How France Built Her Cathedrals Part 55

Other descriptions of Rouen's monuments can be found in the general works of Henri Havard, Andre Michel, Louis Gonse, emile Male, Paul Vitry.

Cheruel, _Histoire de Rouen sous la domination anglaise au XVe siecle_ (Rouen, 1840); A. Fallue, _Histoire de l'eglise metropolitaine et du diocese de Rouen_ (Rouen, 1850), 4 vols.; Ch. de Beaurepaire, _Notes historiques et archeol. concernaut le departement de la Seine-Inferieure_ (Rouen, Cagniard, 1883); _ibid._, _Dernieres melanges historiques et archeol. Seine-Inferieure_ (Rouen, 1909); Cook, _The Story of Rouen_ (London, 1899); Perkins, _The Churches of Rouen_ (London, 1900).

[339] St. Ouen derived its name from the bishop who succeeded St.

Roma.n.u.s and governed Rouen for forty years in the VII century, aiding the founders of Jumieges, Fecamp, and St. Wandrille. He had been blessed as a child in his father's castle near Braine by a pa.s.sing guest, the Irish missionary, St. Columba.n.u.s, and he loved to trace thence his vocation. So rich grew the abbey of St. Ouen that it ruled half the city as temporal lord. In the XV century the English expelled Abbot Jean Richard, a builder of the present nave, to subst.i.tute a prelate docile to themselves who sat as judge at Jeanne's trial. But the pope restored Jean Richard in 1434, and he lived to entertain Charles VII in his monastery when that king came as victor to Rouen in 1449. Vacandard, _Vie de St. Ouen_ (Paris, 1902).

[340] To a Romanesque abbatial of St. Ouen, burned in 1136, belonged the two-storied chapel called the Chambre-aux-Clercs, now set against the northern limb of the transept. In 1318 Abbot Jean Roussel, called Marc d'Argent, began the present abbatial, making its choir and transept in twenty years, as well as one bay of the nave. After a pause, two more bays were finished by 1390. Another cessation of work came during the Hundred Years' War. Alexander Berneval set up the transept's south rose (1439), made the pretty southern portal (1441) called after the marmosets decorating it; his son put up the north rose. Both architects repose in the same tomb in the church. Many hold the central lantern (c.

1490) to be a prime success of Flamboyant art. Flame tracery appeared in the XV-century windows, but the Rayonnant first plan was adhered to for the chief lines, so that the church, whose building extended over two centuries, is h.o.m.ogeneous. The abbatial was finished under Abbot Bohier (1491-1515). The Huguenots stripped it of its tombs, and lighted bonfires in the church. In the XIX century was added the mediocre west facade.

_La Normandie monumentale et pittoresque_. _Seine-Inferieure_, p. 105, "St. Ouen"; p. 129, "St. Maclou"; H. Havard, ed., _La France artistique et monumentale_, vol. 2, p. 79, "St. Ouen," L. de Foucaud; p. 85, "St.

Maclou"; Dom. Pommeraye, _Histoire de l'abbaye royale de St. Ouen_ (Rouen, 1662), folio; Jules Quicherat, "Doc.u.ments inedits sur la construction de St. Ouen de Rouen," in _Biblio. de l'ecole des chartes_, 1852, vol. 3, p. 454; H. de la Bunodiere, _Notice sur l'eglise St. Ouen de Rouen_ (Paris, 1895); Camille Enlart, "L'architecture gothique au XIV siecle," in _Histoire de l'Art_ (ed., Andre Michel), vol. 2, partie 2 (Paris, Colin, 1914).

[341] Henry II, the first Plantagenet, made for his own residence the chapel of St. Julien in a faubourg of Rouen, Pet.i.t-Quevilly.

Simultaneously Romanesque and Gothic, the small edifice is one of the most elegant specimens of Normandy's XII-century architecture. Only the choir bay has retained the polychrome decoration which once covered the interior. St. Julien's s.e.xpart.i.te vault has been replaced by a wooden roof.

Doctor Contan, _Monographie de St. Julien, Pet.i.t-Quevilly_, and his account, p. 239, in _La Normandie monumentale et pittoresque_.

