A) ry O Y) pee > LL = at) a SW, = — 2 bona ee 4 % ex Ybris ROMERT EF. HWANDREN SELECTED MONUMENTS OF ewe GO] AIC NelC UM Pela ON eels: @) NER. AN DED ae AES FROM THE ARCHIVES DE LA COMMISSION DES MONUMENTS HISTORIQUES Wiltntexe bye OHN> VaeVAN.PELT chs Aaa Agios. THE LIBRARY OF ARCHITECTURAL DOCUMENTS VOLUME II] NEW YORK Hides dre NMC IUE SOBER ES coke Sisy eI MNEE 12924 SBolle ILA MRe (Qe ARCHITECTURAL DOCUMENTS RAWINGS and photographs of the architecture of the past are indispen- LD sable in the practice and in the study of architecture. However, the books of plates containing such drawings are so costly that many archi- tects are obliged to work under the handicap of an inadequate library and most draftsmen and students must depend entirely upon the books in the office or school, when they might derive much inspiration and development from studying such books at their leisure. Knowing this condition and having found that the plate pages from old works on architecture published in PENciL PornTs are appreciated by a large number of readers, the publishers of PENcrL Points have begun the publication of a series of reprints of old books of architectural plates under the general title of ‘The Library of Architectural Documents,” with the purpose of making this material available for every one at as moderate a price as is consistent with a satisfactory presentation of the matter, not costly publications of limited appeal but a practical working library. This, the third book in ‘The Library of Architectural Documents,” com- prises one hundred selected plates reprinted from “Cathédrales de France” and “Monuments Historiques,” composing the great work in which carefully chosen examples of French architecture were shown by drawings and photographs from the archives of the French Government Commission on Historic Monuments. The original work, which was costly, has been out of print for some time, and few are so fortunate as to possess it or to be able to obtain access to it. From this rich store of material one hundred plates representing monuments of French Gothic Architecture have been reproduced to form the present book, in conjunc- tion with text matter by John V. Van Pelt. The fourth and fifth books in “The Library of Architectural Documents” will be devoted to French Romanesque and to Spanish Architecture, respectively. These will be followed by other volumes, rounding out the series into a reference library embracing a wide range of the best material presented in such a way as to meet the requirements of the architectural profession. Pelee e im ViONWV EIN TS OF FRENGH SOK eni LECTURE HERE have always been tides of fashion. ‘There f are: still. The crinoline sprouted in vast abun- dance to be followed by clinging folds; the long skirt by the short. But these tides ebb only to flow again. My mother, who after my father’s death always wore black, used to say that she found it convenient to retain the same style of dress and that every tenth year her costumes became the height of fashion. In art, Greek turned his back on Egyptian, Roman on Greek, the early Christian on the Roman. But there were refluxes. “The Renaissance harked back to the Classic. “True the more beautiful Renaissance buildings were quite unlike anything to be found in Rome but Roman influence permeated the period. So Spanish Romanesque was revived in Richardson’s buildings and, nearer today, Italian Renaissance in McKim’s. During the later half of the Nineteenth Century, Gothic appeared as a dominating influence in church design in America. Sometimes the results were good, sometimes very bad. Much of this work was confined to the restricted period of English Gothic and at one time a veritable craze for English churches blinded Americans to the noble grandeur and charming grace of the build- ings of France from which the impulse in England it- self had been derived. With the early Twentieth Century Gothic church before us no one would dare say that this influence on modern architecture has disappeared, nevertheless there was certainly a diminution of the tide in that direction, and the skyscraper appeared in a form that was usually clad in Classic or Renaissance garments. A peculiar characteristic of Gothic is its accentuation of the vertical line. This was a natural outcome of the essence of the period’s development. ‘The fashion of the Twelfth Century was to diminish the size of points of support and to uphold the vaults on slender ribs so that a thin filling between the latter might take the place of the weighty barrels and domes of Romanesque days. ‘These thin shafts had a function not unlike that of the steel columns of our present day skeleton con- struction. That this has been felt is evidenced by the West Street Building, the Times Building, the Bush Terminal Building, the Woolworth Building and the Hampton Shops Building. Now, during the last year has come the Chicago Tribune’s Competition with its plea for the most beautiful tower in the world and the response couched in Gothic terms has been clear proof of the wideness of the feeling that that style is pecu- liarly adapted to modern commercial architecture. In 1830 a far reaching historical movement swept over France and Michelet, Guizot and Thierry, whose names have since then grown bright as stars of the first mag- nitude among the constellations of historians of the world, took up their researches in the national archives of the French State. Restorations of the decaying monuments of France, that glorious abiding place of beautiful archi- tecture, were initiated in 1837 by an Act of the Ministry of the Interior and the masses of the people, until then indifferent to the depredations of vandalism, were aroused to a loving respect for the relics of their past national greatness. The original Commission of Historic Monuments placed in charge of this work was composed of eight members, but in 1887 a revision of the law was enacted so that, on the 30th of March, 1889, the Commission was increased to thirty-seven and included the most noted members of the administration, archaeologists and archi- tects of the period. In the prosecution of their work, a vast number of measured drawings were accumulated, some of them of the actual condition of the buildings, some of them show- ing the restored condition, a faithful reproduction of the original design. “Thus this work, still