[354] The Duke d’Alençon testified, in 1455, concerning Jeanne: “I have heard captains who took part in the siege of Orléans declare that what passed there touched on the miraculous, that it was no human work. Apart from things of war Jeanne was a simple young girl; but for things of war, wielding the lance, massing the army, preparing the battle, arranging the artillery, she was remarkably skilled. All marveled that she should show the ability and foresight of a captain who had warred for thirty years. Especially in her control of artillery was she admirable.”
Equally convincing is the testimony, in 1455, of the bastard of Orléans, the great Dunois: “I believe that Jeanne was sent of God and that her conduct in war was more a divine than a human act.... I heard the seneschal of Beaucaire, whom the king had appointed to watch over Jeanne in the wars, say that he believed there never was a woman more chaste. I heard Jeanne say to the king one day: ‘When I am distressed that credence is not given that it is Heaven has sent me to your aid, I withdraw to a quiet place and I pray and complain to God, and, my prayer finished, I hear a voice saying, “Fille Dè, va, va, va! Je serai à ton ayde, va!” ‘And in repeating what the voice said, Jeanne was—an extraordinary thing—in a marvelous ravishment, in a sort of ecstasy, her eyes lifted to heaven.” E. O’Reilly, Les deux procès de condamnation et la sentence de réhabilitation de Jeanne d’Arc (Paris, Plon, 1868), vol. 1, pp. 153, 156, 200, 214, 2 vols.
[355] Testimony of Isambeau de la Pierre, in 1450, before the inquest for the rehabilitation: “Je la vis éplorée, son visage plein de larmes, défigurée et outragée en telle sorte que j’en eus pitié et compassion.”
[356] Congrès Archéologique, 1858, 1870, and 1908, p. 300, Louis Serbat; Abbé V. Hardy, La cathédrale St. Pierre de Lisieux (Paris, Impri. Fazier-Saye, 1917); La Normandie monumentale et pittoresque. Calvados, pp. 91, 103, “Lisieux,” Abbé Marie (Le Havre, Lemale et Cie, 1875); Ch. Vasseur, Études historiques et archéologiques sur la cathédrale de Lisieux (Caen, 1891); Émile Lambin, “La cathédrale de Lisieux,” in Revue de l’art chrétien, 1898, vol. 45, p. 448; A. de Caumont, Statistique monumentale du Calvados (Caen, 1867), vol. 5, p. 200; V. Ruprich-Robert, L’architecture normande au XIe et XIIe siècles (Paris, 1897), 2 vols.; H. de Formeville, Histoire de l’ancien évêche-comté de Lisieux (Lisieux, 1873), 2 vols.; Histoire littéraire de la France, vol. 14, p. 304, “Arnoul, évêque de Lisieux” (Paris, 1817); A. Sarrazin, Pierre Cauchon, juge de Jeanne d’Arc (Paris, 1901). Other studies of the judges of Jeanne d’Arc, by Fabre (Paris, 1915), and Ch. Engelhard (Le Havre, 1905).
[357] The murdered Duke of Orléans, a son of the art-loving Valois king, Charles V, built the châteaux of La Ferté-Milon, on the Oureq, and Pierrefonds, in the forest of Compiègne, in the courtyard of which latter stands his equestrian statue. His sons were the poet-duke, Charles d’Orléans, and Dunois, his acknowledged bastard, the chief instrument in ridding France of her invaders. Two grandsons of the builder of Pierrefonds ascended the French throne, Louis XII and Francis I, and those who undertake an architectural journey over France will soon become familiar with the porcupine of the one and the salamander of the other. Sir Theodore Andreas Cook, Twenty-five Great Houses of France (New York and London, 1916); Viollet-le-Duc, Dictionnaire de l’architecture, on Pierrefonds.
[358] A professor in a Norman college, Joseph Lotte, who fell on the field of honor at Arras, in December, 1914, thus apostrophized the “Little Flower” of Lisieux: “Enrôlez-nous, petite sœur céleste! Enrôlez-nous sous vos bannières. Nous avons battu bien des pays, couru bien des aventures, dissipé bien des dons: il nous reste la fidélité. Nous serons derrière vous les vieux routiers qui escortaient Jeanne d’Arc. Notre France ne veut pas mourir. Apprenez-nous à aimer. Il faut qu’un tel amour monte de nous à Dieu qu’il tourne à nouveau sa face vers notre terre de France et, retrouvant son peuple, décide de le sauver. Mais ne l’a-t-il pas déjà décidé, puisqu’il vous a envoyée?” P. Pacary, Un compagnon de Péguy, Joseph Lotte; pages choisies (Paris, J. Gabalda, 1916).