_Seine-Inferieure_; d.u.c.h.emin, _Le Pet.i.t-Querilly et le prieure de Saint Julien_.

[342] The church of St. Sauveur in Pet.i.t-Andely, begun in 1215, finished in 1245, contains excellent XIII-century gla.s.s. Of the same date are the facade, nave, and square-ended choir of Notre Dame at Grand-Andely. Its central tower is of the XV century; the transept is a gem of Flamboyant Gothic. The most brilliant of its windows date from 1540 to 1616. Above the smaller Andely stands Chateau Gaillard, the "Saucy Castle," which Richard the Lion-hearted built in a year. Its capture in 1204 by Philippe-Auguste ended the English resistance in Normandy at that period. Five miles away are the remains of the magnificent chateau of Gaillon, where every master of the Renaissance in France was employed.

Begun in 1454 by Cardinal d'Estouteville, it was carried forward by Cardinal George I d'Amboise and Cardinal de Bourbon. Its bas-relief of St. George and the dragon is one of the three authenticated works of Michel Colombe. A facade of Gaillon is now in the courtyard of the Beaux-Arts at Paris. Abbe Poree, _Guide historique et descriptive aux Andelys_; _Congres Archeologique_, 1853; _La Normandie monumentale et pittoresque_. _Eure 1_, pp. 147, 163 (Le Havre, 1895); E. A. Didron, "Les vitraux du Grand-Andely," in _Annales Archeol._, vol. 22.

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

Paul Vitry, _Jean Goujon_ (Collection, Les Grandes Artistes), (Paris, H.

Laurens, 1908); Louis Gonse, _La sculpture francaise depuis le XIVe siecle_ (Paris, 1895); Leon Pal.u.s.tre, _La Renaissance en France_, vol. 1 (Paris, Quantin, 1888), 3 vols.

[344] Camille Enlart, on the origin of Flamboyant Gothic, in the _Archaeological Journal_, 1886, and in _Histoire de l'Art_ (ed. A.

Michel), vol. 3, 1^{ere} partie (Paris, Colin, 1914); _Bulletin Monumental_, 1906, vol. 70, pp. 38, 483, 511, the controversy between M.

Saint-Paul and M. Enlart, on the origin of Flamboyant Gothic; Anthyme Saint-Paul, _L'architecture francaise et la Guerre de Cent Ans_ (1910); _ibid._, _Les origines du gothique flamboyant en France_ (Caen, 1907).

[345] Charles d'Orleans, _Poesies_, ed. Ch. d'Hericault (Paris), 2 vols.

[346] St. Maclou, says Mr. F. M. Simpson, expresses the _joie de vivre_, even as the stiff angular lines of a contemporary style--the English Perpendicular--show the gloom that prevailed in England after the War of the Roses. Cardinal Guillaume d'Estouteville contributed toward St.

Maclou, which was dedicated only in 1521, by Cardinal Georges II d'Amboise. Jean Goujon probably made the richly chiseled doors. St.

Maclou has XV-century windows; its rose windows are of the XVI century.

There is Le Prince gla.s.s in the late-Gothic church of St. Vincent, and other XVI-century windows in St. Patrice. Abbe Ouin-Lacroix. _Histoire de l'eglise et de la paroisse de St. Maclou de Rouen_ (1846); Edmond Renaud, _L'eglise St. Vincent de Rouen_ (1885); Arthur Kingsley Porter, _Medieval Architecture_, vol. 2, pp. 389 to 416, "Flamboyant Gothic Monuments."

[347] Notre Dame at Caudebec-en-Caud, called by Henry IV "the most beautiful chapel of my kingdom of France," has its "tiara" united to its shaft by flying b.u.t.tresses. Other Flamboyant Gothic monuments in Normandy are Louviers' lacelike portal (1493); churches at Dieppe; the transept of evreux Cathedral; St. Jacques at Lisieux; St. Pierre at Coutances; Les Andelys, Elbeuf, Gisors, and the joyous festival of stone of Notre Dame at Alencon, where the shady north side of the nave is adorned with Old Testament scenes, and the sun-lit southern wall opened by s.p.a.cious Flamboyant traceries that frame the New Testament; its Jesse tree is unusual. Notre Dame at St. Lo (which has a Becket window) shows Perpendicular traits. Its west portals are strangely dissimilar, as are its monumental towers. Near Fecamp, the Estouteville family founded Valmont abbatial (1116) now unroofed save its Lady chapel, in which are splendid tombs, a reredos of the Annunciation that is a gem of XVI-century realism, and a window that inspired Eugene Delacroix's palette.

