[313] M. Enlart calls Fossanuova, on the Appian Way between Rome and Naples, the first Gothic church in Italy, begun in 1187 by Burgundian Cistercians. Mr. Porter thinks that the infiltration had begun thirty years earlier through various channels. In 1208 Innocent III dedicated Fossanuova; in 1274 St. Thomas Aquinas died there, en route to the Council at Lyons. The same plain Burgundian plan was followed at Casamari (1217), and a daughter house of the latter was S. Galgano (1218), from which went monks who are cited as the masters-of-works of Siena Cathedral, the best Gothic edifice of the peninsula. Monks from French Clairvaux built the three Chiaravalle churches of Italy, and monks from Pontigny raised S. Martino near Viterbo. Later, Italy felt the influence of different French schools; thus the Naples churches are Gothic of Provence because southern French architects accompanied Charles d’Anjou, count of Provence, when he became king of the Two Sicilies. At Assisi the church of S. Francesco shows the Gothic traits of Burgundy, Provence, and Champagne. The Cistercians introduced the torus profile of diagonals, but they long clung to round-headed windows. The Provence masters introduced pointed arched windows. In Spain, Cîteaux found a rival in the monks of Cluny for the dissemination of the new art. In the XII century a large number of Spanish bishoprics were filled by Cluny monks. Sometimes they built according to their own native architecture, as in Lugo Cathedral, San Vincente at Avila, and churches in Seville, which are Burgundian Romanesque. Sigüenza Cathedral is Burgundian both in its Romanesque and Gothic parts. Zamora Cathedral, consecrated 1174, and the old cathedral of Salamanca, show traits of Aquitaine; both sees were occupied by Bishop Jerome, who came from Périgieux. The Cistercians of Spain did not confine themselves, as in Italy, to typically Burgundian Gothic churches. Poblet and Santa-Creus (1157) derive from the early Gothic of Midi France, as well as from Burgundy. Las Huelgas, the Cistercian house for nuns near Burgos, finished about 1180, shows slight Burgundian and much Plantagenet Gothic influence. The foundress was the daughter of Henry II and Aliénor of Aquitaine. In Spain, as in Italy, the later Gothic monuments conformed to the standards of northern French Gothic. Portugal was more exclusively a Cistercian field of art. In 1148, Alcobaça monastery was founded by the son of a Burgundian prince, progenitor of Portugal’s royal line. While it shows Angevin Gothic traits, its plan is the sober Cistercian Burgundian type. In the military Orders of Spain and Portugal the Cistercian Rule was used. The king of Sweden, in 1143, obtained Cistercian missionaries from Clairvaux; in Denmark the abbey church of Sorö is Burgundian Gothic. Camille Enlart, Les origines de l’architecture gothique en Espagne et en Portugal (Paris, 1894); ibid., L’architecture gothique en Italie (Paris, 1893); ibid., Notes archéologiques sur les abbayes cisterciennes de Scandinavie (Paris, 1894); ibid., “Villard de Honnecourt et les Cisterciens,” in Biblio. de l’École des chartes, 1895; ibid., L’art gothique ... en Chypre (Paris, 1899), 2 vols.
[314] Congrès Archéologique, 1908; V. Ruprich-Robert, L’architecture normande aux XIe et XIIe siècles (Paris, 1897), 2 vols.; A. de Caumont et Ch. de Beaurepaire, Mémoires historiques sur la Normandie: antiquités, monuments, histoire (1827-36); La Normandie monumentale et pittoresque. Seine-Inférieure, Calvados, Eure, Orne, Manche (Le Havre, Lemale et Cie), 8 vols, folio; Léon le Cordier, “L’architecture de la Normandie au XIIIe siècle,” in Bulletin Monumental, 1863, vol. 29, p. 513; Chanoine Porée, L’art normand (Paris, 1914); Taylor et Nodier, Voyages pittoresques ... dans l’ancienne France. Normandie (Paris, Didron, 1825), 2 vols., folio; Henri Prentout, La Normandie (Collection, Les provinces françaises), (Paris, H. Laurens, 1910); Lechandé d’Anisy, Les anciennes abbayes de Normandie (1834), 2 vols, and atlas; Ordericus Vitalis, The Ecclesiastical History of England and Normandy (London, Bohn Library, 1856), 4 vols.; Albert Sorel, Pages normandes (Paris, Plon, 1907).