in progress, has extended over a long period of years. By the early part of the Twentieth Century it had assumed really imposing proportions. The authors of these drawings were men whose names are now famous, Viollet-le-Duc, Rouillet, Ballu, Boeswillwald, Raulin, Toussaint, Formigé, De Baudot, Questel Daumet, Blondel, Normand, Paulin, Sauvageot Corroyer, Lucien Magne, and a host of others too numerous to set down here. ‘The enormously valuable collection of documents was practically closed to the public until A. de Baudot and Perrault-Dabot approached the Ministry of Public In- struction and the Director of Fine Arts with a request that a selection from it might be published. De Baudot was the Director of Diocesan Edifices and Perrault-Dabot the curator or archivist of the Commission of Historic Monuments. ‘Their proposal found immediate favor and a special committee was formed to select the draw- ings, edit the work and place before the world the most interesting portions of the collection. The committee in- cluded A. de Baudot, Perrault-Dabot, Lasteyrie, a mem- ber of the Institute of France, Selmersheim, Chief In- spector of Historic Monuments, A. Michel, Curator of the Louvre, and three members of the Commission of Historic Monuments. Five volumes of one hundred plates each were published and to these were added two volumes of the Cathedrals of France, increasing the total number to some six hundred and fifty plates. When one remembers that the majority of the plates contain half a dozen or more drawings, the tremendous amount of work of the very first order here given to the archi- tectural profession becomes overpowering. The plates are reproduced in heliogravure, a certain number showing photographs or water color drawings in perspective, the remainder plans, sections and elevations. Each plate is accompanied by a short descriptive sketch of the building and the whole by valuable historical dis- cussions of the different periods which extend from early Christian to modern times. Unfortunately this work, originally an expensive one, has for a number of years been entirely out of print. Thus it is quite unavailable for use to the majority of ar- chitects in America. In view of the urgent need that is presenting itself for reliable documents on French Gothic the editors of the present book conceived the idea of selecting from this monumental work of the French Government and its representatives, the most interesting examples of Gothic contained in it, skimming the cream, as it were. In doing so an underlying motive has been to bring together those designs that are best suited to become inspirations for modern use, especially for busi- ness and office buildings, rather than as a mine from which to extract and mint new churches, copies of tnose of the old country. Unquestionably the church architect will tind the present selection rich in inspira- tion for his peculiar specialty, but the hope of the editors is much broader than that. Just as Thirteenth and Fourteenth Century England brought forth a new Gothic within the confines of her sea bound shores, so might our distant country, although impelled by a dif- ferent emotional urge, influenced by other economic re- quirements, and at once limited and driven forward in the use of new materials and methods of construction, utilize those elements of that beautiful and logical devel- opment of the architectural past to create another ex- pression of Gothic that shall contribute its own quota to the sum total of the art of the world. The following descriptions of the selected plates are culled from those of the original work. Necessarily cur- tailed, we hope that they may sufficiently fulfil their purpose of suggesting the period to which the building belongs, its location or family connections, and any neces- sary technical information about the indications on the drawings. Obviously the numbering deviates from that of the original. Plate I (Page 13), Saint-Sauvery, Cathedral of Aix- en-Provence (Bouches-du-Rhone). “Che nave and aisles are of different periods, the nave being Fourteenth Cen- tury, the northerly aisle Seventeenth Century, while the original choir was Eleventh Century. The porch and tower shown here are Fifteenth Century additions but despite the lateness of the period the contrasts of orna- mented and plain surfaces and the relegation of inverted, unstructural arched forms to purely decorative motives endow the design with a charm that is not diminished by any suggestion of illogical structural unsoundness. The cornice, parapet, decorated buttresses and finials contain suggestions that would be useful in clothing the vertical and horizontal lines of modern skeleton structures. Plate II (Page 15), Sainte-Cécile, Albi (Tarn). The cathedral was begun in 1282, finished in 1512 and built of brick. ‘The single nave is 31 metres high and is deco- rated with painted ornament. ‘The view selected shows the Fifteenth Century rude screen, or jubé, where, as in the preceding plate, the accentuation of vertical and hori- zontal is suggestive. PlatessT11) TV, °Vi2 Vi cand sV lie{ ares 7. Sar 23, and 25), Notre-Dame, Amiens Cathedral (Somme). Ruskin considered this the most beautiful nave of the whole Gothic period. In its accentuation of the vertical it contrasts with the Spanish type, notably that of Seville, where broad proportions achieve their effect in an entirely different way. Amiens Cathedral was begun in 1220 from the designs of Robert de Luzarches. ‘Thomas de Cormont, Renault de Cormont and Pierre Largent succeeded him as architects and the church was finished in 1366. The nave is 15 metres wide and 42 metres 95 centimetres high. The clerestory windows are 12 metres in height and fill the whole space between the piers. The total length of the church is 133.10 metres. Necessary repairs were made between 1850 and 1875 by Viollet-le-Duc. Page 25 shows an especially lovely bit of Gothic detail. Plate VIII (Page 27), Notre-Dame, Bayeux (Cal- vados). An early Romanesque church was destroyed by fire in the Eleventh Century, a reconstruction had a like fate in 1107. The present church was begun in 1159 and finished about 1231, although some of the chapels and the main porches appear to have been built in the Fifteenth Century. The details of the pier shafts are instructive. Plates 1X, -X, XI ‘and XII] {Pages 29.3133 and 35), Saint-Fierre, Beauvais (Oise). This cathedral, begun on the largest scale of any in France, never pro- gressed farther than the choir and transepts. It was begun in 1225. ‘Lhe nave is actually the highest of the Gothic period, rising to an elevation of 48 metres above the tioor, while the roof ridge is 6% metres above the hoor. tn this building the window treatment and _pos- sibly such tracery as that of Page 35 might be used as a point of departure in the design of a large modern hall where light is required. Plate XII1 (Page 37), Saint-André, Bordeaux, (Gi- ronde). ‘he choir and transepts are of the Thirteenth and Fourteenth Centuries, the west end of the nave older. The facade shown is that of the north transept. Plates XIV, XV, XVI, XVII and XVIII (Pages 39, 41, 43, +5 and 47), Saint-Etienne, Cathedral of Bourges (Cher). The structure here consists of an upper and lower church. The latter, of the Eighteenth Century, envelopes a Romanesque crypt placed under the choir of the upper church. ‘The north and south transept porches, of which one is shown on Page 45, are probably of the period of the crypt, but the beautiful carved door is unquestionably Gothic, as is the main west porch, Page 47 Plate XIX (Page 49), Saint-Francois-de-Sales, Cham- béry (Savoie). The church was built in the Fourteenth and Fifteenth Centuries, the unfinished facade shown here in 1509. While the resulting effect cannot be recon- ciled with the Gothic of France, it does not lack beauty in its simplicity of form and depth of shadow. There is something Italian in the projection of the temporary extension of the nave roof and if the idea were skillfully adapted to modern use, the whole might be made har- monious and the charm of the ensemble retained. Plates XX, XXI, XXII, XXIII and XXIV (Pages 51, 53, 55, 57 and 59), Notre-Dame, Cathedral of Char- tres (Eure-et-Loire). This famous building, like Bourges, consists of an upper church and of an immense crypt, the latter, part of an early church destroyed in 1194. The reconstruction of the new, upper church was finished in 1260. Several chapels were added at later dates and the sacristy was built in the Fourteenth Century. The north spire is in stone and of the early part of the Sixteenth Century. It reaches a height of 117 metres. The tran- sept porches, see Page 55 for the one on the north side, were added about 1240 and are unusually beauti- ful on account of the play of light and shade. The main porch of the west facade is of the purest Gothic period and the sculptured figures are conventionalized with such consummate skill that they fit perfectly into the vertical allignment of that portion of the design in which they play such an important role. It is interesting to note how at intervals a plain shaft has been introduced as a foil to these beautiful figures. Plate XXV (Page 61), Notre-Dame, Evreux (Eure). The nave is Romanesque up to the triforium, the upper portion Thirteenth Century. The transept, choir and side aisles are of the Thirteenth and Fifteenth Centuries. The fleche that terminates the tower is Fifteenth Cen- tury and reaches a height of 73 metres. It is of wood covered with lead. Plate XXVI (Page 63), Saint-Etienne, Limoges (Haute-Vienne). The present church, which replaces a Romanesque one, was begun in 1273 but no more than the choir had been completed in 1408. Successive periods of enforced inactivity supervened so that the building was only finished in the latter part of the Nineteenth Cen- tury. Modern work has been made to harmonize as much as possible with the old. The flamboyant Gothic north transept, the view shown here, is one of the best examples of that period and was almost entirely completed between 1515 and 1545, Plates XXVII and XXVIII (Pages 65 and 67), Saint-Etienne, Meaux (Seine-et-Marne). Saint-Etienne of Meaux was begun in 1170 but with such poor mate- rials that an entire reconstruction was undertaken in 1268. Work progressed slowly though more or less continuously so that the north tower was not completed until the middle of the Sixteenth Century. The building was restored during the later half of the last century. Plates XXIX and XXX (Pages 69 and 71), Notre- Dame et Saint-Privat, Mende (Lozére). The original church belonged to the Fourteenth and Fifteenth Cen- turies and the towers were begun in 1508 and 1509. In 1579, Calvinists sacked the building and destroyed all but the towers and the two apsidal chapels. ‘The present interior is therefore the best reproduction of Gothic that Henry IVth in the Seventeenth Century could produce or afford. Nevertheless, despite its plain- ness the simplicity of the interior has a distinct charm. Plate XXXI (Page 73), Notre-Dame, Moulins (Allier). The choir of this church was built between 1465 and 1507 but the nave, west front and towers are modern (Eighteenth Century work), from the designs of Viollet-le-Duc. ‘The sweep of the flying buttresses of the old construction is of interest and is accented by the gutters. Plates XXXII and XXXIII (Pages 75 and 77), Saint-Pierre, Nantes (Loire-Inférieure). This is the only French church built entirely in Fifteenth Century Gothic. Even here the nave, side aisles and west front were alone the portions actually constructed during the Middle Ages. ‘The remainder of the church is modern, but finished in the original style. ‘This curious inversion of the usual procedure, where the choir antedates the nave, was brought about by the existence of an earlier Roman- esque choir. In the nave it is apparent that Gothic has had time to fully develop: the line of each vault rib is carried up from the ground. Plates XXXIV, XXXV, XXXVI and XXXVII (Pages 79, 81, 83 and 85), Notre-Dame, Cathedral of Paris (Seine). This is one of the most beautiful and perhaps the best known of the French Gothic Cathedrals. A particularly attractive view is that from the southeast showing the apse, fléche and flying buttresses in the fore- ground. ‘The interior dimensions of the building are: length, 130 metres, width, 48 metres, and height, 33.77 metres. There is a main nave and double side aisles. The church is surrounded by 37 chapels. Viollet-le-Duc designed the lovely fléche. It is built of oak covered with lead and reaches a height of 95 metres above the ground. Plate XX XVIII (Page 87), Saint-Corentin, Quimper (Finistére). he choir and apse of this cathedral were begun in 1239, the collaterals