[359] Congrès Archéologique, 1864, 1889, and 1908; Abbé Jules Fossey, Monographie de la cathédrale d’Évreux (Évreux, 1898); Abbé Forée, Les clôtures des chapelles de la cathédrale d’Évreux (Évreux, Hérissey, 1890); A. J. de H. Bushnell, Storied Windows (New York, Macmillan, 1914); N. H. J. Westlake, A History of Design in Painted Glass (London, Parker & Co., 1881); La Normandie monumentale et pittoresque. Eure, vol. 1, p. 1, Évreux; p. 31, Conches; p. 61, Verneuil; p. 89, Tillières; p. 93, Nonancourt; p. 119, Vernon; p. 147, Les Andelys; p. 191, Gisors; vol. 2, p. 1, Louviers; p. 23, Gaillon; p. 97, Pont-Audemer; p. 63, Pont-de-l’Arche: p. 183, Bernay; p. 221, Bec-Hellouin; p. 245, Beaumont-le-Roger. In most of these churches the colored windows are remarkable.
[360] The son of that union was the trouvère poet, Thibaut IV of Champagne and I of Navarre, of which latter domain he was chosen king in 1234, on the death of his mother’s brother, Sancho, the chief victor of Las Navas de Toloso. His niece, Jeanne, inheriting both Champagne and Navarre, united them with the royal domain by her marriage to Philippe le Bel. Three of her sons ruled successively as kings of France, and then the Valois branch—sprung from a brother of Philippe le Bel—came to the throne. Whereupon the Navarrese elected, as their ruler, the Count of Évreux, who had married a daughter of Jeanne’s. His son was Charles the Wicked (1319-87), Count of Évreux, king of Navarre, who in turn was succeeded by his son, Charles the Noble (1387-1425). One and all of them were linked with the architectural story of France: at Troyes, Provins, Meaux, Mantes, and Évreux Cathedral.
[361] In Normandy, glass of the XIV century is to be found in the cathedrals of Séez and Coutances, at Carentan, Pont-de-l’Arche, Nesle-St.-Saire, and in Rouen’s big abbatial. Elsewhere in France there are XIV-century windows at Mantes, Beauvais, Amiens, Dol, Limoges, Toulouse, Bordeaux, Narbonne, Béziers, Carcassonne (in St. Nazaire), Chartres (in St. Pierre), and Poitiers (in Ste. Radégonde). In St. Urbain’s at Troyes is some of the earliest glass of this century.
[362] Normandy’s XV-century glass, besides that of Évreux’ Lady chapel, can be studied at Rouen, in the cathedral, and the churches of St. Ouen and St. Maclou, at Caudebec, Bernay, Vereuil, Beaumont-le-Roger, St. Lô, Carentan, Falaise, Pont-Audemer, Bayeux, and Coutances. Elsewhere in France glass of this period can be seen in Amiens Cathedral, in the Vendôme chapel of Chartres, in the choir of Moulins, in the north transept of Le Mans, and the windows presented to Bourges Cathedral by the Duke of Berry and Jacques Cœur. There is also XV-century glass at Clermont-Ferrand, Eymoutiers, Riom, in some of the churches of Paris, such as St. Sévérin, and in Brittany, at Dinan, Plélan, Les Iffs, and in Quimper Cathedral. Windows of the XVI century abound in Normandy. The most imposing array is near Évreux, at Conches, whose church of Ste. Foi is on no account to be missed. Aldégrevier, a pupil of Albert Dürer, designed the seven tall apse windows, about 1520. There are eighteen other lights (1540-53), very Raphaelesque in type; the Pressoir window and the apotheosis of the Virgin are typical of that heated hour of controversy. Andre Michel, éd., Histoire de l’art, vol. 4, 2{ème} partie, “Le vitrail français au XV{e} et au XVI{e} siècle,” Émile Mâle; A. Bouillet, L’église Ste. Foi de Couches (Eure) et ses vitraux (Caen, H. Delesque, 1889).