[86] Armand le Brun, L’église St. Julien-le-Pauvre (Paris, 1889); J. Viatte, L’église de St. Julien-le-Pauvre de Paris (Châteaudun, Prudhomme, 1899).
[87] Jules Quicherat, “St. Germain-des-Prés,” in Bibli. de l’École des chartes, 1865, vol. I, p. 513; and Mémoires de la Soc. des Antiquaires de France, 1864, vol. 28, p. 156; Jacques Bouillart, Histoire de l’abbaye royale de St. Germain-des-Prés (Paris, 1724); Auger, Les dépendances de St. Germain-des-Prés (Paris, 1909), 3 vols.; E. Lefèvre-Pontalis, “Étude sur le chœur de l’église de St. Martin-des-Champs à Paris,” in Bibliothèque de l’École des chartes, 1886, vol. 47; F. Deshoulières, St. Pierre de Montmartre (Caen, H. Delesque, 1913); also in Bulletin Monumental, 1913, vol. 77, p. 4; H. Havard, éd., La France artistique et monumentale, vol. 6, p. 66, “Le conservatoire des arts et métiers” (St. Martin-des-Champs); A. Lenoir, Statistique monumentale de la ville de Paris (Paris, Imprimerie Impériale, 1867), 3 vols., folio (valuable drawings of the Parisian abbeys); Em. de Broglie, Mabillon et la société de l’abbaye de St. Germain-des-Prés (Paris, 1881).
[88] The Hôtel Cluny, which became a national museum in 1848, was built as the town house for the abbot of Burgundian Cluny, by those two art patrons, Jean de Bourbon (1456-81) and Jacques d’Amboise (1481-1514). It is one of the best works of Gothic civic architecture in France. It stands on the site of Roman baths, alleged to be those of Julian the Apostate, above which had later risen a residence of the Merovingian kings. In the time of the Carolings, Alcuin taught on this spot. The Palais des Termes was purchased for Cluny by Abbot Pierre de Chastellux (1322-43). H. Havard, éd., La France artistique et monumentale, vol. 1, p. 161, A. Darcel, on Musée Cluny; E. du Sommerard, Le palais des thermes et l’Hôtel de Cluny; Ch. Normand, l’Hôtel de Cluny (Paris, 1888).
[89] Paul Abadie, who over-restored the cathedrals of Angoulême and Périgieux, won the competition for the national memorial basilica of the Sacré-Cœur, and began his strange Romano-Byzantine monument in 1873. He united Auvergne’s Romanesque ambulatory with the cupola church of Aquitaine. There is not sufficient contrast between his elongated dome and the tower. Nevertheless, the immense pile of white stone standing over the capital presents exotic and superb effects in sun and mist, and no one can deny that a profound religious spirit breathes in this new shrine of France, as if the prayers and sufferings of generations had already hallowed its walls. Below the basilica stands a statue of the young Chevalier de la Barre, a victim of the personal intrigue of a corrupt magistrate of Abbeville and the lax law courts of Louis XV’s time, not in any way the object of clerical hate, as the inscription on his statue would indicate. His abbess aunt was his warm defender, as was the bishop of Amiens, and on the day of his execution he received the sacraments piously. See Cruppi, Révue des Deux Mondes, March, 1895. As this mythical hero meets one in many a French city, it were well to know his real story.
