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.



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.



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.



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."



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."



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.



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.



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.



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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.

THE END