[69] Congrès Archéologique, 1911, p. 428, E. Lefèvre-Pontalis; S. Prioux, Monographie de l’ancienne abbaye royale St. Yved de Braine (1859), folio; Bulletin Monumental, 1908, vol. 72, p. 455, A. Boinet.

[70] Congrès Archéologique, 1905, p. 121, E. Lefèvre-Pontalis; E. Lefèvre-Pontalis, À travers le Beauvaisis et le Valois (Paris, 1907); Émile Lambin, “L’eglise de St. Leu d’Esserent,” in Gazette des beaux-arts, 1901, tome 25, p. 305; Viollet-le-Duc, Dictionnaire, vol. 2, p. 504; vol. 4, pp. 83, 230; vol. 7, p. 384; vol. 9, p. 280; Abbé Eugène Müller, Senlis et ses environs (1897).

[71] Marcel Aubert, La cathédrale de Notre Dame de Paris (Paris, Longuet, 1909); Lassus et Viollet-le-Duc, Monographie de Notre Dame de Paris (Paris), folio; V. Mortet, Étude historique et archéologique sur la cathédrale et le palais épiscopal de Paris (Paris, 1888); Queyron, Histoire et description de l’église de Notre Dame (Paris, Plon, Nourret et Cie); De Guilhermy, Description de Notre Dame de Paris (1856); ibid., Itinéraire archéologique de Paris (1855); S. François, La façade de Notre Dame de Paris (Brussels, Imprimerie Goosens, 1907), 4to; E. Lefèvre-Pontalis, “Les origines des gables,” in Bulletin Monumental, 1907, vol. 71, p. 92; Camille Enlart, Le musée de sculpture comparée du Trocadéro (Collection, Les grandes institutions de France), (Paris, H. Laurens, 1911); H. Bazin, Les monuments de Paris (Paris, 1904); G. Riat, Paris (Collection, Villes d’art célèbres), (Paris, H. Laurens); Amédée Boinet and Jean Bayet, Les édifices religieux de Paris (Collection, Les richesses d’art de la ville de Paris), (Paris, H. Laurens), 3 vols.; L. Barron, La Seine (Collection, Fleuves de France), (Paris, H. Laurens); Émile Lambin, La flore des grandes cathédrales de France, (Paris, 1897); ibid., Les églises des environs de Paris étudiées au point de vue de la flore ornamentale (Paris, 1896), folio; ibid., Les églises de l’Ile-de-France (Paris, 1906); Anthyme Saint-Paul, “Notices sur les églises des environs de Paris,” in Bulletin Monumental, vol. 34, p. 861, and vol. 35, p. 709; Alexis Martin, Excursions dans les environs de Paris (Paris, 1900); Henri Stein, Les architectes des cathédrales gothiques (Paris, 1908); Émile Mâle, L’art religieux du XIIIe siècle en France (Paris, Colin, 1908), 4to.

[72] “Les ardentes prières, les sanglots désespérés du moyen âge avaient à jamais imprégné ces piliers et tanné ces murs.”—J. K. Huysmans.

[73] “Il me sembla que tout le passé de mon pays se dressait devant moi. Tout ce qu’elles ont vu, ces pierres!... Tout ce qu’elles ont entendu, ces voûtes!”

—Pierre l’Ermite (Abbé Loutil)

[74] “The first of the great Gothic façades in point of dignity is undoubtedly that of Paris, a design of which no words can express the exalted beauty. Grandeur of composition, nobility of silhouette, perfection of proportion, wealth of detail, infinitely varied play of light and shade combine to raise this composition, so majestic, so serene, to the place it has ever occupied in the heart of everyone endowed with the slightest feeling for the beautiful.”—Arthur Kingsley Porter.

[75] The problem of Universals remains still a real one for the thinker—how our intellectual concepts correspond to things existing outside our intellect.

[76] In his Summa totius theologiæ St. Thomas held that the existence of God was to be known by reason. He took his stand on a palpable fact—the existence of creatures. He began with the fecund idea of motion, the stars in their orbits, man engendering man. If there is movement there must be a First Motor. If there ever had been an instant when nothing was, nothing ever would have been. Effects must have a cause. Either nothing is, which is an absurdity, or there must be One Being eternally immutable.

That the movement is ordered, such as night and day, season following season, shows a supreme power directing. That creatures are more or less perfect supposes a perfect being. One by one Aquinas laid his foundation stones till a solid lower wall was built, on which he reared his majestic structure. In the Roman Breviary, he is thus recorded: “Thou hast written well of me, Thomas, what recompense do you ask of me?” “None but yourself, Lord!” (“Non aliam, Domine, nisi te ipsum!”).