepts, 120 feet
+
+_Chronology_
+
+Bishopric founded, 375 A.D.
+
+Choir in part, XIIth century
+
+Restored, 1852
+
+
+ST. PIERRE DE NANTES
+
+[Illustration]
+
+_Dimensions_
+
+Height of western towers, 270 feet
+
+Height of nave, 130 feet
+
+_Chronology_
+
+Remains of choir contains, XIIth century
+
+Romanesque church rebuilt, XVth century
+
+West front, 1434-1500
+
+North transept and choir only completed in XIXth century
+
+Tomb of Francois II. and Marguerite de Foix, 1507
+
+Later restoration, 1852
+
+
+NOTRE DAME DE NOYON
+
+[Illustration: _Noyon_]
+
+_Dimensions_
+
+Length, 338 feet
+
+Width of nave and aisles, 64 feet, 10 inches
+
+Height of nave, 74 feet, 6 inches
+
+Height of aisles, 28 feet, 9 inches
+
+Height of choir, 26 feet, 3 inches
+
+Height of towers, 200 feet
+
+Superficial area, 30,000 square feet (approx.)
+
+_Chronology_
+
+First constructed, 989
+
+Burnt, 1131
+
+Rebuilding undertaken, 1137-1150
+
+Choir, transepts, and nave completed, 1167-1200
+
+Timber work burnt, 1293
+
+Chapter-house built, XIIIth century
+
+Five bays of cloister built, XIVth century
+
+Restored under governmental supervision, 1840
+
+
+ST. CROIX D'ORLEANS
+
+_Dimensions_
+
+Height of towers, 280 feet
+
+Height of nave, 100 feet
+
+_Chronology_
+
+First bishops sent from Rome, IIIrd century
+
+Cathedral destroyed by Huguenots, 1567
+
+Chapels of nave which still remain, XIVth century
+
+Late Gothic mainly of XVIIth century
+
+Western towers completed, 1789
+
+
+NOTRE DAME DE PARIS
+
+[Illustration: _Paris_]
+
+_Dimensions_
+
+Length, 390 feet
+
+Width, 144 feet
+
+Height of nave, 102 feet
+
+Diameter of rose windows in transept, 36 feet
+
+Superficial area, 64,100 square feet
+
+_Chronology_
+
+Founded by Bishop de Sully, 1160-1170
+
+High altar dedicated, 1182
+
+Interior completed (approx.), 1208
+
+West front, 1223-1230
+
+Western towers, 1235
+
+Transept portals, 1257
+
+
+NOTRE DAME DE REIMS
+
+[Illustration: _Reims_]
+
+[Illustration: _Flying Buttresses, Reims_]
+
+_Dimensions_
+
+Western towers, 267 feet
+
+Area, 65,000 feet (approx.)
+
+_Chronology_
+
+First stone laid, 1212
+
+First portion dedicated, 1215
+
+Chapter takes possession of choir, 1244
+
+Nave commenced, 1250
+
+Transept and abside ornamented, 1295
+
+South tower begun and completed, 1380-1391
+
+Coronation of Charles VII., 1427
+
+Southwest tower completed by Philastre, 1430
+
+Tapestries added to choir, 1444
+
+Belfry of the Angel built, 1497
+
+Gable of the Assumption and Zodiac, 1408
+
+Reestablishment of grand altar, 1547
+
+Repairs to portals and vaulting, 1610
+
+Cathedral becomes national property, 1790
+
+Exterior repairs and restoration, 1811
+
+General restorations, 1840
+
+2,083,411 francs voted by Chamber for restorations, 1875
+
+Gifts of Gobelin tapestries, 1848
+
+
+NOTRE DAME DE ROUEN
+
+[Illustration: _Notre Dame Rouen_]
+
+_Dimensions_
+
+Length of nave and choir, 450 feet
+
+Width, including transepts, 177 feet
+
+Width of nave and aisles, 105 feet
+
+Length of choir only, 118 feet
+
+Height of nave, 92 feet
+
+Height of central spire, 480 feet
+
+Height of Tour de Beurre, 252 feet
+
+Height of Tour St. Romain, 246 feet
+
+Area (originally), 53,000 square feet
+
+_Chronology_
+
+First church founded on site of cathedral by St. Mellar, VIIth century
+
+Cathedral enlarged under Rollo, who was buried therein in 930
+
+Consecrated and dedicated, 1063
+
+Tour St. Romain, remains of, XIth century
+
+Destroyed by fire, 1200
+
+New building completed, XIIIth century
+
+Portail de la Calende, XIVth century
+
+Tour de Beurre laid, 1487
+
+Tour de Beurre completed, 1507
+
+Flamboyant west front, XVIth century
+
+Altar of St. Romain, XVIIth century
+
+Tomb of the Cardinals, 1556
+
+Central spire, 1823
+
+Restoration of west front, 1897
+
+
+ST. ETIENNE DE SENS
+
+_Dimensions_
+
+Length, 384 feet
+
+Width, 124 feet
+
+Height, 98 feet
+
+Area, 44,000 square feet
+
+_Chronology_
+
+Relique of True Cross given by Charlemagne, 800 A. D.
+
+Early church destroyed by fire, 970
+
+New church dedicated, 997
+
+Present building completed, 1168
+
+Choir rebuilt, 1174
+
+Present transept and nave, XIIth and XIIIth centuries
+
+Glass in chapel of St. Savinien, XIIIth century
+
+Glass of rose windows, XVIth century
+
+Mausoleum of the Dauphin, XVIIIth century
+
+
+BASILIQUE DE ST. DENIS
+
+_Dimensions_
+
+Length of nave and choir, 354 feet
+
+Width, 133 feet
+
+Clerestory windows (height), 33 feet
+
+_Chronology_
+
+Chapel first built above grave of St. Dionysius the martyr, 275 A. D.
+
+Benedictine abbey first founded here in reign of Dagobert, 628
+
+Pope Stephen took refuge here, 754
+
+Romanesque facade, 1140
+
+Consecration of the building, 1144
+
+Nave, XIIIth century
+
+Abbot Suger died, 1151
+
+General restoration by Suger's successors, XIIIth century
+
+Crenelated battlement added to facade, XIVth century
+
+Spire burned by lightning, XIXth century
+
+General restoration by Viollet-le-Duc, 1860
+
+Louis XVI. and Marie Antoinette reinterred here (removed from
+the Madeleine), 1817
+
+[Illustration: CRYPT S. DENIS]
+
+[Illustration: S DENIS]
+
+
+NOTRE DAME DE ST. OMER
+
+_Dimensions_
+
+The great bell of tower weighs 8,500 kilos.