of the choir are of the Fourteenth Century, the main nave, transepts and central vault Fifteenth Century. The greatest variety of style is apparent. The spires were completed between 1854 and 1856. ‘The interior dimensions are: length, 92.45 metres, width, 15.70 metres and height of nave, 20.20. An interesting characteristic of the plan is the inclina- tion of the axis of the nave toward the north. It is to be found in other churches of that time. Plates XX XIX, XL and XLI (Pages 89, 91 and 93), Notre-Dame, Reims Cathedral (Marne). The Great War has turned the limelight of history so vividly upon this beautiful building that it is now the most noted example of Gothic art. Without such notoriety it deserved a foremost place in the consciousness of all art lovers, and although it may lack some of the sturdy virility of Paris and Chartres, its lacy loveliness, har- monious proportions and aspiring lines place it in the first rank of the great monuments of this great period. It belongs to the first half of the ‘Thirteenth Century. Ihe architect was Jean d’Orléans and only the upper part of the west front and the two towers remained to be completed in the Fourteenth Century. ‘The spires intended tor both towers were never finished. A fléche at the intersection of the transepts and nave was destroyed by fre in the end of the Fifteenth Century. Restorations done with material of poor quality were undertaken dur- ing the latter half of the Nineteenth Century. As the result of the vandalism of the Germans, restorations have again been begun. ‘Lhe building is 138.70 metres long, 49.45 metres wide at the transepts and the nave, 38 metres high. Plates XLII and XLIII (Pages 95 and 97), Notre- Dame of Rouen (Seine-Inférieure). Rouen may be called the most picturesque of the French cathedrals. A part was built during practically each Gothic period and the more specifically French Gothic influence warred with Norman in the evolution. The building was begun in the Twelfth Century, minor parts destroyed by fire in 1200, the lateral porches of the west front and the north tower of Saint-Romain remaining. ‘The nave transepts and choir were rebuilt in the Thirteenth Cen tury and the south tower in the Fifteenth Century. The upper part of the north tower was added in the Sixteenth Century and an openwork spire of wood covered with lead surmounting the central tower was late Sixteenth Century work. In 1882 lightning destroyed the central spire and it was rebuilt of cast iron between 1827 and 1877. The vault of the central nave supports its key- stone 28 metres above the church floor, Plate XLIV (Page 99), Saint-Pierre, Saint-Claude (Jura). The plate is full of the severe character of the Middle Ages, this end of the church being the part that was built in the Fourteenth Century. The west end was finished during the reign of Louis XV. The simple buttresses of the apse with their long vertical lines and windows entirely filling the intervening spaces might be useful in the designing of a modern office building. Plate XLV (Page 101), Saint-Dié, Saint-Dié ( Vos- ges). This church belongs to the Eleventh, Twelfth and Thirteenth Centuries, the chapels to the later period. They do not correspond to the main buttresses but are perhaps all the more picturesque for that reason. ‘The west front is Doric of the Seventeenth Century. Plate XLVI (Page 103), Saint-Flour, Saint-Flour (Cantal). The building belongs to the Fourteenth Cen- tury and will prove a delight to those who take pleasure in simple wall surfaces. It has an advantage over the Cathedral of Mende, Page 71, in that the intrados of the arch between the nave piers is not rounded off and therefore has greater force and strength. The beauty of the detail of the pulpit is intensified by its background. Plate XLVIT (Page 105), Notre-Dame, Séez (Orne). The cathedral of Séez is Thirteenth Century. Defective foundations explain the enormous buttresses. The ver- tical lines of the towers are inspiring, the openwork spires beautiful in detail and silhouette and the upper portion of the fagade of the south transept a gem. Plates XLVIII and XLIX (Pages 107 and 109), Saint-Etienne, Sens (Yonne). ‘This cathedral has been ascribed the place of the oldest Gothic monument, al- though Viollet-le-Duc gives the palm to the Abbey of Saint Denis. The latter was begun in 1137, so Sens may have had its birth in 1140. Indeed the main portion of the church was probably built during the latter part of the Twelfth Century. The walls and vaults above the triforlum were changed at the end of the Thirteenth Century; also the date of the major portion of the west facade, although the central door and north tower are Thirteenth Century. The south tower, including the gallery of bishops, is of the end of the same century but the clock tower above it and the belfry and campanile belong to the Sixteenth. The transepts are 1490-97, (Page 109), and 1501-16. The ‘Thirteenth Century Officialite to the south of the church (one bay shows in the photograph) is most interesting. Plate L (Page 111), Saint-Gervais-et-Saint-Protais, Soissons (Aisne). Soissons is the most beautiful and the most complete of the smaller cathedrals. It belongs to the latter half of the Twelfth Century and the earlier part of the Thirteenth. It is 100 metres long and nave vault is 33.30 metres high. ‘The pier details are par- ticularly instructive. Plate LI (Page 113), Saint-Pierre, ‘Troyes (Aube). This cathedral was begun in 1208 and the choir, tran- septs and the last bay of the nave are Thirteenth Cen- tury. It progressed slowly during the next three cen- turies and has in it examples of all periods. The apsidal chapels are strikingly picturesque. Plate LII (Page 117), Church of Auvers (Seine-et- Oise). Here we have a transition or early Gothic build- ing (Thirteenth Century) but all of the same period except for the Twelfth Century Romanesque apsidal passage on the left of the choir in the perspective. It seems to nestle like a little chapel between the choir and the transept. Plate LIII (Page 119), Church of La Chapelle-sur- Crécy (Seine-et-Marne). It is a Thirteenth Century building, somewhat changed in the Fifteenth Century, which left its mark in the three unusual triforium arches seen at the left of the section. Plate LIV (Page 121), Bishops’ Palace of Laon (Aisne). This building is now the Court House. It is Thirteenth Century Gothic and the main hall, of which the pointed arched windows are seen in the section, was built about 1242. Plates LV and LVI (Pages 123 and 125), Abbey of Saint-Martin-des-Champs at Paris. The priory was founded in 1061 and rebuilt in the Thirteenth Century. It is now the Conservatory of the ‘“Arts-et-Metiers.”’ The beautiful door, Page 123, now in the library, was originally that of the cloister which preceded the hall now next to the library. Although these unusually fine details bear the stamp of a well developed art, some anti- quarians believe that they really date back to the ‘Iwelfth Century and that they were only restored in the Thirteenth. Plate LVII (Page 127), Cloister of Saint-Jean-des- Vignes, Soissons (Aisne). We have here a beautiful piece of Thirteenth Century Gothic with an interesting example of the way in which, at that logical period, needless but- tresses were omitted in a corner. : Plates EVIL, LUX, duxXand IEXI> (Pages: $29.5 1315 133 and 135), Chateau of Pierrefonds (Oise). In it we see the most important specimen of military archi- tecture in France. It was also, in its day, one of the most sumptuous residences of the period. Built by Louis, Duke of Orléans, brother of Charles VI, in the latter part of the Fourteenth Century, after a siege in 1616, the chateau was taken and the greater part of it razed to the ground. Napoleon III restored it and appointed aaa Pi to direct the work. It was almost finished in 1870. Plate LXII (Page 137), Church of Tillard (Oise). This picturesque little edifice was built about 1340. It has a vaulted wooden ceiling with apparent trusses. Plates LXIII and L-XIV (Pages 139 and 141), Chapel of the Chateau of Vincennes (Seine). This building belongs to the Fourteenth, Fifteenth and Sixteenth Cen- turies, “Che Renaissance architects took especial pride in working in the original Gothic style so that it is almost impossible to distinguish the later from the earlier work. The interior, of which the proportions are unusually beautiful, might serve as an inspiration for a modern hall of large proportions. Romanesque has been success- fully adapted to such uses, Gothic should offer as fertile a field. Plate LXV (Page 143), Old Houses at Provins (Seine- et-Marne). The Grange des Dimes is Thirteenth Cen- tury, the house of the rue des Capucines (middle right) only dates back to the Fifteenth or Sixteenth Century, while the Hotel Valuisant is of the Thirteenth Century. A certain type of modern restaurant might be improved by study of the houses of this period. Plate LXVI (Page 145), Town Hall of Saint-Quen- tin (Aisne). ‘The plate shows the condition of the build- ing (a Sixteenth Century design) in 1847. It was mutilated by unskillful restoration in 1850, but in 1899 an effort was begun to remedy this. Plate LXVII (Page 147), Church of Pontorson (Manche). ‘This little Breton church was built in 1010 but the choir was replaced in the Thirteenth Century and the heavy buttresses required to hold the old edifice were probably of the same date. Plates LXVIII, LXIX and LXX (Pages 149, 151 and 153), Abbey of Mont-Saint-Michel (Manche). The abbey was founded in the Eighth Century but the oldest portions of the existing building are not earlier than the Eleventh. The church was finished in 1135. The first three bays of the nave were destroyed in 1776 and the choir which fell in 1421 was rebuilt between 1450 and 1510. The buildings of the abbey proper, destroyed by fire in 1203, were reconstructed in the Thirteenth Cen- tury. This group of buildings has always been famous on account of its picturesque beauty. Henry Adams has made it still more famous by the beauty of his writ- ing. It has not been extensively shown in architectural publications and these plates are particularly interesting on that account. Plate LX XI (Page 155), Church of Saint Serge at Angers (Marne-et-Loire). The sanctuary, choir, lateral chapels and transepts date back to the Twelfth Century or at least to the beginning of the Thirteenth and are distinctly Plantagenet in character. The nave, its col- laterals and the main elevation are of the Fifteenth Century. Plate LX XII (Page 157), Church of Omonville-la- Rogue (Manche). This little Thirteenth Century church is by the sea and as a protection against the wind has no west porch. ‘The entrances are on the north and south at the westerly end of the church. The west win- dow has in it a very early example of Gothic tracery. The tower is also unusual and picturesque. Plate LX XIII (Page 159). On the left is the gate of Saint-Jacques at Parthenay (Deux-Sévres) and on the right that of Brest Dinan (Cétes-du-Nord). Both of these are Thirteenth Century constructions. “They show traces of Fourteenth Century restoration. Plate LX XIV (Page 161), Church of Saint-Ouen at Rouen (Seine-Inférieure). Here we have one of the most homogeneous and perfect examples of Gothic ecclesias- tical architecture not classed among the cathedrals. The church was begun in 1320. Its nave is Fifteenth Cen- tury, but in entire harmony with the choir. Plate LXXV (Page 163), Church of Tour (Cal- vados). The nave and transept are Romanesque, the cho'r and apse unusually fine Fourteenth Century Gothic, Plate LXXVI (Page 165), Dungeon of the Old Chateau of Dinan (Cotes-du-Nord). It consists of two coupled towers of the Fourteenth Century. Plate LX XVII (Page 167), Choir screen of the old Abbey Church of Fécamp (Seine-Inférieure). ‘This screen, built in the Fourteenth Century, was destroyed about 1894 or 1895, but its remains were gathered to- gether and the present plate is a faithful restoration of the screen made by Sauvageot. Such screens are unusual in France and this one is very beautiful. Plates LX XVIII and LX XIX (Pages 169 and 171), Church of Saint Maclou at Rouen (Seine-Inférieure). Saint Maclou, begun in 1437, was not finished till the beginning of the Sixteenth Century. It is a particularly interesting example of late French Gothic. Plate LX XX (Page 173), Choir screen of the chapel of Saint-Fiacre at Faouét. This beautiful Fifteenth Century screen is of carved wood. ‘The lacy details shown in grey tint no longer exist and are an attempt at a restoration by Mr. FE. Lambert drawn up in 1850. Plate LXX XI (Page 175), Church of Notre-Dame at Dijon (Cote-d’Or). Here we have the purest example of the Thirteenth Century architecture of Bur- gundy. ‘The west