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

[349] Flaubert, born in Rouen, 1821, died near the city, at Croisset, in his ancient house that formerly belonged to the monks of St. Ouen. The increased river activities during the World War have encroached on his property. His pupil, Guy de Maupa.s.sant, born near Dieppe, was a.s.sociated with his mother's city, Rouen, where stands his statue (1853-93). The house of the great Corneille (1636-1709) is near Rouen's Old Market.

Other sons of Rouen were La Salle, the explorer (d. 1687), and the painter Gericault (1791-1824). Nicholas Poussin (1594-1665) was born at Les Andelys; Jean-Francois Millet, near Cherbourg (1814-74); Auber, the composer (1782-1871), at Caen, as was the poet Malherbes (1555-1628).

Mezerai, whose history is considered the best account of the XVI-century religious struggle in France, and his brother, Jean Eudes, founder of the Eudists, were born near Caen. The great seamen, Tourville (1642-1701) and Du Quesne (1610-88), were Normans; so were Laplace, the mathematician (1749-1827), Alexis de Tocqueville (1805-59), Bernardin de Saint-Pierre (1736-1814), Octave Feuillet (1821-90), Leon Gautier (1832-97), Barbey d'Aurevilly (1808-89), and savants such as Simeon Luce (d. 1892), Gabriel Monod (d. 1912), Albert Sorel, Paul Allard, Leopold Delisle (d. 1910). The latter was led to decipher ancient ma.n.u.scripts by C. de Gerville, who, with that other Norman, Arcisse de Caumont, was a pioneer in mediaeval archeology.

[350] Jules Quicherat, the archaeologist, was the first to place before the public the records of Jeanne d'Arc's two trials. He printed (1841-49) five volumes in Latin for the _Societe de l'histoire de France_. Accounts of Jeanne have been written by Wallon (Paris, 1877); Marius Sepet (Tours, 1885); Ayroles, S. J. (Paris, 1902), who dwells much on the nefarious part played by Paris University in her condemnation: Simeon Luce; G. Hanotaux (Paris, 1911); Pet.i.t de Julleville (Les Saints Collection, Paris, Lecoffre, 1907); Andrew Lang (London, 1908): Mrs. Oliphant (Leaders of the Nation Series, New York); D. Lynch, S. J. (New York, 1919); Sarrazin, _Jeanne d'Arc et la Normandie au XVe siecle_ (Rouen, 1896); F. Poulaine, _Jeanne d'Arc a Rouen_ (Paris, 1899); Ch. Lemire, _Jeanne d'Arc en Picardie et en Normandie_ (Paris, 1903); Le P. Denifle et Chatelain, _Le proces Jeanne d'Arc et l'universite de Paris_ (Paris); U. Chevalier, _L'abjuration de Jeanne d'Arc_; C. de Maleissye, "La pretendue abjuration de St. Ouen,"

in _Revue des Deux Mondes_, February, 1911, p. 610. The study of Anatole France on Jeanne d'Arc is written from the rationalist standpoint that considers hers a case of hysteria fitted for medical science. No book on Jeanne equals the contemporary records. The report of her two trials in Rouen, and the testimony gathered from end to end of France to vindicate her memory in 1456, have been marshaled and clarified in a skilled legal manner by a magistrate of Rouen: E. O'Reilly, _Les deux proces de cond.a.m.nation ... et la sentence de rehabilitation de Jeanne d'Arc_ (Paris, Pion, 1868), 2 vols. This masterly work should be translated into English. It is an example of the right way to write history. For Charles VII see Thomas Basin and Vallet de Viriville.

[351] Boisguillaume, second clerk of the Rouen court in 1431, Manchon's a.s.sistant, testified before the three inquests for Jeanne's rehabilitation. He drew attention to the fact that all who had been culpable of the Maid's death had come to a swift or shameful end.

