Summing up--Gothic art gave way before the pagan Renaissance and the contempt for legends roused by the Reformation. In the World War France again displayed the spirit that had built cathedrals. Unquenchable idealism of the French race.
SOISSONS CATHEDRAL. THE TRANSEPT'S SOUTHERN ARM (C. 1180) _Frontispiece_
POISSY. AN EARLY EXAMPLE OF GOTHIC VAULTING (C. 1135) _Facing p._ 54
ST. DENIS-EN-FRANCE AND ITS ROYAL MAUSOLEUMS " 68
NOYON'S CHAPTER HOUSE (1240-1250) _Page_ 83
SENLIS' TOWER (C. 1230-1250) _Facing p._ 90
THE INTERIOR OF LAON CATHEDRAL (XII CENTURY). VIEW FROM THE TRIBUNE GALLERY " 98
NOTRE DAME OF PARIS. VIEW FROM THE SOUTH _Page_ 127
NOTRE DAME OF MANTES (1160-1200). THE CONTEMPORARY OF PARIS CATHEDRAL _Facing p._ 162
THE CATHEDRAL OF MEAUX, VIEWED FROM THE NAVE'S AISLE " 168
THE CATHEDRAL OF CHARTRES (1194-1240). THE SOUTHERN ASPECT _Page_ 178
THE TRANSEPT OF AMIENS CATHEDRAL (1220-1280) _Facing p._ 204
LE MANS CHOIR (1217-1254). THE DOUBLE AISLES " 270
ANGOULÊME CATHEDRAL. A XII-CENTURY CUPOLA CHURCH OF AQUITAINE WITH A TYPICAL FAÇADE OF POITOU'S ROMANESQUE SCHOOL " 290
THE PLANTAGENET TOMBS AT FONTEVRAULT " 298
THE PLANTAGENET GOTHIC CHOIR OF ST. SERGE AT ANGERS (1220-1225) " 312
NOTRE DAME DU PORT AT CLERMONT-FERRAND. TYPICAL XII-CENTURY CHURCH OF AUVERGNE'S ROMANESQUE SCHOOL " 338
THE JACOBINS', OR DOMINICANS', CHURCH AT TOULOUSE (XIII CENTURY) " 358
ALBI CATHEDRAL (1282-1399). A MIDI FORTRESS CHURCH " 370
THE XI-CENTURY SANCTUARY OF CLUNY AS IT WAS UNTIL THE REVOLUTION _Facing p._ 414
VEZELAY'S XII-CENTURY ABBEY CHURCH OF THE MADELEINE " 436
NOTRE DAME AT DIJON (1220-1245). BURGUNDIAN GOTHIC " 452
THE CRYPT OF THE ABBAYE-AUX-DAMES AT CAEN (1059-1066) " 484
BELFRY OF ST. PIERRE AT CAEN (1308-1317). PROTOTYPE FOR THE GOTHIC TOWERS OF NORMANDY AND BRITTANY " 490
THE HALL OF THE KNIGHTS AT MONT-SAINT-MICHEL (1203-1228). SECOND STORY OF THE MERVEILLE " 500
THE CHOIR OF BAYEAUX CATHEDRAL (1210-1260). TYPICAL OF NORMANDY'S ELABORATE GOTHIC " 546
"We may live without architecture, and worship without her, but _we cannot remember without her_. How cold is all history, how lifeless all imagery, compared to that which the living nation writes and the uncorrupted marble bears. There are but two strong conquerors of the forgetfulness of men, Poetry and Architecture, and the latter in some sort includes the former, and is mightier in its reality; it is well to have, not only what men have thought and felt, but what their hands have handled and their strength wrought and their eyes beheld, all the days of their life."[1]