+
+_Chronology_
+
+Bishopric founded, 1533
+
+Astronomical clock, XVIth century
+
+Tomb of St. Erkembode, VIIIth century
+
+Tomb of St. Omer restored, XIIIth century
+
+Former Episcopal Palace, now Palais de Justice, 1680
+
+
+ST. GATIEN DE TOURS
+
+[Illustration]
+
+_Dimensions_
+
+Length of nave and choir, 256 feet
+
+Width, 95 feet
+
+_Chronology_
+
+Choir begun, 1170
+
+Tour Charlemagne, XIth century
+
+Tour St. Martin, XIIth century
+
+Transepts, 1316
+
+West facade, 1430-1500
+
+Southwest tower, 1507
+
+Tomb of children of Charles VIII., 1483
+
+
+ST. PIERRE DE TROYES
+
+_Dimensions_
+
+Length, 394 feet
+
+Width, 168 feet
+
+Height, 96 feet
+
+Height northwest tower, 202 feet
+
+_Chronology_
+
+Apse and chapels, 1206-1223
+
+Choir and transepts, 1314-1315
+
+Iron _grille_ of choir, XIIIth century
+
+Church consecrated, 1430
+
+West facade, XVth century
+
+Nave constructed during XIVth, XVth, XVIth centuries
+
+North gable, XVth century
+
+Tower St. Pierre, 1559-1568
+
+Northwest tower demolished by lightning, 1700
+
+Vaulting of transepts fell, 1840
+
+Restoration of choir and transepts, 1840
+
+
+
+
+VII
+
+_The French Kings from Charlemagne Onward_
+
+
+                                 A. D.
+
+Charlemagne                       768
+
+Louis le Debonnaire               814
+
+Charles le Chauve                 840
+
+Louis II., le Begue               877
+
+Louis III.                        879
+
+Carloman                          879
+
+Charles le Gros                   884
+
+Eudes                             887
+
+Charles III., the Simple          893
+
+Robert I.                         922
+
+Rodolf of Burgundy                923
+
+Louis IV., the Stranger           936
+
+Lothaire                          954
+
+Louis V., le Faineant             986
+
+Hugh Capet                        987
+
+Robert II., the Wise              996
+
+Henry I.                         1031
+
+Philip I., l'Amoureux            1060
+
+Louis VI., le Gros               1108
+
+Louis VII., le Jeune             1137
+
+Philip Augustus                  1180
+
+Louis VIII., the Lion            1223
+
+Louis IX., the Saint             1226
+
+Philip III., the Hardy           1270
+
+Philip IV., the Fair             1285
+
+Louis X., Hutin                  1314
+
+John I.                          1316
+
+Philip V.                        1316
+
+Charles IV., le Bel              1322
+
+Philip VI., de Valois            1328
+
+John II., the Good               1350
+
+Charles V., le Sage              1364
+
+Charles VI., the Beloved         1380
+
+Charles VII., the Victorious     1422
+
+Louis XI.                        1461
+
+Charles VIII.                    1483
+
+Louis XII., of Orleans           1498
+
+Francis I.                       1515
+
+Henry II.                        1547
+
+Francis II.                      1559
+
+Charles IX.                      1560
+
+Henry III.                       1574
+
+Henry IV., the Great             1589
+
+Louis XIII., the Just            1610
+
+Louis XIV., le Grand             1643
+
+Louis XV.                        1715
+
+Louis XVI.                       1774
+
+Revolutionary Tribunal           1793
+
+Directory                        1795
+
+Napoleon, Consul                 1799
+
+Napoleon I., Emperor             1804
+
+Louis XVIII.                     1814
+
+Charles X.                       1824
+
+Louis Philippe                   1830
+
+Republic                         1848
+
+Napoleon III., Emperor           1852
+
+Republic                         1870
+
+[Illustration: CHARLES VII]
+
+
+
+
+VIII
+
+_Measurements of the Cathedrals at Amiens and Salisbury_
+
+(_Whittington_)
+
+
+                                            _Amiens_       _Salisbury_
+                                          _French feet_   _English feet_
+
+Length east to west                           415                    452
+Length west door to choir                     220                    246
+Length behind choir, including lady-chapel     63                     65
+Length transepts north to south               182                    210
+Width nave                                     42.9                   34.5
+Width transept                                 42.9
+Width side aisles                              18                     17.5
+Width windows                                  41                     48
+Width nave and side aisles                     78.9                  102
+Width west front                              150                    115
+Height vault, nave                            132                     84
+Height vault, choir                           129
+Height west towers                            210
+Height chapels                                 60
+Height side aisles, nave                       60.8
+Height side aisles, choir                      57.8                   38
+Distance between pillars                       16
+Height grand arches                            78                     78
+Number of pillars                              46
+Number of chapels                              25
+Length of choir                               130                    140
+
+(The old French foot is the equal of 1.06576 English feet.)
+
+The above comparative measurements are given as being of the
+contemporary types of English and French cathedrals, being nearly
+approximate to each other as to the date of their erection and
+measurements. The figures themselves are transcribed from a little-known
+but thoroughly conscientious work by G. D. Whittington, entitled
+"Contributions to an Ecclesiastical Survey of France."
