Appendices

ST. CORENTIN de QUIMPER

or curtailed. Its fine towers with modern spires, erected from the proceeds of a "butter tax," are broad of base and delicately and truly proportioned. Its ground-plan is equally worthy, though the choir is not truly orientated. Its general detail and ensemble, one part with another, is all that fancy has told us a great church should contain, and one can but be prepared to appreciate it when it is endorsed, and commented on, by such ardent admirers as De Caumont, Viollet-le-Duc, Corroyer, and Gonsé, those four accomplished Frenchmen, who probably knew more concerning Mediæval (Gothic) architecture than all the rest of the world put together.

From the thirteenth to the fifteenth century there grew up here a work embracing the ogival and the flamboyant, neither in an undue proportion, but as well as in any other single structure known. This well shows the rise, development, and apogee of the style which we commonly call Gothic, but which the French prefer to call "ogival," and which should really, if one is to fairly apportion credit where it is due, be best known as French Mediæval architecture.

Its west façade, with its generous lines, is strongly original. The two towers, piercedwith enormously heightened lancets, are indubitably graceful and impressive, while a flanking pair of flying buttresses, with their intermediate piers, form an unusual arrangement in the west front of a French cathedral.

Above the western gable is a curiously graven effigy of King Grollo in stone.

Considered as a whole, the exterior is representative of the best contemporary features of the time, but contains few if any which are so distinctly born of its environment as to be otherwise notable.

The interior vies with the outer portion of the fabric in the general effect of majesty and good design. The triforium is remarkably beautiful and is overtopped by a range of clerestory windows which to an appreciable extent contain good early glass. The easterly end is the usual semicircular apse.

Among the relics of the Cathedral is a crucifix which is supposed to emit drops of blood when one perjures himself before it. It is, perhaps, significant that the people of Finistère, the department which claims Quimper as its capital, have the repute of being honest folk.

The Bishops of Quimper were, by virtue of the gift ofle roi Grodlon le Grave, the only seigneurs of the city during the middle ages.

Vanneswas the ancient capital of the Celtic tribe of the Veneti, its inhabitants being put to rout by Cæsar in 57B. C.Afterward it became the Roman town of Duriorigum, and later reverted back to a corruption of its former name. Christianity having made some progress, a council was held, and a bishop appointed to the city, and from that time onward its position in the Christian world appears to have been assured. For centuries afterward, however, it was the centre of a maelstrom of internal strife, in which Armoricans, Britons, Franks, and Romans appear to have been inextricably involved. Then came the Northmen, who burned the former Cathedral of St. Peter. This was rebuilt in the eleventh century, and in no small measure forms the foundation of the present structure, which to-day is the seat of a bishop, suffragan of Rennes.

From this early architectural foundation, tothe most florid and flamboyant of late Gothic, is pretty much the whole range of Mediæval architectural style. By no means has a grand or even fine structure resulted. The old choir, suffering from the stress of time, was pulled down and rebuilt as late as 1770. Thus, this usually excellently appointed and constructed detail is here of no worthy rank whatever. The nave and transepts were completed within the hundred years following 1452, and show the last flights of Gothic toward the heights from which it afterward fell. Transformation and restoration have frequently been undertaken, with the result that nowhere is to be seen perhaps greater inconsistencies. The latest of these examples of a perverted industry is seen in the nineteenth-century additions to the tower and the west façade. The result is not, be it said, to the credit of its projectors.

THE END.

Itis quite possible to construct an ethnographic map of a country from its architectural remains,—but there must always be diverse and varying opinions as to the delimitation of one school, as compared with another lying contiguous thereto.

One may wander from province to province, and continually find reminders, of another manner of building, from that which is recognized as the characteristic local species. This could hardly be otherwise. In the past, as in the present, imitators were not few, and if the adoption of new, or foreign, ideas was then less rapid, it was no less sure. Still, in the main, there is a cohesiveness and limitation of architectural style in France; which, as is but natural to suppose, is in no way more clearly defined than by the churches which were built during the middle ages, the earliest types retaining the influence of massive forms, and the later again debasing itself to a heavy classical order, neither a copy of anything of a pre-Gothic era, or a happydevelopment therefrom. Between the two, in a period of scarcely more than three hundred years, there grew up and developed the ingenious and graceful pointed style, in all its fearlessness and unconvention.

Political causes had, perhaps, somewhat to do with the confining of a particular style well within the land of its birth, but on the other hand, warfare carried with it invasion and conquest of new sections, and its followers, in a measure, may be said to have carried with them certain of their former arts, accomplishments, and desires; and so grew up the composite and mixed types which are frequently met with.