front towers were never finished. “The nave is 25 metres high. Plates LX X XII and LX XXIII (Pages 177 and 179), Synod Hall of the Archbishopric at Sens (Yonne). Here is a Thirteenth Century building that would lend _ it- self readily to adaptation as a college or school refectory. It seems a pity that fashion should have turned American architects so generally toward English work of the same period to the exclusion of the more virile French proto- type. Plate LXXXIV (Page 181), Old Hotel-Dieu or Hospital at Tonnerre (Yonne). ‘The great Thirteenth Century hall built for the patients has been changed into a chapel. It is 101 metres long, 21 metres wide and covered by a trussed wooden vault. The apse has stone vaults. It is extremely impressive in its simplicity and great size. Plate LXXXV (Page 183), Church of Saint-Urbain of Troyes (Aube). Here again the Thirteenth Century has bequeathed to us an example that can be utilized in modern work. ‘The spaces between the vertical piers and buttresses are entirely filled with a beautiful glass and tracery screen. Plate LX X XVI (Page 185), Clock Tower at Auxerre (Yonne). This is a Fifteenth Century construction. Plate LXX XVII (Page 187), Hospital of Beaune (Cote-d’Or). Here we have a Fifteenth Century group of buildings with a most picturesque gallery of carved wood. Plate LXX XVIII (Page 189), Church of Notre- Dame at Cléry (Loiret). The church, originally built in 1428 and fired by the English, was rebuilt toward the end of the Fifteenth Century. It is 83 metres long. Plate LXXXIX (Page 191), Batiment des Machi- coulis, Le Puy en Velay (Haute Loire). Adjoining this building is the famous cloister of Le Puy, a corner of which can be seen in the transverse section. “The main hall shown here was built up to the level of the modil- lions in the cloister during the Romanesque period. Th? upper portion of the building is Thirteenth Century. Plate XC (Page 193), Lava Crosses at Saint-Nectaire, Royat and Saint-Cirgues (Puy-de-Dome). Charming in their delicate lines, these Fifteenth Century crosses are sculptured from blocks of lava. The pedestal of the cen- tral one probably came from another cross. ‘The last on the right was carved toward the end of the century. Plate XCI (Page 195), Palace of the Popes at Avignon (Vaucluse). One of the most important Four- teenth Century military constructions, this half fortress was never taken by force. As an armory or a warehouse such a building would be of use today. Plate XCII (Page 197), Ramparts of Avignon. The ramparts of Avignon are of the same period as the Pope’s Palace, Fourteenth Century. The Porte St. Michel is particularly interesting and the room in the arch over the passageway is unusual. Plate’ XCIIT (Page 199), Old Cathedral of Saint Nazaire at Béziers (Hérault). The older portions of this church are Twelfth Century but the nave and apse are of the Thirteenth and Fourteenth Centuries. ‘The cloister is of the later date. Plate XCIV (Page 201), Church of Larroumieu (Gers). In the center of the plate is a plan of the town that shows the approaches to the church and to the right of it, at larger scale, a plan of the church and its cloister. The building is Fourteenth Century and has an interest- ing projecting roof that partakes of the southern char- acter not usually associated with French Gothic. Plate XCV (Page 203), Convent of the Jacobins at Toulouse. The church is one of the most beautiful constructions in brick of the Thirteenth Century. It has a very curious arrangement in plan as there is a line of columns on the main axis dividing the vaults into two equal sets. ‘There are no side aisles and originally there were no chapels. “Those around the apse are of the Fourteenth and Fifteenth Centuries. Plate XCVI (Page 205), Belfries of the Abbey Church of Brant6me (Dordogne) and of the Church of Montjoie (Ariege). The first of these is Twelfth Century. The second, which served as one of the fortified points of the town, is Twelfth Century in its lower portion, but the little campanile and the archivolte of the entrance door are Fourteenth Century and the upper parts of the two towers are probably Sixteenth Century. Plate XCVII (Page 207), Town Hall of Saint- Antonin (Tarn-et-Garonne). This beautiful structure is of the Twelfth Century. Plate XCVIII (Page 209), Old Abbey of Loc-Dieu near Ebbes (Aveyron). ‘The church is Twelfth Cen- tury with a Fifteenth Century apse and cloister. Plate XCIX (Page 211), Church of Villefranche-de- Rouergue (Aveyron). The church is of the Fifteenth Century and has a simple majesty that is commanding. Unfortunately it was never completed and the roof of the tower is a makeshift. Plate C (Page 213), Town Hall at Cordes (Tarn). This is the most interesting of the Gothic houses of the curious old town of Cordes. It was built in the Four- teenth Century and is well preserved despite the mod- ern use of the arcade. The restoration shows its original appearance. JoHN V. VAN PELT. INDEX CATHEDRALES DE FRANCE PEG ATHEDRAL OF «0.050500 0s A eat Sole nee 13 EPPO ED RAT, OF cc.5 dire sae Peo Rcsls 6 ios viene « 15 AMIENS, CATHEDRAL OF .......... Vie we 28,12 Pee CAATEEDRAL, OF 4 020. a ew we tea ee . P4 IBEAUVAIS, CATHEDRAL OF ........... PURSE REP Sis) BorDEAUX, CATHEDRAL OF ....... ees esi ae eee 3/, PeUEGES SC ATHEDRAL OF .........: 39, 41, 43, 45, 47 CHAMBERY, CATHEDRAL OF ....... ee ere 49 CHARTRES, CATHEDRAL OF .....-.. Si. Sy Soave Ge PPE PRE GARURDRAL OR. 0. cess avs sce seed oe es 61 MOG sm ATHEDRAT, OF |... 5s bce stave ven s ae RES MO OPIGATEDEDRAT: OF «tat. ccu«s asses oes 65, 67 MOBNDE CATHEDRAL, OF 2.40.4). .0 0 cones we O50 71 MONUMENTS ABBEY OF MontT-SaAINnT-MICHEL ...... 149-151, 453 ABBEY OF SAINT-MARTIN-DES-CHAMPS ........ 123 Gea EenSERGES CUURCH AT ......5. 0855. 155 Pe SINR CITIOR sc sis aces eves Gees anes eh iZ PreeerRe wOLOCk LOWER AT ....5..00+06005.0% e, 185 AVIGNON, PALACE OF THE POPES AT....:....... 195 PAMIGNON SIXAMPARTS OF .....5 6:20. by ary 197 Deseo PIT DES MACHICOULIS...........0.6- 191 BEAUNE, HOTEL-DieEv, or HOspiTAL, AT........ 187 BELFRY OF THE CHURCH OF BRANTOME........ 205 BELFRY OF THE CHURCH OF MONTYJOIE......... 205 BEzIErRS, OLD CATHEDRAL OF ST. NAZAIRE AT.. 199 iseOrse ADAGE AT LAQN 502. 0% 26 cscs oars ees 121 BRANTOME BELFRY OF THE CHURCH OF......... 205 PieemtecAte OF AT DINAN 2.6.06 ee ees oe oa 159 CHAPEL OF THE CHATEAU OF VINCENNES.. 