+
+
+
+
+IX
+
+_French Metres Reduced to English Feet_
+
+
+Metres  English feet and  Metres  English feet and  Metres  English feet and
+         decimal parts             decimal parts             decimal parts
+
+  1        3.281           20         65.618         300        984.270
+
+  2        6.562           30         98.427         400       1312.360
+
+  3        9.843           40        131.236         500       1640.450
+
+  4       13.123           50        164.045         600       1968.539
+
+  5       16.404           60        196.854         700       2296.629
+
+  6       19.685           70        229.663         800       2624.719
+
+  7       22.966           80        262.472         900       2952.809
+
+  8       26.247           90        295.281        1000       3280.899
+
+  9       29.528          100        328.090
+
+ 10       32.809          200        656.180
+
+
+
+
+X
+
+_A Brief Glossary of architectural terms, with popular definitions, as
+applied to the components which compose the principal features of a
+cathedral church_
+
+
+[Illustration: NO. 1. GROUND PLAN]
+
+A Lady-chapel            The principal chapel, usually behind the
+                         high altar, at the extremity or eastern end
+                         of choir, dedicated to Our Lady (Notre
+                         Dame)
+
+B Transept               The middle portion of a church, which projects
+                         at right angles with the main body
+                         of nave and choir
+
+C Porch                  Usually the vestibule or receding doorway
+
+D Lantern or crossing    Where the transept crosses and joins choir
+                         and nave, usually with windows, if a lantern
+                         proper
+
+E Choir                  That portion of the edifice in which are
+                         stalls for the choristers, and chapter, also
+                         containing the _Maitre d'Autel_
+
+F Ambulatory             The aisles or colonnade which surround
+                         the choir
+
+G Chapels                Literally a small place of worship containing
+                         an altar. In a great church, which
+                         may contain several, they are usually
+                         dedicated to male and female saints
+
+H Nave                   The main body of a church, extending from
+                         the choir to the principal facade; _i. e._
+                         that part between the outer aisles
+
+I Aisles                 The lateral passage on either side of the
+                         nave and separated therefrom by piers
+                         or pillars
+
+J Portal                 Literally, the framework of a doorway
+
+K Abside                 The domed easterly end of a church
+
+L Sacristy               The apartment in which is kept the church
+                         plate and vestments
+
+[Illustration: NO. 2. CROSS SECTION]
+
+A Nave aisle vaulting    The arched roof of stone
+
+B Nave vaulting          The arched roof of stone
+
+C Flying buttress        A supporting outside prop of the thrust
+                         variety. Notably a distinguishing feature
+                         of mediaeval Gothic architecture
+
+D Side aisle             The passage which flanks the nave
+
+E Buttress pier          The outer support of a flying buttress
+
+F Pinnacle               On towers, buttress piers, gables, etc.
+
+G Gargoyle               A projecting water-spout carved grotesquely
+
+H Niche                  A recess in a wall, or surmounting a pier;
+                         primarily to hold a statue
+
+[Illustration: NO. 3. INTERIOR]
+
+A Clerestory             The upper range of windows of the nave;
+                         rising above the adjoining portions
+
+B Triforium              Literally, a blind window--a range of
+                         openings, or possibly an arcade-effect
+                         only, coming below the clerestory and
+                         above the lower arches of the nave
+
+C Arch (between nave and ai
+                         Joining the piers or pillars which separate
+                         nave from aisles
+
+D Pillars (of nave)      Commonly called pillars, columns, and
+                         piers, but more often are literally pillars,
+                         being made up of blocks of stone one
+                         upon another
+
+E Vaulting               The stone arched roof
+
+F West wall              Here, in the true Gothic church, is usually
+                         found a rose window, though often obscured
+                         by the organ case
+
+G Arcaded gallery        A feature frequently seen in the interior of
+                         great churches, as distinct from the triforium.
+                         Either decorative or of practical
+                         value
+
+H Pavement               The floor, always of stone, and often of
+                         marble or mosaic
+
+[Illustration: NO. 4. CROSS SECTION]
+
+A Flying buttresses      A thrust support, or prop, extending from
+                         the main fabric to an outer pier
+
+B Timber roof            The timber or scantling above the nave,
+                         which supports the outer tiled or leaden
+                         roofing
+
+C Nave                   The main body of a church
+
+D Aisle                  The passage which flanks the nave
+
+E Outer aisle            A second or outer passage flanking the nave
+
+F Stairway to roof of aisle
+                         Stairways from the interior pavement, leading
+                         to triforium, belfry, or roof
+
+G Crypt                  In reality a lower or subterranean church
+                         or chapel; from _crypta_, to hide
+
+H Buttress pier          The outer support of a flying buttress, or
+                         one lying directly against the wall which
+                         it strengthens
+
+
+
+
+INDEX
+
+
+Abelard, 94.
+
+Acquitaine, 176, 211.
+
+Adela, mother of King Stephen of Blois, 121.
+
+Agrippa, 134.
+
+Aisne, Department of the, 134.
+
+Alencon, Bishop of, 307.
+
+Alencon, Notre Dame d', 296-298.
+
+Amboise, Cardinal d', 84, 90.
+
+Amboise, Georges d', 85, 90.
+
+Amiens, 32, 35, 37, 61, 62, 117, 129, 133, 200, 267, 272, 278.
+
+Amiens, Bishop of, 65.
+
+Amiens, Cathedral at, 140, 141, 384.
+
+Amiens, Flying buttresses at, 67.
+
+Amiens, Notre Dame d', 64, 69, 72, 366, 367.
+
+"Ampoule, Sainte," The, 25, 143.
+
+Angers, 119, 149.
+
+Angers, Bishop's Palace at, 181.
+
+Angers, Castle at, 175.
+
+Angers, David d', 235.
+
+Angers, St. Maurice d', 147, 173-182, 367, 368.
+
+Angevine Churches, The, 215.
+
+Angevine details at Le Mans, 115.
+
+Angevine style of architecture, The, 176, 180.
+
+Angouleme, 15.
+
+Anjou, 115.
+
+Anjou, Counts of, 175.
+
+Anjou, Dukes of, 173, 181.
+
+Anjou, Margaret of, 173.
+
+Anne of Brittany, 169, 184.
+
+Anne, Duchess (_see also_ Anne of Brittany), 188.
+
+Antwerp, 126.
+
+Architectural divisions of France, 34.
+
+Ardennes, Department of the, 134.
+
+Arles, 33.
+
+Arras, 15, 184, 226.
+
+Arras, Belfry at, 245;
+  Citadel of, 244;
+  Hotel de Ville, 245.
+
+Arras, St. Vaast d', 242-246, 368.
+
+Artois, 237, 242.
+
+Assisi, St. Francis of, 188.
+
+Attila, 132.
+
+Attila, Attack on Aurelianum, 150.
+
+Attila, Defeat at Chalons, 251.
+
+Augustus, 134.
+
+Aurelian, 150, 226.
+
+Autun, 33, 257, 258.
+
+Autun, St. Lazare d', 257-261, 368.
+
+Auvergne, 151.
+
+Auvergnat Churches, The, 215.
