[286] Jean de Chastellux, Travels in America, 1780-1782. He was the first to have himself inoculated with smallpox in order to give confidence to the people. The heir of Chastellux was a hereditary first canon in Auxerre Cathedral, privileged to sit in its choir with a falcon on his wrist.
[287] Congrès Archéologique, 1907, p. 199; Abbé Henry, Histoire de l’abbaye de Pontigny (Avallon, 1839); Chaillon des Barres, L’abbaye de Pontigny (Paris, 1844); Histoire littéraire de la France, vol. 11, p. 213, “St. Étienne, troisième abbé de Cîteaux” (Paris, 1759).
[288] “The long prospect of nave and choir ends with a sort of graceful smallness in a chevet of seven closely packed, narrow bays. It is like a nun’s church, or like a nun’s coif.”—Walter Pater, on Pontigny, in Miscellaneous Studies (London, The Macmillan Company, 1895).
[289] J. C. Robertson, ed., Material for the History of Thomas Becket. Rolls series, 7 vols.; vols. 1 to 4 contain the lives written by John of Salisbury, Herbert of Bosham, etc. Other studies of St. Thomas of Canterbury are Morris (London, 1885); Kate Norgate (Dictionary of National Biography); L. Huillier (Paris, 1891), 2 vols.
[290] Congrès Archéologique, 1907, p. 27; Charles Porée, L’abbaye de Vézelay (Collection, Petites Monographies), (Paris, H. Laurens); H. Havard, éd., La France artisque et monumentale, vol. 4, Vézelay; De George, “L’église abbatiale de Vézelay,” in L’Architecture, 1905; L. E. Lefèvre, “Le portail de l’abbaye de Vézelay,” in Revue de l’art chrétien, 1906, p. 253; also, 1904, vol. 54, p. 448, G. Sanoner; Crosnier, “Iconographie de l’abbaye de Vézelay,” in Congrès Archéologique, 1847, p. 219; V. Flandin, “Vézelay,” in Annuaire statistique du département de l’Yonne, 1841-45; A. Chérest, Études historiques sur Vézelay (Auxerre, 1868); Gally, Vézelay monastique (Tonnerre, 1888); Camille Enlart, Le musée de sculpture comparée du Trocadéro (Paris, H. Laurens, 1913); A. Thierry, Lettres sur l’histoire de France, chaps. 22-24; Joseph Bédier, Les légendes épiques, vol. 1, “La légende de Girard de Roussillon” (Paris, H. Champion, 1908), 4 vols.
[291] Maurice Barrès, La colline inspirée (Paris, Émile-Paul, frères, 1913).
[292] Louis Gonse, L’Art Gothique (Paris, Quantin, 1891).
[293] St. Père-sous-Vézelay, below the hill, occupies the site where Girard de Roussillon’s foundation was first established. The present church is a typical Burgundian Gothic edifice, partly of the XII and partly of the XIII century. Carved corbels catch the fall of certain diagonals, and in place of a triforium is an interior passageway that passes through the shafts. In the opening years of the XIV century was added the narthex, a noble porch of two bays whose capitals have foliage in little bunches set in two rows. The façade is decorated by big statues like that of the Madeleine church, a mile away, and at the corners of the tower, a landmark for the valley, are sculptured angels blowing trumpets. The choir of St. Père-sous-Vézelay was wrecked during the English wars, and was in large part rebuilt as late-Gothic. Congrès Archéologique, 1907, p. 16; Abbé Pissier, “Notice historique sur Saint-Père-sous-Vézelay,” in Bull. de la Soc. des Sciences de l’Yonne, 1902, vol. 56, pp. 33, 275.
[294] In his Via Crucis, F. Marion Crawford has described the great gathering at Vézelay.
[295] The Huguenot leader, Théodore de Béze, was born in the bourg of Vézelay. His brother, a canon in the church of St. Lazare at Avallon, espoused the opposite side with equal zest.