139, 141 CHATEAU OF PIERREFONDS ....... 1295, 131 133 e135 CuHorr SCREEN OF THE CHURCH AT FAoueT.... 173 CHOIR SCREEN OF THE OLp ABBEY CHURCH OF OU NTE pd a ae Pa he Re Ao 167 iseercn Ar FaouBT: CHork SCREEN ..... 6... 1:73, CuuRCH OF La-CHAPELLE-SuR-CREcy ......... 119 WIOULENS a(cATHEDRAL OR pr Mina. 56 avs a aN. the ere Bef3 NANTES) CATHEDRAL OF @ bckiehkis Suis ite «nce Fes Lamers PARISH(ATEEDEATAOMAC Cae fat. a c4 0% 79, 81, 83, 85 OOINBER MUEATELEDRAL CORT ahWeueiettep con kee oisi ones 87 REESE GAT EDR A LeO Ries ietaets iron fotos «as 89, 91, 93 FROMENG CATH EDRATSOF OG: ct fig ce saliva bee 95, 97 SATs CW AWD Han CTHELED RA gO Lime itn 2) epee ce 99 Sauaiar IDAs. (CARSON RAE, TS 245 canon boweoudeous 101 SAINT YE POUR OATH EDRAT OF «(88 ata santa sk 2103 DEE BUATHEDIAL? O80 Witt 5. acne sche alot aaLOS SENS eC ATHEDRAL OF @ Miteny sci eet tan 107, 109 WOLSSONS £ CA RHEDRALY OF Mente this ts saws es. s 111 (EROVESROA TH EDR ALA OL Meier ae eel at ett ciaircas lie aus isls 113 HISTORIQUES CIUR CH: ORs OARROUMILBU seieuyacicieere meee ee earn 201 CHURCH OF NoTRE-DAME AT CLERY ........... 189 CHURGH OF NOTRE-DAME AT DIJON .05-.e...:; 75 CHURCH OF OMONVILLE-LA-ROGUE ............ 157 CHURCH OF PONTORSON ..... Sia nee A IN ede 147 CuHuRcH-or St. Mactou AT ROUEN ....... 169, 171 CHURCH, OF) ST).QUEN ATEROUENT.00. 455 ).% 60 161 CHURCH OF OF. URBAIN AT: LROYES ot saves. «ctr 183 CHURGH. OF MEILEARD( Seri t cw ens Om pono R ta Marc YS CHURCH. OF al OURS sae aa cuir era mee aelecpe tee 163 CHURCH OF SVIETLEPRANCHE oc. . camden | seo k CLERY, CHuRcH oF Notre-DAME AT .......... 189 CLOCK JIOWERCATSA UKERRR ss oc ekire mt i a eee 185 CLOISTER OF ST. JEAN-DES-VIGNES ........... eu 27 CONVENT OF THE JACOBINS AT TOULOUSE ...... 203 CORDES FO Wine TATE rAcione teat ot cemene re ianeten nea: 213 Dijon, CHurcH OF NotrE-DAME AT .......... 175 DINAN OUNGEONW OR te tena a eee tae ee reels Palos FECAMP, CHOIR SCREEN OF THE OLD ABBEY GHURCH. OR yeiiict athe es a tee eee ae 167 GATEVOF BREST ULDINAN: cee cae te ee te oes 159 GATE.OF OT. JACQUES AT PARPHENAM Cf fan cst a.c 5h 09 INDEX (Conztnued) HOTEL-Dinv, OR Hosriran, Ar BEAUNE........ 187 JACOBINS, CONVENT OF, AT TOULOUSE .......... 203 LA-CHAPELLE-SUR-CRECY, CHURCH OF ........ 119 Ibo Bitsietoyse, LYNNE) OI So o560phandponscap ws 121 TLARROUMIE UY GHIURCHS Oy) ate nant Aiea nar 201 Lava Crosses aT St. NECTAIRE, ROYAT AND SP GERGUESI, orate tree Cae ena ee een ana e tes 193 Lioc- Dirt) On: ABBEVSOR =: aaa ie ees 209 MONGTERCOTOREIS, ISN INNEe NG IIS Gedo oo coo ox 191 MontT-SaInt-MIcHEL, ABBEY OF ...... 149, 151, 153 MonTJOIE, BELFRY OF THE CHURCH OF......... 205 Norre-DAMEy CaurcH OF Ab ClLERY ile 189 Notre-DaAmr, CHURCH Or, AT DITON eo: 175 OLDEABBEY OFs20C=)) iE Une ace wien eee 209 OLp CATHEDRAL OF ST. NAZAIRE AT BEZIERS ... 199 Otp HotTet-Dieu, or HospiraL, AT TONNERRE.. 181 Orn eHOUSES AD AE ROVING meine spree meticnetoy te reeeete 143 OMONVILLE-LASROGUB Ss GEU REED E Ob atlas meee 157 PALACE OF THe, POPES ATLAVIGNON . 2 Sale «ste 195 PARTHENAY, GATE OF ST. JACQUES AT ......... 159 PIERREFONDS, CHATEAU OF ...... 1202-131, 133, °%35 PONTORSON SCH URCH SOP Wet othe) 3p ki ee oe 147 Priory oF SAInt-MARTIN-DES-CHAMPS......... 125 EROVINS SOLD HOUSES MATa a tue. «enn eee 143 RAMPARTS: OF “A VIGNOMS San omer ci ee teil 197 RovEN, CHURCH oF St. MAcLou. AT....... 169, 171 Roven, Sts Quen s CHURCH ATA eee once: 161 ROVAT LAVA, GROSSMATnE , ee men one eee a LOS STs ANTONIN, [OWN - HALE. OF 6 ohar. oe 207 St. Cirngues, lava: CROSS ATs = set cee ee 193 ST: JACQUES, GATE OF;.AT PARTHENAY Suen 159 ST. JEAN DES VIGNES, CLOISTER .. ...0,) eee 127 St. MActou, CHURCEH.OF, AT ROUEN soar 169, 171 St. MartTIN-DES-CHAMPS, PRIORY OF ...... 123 9025 St. NAZAIRE, OLD CATHEDRAL OF, AT BEzIERS.. 199 Stu NECTATRE 1A WAR CROSS EA Tuan Pee rh Pu 8: St. QUEN, CHURCH OF, AT ROUEN’ .. eee 161 ST. QuENTIN, Town HALL at 7..55 eee 145 St. SERGES CHURCH AT ANGERS 7. e eee 155 St. UrspAIn, CHURCH OF, AT TROYES aa) eee 183 SENS, SyNop HALL oF THE ARCHBISHOPRIC AT “5 yh afd Ses ea odie ieee A I77pAs9 Synop Hatt or THE ARCHBISHOPRIC AT SENS ©. s j:ag\du'b oe ecu g 2 a 177, 179 TILLARD, CHURCH OF 4.2. 4. -e me ae ee TONNERRE, OLD HOTEL-DikEu, or HospiTat, at.. 181 TOULOUSE, CONVENT OF THE JACOBINS AT...... 203 Tour, CHURCH OF .¢.,./. J.4) .9 eee ee .. 163 Town Hatt at CORDES 2.00 2. ; 215 Town Hay. at St, ANTONIN | 72 )aneeee Nmap hhy Town Hatt at St; QUENTIN Foaeee Wie kiss eee 145 TROYES, CHURCH OF ST. URBAIN AT ....... tas Lee VILLEFRANCHE, CHURCH OF ., ./.)ee ene 211 VINCENNES, CHAPEL OF THE CHATEAU OF...139, 141 abit DE SsRPEANCHES (CONTRI SUDA) DANG Ib Geen A er 13 PERMA DY AUBY So )40-5)2 i) os die bee se gine ds ils CATHEDRALE D AMIENS ........... Vago Boe 23,029 MrerOne AEP Oe DAVEUX © cea s ws vb es see ete 27 CATHEDRALE DE BEAUVAIS .......... 2O 3 133055 Pra emmarnn ie BORDEAUX 2... 6c cece see 8 ee oe 37 CATHEDRALE DE BOURGES ......... 39, 41, 43, 45, 47 GAC MEDRAREODE: CHAMBERY ...05sc000eeewe ee ode 49 CATHEDRALE DE CHARTRES ....... Be 5557 Sao REO PP VREUX 2. cw ec wee 61 erin mm AtEm LIMOGES 23.0.6. 605s eee ees akan Were nrain pe NMEAUX ........ 60.05.0005 65, 67 Mee SDRALE DE WIENDE so... 26s es kas sale ass 69, 71 eCRERO DIATE MIE IVIOULTINS: asic cerdisu-e se on oe eve viele 73 Gere rurALeepe NANTES [00.0.2 0.00605 To Le PRO ORALE DE ARIS 5.0.1.5. 0000s 79, 81, 83, 85 CATHEDRALE DE PEST esha a ce oy kes, cons 87 TEMPCIENERLM OE REIMS 26... ce cece cveee 89, 91, 93 GOR AME NDE BINOUEN. o.0 cs se en oe ete ewe nl 95, 97 CASE EDRAUE DE SAINT-CLAUDE ../.......... 99 MetemmeALhIOn OAINT-DIE )..........82c000 101 (APA EDRATE DE SAINT-PLOUR ....0.05 6.00.0... 103 CEG RID RATING eS BIZ Ge sec ces csicue s Gos a ecee we 105 PeeCPPMRATE DE SENS... 0s os cee c sc bewe ee ae 107, 109 (eT PIEDRATE DE SOISSONS ... 0.26.0 veeecee ees 111 (SAEED RATBNDES DROVES... oc cicdwielac ele sees 113 Poursn oD AUVERS ...... EAE oan Soka Ragin ee coh LZ, Per erepe iA OU APELLE-SUR-CRECY 2.004.560: 119 Pern Se VECTLE ODE: LAON 4.0.0. cc ecceee cee cee i21 ANCIENNE ABBAYE DE ST. MArTIN-DES-CHAMps. 123 PRIEURE DE St. MARTIN-DES-CHAMPS .......... 125 CLOITRE DE L’ABBAYE DE ST. JEAN DES VIGNES, OSS IS ae ee Ne B27, CHATEAU DE PIERREFONDS........ L205 Sie 145 loo ET TLARD ox; F. Oeises. areas wot oiane as 137 CHAPELLE DU CHATEAU DE VINCENNES.... 139, 141 Wairitpes NAISONS A..PROVINS 3.00.5. 