+
+Auxerre, 215.
+
+Auxerre, Bishops of, 194.
+
+Auxerre, Episcopal Palace at, 195.
+
+Auxerre, St. Etienne d', 191-196, 369.
+
+Auxonne, Notre Dame d', 220.
+
+Avignon, 33.
+
+Avranches, 321.
+
+Avranches, Notre Dame de, 326-328.
+
+Azon, 307.
+
+
+Baldwin of Hainault, 237.
+
+Balzac, 164.
+
+Bayeux, 285.
+
+Bayeux, Odo, Bishop of, 311, 312.
+
+Bayeux, Notre Dame de, 310-314, 369.
+
+Bayeux, Tapestry of, 310, 311.
+
+Beauvais, 13, 19, 20, 32, 35, 37, 61, 69, 117-119, 133, 200, 267.
+
+Beauvais, Bishop of, 52, 303.
+
+Beauvais, Romano-Byzantine work at, 75.
+
+Beauvais, Cathedral of St. Pierre, 28, 70-76, 140, 369.
+
+Beaux Arts, Departement de, 23, 340.
+
+Beaux Arts, Palais des, 96.
+
+Becket, St. Thomas a, 54, 280, 282, 327.
+
+Bedford, Duke of, 90.
+
+Belgica, Secunda, 132.
+
+Bellegambe, 244.
+
+Bellene, Count of, 307.
+
+Belmas, Bishop, 235.
+
+Benedictine Abbey at St. Denis, 93.
+
+Berengaria, Queen, 113, 120.
+
+Bernard de Soissons, 138.
+
+Berry, Duc de, 96, 108.
+
+Besancon, 27, 32, 223, 225.
+
+Bethleem, Bishop of, 31.
+
+Bishop's Palace, The (Amiens), 67.
+
+Bishop's Palace, The, at Beauvais, 76.
+
+"Black Angers," 174 (_see_ Shakespeare on Angers).
+
+Blanche of Castile, 66, 169.
+
+Blois, 18, 149, 210, 215.
+
+Blois, Chateau of, 157.
+
+Blois, Counts of, 121.
+
+Blois, King Stephen of, 121.
+
+Blois, St. Louis de, 156.
+
+Bonn, Minster at, 50.
+
+Borgia, Caesar, 182.
+
+Borromee, 244.
+
+Boulogne-sur-Mer, 223, 225.
+
+Boulogne-sur-Mer, Notre Dame de, 231-233.
+
+Bourasse, Abbe, 108, 211, 260, 279, 303.
+
+Bourges, 33, 37, 61, 215.
+
+Bourges, St. Etienne de, 139, 199-208, 370.
+
+Brest, 348.
+
+Bretagne, Duc de, 187.
+
+Briceius, 165.
+
+Brittany, 12, 20, 27, 32.
+
+Brittany, Chancellor of, 182.
+
+Brittany, Duchy of, 184.
+
+Bruges, 262.
+
+Burgundy, 258, 259, 262.
+
+Byzantine influences at Bourges, 202.
+
+Byzantine tendencies, 13;
+  conception, 27.
+
+
+Caen, 285.
+
+Caesar, burned Orleans, 150.
+
+Calixtus II., 133.
+
+Calvin (John), 51.
+
+Cambrai, 15, 226.
+
+Cambrai, Notre Dame de, 234-236.
+
+Capet, Hugh, 51.
+
+Carcassonne, 33.
+
+Carlovingian Dynasty, The, 94.
+
+Carrier, 183.
+
+Cathedrals, The Grand, 23.
+
+Cathedrals of the North, 26.
+
+"Caveau Imperial," The, at St. Denis, 95.
+
+Chalons (sur Marne), 132, 133, 226.
+
+Chalons-sur-Marne, St. Etienne de, 251-253, 371.
+
+Chambidge, Martin, 276.
+
+Chambord, 18, 210, 214.
+
+Champagne, Counts of, 274.
+
+Chancellor of Brittany, 182.
+
+Chantilly, Chateau of, 50.
+
+Charlemagne, 51, 133, 282.
+
+Charlemagne, Tour de, 165.
+
+Charles of Anjou, 120.
+
+Charles the Bold, Duke of Burgundy, 262-263.
+
+Charles (King), 212.
+
+Charles V., 240, 282.
+
+Charles VII., 30, 138, 144.
+
+Charles VIII., 17, 169, 184.
+
+Charles X., 24, 144.
+
+Chartres, 20, 30, 33, 35, 61, 62, 113, 210, 215, 278, 338.
+
+Chartres, Celtic foundation of, 124.
+
+Chartres, Counts of, 121.
+
+Chartres, Details at, 87.
+
+Chartres, Jean de, 187.
+
+Chartres, Notre Dame de, 121, 139, 140, 141, 371.
+
+Chartres, Spires of Cathedral at, 125, 267.
+
+Chaste Susanne, Painting of, 220.
+
+Chateau of the Italian Dukes (at Nevers), 210.
+
+Chateaux of the Loire, 18, 32, 148.
+
+Chaucer's "Temple of Mars," 86.
+
+Chaumont, 18.
+
+Chenonceau, 18, 210.
+
+Childeric, 132, 133.
+
+Cires-les-Mello, 35.
+
+Clamecy, 31.
+
+Clement, Eudes, 99.
+
+Clotilda, wife of Clovis, 133.
+
+Clovis, 22, 30, 138, 139, 143, 144, 224.
+
+Clovis, Baptism of, 133.
+
+Coligny, 151.
+
+Cologne, Apse-sided transepts at, 50.
+
+Cologne, Cathedral at, 20, 37, 135, 141.
+
+Colomb, Michel, 187, 332.
+
+Colombiers, 315.
+
+Commercy, Jacquemin de, 250.
+
+Commission des Monuments Historiques, 35, 170, 176, 213.
+
+Compiegne, Chateau of, 50.
+
+Condes, The, 153.
+
+Constant, 282.
+
+Cormier, Jean, 129.
+
+Corroyer, 349.
+
+Coucy, Chateau of, 50.
+
+Coutances, 267, 285, 286, 321.
+
+Coutances, Notre Dame de, 321-325.
+
+Creil, 35.
+
+Croixmore, Abp. Robert de, 84.
+
+Crusaders, The, 14.
+
+
+Dagobert I., 93.