[90] Some of the later manifestations of Gothic art in the capital are the porch and façade of St. Germain l’Auxerrois (1431-39), one of the first signs of renewed energy after Jeanne d’Arc’s mission; the tower of St. Jacques (1508-22), attributed to the late-Gothic master, Martin Chambiges, and formerly part of a Flamboyant church destroyed by the Revolution; and the church of St. Merri (1520-1612), still Gothic in spirit. Th e Renaissance appears in St. Étienne-du-Mont (1517-63), whose interior is alluringly graceful, though it cannot boast of purity of style. St. Eustache (1532-1642), begun slightly after St. Merri, has a Gothic skeleton, “dressed in Renaissance robes sewed together like the pieces of a harlequin’s garment, bizarre and contradictory, satisfactory to neither taste nor reason.” The old church of St. Séverin used to be employed by M. Jules Quicherat as an object lesson for his pupils, since four different epochs are traceable in it; the three westernmost bays of the nave are early XIII century; and there is much Flamboyant Gothic with disappearing moldings. Abbé A. Bouillet, Les églises paroissiales de Paris (1903); H. Escoffier, Les dernières églises gothiques au diocèse de Paris (Thèse, École des chartes, 1900).
[91] Le Nain de Tillemont, Vie de St. Louis (Paris, 1848-51 éd., Gauble), 6 vols.; Sertillanges, St. Louis (Collection, L’art et les saints), (Paris, H. Laurens, 1918); H. Wallon, St. Louis et son temps (Tours, 1865), 2 vols.; A. Beugnot, Essai sur les institutions de St. Louis (Paris, 1821); Jean, sire de Joinville, texte original accompagné d’une traduction, Natalis de Wailly, éd., Paris, 1867. Translated into English, Bohn’s Antiquarian Library, London; Gaston Paris, “Jean de Joinville,” in Hist. littéraire de la France, 1848, vol. 32, p. 291; also Delaborde’s biography; Lecoy de la Marche, La France sous St. Louis et sous Philippe le Hardi (Paris, 1894); A. Molinier, Les sources de l’histoire de France (Paris, 1901-06); U. Chevalier, Répertoire des sources hist. du moyen âge (Montbéliard, 1903).
[92] Philippe Lauer, “Royaumont,” in Congrès Archéologique, 1908, vol. 2, p. 215.
[93] One sister of St. Louis’ queen married Henry III of England, under whom was built Westminster Abbey (1217-54). The second was the wife of King Henry’s brother, Richard of Cornwall, who was titular emperor of Germany. The youngest sister inherited Provence and wedded St. Louis’ brother, Charles d’Anjou, king of the Two Sicilies. E. Boutarie, Marguerite de Provence, femme de St. Louis (Paris, 1869); E. Berger, Blanche de Castille (Paris, 1900).
[94] Joinville, in Syria, went to the Krak, the great Christian fortress beyond the Jordan, to obtain, as a relic for his church at Joinville, the shield of his crusading ancestor whom Richard Cœur-de-Lion had admired. His “beau chastel” on the Marne was wrecked by the Revolution. His line had ended in an heiress who married into the ruling house of Lorraine, so that the XVI-century Duke of Guise, whose personal charm made him the idol of the French people, was fifth, by female descent, from the irresistible seneschal. A brother of Joinville’s, Geoffrey, married Mahaut de Lacy, heiress of Meath, and became Lord Chief Justice of Ireland in 1273. Under Henry III and Edward I he played a role, and went crusading in 1270. He left nine children. On his wife’s death he entered the Dominican convent of Tuam, where he died in 1314.
[95] Often did Louis IX sigh over his youngest brother. “Charles d’Anjou! Charles d’Anjou!” he would say, sadly. As king of the Two Sicilies, Charles won the title of the Merciless, and his harshness was punished by the Sicilian Vespers, 1282. Dante abominated the house of Anjou in Italy. Of Charles he wrote in the Paradiso (viii: 73-75), “His evil rule, which ever cuts into the heart of subject people, caused Palermo to shriek out: ‘Die! Die!’” St. Louis loved especially his brother Robert d’Artois, whose overhardy courage caused the defeat of the crusaders at Mansourah. When word was brought to the king of his brother’s death in that battle, tears warm and full fell from his eyes, though he said, “God must be thanked for all he sends.” The other brother of Louis IX was Alphonse of Poitiers, who married the heiress of Toulouse and took guidance of the king in his administration of the Midi.