[50] Émile Mâle, L’art religieux en France au XIIIe siècle (Paris, A. Colin, 1908).
[51] Jacobus de Voragine, The Golden Legend. Translated into English by Caxton and reprinted by William Morris, Kelmscott Press, 1872, 3 vols. Translated also in Temple Classics. One of the best recent French editions is that of Théodor de Wyzewa (Paris, Perrie et Cie, 1909).
[52] The Church of the Victory, consecrated by the warrior-bishop in 1225, was ruined during the Hundred Years’ War by the Duke of Bedford’s troops, who day after day were pricked on by Jeanne d’Arc’s army to a battle. In Flamboyant Gothic times the abbatial was rebuilt, but again it was wrecked in the XVIII century. Only a few late-Gothic bays now stand on the lawn before the country house of the Comte Boula de Coulomier. Bishop Guérin also consecrated the church of Chaalis abbey, where he was buried in 1228. Chaalis is now a picturesque ruin.
[53] E. Lefèvre-Pontalis, “Les clochers du XIIIe et du XVIe siècle dans le Beauvaisis et la Valois,” in Congrès Archéologique, 1905, p. 592.
[54] The corner stone of St. Frambourg was laid in 1177 by Louis VII. It is a sort of forerunner of the Sainte-Chapelle type of edifice, without aisles or transept. Its sober, pure lines show faultless constructive skill, and a grievous pity is its present abandonment. Behind the cathedral is the church of St. Pierre, built in six different epochs: the lower stories of the tower, XI century; the choir and transept, 1260; the piers of the nave and the north tower’s top story, XV century; the rich façade, XVI century, a work of Pierre Chambiges; and the heavy, cold south tower, of the XVII century. In Senlis are St. Vincent’s church with a choir built after 1136, a XII-century tower, contemporary of the cathedral, and a groin roof of the XVIII century. St. Aignan’s belfry is of the end of the XI century, and served as model for the towers of St. Vincent and St. Pierre, just as all three of them contributed toward the inspiration of that sovereign thing of Senlis, the cathedral tower.
[55] Congrès Archéologique, 1907, p. 205, Charles Porée; E. Chartraire, La cathédrale de Sens (Petites Monographies), (Paris, H. Laurens, 1920); E. Bérard, “La cathédrale de Sens,” in L’Architecture, 1902; E. Vaudin-Bataille, La cathédrale de Sens (Paris, 1899); Bouvier, Histoire de l’église de l’ancien archdiocèse de Sens (Paris, 1906); A. de Montaiglon, Antiquités de Sens (Paris, 1881); A. J. de H. Bushnell, Storied Windows (New York, Macmillan, 1914); A. F. Didot, “Jean Cousin, peintre verrier,” in Bulletin Monumental, 1873, vol. 39, p. 75; Marius Vachon, Une famille parisienne d’architectes maistre-maçons: les Chambiges; Crosnier, in Congrès Archéologique, 1847, “Iconographie des portails de Sens”; Viollet-le-Duc, Dictionnaire, vol. 9, pp. 222, 506; vol. 8, p. 74 (on the synodal hall); Histoire littéraire de la France, vol. 15, p. 324, “Michel de Corbeil, archévêque de Sens”; p. 524, “Guillaume de Champagne, cardinal, archevêque de Rheims” (Paris, 1820); vol. 17, p. 223, “Pierre de Corbeil” (Paris, 1832); vol. 18, p. 270, “Gautier de Cornut, archévêque de Sens” (Paris, 1835).
[56] Ralph Adams Cram, Gold, Frankincense, and Myrrh (Boston, Marshall Jones Company, 1919).
[57] At St.-Julien-du-Sault, fourteen miles from Sens, are over a dozen good XIII-century windows, and some four of the XVI century. St. Louis was a donor. In the window devoted to Ste. Geneviève are interesting XVI-century costumes.
[58] Congrès Archéologique, 1911, Lucien Broche, p. 158, the cathedral; p. 225, St. Martin’s church; p. 239, the Templar’s church; Chanoine A. Bouxin, La cathédrale Notre Dame de Laon. Histoire et description (Laon, 1902); Jules Quicherat, “L’âge de la cathédrale de Laon” in Bibliothèque de l’École des chartes, 1874, vol. 35, p. 249; Lucien Broche, Laon et ses environs (Caen, 1913); ibid., “L’évêche de Laon,” in Bulletin Monumental, 1902, vol. 66; De Florival et Midoux, Les vitraux de la cathédrale de Laon (Paris, Didron, 1882), folio; E. Fleury, Antiquités et monuments du département de l’Aisne, (1879), vol. 3, p. 153; Émile Lambin, Les églises de l’Ile-de-France (Paris, 1906). His description of Laon is also in the Revue de l’art chrétien, 1901-02, vols. 14, 15; E. Lefèvre-Pontalis, “Les influences normandes au XIe et au XIIe siècle dans le nord de la France,” in Bulletin Monumental, 1906, vol. 70; Histoire littéraire de la France, vol. 10, p. 171, “Anselm de Laon” (Paris, 1756); vol. 11, p. 243, “St. Norbert” (Paris, 1759); vol. 13, p. 511, “Gautier de Mortagne, évêque de Laon” (Paris 1814); H. Havard, éd La France artistique et monumentale, vol. 4, p. 81, Mgr. Dehaisnes, on Laon.
[59] For Coucy-le-Château (between Soissons and Laon) see M. Lefèvre-Pontalis’ study (1909) in the Petites Monographies series; or the Congrès Archéologique, 1911, p. 239. The XIII-century donjon was the most massive conception of the Middle Ages. Coucy’s lord ruled a hundred towns and was one of the big figures in feudal France. His proud device read: “Roi ne suis, ne prince, ne duc, ne comte aussi—Je suis le sire de Coucy.” The superb pile has been demolished in the World War. Madame Yvonne Sarcey visited Coucy in April, 1917. Of the imposing mediæval castle, hanging like a bourg to the flank of the hill, there remain two gaping porticos. “C’est tout!... C’est tout!” she lamented. “Ce paysage adorable de l’Ile-de-France portera sa croix.” The Germans blew up the castle before their strategic retirement, in 1917.