+
+D'Arc, Jeanne, 151, 303.
+
+Dauphins of France, The, 170.
+
+Da Vinci, 157.
+
+De Breze, Louis, 89.
+
+De Breze, Pierre, 89.
+
+De Caumont, "Abecedaire'd Architecture," 33, 349.
+
+De Sauteuil, 106.
+
+Descartes, 164.
+
+Descent from the Cross, The (by Rubens), 239.
+
+Devils of Notre Dame, The, 106.
+
+Dieppe, 285.
+
+Dijon, 27, 223, 258.
+
+Dijon, St. Benigne of, 225, 262-265.
+
+Dinan, 335.
+
+Dol-de-Bretagne, Facade at, 98.
+
+Dol-de-Bretagne, St. Samson de, 329-332.
+
+Domenichino, 272.
+
+Domfront, 321.
+
+Douai, 244.
+
+Du Bellay Langey, 120.
+
+Dufetre, Mgr., 211.
+
+Duroctorum, 132.
+
+
+East of Paris, 221.
+
+Eastern influences at Bourges, 202.
+
+Ebo, Bishop of Reims, 136.
+
+Edict of Nantes, The, 183.
+
+Edward III., 129.
+
+English characteristics of Gothic, 45, 68.
+
+Estonteville, Cardinal d', 88.
+
+Evreux, 32.
+
+Evreux, Notre Dame d', 288-295, 372.
+
+Exeter, 114.
+
+
+Falise, 321.
+
+Fenelon, 235, 236.
+
+Fergusson, quoted, 12, 56, 126, 139.
+
+Fiesole, Jerome de, 187.
+
+Flemish school of painting, 244.
+
+Flemish wood-carving, 90.
+
+Florence, 33.
+
+Flying buttresses, Notre Dame de Paris, 28;
+  Notre Dame d'Amiens, 28;
+  Tours, 167.
+
+Foix, Marguerite de, 187.
+
+Fouilloy, Evrard de, 65.
+
+France, Architectural divisions of, 34.
+
+France, Ecclesiastical capital of, 133.
+
+France, Kings of, 24, 93, 383.
+
+Francis I., 74.
+
+Francis II., Tomb of, 187.
+
+Franks, The, 22.
+
+Franks, The Ripuarian, 133.
+
+Franks, Invasion of, 132, 133, 224.
+
+Frankish influence, 11.
+
+Freeman, Prof. Aug., 113, 248, 311.
+
+Frejus, 15.
+
+French Flanders, 41.
+
+French Gothic Architecture, 38.
+
+French Mediaeval Architecture, 38.
+
+French Revolution, The, 31, 43, 44, 52, 55, 96, 99, 103, 142, 184, 226.
+
+Fulbert, Bishop of Chartres, 129.
+
+
+"Gallery of Kings," at Amiens, 67.
+
+Gallery of Kings, The (at Reims), 138, 178.
+
+Gaucher, 138.
+
+Geeraerts (of Antwerp), 235.
+
+Genabum (of Gallia), 150.
+
+Genoa, 157.
+
+German manner of building, 27.
+
+Ghent, 242, 262.
+
+Gisors, 35.
+
+Gobelin Tapestries, 76, 143.
+
+Gonse, 349.
+
+Good God of Amiens, The, 66.
+
+Gothic, Development of, 14, 24;
+  Rudimentary, 16;
+  Anti, 18;
+  Non, 18.
+
+Goujon, Jean, 89, 170.
+
+Gourney, 35.
+
+Grand Cathedrals, The, 12, 20, 35, 61-63.
+
+Granville, 321.
+
+Grouin, 345.
+
+Guillaume of Sens, 225.
+
+Guillaume Bras-de-Fer, 323.
+
+
+Hachette, Jeanne, 76.
+
+Haffreingue, Mgr., 233.
+
+Henry I., 129, 133.
+
+Henry II. (of France), 113, 166, 249.
+
+Henry II. (of England), 282, 301, 325.
+
+Henry IV., 30, 96, 133, 153, 183.
+
+Henry of Navarre, 129.
+
+House of the Kings, The, 144.
+
+Hugh II., 215.
+
+Hugo's "Notre Dame," 106.
+
+Huguenots, The, 153, 195.
+
+Humbert, Alberic de, 137.
+
+
+Irene, Princess, 130.
+
+Isle de la Cite, 105, 106.
+
+Isle of France, 12, 27, 61.
+
+Italian influences, 17.
+
+Ivor (Bishop of Chartres), 212.
+
+
+James (Henry), 163, 204.
+
+Jean sans Peur, 265.
+
+Jensen, Nicolas, 164.
+
+Joannes, Abbe, 253.
+
+John, Duke of Bedford, 90.
+
+John the Baptist, 69.
+
+Jovinus, Tomb of, 142.
+
+Juste, 170.
+
+
+"Kreisker," The (at St. Pol de Leon), 345.
+
+
+La Hougue, 345.
+
+Langres, 32.
+
+Langres, La Montagne de, 218.
+
+Langres, St. Mammes de, 218-220.
+
+Laon, 20, 32, 41, 61, 325.
+
+Laon, Notre Dame de, 43-46, 49, 139, 372-373.
+
+Laon, Palais de Justice, 46.
+
+Last Judgment, The (at Bourges), 204.
+
+Le Mans, 32, 61, 62, 120, 121, 124, 168, 200, 210, 338.
+
+Le Mans, German invasion of, 120.
+
+Le Mans, Notre Dame de la Cloture, 180.
+
+Le Mans, St. Julien, 113-120, 373, 374.
+
+Leo III., 133.
+
+Leo IX., 307.
+
+Le Puy, 33.
+
+Lescornel, 219.
+
+Le Tellier, 144.
+
+Le Veneur, Bishop, 292.
+
+Libergier, 142.
+
+Limoges, 151.
+
+Lisieux, 285, 286, 301.
+
+Lisieux, St. Pierre de, 301-304.
+
+Loire, Cathedrals of the, 145.
+
+Loire, Valley of the, 147, 148.
+
+Loire, Chateaux of, 18, 32, 147.
+
+Longsword, William, 89.
+
+Lorraine, Abbe, 143.
+
+Loudon, Geoffroy de, 118.
+
+Louis le Debonnaire, 133.
+
+Louis le Gros, 133.
+
+Louis I., 136.