On Normandy’s history, see Stubbs, Freeman, Palgrave, H. W. C. Davis, G. B. Adams, Sir J. H. Ramsay, Miss Kate Norgate, Mrs. J. R, Green, etc. A. Thierry in his Conquête de l’Angleterre gives details of the oppression of the Anglo-Saxons by their Norman conquerors.
[315] Rodin, Les cathédrales de France, (Paris, A. Colin, 1914).
[316] Chanoine Porée, Histoire de l’abbaye du Bec (Évreux, impri. de Hérissey, 1901); La Normandie monumentale et pittoresque Eure, vol. 2, p. 221, “Bec,” Chanoine Porée (Le Havre, Lemale et Cie, 1895); Ragey, Histoire de Saint Anselm (Paris, 1889); Martin Rule, Life and Times of St. Anselm (London, 1883).
Other studies of St. Anselm by Rémusat (Paris, 1853); R. W. Church (London, 1870); J. M. Rigg (London, 1896), and in Lives of the Archbishops of Canterbury (London, 1860-75); Histoire littéraire de la France, vol. 8, p. 260, “Lanfranc” (Paris, 1749); vol. 9, p. 398, “St. Anselm”; p. 369, “Gondulfe, évêque de Rochester” (Paris, 1750).
[317] V. Ruprich-Robert, L’architecture normande aux XIe et XIIIe siècles (Paris, 1885-87); G. T. Rivoira, Lombardic Architecture, vol. 2, on Normandy (London and New York, 1910), translated from Le origini dell’architettura lombarda (Milano, 1908); Canoine Porée, L’art normand (Paris, 1914); Camille Enlart, Manuel d’archéologie française (Paris, Picard et fils, 1904), 2 vols.; R. de Lasteyrie, L’architecture religieuse en France à l’époque romane (Paris, 1912); John Bilson, “The Beginnings of Gothic Architecture,” in the Journal of the Royal Institute of British Architects, Third series, 1898-99, vol. 6, pp. 289, 322, 345; 1901-02, vol. 9, p. 350; René Fage, “La décoration géométrique dans l’école romane de Normandie,” in Congrès Archéol., 1908, vol. 2, p. 614; Louis Engerand, “La sculpture romane en Normandie,” in Bulletin Monumental, 1904, vol. 68, p. 405; Arthur Kingsley Porter, Medieval Architecture, vol. 1, pp. 285 to 332, gives the chief Norman Romanesque monuments (New York and London, 1907); ibid., Lombard Architecture (New Haven, Yale University Press, 1917), 3 vols. and atlas.
[318] Henry Adams, Mont Saint-Michel and Chartres (Boston, Houghton Mifflin Company, 1913).
[319] Normandy’s Millénaire of 1911 was celebrated fitly. Among the books it called forth are: Gabriel Monod, Le rôle de la Normandie dans l’histoire de France (Paris, 1911); H. Prentout, Essai sur les origines et la fondation du duché de Normandy (Paris, 1911); A. Albert, Petit histoire de Normandie (Paris, 1912). In 1915 appeared Charles Homer Haskins, The Normans in European History (Boston, Houghton Mifflin).
[320] E. Lefèvre-Pontalis, “Les influences normandes au XIe et au XIIe siècle dans le nord de la France,” in Bulletin Monumental, 1906. vol. 70; Camille Enlart, L’influence extérieure de l’art normand au moyen âge; F. Chalandon, Histoire de la domination normande en Italie et en Sicile (Paris, 1907); Ch. Diehl, Palerme et Syracuse (Collection, Villes d’art célèbres), (Paris, H. Laurens, 1907); Émile Bertaud, L’art dans l’Italie méridionale.