There are a dozen or more architectural styles in what is known as the France of to-day. The Provençal (more properly, says Fergusson, it should be called "Gallia Narbonese,") one of the most beautiful and clearly defined of all; the Burgundian, with its suggestion of luxuriance and, if not massiveness, at least grandeur; the Auvergnian, lying contiguous to both the above, with a style peculiarly its own, though of an uncompromising southern aspect; Acquitanian, defining the style which lies between Provence, the Auvergnat and the Pyrénées, and a type quite different from either. The Angevinian, which extends northward from Limoges to Normandy and Brittany, and northeasterly nearly to Orleans, is a species difficult to place—it partakes largely of southern influence, but is usually thought to merit a nomenclature of its own, as distinct from the type found at Anjou. Turning now to the northern or Frankish influence, as distinct from the Romancecountries; Brittany joins to no slight degree influences of each region; Normandy partakes largely of the characteristics of the type of Central France, which is thoroughly dominated by that indigenous to the Isle of France, which species properly might include the Bourbonnais and Nivernoise variants, as being something of a distinct type, though resembling, in occasional details, southern features. This list, with the addition of French Flanders, with its Lowland types, completes the arrangement, if we except Alsace and Lorraine, which favour the German manner of building rather more than any of the native French types.

A List of the Departments of France, and of the Ancient Provinces from which they have been evolved.

[*] The greater part of these provinces as they formerly stood were ceded to Germany, May 10, 1871.

The Church in France

La France Catholiqueis to-day divided into eighty-four dioceses, administered, as to spiritual affairs, by seventeen archbishops and sixty-seven bishops. To each diocese is attached a seminary for the instruction of those who aspire to the priesthood. Each chief town of a canton has itscuré, each parish itsdesservant.

[**] The Archbishop of Bordeaux has three suffragans outside France: St. Denis and La Reunion, St. Pierre and Fort de France (Martinique), Basseterre (Guadaloupe).

A List of the Larger French Churches which were at one time Cathedrals and usually referred to as such.

Note.—Those marked H. M. are classed as Les Monuments Historiques by La Commission de la Conservation des Monuments Historiques.

Chronology of the chief styles and examples of church building in the north of France from the Romano-Byzantine period to that of the Renaissance

Dimensions and Chronology

NOTRE DAME D'AMIENS

Notre Dame d'Amiens

Dimensions

Length of nave and choir, 469 feetWidth including transepts, 214 feetWidth of nave, 59 feetWidth of aisles, 33½ feetHeight of nave, 141 or 147 feet, estimated variouslyHeight of aisles, 65 feetLength of choir, 135 feetWidth of nave including aisles, 150 feetLength of transepts, 194 feetWidth of transepts, 36 feet, 6 inchesHeight of spire, 422 feetSuperficial area, 70,000 square feet (approx.)

Chronology

Nave and choir, 1220-1288Choir stalls, 1520Western towers completed, 1533Lateral chapels of nave, XVIth centuryChoir chapels, XIIIth century

ST. MAURICE D'ANGERS

Dimensions

Length of nave and choir, 300 feetWidth of transepts, 40 feetHeight of transepts, 80 feetHeight of nave, 110 feetWidth of nave, 53 feetHeight of spires, 225 feet

Chronology

Lower walls, Romano-ByzantineMain body completed, 1240Choir, XIIth centuryBishop's Palace, XIIth centuryArras tapestries, XIVth centuryChoir doorway, XIIIth century(Recently restored by Viollet-le-Duc)

ST. VAAST D'ARRAS

Dimensions

Length of nave and choir, 302 feetHeight of nave, 66½ feetWidth of nave, 49 feetHeight of tower, 154 feet

Chronology

Former Cathedral of Notre Dame begun, end of XIIth centuryFormer Cathedral of Notre Dame completed, 1499Present Cathedral of St. Vaast, 1755-1833Triptych of Bellegambe in present Cathedral, 1528Former Abbey of St. Vaast, now Episcopal Palace since 1754

ST. LAZARE D'AUTUN

Dimensions

Height of spire, 325 feet

Chronology

Transition portion constructed by Robert I.,Duke of Burgundy, 1031-1076Spire, XVth centurySculpture of choir, XVIth centuryFlamboyant chapels, XVIth century

AUXERRE

Chronology

Crypt (remains of early work), XIth centuryChoir and glass, 1215-1234Western portals, XIIIth centuryNave, 1334-1373North transept, 1415-1513N. W. tower, 1525-1530Irongrilleof choir, XVIIIth century

NOTRE DAME DE BAYEUX

Dimensions

Central belfry, 300 feetLength interior, 335 feetHeight interior, 74 feet, 9 inchesHeight of western towers, 252 feet

Chronology

Odo's crypt, XIth centuryCircular arches of nave, late XIth or early XIIth centuryPortals of west façade, XIIIth centuryChasuble of St. Regnobert, gift of St. Louis, 1226Date of tapestry (in inventory of church property), 1476

ST. PIERRE DE BEAUVAIS

Dimensions

Height of nave, 150 feetHeight of original spire, which fell in 1573, 486 feetArea of choir, about 28,000 square feet

Chronology

The Basse Œuvre, VIth to VIIIth centuriesPresent building begun, 1225Dedicated, 1272Roof fell, 1284South transept begun, 1500North transept begun, 1530North transept finished, 1537Central spire fell, 1573Ancient Bishop's Palace, now Palais de Justice,XIVth to XVIth centuries

ST. ETIENNE DE BOURGES

St. Etienne de Bourges

Dimensions

Length, 405 feetWidth, 135½ feetHeight of nave, 124½ feetHeight of inner aisle, 66 feetHeight of outer aisle, 28 feetHeight north tower, 217½ feetHeight south tower, 176 feetSuperficial area, 73,170 square feet (approx.)

Chronology

Dedicated, 1324Sepulchre, 1336Crypts, XIIth centuryNorth tower, 1508-1538Tower St. Etienne completed, 1490Tower St. Etienne fell, 1506Choir stalls, 1760

ST. ETIENNE DE CHÂLONS-SUR-MARNE

Chronology

Tower next north door, Romano-ByzantinePart of nave and choir, Ogival primaireAisle and chapels of apse, XIVth centuryApse restored, after fire, in 1672

NOTRE DAME DE CHARTRES

Dimensions

Length nave and choir, 430 feetWidth, 110 feetLength nave only, 121 feetWidth nave, 46 feetWidth nave aisles, 19 feetHeight nave, 106 feetLength transepts, 202 feetWidth transepts, 70 feetHeight of north spire, 403 feetHeight of south spire, 365 feetRose window, diameter, 40 to 43 feetArea, 65,000 square feet (approx.)

Chronology

Wooden church burned, 1020Crypt under chevet of choir, 1029(only remains of original church)Work of rebuilding stopped, 1048South portal erected, 1060Work aided by Matilda, queen of William I., 1083Lower portion of main body built, 1100-1150Western towers, 1145Fire damaged greater part, 1194Vaulting completed, 1220Porches of transepts added, 1250Building consecrated, October 17, 1260Sacristy and screen in crypt, XIIIth centuryNorth spire burned, 1506Texier's spire erected, 1507-1515Texier's spire repaired, 1629South spire repaired, 1754Belfry and roof burned (vaulting unharmed), 1836

NOTRE DAME D'EVREUX

Dimensions

Length, 368 feet, 6 inchesTransept, length, 112 feetTransept, width, 23 feet

Chronology

Church consecrated, 1076Church burnt, 1119Northwest tower foundations laid, 1352Northwest tower completed, 1417North transept, XVIth centuryNave, early XIIth to late XVth centuryChoir, XIVth centuryLady-chapel, XIIIth century

NOTRE DAME DE LAON

Laon

Dimensions

Length of nave and choir, 351 feetHeight of nave, 80 feetWidth of nave, 67 feet, 7 inchesLength of transepts, 174 feetWidth of transepts, 35 feet, 9 inchesHeight of western towers, 173 feetHeight of southwest tower and spire (formerly), 328 feetWestern circular window, 26 feetSuperficial area, 44,000 square feet (approx.)

Chronology

Original church burned, 1112New edifice begun, 1114Entirely rebuilt, 1190General restoration, 1851

ST. JULIEN, LE MANS

LE MANS

Dimensions

Length of nave and choir, 369 feetWidth of nave and aisles, 78 feetWidth of choir, 123 feetHeight of choir, 108 feetArea of choir, 30,000 square feet (approx.)Length of transept, 178 feetWidth of transept, 32 feet

Chronology

West façade, XIth centuryTransition, south portal, XIIth centuryNave and transepts reconstructed, XIIth centuryChurch extended beyond city walls, XIIIth centuryChoir rebuilt, 1200Choir restored, 1858Coloured glass, XIIIth, XIVth, XVth centuriesRose window, south transept, XVth centuryFormer Bishop's Palace destroyed by Germans, 1871

ST. ETIENNE DE MEAUX

Dimensions

Height of nave, 109 feetLength of nave, 275 feetLength of transepts, 120 feet

Chronology

Bishopric founded, 375 A.D.Choir in part, XIIth centuryRestored, 1852

ST. PIERRE DE NANTES

Dimensions

Height of western towers, 270 feetHeight of nave, 130 feet

Chronology

Remains of choir contains, XIIth centuryRomanesque church rebuilt, XVth centuryWest front, 1434-1500North transept and choir only completed in XIXth centuryTomb of François II. and Marguerite de Foix, 1507Later restoration, 1852

NOTRE DAME DE NOYON

Noyon

Dimensions

Length, 338 feetWidth of nave and aisles, 64 feet, 10 inchesHeight of nave, 74 feet, 6 inchesHeight of aisles, 28 feet, 9 inchesHeight of choir, 26 feet, 3 inchesHeight of towers, 200 feetSuperficial area, 30,000 square feet (approx.)

Chronology

First constructed, 989Burnt, 1131Rebuilding undertaken, 1137-1150Choir, transepts, and nave completed, 1167-1200Timber work burnt, 1293Chapter-house built, XIIIth centuryFive bays of cloister built, XIVth centuryRestored under governmental supervision, 1840

ST. CROIX D'ORLEANS

Dimensions

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