05 5.0% eed PLOTEL-DE- VILLE DE OT) QUENTIN: .:.cccdscs 2 5» oe 145 ReMCSr MER GN TORGON ie thle he ccc Wem ee eee 147 MONTE oOMUNT IV TCH Rivne, .cvecw osc oh 149, 151, 153 ECHISh oT MarRChs AN AINCHRS tn teat. Wwiheies 155 ECLISE D OMONVIELE-LA-ROGUE. 21: Ji..5..4. mas PORTES OT. SPACOUES An PARTHENAY 0.86 i. oo: 159 PORTHSDE DRESS Tn DINAN vee ta oh daa ate ets ts 159 HGLispesT MOWED ROUEN... ati owe 161 ICSE Re DOW RI Rake tie lt See Oe ee nes oats 163 GN TON ne dL INCAS 9s neg nian, actus eee tee Tae 165 JuBE pE L’ANCIENNE EcLise ABBATIALE DE TRE GARDE AO ce See, ENT bas, So mer ne ta amg 167 DELISE. STEM ACLOU. ROURN a... ees oe. 169, 171 PURE DE ECL inm ne MAOIET Se MS IM tates oo 173 Petrse NOTRE-DAMEIAD ISON? tice tras kook tebe 175 ANCIENNE SALLE SYNODALE DE L’ARCHE- AES CETERA ES EAN See RNY nS oe eet ene ge ee 177, 179 ANCIEN HOtTEL-DiEU DE TONNERRE ....!...... 181 BOMTSE* OT URBANA PROYES 5 Gu teir eee oie ne 183 OURS DE VEE LOREOCH Ne USCERR berate ats eee 185 HOTEL DIR De RRA K14 vig a fa as w Sve Mele 187 PCLIsnsNOrRE DAME A CULR VCs one eee o ack 189 RATION HN T Dir DES VA GECOULIG nk tiie ae les le 191 CROIX-EN LAVE DANS LE PUy-pDE-DOME ........ 193 AVIGNON DD AIEATSE DIG? ARn Sue ei te a, ochre ae eas 195 REMPARTS ID, AVIGNON Nee cme cers ae 197 ANCIENNE CATHEDRALE SAINT NAZAIRE A IBRZIERSG teeny eR RD Varn ats Et Ret RiC Jaw mie att sR 3 199 EGtisk pr LARROUMInG ae ee ee ae 201 LE CoUVENT DES JACOBINS DE TOULOUSE ....... 203 CLOCHER DE L EGLISE De BRANTOME .....a.5-.. 205 CLOCHER DE L{EGLIsSE DE MONTJOIE ..-.-....<. 205 TLOTEL-DE- VILLE) DE. OTe UB NEEN hurr tee, ee 207 ANGCIENNE GARB BAY EY DES lsOG= lO lease eee a ieee 209 PeLISE DEyVILEBERANC Mm met: ieee Zi HLOTEL-DE= VILE DEO GORDES 4 ya ae ee ee ZA3 Errata: On page 33 “arbres” should be arbre, and on page 61 “Eureux” should be Evreux. The LIBRARY of ARCHITECTURAL DOCUMENTS Other volumes included in this series: ARCHITECTURE TOSCANE By A. GRANDJEAN DE MONTIGNY and A. FAMIN Dee SPOUY One hundred selected plates from FRAGMENTS D’ARCHITECTURE ANTIQUE and several to be announced at an early date v @evHEDRALES DE FRANCE r ihe wOR AIZE SDE FRAN CE RHONE ) 13 CATHEDRALE D’AIX (BOUCHES-DU we Caw Le rigk Dantes er leR A N..C TE ie na pet eek Ane ESN LRN OTE LLIS SALLE LE LPI RCE DIE TIED . 15 ss i os pa 20 Ceol ial é (TARN) CATHEDRALE D’ALBI ‘ hs ' - . y? ‘ * . & 7 ~ i eNO Leeper RAs BS Deb eb sReA WN: CoE BECTEAR + 4 ‘er | CATHEDRALE D’AMIENS (SOMME) 17 te Coomera Orns Lom DeRar R ALN Ck ‘AMIENS (SOMME) CATHEDRALE D Porte de la Vierge Dor ée—Transept Nord 19 ye ia OPamleieusUeR esi ks) Db KF ReAN OE (SOMME) CATHEDRALE D’AMIENS al (p4ON Ag2v4])—Ana0yy mp a4njo])D (AWINOS) SNAINV.d FIVedaHLVo cemen Vedic eC Sate Lay techs tte TW) 23 + he ‘ fl z v we 3 * ry (AWIWOS) SNSINV.d ATVYdaHLVvo JON PL Pp s8yPaeiey TonEesS Ly J* FI ap aAmetreyur PP ILO eR J8N PL 2RS° epesadeastresy edus’y) = SB CCN, AS Se eee speurpranuo; adneg oe SRS pcan See Sa A ee eee | BLN Vou old Ch Sa leva tl Clonee Ve) 25 we oT hey Ffate .- ™ CATH E DRA Ss: DE FRANCE Ha Suivant at é 2 = : a te e i ie : = 4 ‘ Ny g Sop : ‘i fe YW x R xy q S = S We Be } ij as kA ‘ { z “ ea CATHEDRALE DE BAYEUX (CALVADOS ) “ CoAIT POE DD ROA dE SD hE RAN CE CARD 20 Lb Bi 29 COISE)) CATHEDRALE DE BEAUVAIS DOTRTAG iS Es DMR AUN CE va =a 4 CoG I Ble bas CATHEDRALE DE BEAUVAIS (OISE) Transept Nord—Fartie Haute 31 _ Ua re letiel DRA We, SD ERA NCCE ( OISE ) CATHEDRALE DE BEAUVAIS (Tympan) Arbres de Jesse— d ept Nor Porte du Trans 33 ie 3 Cela eeior Wenge emer) He Abo Rea No Coelt Seeecensenascosuccenann SBOE ARON EN Soowan ees avies dy Choor. 4 u 4 35 CATHEDRALE DE BEAUVAIS (OISE) Gea oT? Pens: Re ASE De ee EoR APNE GE 37 (GIRONDE ) CATHEDRALE DE BORDEAUX Sas hae es e 154 wis: * a ogi e4 = ~ = >? al, - ws 7 be ne ¢ aed , . , é q al x 7 1 a a ’ foe ae 7 ’ 7 By hat ‘ a ” ~ @ . f A. bl i ‘ 4 Fes ’ ‘ . t 4 % : ‘ ' * i ; . . m ‘ . } ‘ soanet (YdHO) SaOUNOd Ad AIVYCFIH.LVO 48, Oy} SOP ate yoy PHS a ripe Hoey aN Vt Cheikh al yet Cie) baa v2) SP Stsasuedy IMS adno5 39 Va Gere Hee DR Aster, S>)D, Ev FoRSA N°C E ( CHER ) CATHEDRALE DE BOURGES 41 _ vo Te a ; ne ae | » + i a - . » \ Cre phe ReA cbs “fb BalbEeR AON- GE CATHEDRALE DE BOURGES (CHER) Abside 43 fe Oe were eR ene Ly bio Ds hi Re AaN CR CCHERS) CATHEDRALE DE BOURGES -Droit de la Porte du Porche Nord Pied 45 Gee iptekh DIRS ES eDiPe ERAN CE CATHEDRALE DE BOURGES (CHER) Portail Occidental Tympan de la Porte Centrale 47 a ee eReASeh. 5) 1)-B Ss FeRSA-N Cok ( SAVOIE ) CATHEDRALE DE CHAMBERY 49 ty a ‘haa re ween, Pe ee PRs a ee he ee ‘ 7. OP Op iter meh Agen Wiha Th RAN CH CATHEDRALE DE CHARTRES (EURE-ET-LOIRE ) 51 Va Crow ets OtRe neh. SD hah RAN GE eam a hep Bik « moyen, ET-LOIRE ) ( EURE CATHEDRALE DE CHARTRES 53 Sea ee eC Cl « va CPs ohieee Dake i See Hart Ro AON. Cok LOIRE ) - Fea DRALE DE CHARTRES (EURE- E CATH he Nord C rs aw Por Pilies ad eo le ety) enero Daher REACN CoH ET-LOIRE ) CATHEDRALE DE CHARTRES (EURE 1 Royal de Pied t Porta tt Dro Decoration BY I]DAJUID) IJAOT VD] Ap uUDgud [ [otoxy ]1v140 J (AMIOT.LA-auNA) SAYLUYVHO Ad ATVYCAHLVO RL oN Verthaths pole Clee Sect «Viral Clee: EL avian 59 Ta Chl Remo ee Ra OIN CH 61 CATHEDRALE D’EUREUX (EURE) CHACEH epee bakes: De (bh ReAGN GE 63 (HTE VIENNE) CATHEDRALE DE LIMOGES i Ge elstisb.D Revie ES D°ErER A NCE CATHEDRALE DE MEAUX (SEINE-ET-MARNE ) 65 Va Oe a pile eRe site) Lee Fe AN: GC E MARNE ) CATHEDRALE DE MEAUX (SEINE-ET 67 on 7. yee DR Agine oel shine Re AwNuC fo 69 ae HH ( LOZERE ) CATHEDRALE DE MENDE CoAT Pile ReAtees Dek ok RAN GE 71 epee rte i aBngenae nai tome se | | 53) 4808 sles tee eA eee GEOZERES) CATHEDRALE DE MENDE #75 r Cre ris) DER TAG ES el) ea PeRe AUN GE CATHEDRALE DE MOULINS (ALLIER ) 73 iL i . 2 et ‘ ’ 7 CP mein Di ReneialS 1) bor RAN CE CATHEDRALE DE NANTES (LOIRE-INFERIEURE ) 75 va Oe eietigie Reav le Hove he ee RvA IN Ck "Gccwoesanecne odie snertsnn Poneman eae voeecon oe - ~ (SHADSOA) ZIG-LNIVS 3d ATWYCAJHLVO palate * LAO Scie elo eek evict tt) ile dye ac) 101 “ (CANTAL) CATHEDRALE DE SAINT FLOUR ea O Z ae 5 ae i 7 bh “ “ . 5 f i“ ; 4 ‘ . 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FOrR VO’ URS ANCIENNE ABBAYE DE LOC-DIEU w MEOSNRUBNIEE IN To 52 Fisles 1.O.R 1 OO.) BS AVEYRON ) ( EGLISE DE VILLEFRANCHE 211 ViEOuNpUaviol Nel sSse Hi lestl°O.R IO U BS LS HOTEL-DE-VILLE. DE, CORDES” (TARN} als F ‘ ; 4 ‘ wv > ' ' ey GETTY RESEARCH INSTITUTE HE : 33125 Be 203 O70