[77] The father of St. Thomas was the Count of Aquin, nephew of the Emperor Frederick Barbarossa. His mother came of the line of the Norman rulers in Sicily; the same stocks produced that undisciplined, undecipherable genius of the XIII century, Frederick II.

[78] L. Liard, L’Université de Paris (Collection, Les grandes institutions de France), (Paris, H. Laurens); L. Maître, Les écoles épiscopales et monastiques de l’occident depuis Charlemagne jusqu’à Philippe-Auguste (Paris, 1866); Tarsot, Les écoles et les écoliers à travers les âges (Paris, H. Laurens); H. Rashdall, The Universities of the Middle Ages (Oxford, Clarendon Press, 1895), 2 vols.; Bonnard, Histoire de l’abbaye royale de St. Victor de Paris (1907); V. Cousin, éd., Œuvres de Pierre Abélard (Paris, 1849-59), 2 vols.; B. Hauréau, éd., Les œuvres de Hugues de St. Victor (Paris, 1887); B. Hauréau, Histoire de la philosophie scholastique (Paris, 1872), 3 vols.; A. Mignon, Hugues de St. Victor (Paris, 1895); Léon Gautier, éd., Œuvres poétiques d’Adam de St. Victor (Paris, 1858), 2 vols.; Léon Gautier, Histoire de la poésie religieuse dans les cloîtres des Xe et XIe siècle (Paris, 1887); Noël Valois, Guillaume d’Auvergne (Paris, 1880); E. Berger, La Bible française au moyen âge (Paris, 1884); Lecoy de la Marche, La chaire française au moyen âge (Paris, 1886); Histoire littéraire de la France. (Begun by the XVII-century Benedictines, continued by the Institute of France.) Vol. 9, p. 1, “L’État des lettres en France, XIIe siècle” (Paris, 1750); vol. 10, p. 309, “Guillaume de Champeaux” (Paris, 1759); vol. 12, p. 1, “Hugues de St. Victor”; p. 86, “Abélard”; p. 585, “Pierre Lombard”; p. 629, “Héloïse” (Paris, 1764); vol. 13, p. 472, “Richard de St. Victor” (Paris, 1814); vol. 15, p. 40, “Adam de St. Victor”; p. 149. “Maurice de Sully” (Paris, 1820); vol. 16, p. 1, “L’état des lettres en France au XIIIe siècle” p. 574, “Eudes de Sully” (Paris, 1824); vol. 18, p. 357, “Guillaume d’Auvergne” p. 449, “Vincent de Beauvais” (Paris, 1835); vol. 19, p. 38, “Hugues de Saint-Cher”; p. 143, “St. Louis”; p. 238, “St. Thomas d’Aquin”; p. 266, “St. Bonaventure”; p. 291, “Robert de Sorbon”; p. 621, “Les trouvères,” (Paris, 1838).

[79] The last vestige of St. Victor’s monastery, foyer of sanctity for the XII century, was wiped out by order of a stupid municipality of Paris, in 1842.

[80] Petit de Julleville, éd., Histoire de la langue et de la littérature française (Paris, Colin, 1900), 8 vols. In vols. 1 and 2 the Middle Ages are treated by Gaston Paris, Léon Gautier, and Joseph Bédier; Gaston Paris, La littérature du XIIe siècle (Paris, Hachette, 1895). He places the classic epoch of the literature of the Middle Ages between 1108 (opening of Louis VI’s reign) and 1223 (end of Philippe-Auguste’s rule); Joseph Bédier, Les légendes épiques (Paris, H. Champion, 1908-13), 4 vols.; Remy de Gourmont, Le Latin mystique.

[81] Paradiso, xxxiii: 4-6.

[82] Some of the modern archbishops of Paris have added to the prestige of their see. Monseigneur Affre was shot on the barricades, in 1848, when he went forth bearing a message of peace. Monseigneur Darboy was shot in prison by the Commune of 1871. Both are commemorated in side chapels of the cathedral’s choir.

[83] G. Sanoner, “La Bible racontée par les artistes du moyen âge,” in Revue de l’art chrétien, 1907-13; ibid., “La vie de Jésus-Christ racontée par les imagiers du moyen âge sur les portes d’églises,” in Revue de l’art chrétien, 1905-08.

[84] Once the Paris churches were filled with late-Gothic windows, though the troubled history of the city has left but few. Some XVI-century glass is still to be found in St. Merri and St. Germain-l’Auxerrois, for which churches see Huysman’s Trois églises et trois primitifs (1908). St Étienne-du-Mont has in a chapel an Engrand Le Prince window, a symbolic wine press with portraits of Pope Paul II, Charles V, Francis I, and Henry VIII; and reset in the passage leading to the catechism chapel is the masterpiece of Pinaigrier, twelve panels that are veritable enameling on glass. In St. Gervais, where on Good Friday, 1918, a projectile from the long-distance German gun crashed through the masonry roof, killing many, are two windows, Solomon’s judgment (1531), and St. Laurence (1551), said to be by Jean Cousin, also some Pinaigrier glass. To Jean Cousin are attributed the five splendid windows of the Apocalypse in the chapel at Vincennes, whose design derives from Dürer’s woodcuts, published in 1498. They have deep shadows and are strong in color and plan. M. Mâle says that Dürer’s German has here been translated into graceful Renaissance Italian. Vincennes’ chapel had been begun by Charles V in 1378. Then came the pause of a century, and the works were finished by Henry II, still on the Gothic plan, however. Henry donated the windows and he had Diana of Poitiers pictured among the righteous souls in the fifth seal of the Apocalypse. Francis I is represented at the base of the second window. Excursions can be made from Paris to places within easy distance that posses Gothic-Renaissance glass. At Écouen, nine miles from Paris, in the church of St. Acceul, are sixteen windows due to De Montmorency patronage. Originally in Écouen’s guard hall were the forty-four panels (made for the constable, Anne de Montmorency) now in the long gallery of Chantilly, the château bequeathed to the Institute of France in 1897 by the Duc d’Aumale. The story of Cupid and Psyche is told in that camaïeu glass so suited for domestic decoration, a species of iron-red grisaille, whose only other hue is yellow stain. Chantilly’s panels were painted in the Raphaelesque style by the Flemish master, Coexyen, trained in Van Orley’s school. At Montmorency, ten miles from Paris, in St. Martin’s church, the history of France seems written in the windows, with the portraits of Francis I, Henry II, Adrian VI, and members of the houses of Montmorency, Pot, and Coligny. Three of the lights are by Engrand Le Prince. More portrait work appears in the many windows at Montfort l’Amaury, twenty-nine miles from Paris (1544-78), work not equal to the earlier XVI-century glass.

H. Havard, éd., La France artistique et monumentale, vol. 4, Écouen; vol. 5, Chantilly, Vincennes, Pierrefonds; F. de Fossa, Le château de Vincennes (Collection, Petites Monographies), (Paris, H. Laurens); E. Macon, Chantilly et le musée Condé (Paris, H. Laurens).

[85] Henri Stein, La Sainte-Chapelle de Paris (Paris, 1912); F. de Guilhermy, Description de la Sainte-Chapelle (Paris, 1899), 12me; Troche, Notice historique et descriptive sur la Sainte-Chapelle; Morand, Histoire de la Sainte-Chapelle (Paris, 1790); Louis Courajod, La polychromie dans le statuaire du moyen âge et de la Renaissance (Paris, 1888); Abbé A. Bouillet, Les églises paroissiales de Paris, vol. 5, La Sainte-Chapelle (Paris, 1900); F. de Mély, “La sainte couronne d’épines,” in Revue de l’art chrétien, 1899, vol. 42.