[112] “Lovelier color the hand of man has not produced. There are times when human art seems to be something more than mortal; when it rises to heights infinitely above the ordinary achievements of men. French glass of the XII century is such an art. It is impossible to stand in the presence of these translucent mosaics without experiencing a depth of æsthetic emotion that at once disarms the critical faculty. Such sensuous beauty of tone, such richness of color, has been equaled by no painter of the Renaissance, by no Byzantine worker in mosaics. Yet it is not only for their absolute beauty, but also for their perfectly architectural character that these windows claim unqualified admiration.”—Arthur Kingsley Porter, Medieval Architecture (New York and London, 1907), vol. 2, p. 108.

[113] Congrès Archéologique, 1911, Rheims, p. 19, the cathedral; p. 57, St. Remi, L. Demaison; Louis Demaison, Album de la cathédrale de Rheims (Paris, 1902), 2 vols., folio; ibid., La cathédrale de Rheims (Collection, Petites Monographies), (Paris, H. Laurens, 1910); Abbé Cerf, Histoire et description de Notre Dame de Rheims (Rheims, Dubois, 1861), 2 vols., 8vo; Alphonse Gosset, La cathédrale de Rheims (Paris and Rheims, 1894), folio; ibid., Rheims monumental (Rheims, 1880), 12mo; Anthyme Saint-Paul, “La cathédrale de Rheims, au XIIIe siècle,” in Bulletin Monumental, 1906, vol. 70, p. 288; E. Moreau-Nélaton, La cathédrale de Rheims (Paris, 1915); Monseigneur Landrieux, La cathédrale de Rheims (Paris, H. Laurens, 1917); Louis Bréhier, La cathédrale de Rheims (Paris, H. Laurens, 1919); Max Sainsaulieu, Rheims avant la guerre (Paris, H. Laurens); Vitry, La cathédrale de Rheims, architecture et sculpture (Paris, Longuet, 1913); Ch. Loriquet, Les tapisseries de Notre Dame de Rheims; H. Bazin, Une vieille cité de France, Rheims; monuments et histoire (Rheims, Michaud, 1900), 4to; Louise Pillion, Les sculpteurs français du XIIIe siècle (Collection, Les maîtres de l’art), (Paris); Émile Lambin, Flore des grandes cathédrales (Paris, 1897); Vitry et Brière, Documents de sculpture française au moyen âge (Paris, Longuet, 1900).

[114] Auguste Rodin, Les cathédrales de France (Paris, Colin, 1914).

[115] The Benedictines’ church at Orbais (Marne), between Rheims and Châlons, contains some exceptionally good XII-century windows. Its nave has been destroyed, but the transept and the choir, with its radiating chapels (c. 1200), survive. The World War swept over Orbais, but the abbatial is unharmed. Héron de Villefosse, Abbaye d’Orbais (Paris, 1892).

[116] It has been suggested that about 1260 a façade then rising was dismounted and moved forward, to allow for the insertion of several more bays in the nave, but the idea remains a hypothesis.

[117] E. O’Reilly, Les deux procès de condamnation ... de Jeanne d’Arc, eighth interrogation, March 17, 1431. “Il avait été à la peine, c’était bien raison qu’il fût à l’honneur.” (Paris, Plon, 1868), 2 vols.

[118] During this summer of 1020 excavations made under Rheims Cathedral have brought to light vestiges of the cathedral of the Virgin, founded by St. Nicaise in 401. Three Roman arches in good condition support the venerable nave, in a corner of whose floor was found buried sacred images of ivory most beautifully carved. Evidently they had been hidden to save them from the invading Vandals.

[119]

“Et les Français disent: Quel grand courage!
Avec Turpin la croix est bien gardée!”

Roland addressed the dead archbishop on the field of Roncevaux: