In the lady chapel, on the right of the high altar, is some beautiful wood-panelling, dating also from the seventeenth century. It is by the same hand as the carved reredos, and is the work of Pierre Blasser of Amiens. Standing against the panelling is a delicate Virgin in ivory, of the sixteenth century, reproduced on p. [131].
SAINTE-CROIX
To the left of the high altar is a group representing the Virgin and Christ crucified, between Mary Magdalene and St. John. These statues belong to the sixteenth century; as do also the smaller ones in white marble, representing angel-musicians, which ornament the altar placed in the angle of the church, to be found on the left on entering (see photo, p. [131]).
On leaving Saint-Ayoul take a few steps along the first street on the right in order to glance at the tower of Notre-Dame-du-Val (classed as historical monument). The tower may be seen in the view at the foot of p. [130]. It was built in the sixteenth century on the site of an ancient gate. Its construction occupied four years and cost only 1,400 "livres" (about £56), the workmen at this period receiving 2 sous (one penny) a day. The church and the cloister belonging to the tower disappeared during the Revolution.
Returning to the Place Saint-Ayoul, cross it on the right side, and at the far end take the Rue de la Cordonnerie, which is a continuation.
It was at No. 17 that the poet Hégésippe Moreau was brought up, and where he worked as a typographer. He has sung of Provins and the Voulzie in verses which are well-known:—
La Voulzie, est-ce un fleuve aux grandes iles? Non,
Mais, avec un murmure aussi doux que son nom,
Un tout petit ruisseau coulant, visible à peine:
Un géant altéré le boirait d'une haleine,
Le naiu vert Obéron, jouant au bord des flots,
Sauterait par-dessus sads mouiller ses grelots.
DOORWAY AT SAINTE-CROIX