+
+Louis VI., 94.
+
+Louis XI., 208, 246.
+
+Louis XII., 184.
+
+Louis XII., Tomb of, at St. Denis, 19.
+
+Louis XIV., 144.
+
+Louis XVI., 96, 282.
+
+Louis XVIII., 31, 96, 143.
+
+Louis Philippe, 31.
+
+Louviers, 127, 297.
+
+Low Countries, The, 16, 20.
+
+Lowell (James Russell), "A Day in Chartres," 126.
+
+Lowell, Hon. E. J., 310.
+
+Luitgarde, 165.
+
+Luzarche, Robert de, 65.
+
+
+Madeleine, The, 96.
+
+Maid of Orleans, The, 81, 94, 144, 151.
+
+Maine, 114.
+
+Maine, Count of, 120.
+
+Mainz, 214.
+
+Mansard, 159, 240.
+
+Margaret of Anjou, 173, 181.
+
+Marie Antoinette, 96.
+
+Marie de Medicis, 182.
+
+Marie Louise, 95.
+
+Marne, Department of, 132, 134.
+
+Marne, River, 270.
+
+Martel, Charles, 133.
+
+Matilda, queen of William the Conqueror, 129, 310, 311.
+
+Mazarin (Cardinal), 210.
+
+Meaux, 270.
+
+Meaux, St. Etienne de, 270-273, 374.
+
+Medicis, Marie de, 182.
+
+Mere de Dieu, 66.
+
+Metz, 227, 248, 249.
+
+Meyron, Etchings of, 106.
+
+Montbray, Geoffroy de, 323.
+
+Monthery, 89.
+
+Mont St. Michel, 321, 337, 338;
+  Abbey of, 338.
+
+Monuments, Historical, 23, 340.
+
+Moorish type of architecture at Bourges, 201.
+
+Moors of Spain, The, 202.
+
+Moselle, Valley of the, 226.
+
+Moulins, 36.
+
+Musee des Petits Augustines, 96.
+
+
+Nancy, 226.
+
+Nancy, Cathedral at, 227.
+
+Nantes, 20, 32, 148, 149.
+
+Nantes, Edict of, 183.
+
+Nantes, St. Pierre de, 183, 374, 375.
+
+Naples, 157.
+
+Napoleon I., 31, 103;
+  Marriage of, 95.
+
+Napoleon III., 31, 99.
+
+Narbonne, 151.
+
+"Narthex, Burgundian," 258.
+
+Netherlands, The, 14.
+
+Neuss, Apse-sided transepts at, 50.
+
+Nevers, 33, 277.
+
+Nevers, St. Cyr and St. Juliette de, 209.
+
+Nevers, St. Etienne de, 212, 216.
+
+Nevers, The Pont du Loire, 209.
+
+Nevers, Tour Gougin, 213;
+  Tour St. Eloi, 213.
+
+Nicman, Archbishop, 136.
+
+Nievre, Counts of, 210.
+
+Nimes, 33.
+
+Nivernais, The, 210.
+
+Nogent-les-Vierges, 35.
+
+Normandy, 115, 176.
+
+Normandy, Duke of, 89.
+
+Norsemen, The, 82.
+
+Notre Dame d'Alencon, 296-298.
+
+Notre Dame d'Amiens, 64-69, 72, 366, 367.
+
+Notre Dame d'Auxonne, 220.
+
+Notre Dame de Bayeux, 310-314, 369.
+
+Notre Dame de Boulogne-sur-Mer, 231-233.
+
+Notre Dame de Cambrai, 234-236.
+
+Notre Dame de Chartres, 121, 139-141, 371.
+
+Notre Dame de Coutances, 321-325.
+
+Notre Dame d'Evreux, 288-295, 372.
+
+Notre Dame de la Cloture (Le Mans), 180.
+
+Notre Dame de Laon, 43-46, 372.
+
+Notre Dame de l'Epine, 251.
+
+Notre Dame de Noyon, 29, 49-53, 199, 375, 376.
+
+Notre Dame de Paris, 28, 49, 101-107, 139, 140, 199, 376, 377.
+
+Notre Dame de Reims, 132-144, 248, 249.
+
+Notre Dame de Rouen, 37, 49, 79-90, 139, 338, 378, 379.
+
+Notre Dame de St. Lo, 315-318.
+
+Notre Dame de St. Omer, 237-241, 380.
+
+Notre Dame de Senlis, 266-269.
+
+Noviodunum, 51.
+
+Noyades, The, 184.
+
+Noyon, 20, 32, 41, 117, 127, 268.
+
+Noyon, Notre Dame de, 29, 49-53, 199, 375, 376.
+
+
+Odericus Vitalis, Bishop, 302.
+
+Odon, 323.
+
+Oise, The River, 50.
+
+Onfroy, 323.
+
+Orange, 184.
+
+Oriflamme, The, 94.
+
+Orleans, 33, 148, 149.
+
+Orleans, Captured by Clovis, 151, 152.
+
+Orleans Family, The, 169.
+
+Orleans, German occupation of, 151.
+
+Orleans, St. Croix d', 150-155, 376.
+
+Orleans, The Maid of, 81, 94, 144, 151.
+
+
+Palais de Justice, Beauvais, 76.
+
+Parame, 335.
+
+Paris, 20, 61, 267.
+
+Paris, Documentary history of, 26.
+
+Paris, East of, 221.
+
+Paris, Notre Dame de, 28, 49, 101-107, 139, 140, 199, 217, 376, 377.
+
+Paroissien, Poncelet, 142.
+
+Pepersack Tapestries at Reims, The, 143.
+
+Pepin, 94, 133.
+
+Perigueux, 15, 33.
+
+Perpetus, Bishop of Tours, 165.
+
+Perreal, Jehan, 187.
+
+Perrifonds, Chateau of, 50.
+
+Philastre, Cardinal, 137.
+
+Philippe Augustus, 24, 34, 117.
+
+Philippe le Bon, 262.
+
+Philippe le Hardi, 66, 265.
+
+Picardy, 184.
+
+Picardy, Patron Saint of, 69.
+
+Plantagenets, Cradle of the, 173.
+
+Poitiers, 33.
+
+Poitiers, Diane de, 89.
+
+Pont du Loire, Nevers, 209.
+
+Pope Stephen, 94.
