[136] Nouvelle Alliance windows are to be found at Chartres (sixth window in the nave’s north aisle), at Le Mans (the east window of the long Lady chapel), at Tours (in the axis chapel), in the transept of Sens Cathedral (in five lights below the north rose), and in the apse curve of Lyons Cathedral.

[137] The happy chance of travel led the writer, in May of 1914, to the ceremony of the unveiling of a statue of Jeanne d’Arc in the cathedral of this city, that has not known invasion—the military arsenal of France. As the preaching bishop exhorted modern France to remake her soul else she would perish, over that spellbound congregation seemed to pass a premonition of portentous events looming ahead. Within three months the World War opened, forte et aspre guerre, as they said in Jeanne’s day, war the chastiser, war the purifier: “Il y a des guerres qui avilissent les nations, et les avilissent pour des siècles; d’autres les exaltent, les perfectionnent de toutes manières,” wrote Joseph de Maistre.

[138] Carved on Jacques Cœur’s house in Bourges are mottoes such as, “A vaillans cœurs rien impossible,” or “Dire, faire, taire, de ma joie,” or “En bouche close, n’entre mousche.” Vallet de Viriville, Jacques Cœur; Pierre Clément, Jacques Cœur et Charles VII.

[139] Congrès Archéologique, 1905, “Beauvais,” Chanoine Barsaux; P. Dubois, La cathédrale de Beauvais (Collection, Petites Monographies), (Paris, H. Laurens, 1911); Abbé P. C. Barraud, “Beauvais et ses monuments,” in Bulletin Monumental, vol. 27, passim. He gives studies on the Le Prince and other windows in the cathedral and St. Étienne, in Mémoires de la Soc. Académique de l’Oise, 1851-53, vol. 1, p. 225; vol. 2, p. 537; vol. 3, pp. 150, 277; Louise Pillion, on St. Étienne’s glass, in Revue de l’art chrétien, 1910, p. 367; Eug. J. Woillez, Archéologie des monuments religieux de l’ancien Beauvoisis pendant la métamorphose romane (Paris, 1839-49), folio; Graves, Notice archéologique sur le département de l’Oise (Beauvais, 1856); Gustave Desgardins, Histoire de la cathédrale de Beauvais (1875); Abbé L. Pihan, Beauvais, sa cathédrale, ses monuments (1905); ibid., Esquisse descriptive des monuments historiques dans l’Oise; see Gonse and Palustre on the portals of the cathedral; Monseigneur Barbier de Montault, “Iconographie des Sibylles,” in Rev. de l’art chrétiens, 1874.

[140] Carolingian work aboveground is rare; besides this Basse-Œuvre at Beauvais, there is St. Philibert de Grandlieu (Loire-Inférieure), part of the small church under the flank of Jumièges’ ruined abbatial, portions of St. Jouin-de-Marnes (Deux-Sèvres), and vestiges in the walls of La Couture at Le Mans. There are Carolingian crypts at St. Quentin, Amiens, Chartres, Orléans, Auxerre, Flavigny. More exceptional still are Merovingian remains, such as the crypt of Jouarre, the small tri-lobed church of St. Laurent at Grenoble, the crypt of St. Léger at St. Maixent (Deux-Sèvres), a crypt at Lyons, in St. Martin d’Ainay, and apsidal chapels in St. Jean’s baptistry at Poitiers. A list of the Romanesque monuments of the Ile-de-France and bordering districts is to be found in Arthur Kingsley Porter’s Medieval Architecture, 1909, vol. 2, pp. 13-49.

[141] Among the Flamboyant monuments of France are St. Wulfran’s frontispiece at Abbeville, begun in 1481, overcharged with ornament but with portals of great beauty; St. Riquier near by, also overcharged; the churches of Rue and Mézières; façades of cathedrals at Sens, Senlis, Auxerre, Troyes, Tours, and Limoges; Vendôme’s frontispiece, and Albi’s porch; towers at Bordeaux, Rodez, Saintes, Chartres, Auxerre, Bourges, Rouen, and many other cities in Normandy; the cathedrals of Toul and Metz; St. Maurice at Lille, a well-restrained Flamboyant monument; the magnificent church of St. Nicholas-du-Port near Nancy; the choir of Moulins; St. Antoine at Compiègne and a number of civic halls such as Compiègne’s and St. Quentin’s. The beautiful Flamboyant Gothic church at Péronne (1509-25) has been wiped out in the World War. Artois and Flanders were especially rich in late-Gothic edifices. Normandy was a Mecca of Flamboyant work—from Rouen, to that gem of the final phase, the choir of Mont Saint-Michel. Monseigneur Dehaisnes, Histoire de l’art dans la Flandre, l’Artois et le Hainaut (Lille, 1886), 3 vols.

[142] André Michel, éd., Histoire de l’Art, vol. 3, 1ère partie, “Le style flamboyant,” Camille Enlart (Paris, A. Colin), 1914, 10 vols.; Camille Enlart, “Origine anglaise du style flamboyant,” in Bulletin Monumental, 1886, 1906, p. 38; A. Saint-Paul, “L’architecture religieuse en France pendant la Guerre de Cent Ans,” in Bulletin Monumental, 1908, p. 5; ibid., Les origines du gothique flamboyant en France (Caen, 1907); Arthur Kingsley Porter, Medieval Architecture, vol. 2 (New York and London, 1907), 2 vols.

[143] Congrès Archéologique, 1902; V. C. de Courcel, La cathédrale de Troyes, (1910); L. Morel-Payen, Troyes et Provins (Collection, Villes d’art célèbres), (Paris, H. Laurens, 1910); F. Arnaud, Description historique de l’église cathédrale de Troyes; J. B. Coffinet, “Les peintres-verriers de Troyes,” in Annales Archéologiques, vol. 18, pp. 125, 212; A. J. de H. Bushnell, Storied Windows, chapters 32 and 33, on Troyes (New York, Macmillan Company, 1914); Ch. Fichot, Statistique monumentale du département de l’Aube, vol. 1, Arrondissement de Troyes (Troyes, 1884), 4to; R. Koechlin and J.M. de Vasselot, La sculpture à Troyes et dans la Champagne méridionale au XVIe siècle (Paris, A. Colin, 1900); Raymond Koechlin, “La sculpture du XIVe et du XVe siècle dans la région de Troyes,” in Congrès Archéologique, 1908; Paul Vitry, Michel Colombe et la sculpture française de son temps (Paris, 1901); Louis Gonse, La sculpture française depuis le XIVe siècle (Paris, Quantin, 1895), folio; D’Arbois de Jubainville, Histoire des ducs et des comtes de Champagne, 1859, 7 vols.; Bontier, Histoire de Troyes et de la Champagne méridionale (Troyes, 1880), 4 vols.; Amédée Aufauvre, Troyes et ses environs.

[144] Translation from XIII-century French by Henry Adams.

[145] Generation after generation, the Lyénin, Macadré, Verrat, and Gontier families produced noted artists. Assier, Les arts dans l’ancienne capitale de la Champagne.