Estivet was found dead in a gutter at the gates of Rouen; Loyseleur, the false confessor, was struck down suddenly; Cauchon expired ignominiously. "I call you to judgment before G.o.d for what you have done," rang out Jeanne's words to these unworthy churchmen on her last day. Nicolas Midi, of the Paris Parliament, who drew up the odious twelve accusations, and who sermonized Jeanne in the Old Market, was stricken with leprosy. A year after the execution died the young d.u.c.h.ess of Bedford, who had inflicted a gross outrage on Jeanne, and her death detached from the English cause her brother, the Duke of Burgundy. Her husband, John of Lancaster, regent-duke, brother of Henry V, died in full youth, three years later, and was buried in Rouen Cathedral. His nephew, Henry VI, was dispossessed of his English crown, imprisoned, and murdered.

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

[353] The Norman, Simeon Luce, has written of Jeanne: "La Pucelle n'est pas seulement le type le plus acheve du patriotisme, elle est encore l'incarnation de notre pays dans ce qu'il a de meilleur. Il y a dans la physionomie de l'herone du XVe siecle, des traits qui la rattachent a la France de tous les temps, l'entrain belliqueux, la grace legere, la gaiete prisesantiere, l'esprit mordant, l'ironie meprisante en face de la force, la pitie pour les pet.i.ts, les faibles, les malheureux, la tendresse pour les vaincus. De tels dons appartiennent a notre tradition nationale, et la liberatrice d'Orleans les a possedes a un si haut degre que cette face de son genie a frappe tous ses admirateurs."

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

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

[355] Testimony of Isambeau de la Pierre, in 1450, before the inquest for the rehabilitation: "Je la vis eploree, son visage plein de larmes, defiguree et outragee en telle sorte que j'en eus pitie et compa.s.sion."

[356] _Congres Archeologique_, 1858, 1870, and 1908, p. 300, Louis Serbat; Abbe V. Hardy, _La cathedrale St. Pierre de Lisieux_ (Paris, Impri. Fazier-Saye, 1917); _La Normandie monumentale et pittoresque_.

_Calvados_, pp. 91, 103, "Lisieux," Abbe Marie (Le Havre, Lemale et Cie, 1875); Ch. Va.s.seur, _etudes historiques et archeologiques sur la cathedrale de Lisieux_ (Caen, 1891); emile Lambin, "La cathedrale de Lisieux," in _Revue de l'art chretien_, 1898, vol. 45, p. 448; A. de Caumont, _Statistique monumentale du Calvados_ (Caen, 1867), vol. 5, p.

200; V. Ruprich-Robert, _L'architecture normande au XIe et XIIe siecles_ (Paris, 1897), 2 vols.; H. de Formeville, _Histoire de l'ancien eveche-comte de Lisieux_ (Lisieux, 1873), 2 vols.; _Histoire litteraire de la France_, vol. 14, p. 304, "Arnoul, eveque de Lisieux" (Paris, 1817); A. Sarrazin, _Pierre Cauchon, juge de Jeanne d'Arc_ (Paris, 1901). Other studies of the judges of Jeanne d'Arc, by Fabre (Paris, 1915), and Ch. Engelhard (Le Havre, 1905).

[357] The murdered Duke of Orleans, a son of the art-loving Valois king, Charles V, built the chateaux of La Ferte-Milon, on the Oureq, and Pierrefonds, in the forest of Compiegne, in the courtyard of which latter stands his equestrian statue. His sons were the poet-duke, Charles d'Orleans, and Dunois, his acknowledged b.a.s.t.a.r.d, the chief instrument in ridding France of her invaders. Two grandsons of the builder of Pierrefonds ascended the French throne, Louis XII and Francis I, and those who undertake an architectural journey over France will soon become familiar with the porcupine of the one and the salamander of the other. Sir Theodore Andreas Cook, _Twenty-five Great Houses of France_ (New York and London, 1916); Viollet-le-Duc, _Dictionnaire de l'architecture_, on Pierrefonds.

[358] A professor in a Norman college, Joseph Lotte, who fell on the field of honor at Arras, in December, 1914, thus apostrophized the "Little Flower" of Lisieux: "Enrolez-nous, pet.i.te soeur celeste!