+
+Portal de St. Honore (Amiens), 67.
+
+Portal de la Vierge Doree (Amiens), 67.
+
+Porte d'Arroux, Autun, 257.
+
+Porte St. Andre, Autun, 257.
+
+Provence, 211.
+
+
+Quimper, 27, 32, 348.
+
+Quimper, St. Corentin de, 348-350.
+
+
+Rabelais, 164.
+
+Rabida, "Bretagne" of, 338.
+
+Raphael, Tapestry cartoons at S. Kensington, 76.
+
+Reclus, 215.
+
+Regnault, 187.
+
+Regnier, Cardinal, 235.
+
+Reims, 32, 35, 37, 128, 129, 224, 226, 278.
+
+Reims, Baptism of Clovis at, 30.
+
+Reims, Capture of, by Vandals, 132.
+
+Reims, Cathedral at, 24.
+
+Reims, Details at, 87.
+
+Reims, Devastation at, 25.
+
+Reims, Notre Dame de, 93, 132-144, 248, 249.
+
+Reims, Portals of Cathedral, 66.
+
+Reims, Roman remains at, 134.
+
+Reims, St. Nicaise of, 82.
+
+Remi, Capital of the, 132.
+
+Renaissance, The, 16.
+
+Renaissance Architecture at Bourges, 201.
+
+Renaissance facade at Tours, 166, 167.
+
+Renaissance wood-carving, 46.
+
+Rene, King, 173, 175, 181.
+
+Reni, Guido, 272.
+
+Rennes, 15.
+
+Revolution, The French, 31, 43, 44, 52, 55, 96, 99, 103, 142, 184, 226.
+
+Rhine, The, 23, 27, 223.
+
+Rhine Provinces, The, 14.
+
+Rhone, The, 36.
+
+Richard Coeur-de-Lion, 90, 113, 120.
+
+Richard the Fearless, 83.
+
+Rigobert, Bishop, 133.
+
+Robert I., Duke of Burgundy, 258, 260.
+
+Robert, son of Tancrede-de-Hauteville, 323.
+
+Roger, son of Tancrede-de-Hauteville, 323.
+
+Rohan, Cardinal de, 243.
+
+Rollo, 82, 89.
+
+Romanesque tendencies, 13, 27, 44;
+  types, 20, 21.
+
+Roman power, Decline of, 26.
+
+Roman remains at Reims, 134.
+
+Romans, The, at Genabum (Orleans), 150.
+
+Romano-Byzantine work  at Beauvais, 75.
+
+Romano-Byzantine nave at Le Mans, 115.
+
+Rome, 33.
+
+Rosary, Chapel of the (Soissons), 57.
+
+Roscoff, 345.
+
+Rouen, 19, 35, 37, 61, 62.
+
+Rouen, Cathedral at, 37, 49, 79-90, 139, 338, 378, 379.
+
+Rouen, Notre Dame de, 37, 49, 79-90, 139, 338, 378, 379.
+
+Rouen, Tour de Beurre, 204.
+
+Royal Domain, The, 223.
+
+Royale, Rue (Tours), 163.
+
+Royamont, 35.
+
+Rubens, 235, 238.
+
+Rubens, "Adoration" by (Soissons), 58.
+
+Rumaldi, 136.
+
+Ruskin on Rouen Cathedral, 85.
+
+Ruskin, quoted, 72, 81, 128, 285, 302.
+
+
+St. Aignan, 150.
+
+St. Benigne (Monk of Dijon), 225.
+
+St. Benigne (Cathedral), 262-265.
+
+St. Bertin, Abbey of (St. Omer), 225, 240.
+
+St. Brieuc, 339, 342.
+
+St. Brieuc, Cathedral of, 342-344.
+
+St. Corentin, Cathedral of, 27.
+
+St. Corentin de Quimper, 348-350.
+
+St. Croix, Abbey of, 318.
+
+St. Croix d'Orleans, 150-155, 376.
+
+St. Cyr and St. Juliette de Nevers, 209.
+
+St. Denis, 19, 61.
+
+St. Denis, Abbey of, 93.
+
+St. Denis, Abbot of, 94.
+
+St. Denis, Basilique de, 93-100, 379.
+
+St. Denis, Church of (at St. Omer), 225.
+
+St. Denis, Crypt of, 96.
+
+St. Deodatus, 254.
+
+St. Die, 226, 254-256.
+
+St. Die (Cathedral), 255, 256.
+
+St. Dionysius, 97, 98.
+
+St. Etienne d'Auxerre, 191-196, 369.
+
+St. Etienne de Bourges, 199-208, 370.
+
+St. Etienne (Chalons-sur-Marne), 251-253, 371.
+
+St. Etienne de Meaux, 270-273, 374.
+
+St. Etienne du Mont (Paris), 15, 19.
+
+St. Etienne de Nevers, 212, 216.
+
+St. Etienne de Sens, 279-282, 379.
+
+St. Etienne de Toul, 247-250.
+
+St. Eustache, Church of, Paris, 196.
+
+St. Fermin the Martyr, 67, 68.
+
+St. Francis of Assisi, 188.
+
+St. Gatien de Tours, 147, 163, 206, 381.
+
+St. Gengoult, Church of (Toul), 248.
+
+St. Germain, Church of (at Auxerre), 195.
+
+St. Jean the Evangel, 218.
+
+St. Jean des Vignes, Abbey of, 54.
+
+St. John, 69.
+
+St. Julien, Church of (at Tours), 169.
+
+St. Julien, Le Mans, 113-120, 373, 374.
+
+St. Laud, Bishop, 315.
+
+St. Lazare d'Autun, 257-261, 368.
+
+St. Lo, 285, 321.
+
+St. Lo, Notre Dame de, 315-318.
+
+St. Louis, 34, 66, 188, 314.
+
+St. Louis, Arms of, 169.
+
+St. Louis de Blois, 156.
+
+St. Louis de Versailles, Cathedral of, 108.
+
+St. Maclou, Church of (Rouen), 19, 81.
+
+St. Malo, 335, 338.
+
+St. Malo, Cathedral of, 336-338.
+
+St. Mammes de Langres, 218-220.
+
+Ste. Marguerite, 188.
+
+St. Martin (of Tours), 165.
+
+St. Martin, Tour de (at Tours), 165.
+
+St. Maurice d'Angers, 147, 173-182, 367, 368.
