“E cist si tost cum arive
Entrez est en sun muster;
Li airs devint lusanz e clers,
N’out en muster tenegre ne umbre;
Atant des angres grant numbre,
Ki s’en venent a sum servise
A dedier cele iglise.
Tant ja partut odur,
Ke vis est a cel pescur
Ke li solailz la lune
Sa clarté tute preste u dune
Angles pu cel avaler
Regarde e puis remunter;
Teu joie a, ke li est vis
Ke raviz est en Parais,
Pur l’avisium k’apert.”
[30] L’Auvergne au Moyen Age, by M. Dominique Branche. Clermont-Ferrand, 1842.
[31] The steps are arranged in successive groups of eleven, with platforms between them.
[32] As evidence of the popularity of Notre Dame du Puy this may suffice:—in Amiens cathedral, until A.D. 1820, there existed a series of pictures given by the “Confrèrie de Notre Dame du Puy.” A similar confrèrie existed at Limoges.—G. E. S. There is an image and a devotion of N. D. du Puy at Estella in Navarre, carried thither by French pilgrims.—G. G. K.
[33] The passage to the right is evidently modern, that to the left looks as though it were ancient, but a protest against the removal of some ancient work, in the course of constructing it, which I have found in the Bulletin Monumental [A. de Caumont], seems to show that it is not so.
[34] S. Martin d’Ainay, at Lyon, is a parallel triapsidal church, with a central dome, and a western tower of unusual and picturesque outline, adorned largely with inlaid tiles and bricks.
[35] At present the exterior of the lantern is covered with a domical roof; but an illustration that I have seen shows it finished with a low-pitched tile roof, and without any of the inlaid mosaic which is now upon it.
[36] The division of the building into work done at various epochs is beyond question, though there may be some question as to the date I assign.
[37] Mérimée, Notes d’un Voyage en Auvergne, p. 226.
[38] See Viollet-le-Duc (Dictionnaire, art. “Clocher,” pp. 312–18) for a reference to this influence of the Rhine churches.