Enrolez-nous sous vos bannieres. Nous avons battu bien des pays, couru bien des aventures, dissipe bien des dons: il nous reste la fidelite.

Nous serons derriere vous les vieux routiers qui escortaient Jeanne d'Arc. Notre France ne veut pas mourir. Apprenez-nous a aimer. Il faut qu'un tel amour monte de nous a Dieu qu'il tourne a nouveau sa face vers notre terre de France et, retrouvant son peuple, decide de le sauver.

Mais ne l'a-t-il pas deja decide, puisqu'il vous a envoyee?" P. Pacary, _Un compagnon de Peguy, Joseph Lotte; pages choisies_ (Paris, J.

Gabalda, 1916).

[359] _Congres Archeologique_, 1864, 1889, and 1908; Abbe Jules Fossey, _Monographie de la cathedrale d'evreux_ (evreux, 1898); Abbe Foree, _Les clotures des chapelles de la cathedrale d'evreux_ (evreux, Herissey, 1890); A. J. de H. Bushnell, _Storied Windows_ (New York, Macmillan, 1914); N. H. J. Westlake, _A History of Design in Painted Gla.s.s_ (London, Parker & Co., 1881); _La Normandie monumentale et pittoresque_.

_Eure_, vol. 1, p. 1, evreux; p. 31, Conches; p. 61, Verneuil; p. 89, Tillieres; p. 93, Nonancourt; p. 119, Vernon; p. 147, Les Andelys; p.

191, Gisors; vol. 2, p. 1, Louviers; p. 23, Gaillon; p. 97, Pont-Audemer; p. 63, Pont-de-l'Arche: p. 183, Bernay; p. 221, Bec-h.e.l.louin; p. 245, Beaumont-le-Roger. In most of these churches the colored windows are remarkable.

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

[361] In Normandy, gla.s.s of the XIV century is to be found in the cathedrals of Seez and Coutances, at Carentan, Pont-de-l'Arche, Nesle-St.-Saire, and in Rouen's big abbatial. Elsewhere in France there are XIV-century windows at Mantes, Beauvais, Amiens, Dol, Limoges, Toulouse, Bordeaux, Narbonne, Beziers, Carca.s.sonne (in St. Nazaire), Chartres (in St. Pierre), and Poitiers (in Ste. Radegonde). In St.

Urbain's at Troyes is some of the earliest gla.s.s of this century.

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

[363] V. Ruprich-Robert, _La cathedrale de Seez_ (Paris, Morel, 1885); Abbe L. V. Dumaine, _La cathedrale de Seez, son histoire et ses beautes_ (Seez, 1894); H. Tournouer, "La cathedrale de Seez," in _Bulletin de la Soc. hist. et archeol. de l'Orne_, 1897; Marais et Beaudouin, _Essai hist. sur le cathedrale et le chapitre de Seez_ (Alencon, 1878); Robert Triger, "La cathedrale de Seez," in _Revue hist. et archeol. du Maine_, 1900, vol. 47, p. 287; _De la Sicotiere et Poulet-Mala.s.sis, Le departement de l'Orne, archeol. et pittoresque_ (Laigle, Beuzelin, 1845), folio; _La Normandie monumentale et pittoresque_. _Orne_, p. 101, on Seez, Abbe Barret; p. 1, St. Germain at Argentan, with a central lantern and elaborate late-Gothic porch; p. 41, Notre Dame at Alencon; p. 77, St. evroult-de-Montfort, a late-XI century abbatial; p. 245, the monastery of La Trappe, in Seez diocese, established in 1122, and reformed in 1662 by the noted Abbe de Rancy.

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

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

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

[367] A. Leve, _La tap.i.s.serie de Bayeux_ (Paris, H. Laurens, 1919); Hilaire Belloc, _The Bayeux Tapestry_ (London and New York, 1914); J. R.

Fowke, _The Bayeux Tapestry_ (London, G. Bell, 1898); Lefebvre des Mouettes, in _Bulletin Monumental_, 1912, p. 213; 1903, p. 84.

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

[369] _Congres Archeologique_, 1883; and 1908, p. 247, "La cathedrale de Coutances," E. Lefevre-Pontalis, also published separately by H.