+
+St. Nazaire (Autun), 258.
+
+St. Nicaise, 82, 136, 142.
+
+St. Nicolas de Coutances, 325.
+
+St. Mellor, 82.
+
+St. Omer, 27, 223, 225.
+
+St. Omer, Notre Dame de, 237 241, 380.
+
+St. Ouen, Church of (Rouen), 15, 30, 80, 87, 241, 277.
+
+St. Peter's, at Rome, 20.
+
+"St. Peter's of the North," 71.
+
+"St. Peter's of the South," 13.
+
+St. Peter and Paul, Church of (at Tours), 165.
+
+St. Pierre d'Aleth, 336.
+
+St. Pierre de Beauvais, 28, 70-76, 140, 369.
+
+St. Pierre de Coutances, 325.
+
+St. Pierre de Lisieux, 301-304.
+
+St. Pierre de Nantes, 183, 374, 375.
+
+St. Pierre de Troyes, 274-278, 381, 382.
+
+St. Pol de Leon, 255, 339, 345.
+
+St. Pol de Leon, Cathedral of, 345-347.
+
+St. Potentien, 279.
+
+St. Quentin, Maze at, 131.
+
+St. Remi, 31, 133, 134, 136.
+
+St. Samson, 329-332.
+
+St. Savinien, 279, 282.
+
+St. Sepulchre, Church of (at St. Omer), 240.
+
+St. Servan, 335, 338.
+
+St. Sixte, 132.
+
+St. Urbain, 275.
+
+St. Vaast d'Arras, 242-246, 345, 368.
+
+St. Yves, 341.
+
+"Sainte Ampoule," The, 25, 143.
+
+Salisbury, Cathedral at, 64, 384.
+
+Salisbury, John of, 129.
+
+Saracen type of architecture at Bourges, 201.
+
+Seez, 61, 267, 277, 305.
+
+Seez, Notre Dame de, 305-309.
+
+Seine, The, 36, 106.
+
+Seine and Loire (by J. M. W. Turner), 169.
+
+Seine, Department of, 108.
+
+Senlis, 266.
+
+Senlis, Notre Dame de, 266-269.
+
+Sens, 61, 279.
+
+Sens, Guillaume of, 225, 280.
+
+Sens, St. Etienne de, 279-282, 379.
+
+Seville, Cathedral at, 20.
+
+Shakespeare on Angers (in "King John"), 173.
+
+Societe des Monuments Historiques, 35, 170, 176.
+
+Soissons, 20, 32, 41, 117, 133, 268.
+
+Soissons, Bombardment of, by the Germans, 56.
+
+Soissons, Notre Dame de, 54-58.
+
+South Kensington, 272.
+
+Stephen, Pope, 136.
+
+Stevenson (Robert Louis), 28, 42.
+
+Strasbourg, 248.
+
+Strasburg, Cathedral at, 126, 135, 227.
+
+Suger, Abbot, The, 94, 97.
+
+"Suisse, The," 80.
+
+
+Tancrede-de-Hauteville, 323.
+
+Tapestries at Angers, 181.
+
+Tapestries at Bayeux, 310-311.
+
+Tapestries at Le Mans, 120.
+
+Tapestries at Reims, 142, 143.
+
+Tapestries at Soissons, 58.
+
+Tapestries from Raphael's cartoons (at Beauvais), 76.
+
+Tapestry-making at Beauvais, 76;
+  at Paris; at Arras, 76, 242, 245, 246.
+
+Tetricus, 226.
+
+Texier, 126, 131.
+
+"Therouanne, The Great God of," 240.
+
+Torenai River, 258.
+
+Torlonia, Prince Alex, 233.
+
+Toul, 226, 247-250.
+
+Toul, St. Etienne de, 247-250.
+
+Toulouse, 151.
+
+Tour d'Auvergne, Cardinal de la, 244.
+
+Tour de Beurre (Rouen), 84, 89.
+
+Tour de Charlemagne (at Tours), 165.
+
+Tour de Hasting (at Treguier), 340.
+
+Tour Gougin (at Nevers), 213.
+
+Tour de l'Horloge (at Tours), 165.
+
+Tour St. Eloi (at Nevers), 213.
+
+Tour de St. Martin (at Tours), 165.
+
+Touraine, Old, 163.
+
+Tournai, 41.
+
+Tours, 18, 33, 277.
+
+Tours, Church of St. Peter and Paul, 165.
+
+Tours, St. Gatien de, 147, 163, 206, 381.
+
+Tours (St. Martin of), 165.
+
+Tours, West front of St. Gatien, 74.
+
+Transition examples, 39.
+
+Transition Style of Architecture, The, 176.
+
+Treguier, 32, 255, 339.
+
+Treguier, Cathedral of, 339-341.
+
+"Tresor," The, at Reims, 143.
+
+"Tresor," The, at Troyes, 278.
+
+"Tresor," The, at Sens, 282.
+
+"Tresor," The, at Bayeux, 314.
+
+Treves, 214.
+
+Trianons, The, 108.
+
+Troyes, 20, 61, 274, 275.
+
+Troyes, St. Pierre de, 274-278, 381, 382.
+
+Turner (J. M. W.), "Seine and Loire," 169.
+
+
+Valence, 36.
+
+Valois Branch of the Orleans Family, 169.
+
+Vannes, 351.
+
+Vannes, Cathedral of, 351, 352.
+
+Vauban, 244.
+
+Vaucluse, 184.
+
+Vendome, Matthieu de, 99.
+
+Versailles, Fountains at, 108.
+
+Versailles, St. Louis de, 108.
+
+Villeneuve, Bishop de, 193.
+
+Villers-St.-Pol, 35.
+
+Viollet-le-Duc, 83, 96, 99, 139, 181, 349.
+
+Vire, River, 315.
+
+
+Wellington, Duke of, 175.
+
+Westphalia, Treaty of, 249.
+
+William, Duke of Normandy, 323.
+
+Winchester, Henry, Bishop of, 121.
+
+Winchester, Prelate of, 303.
+
+Wood-carving (at Amiens), 68.
+
+Worms, 214.
+
+
+Yonne, The River, 191.
+
+Young, Arthur, 36, 209.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Cathedrals of Northern France, by
+Francis Miltoun
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRALS OF NORTHERN FRANCE ***
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