The Cathedrals of Northern France

The Cathedrals of Northern France
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"The Cathedrals of Northern France" by M. F. Mansfield. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

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M. F. Mansfield. The Cathedrals of Northern France

The Cathedrals of Northern France

Table of Contents

INTRODUCTION

PART ITransition Examples

I. INTRODUCTORY

II. NOTRE DAME DE LAON

III. NOTRE DAME DE NOYON

IV. NOTRE DAME DE SOISSONS

PART IIThe Grand Group

I. INTRODUCTORY

II. NOTRE DAME D'AMIENS

III. ST. PIERRE DE BEAUVAIS

IV. NOTRE DAME DE ROUEN

V. BASILIQUE DE ST. DENIS

VI. NOTRE DAME DE PARIS

ST. LOUIS DE VERSAILLES

VII. ST. JULIEN; LE MANS

VIII. NOTRE DAME DE CHARTRES

IX. NOTRE DAME DE REIMS

PART III The Cathedrals of the Loire

I. INTRODUCTORY

II. ST. CROIX D'ORLEANS

III. ST. LOUIS DE BLOIS

IV. ST. GATIEN DE TOURS

V. ST. MAURICE D'ANGERS

VI. ST. PIERRE DE NANTES

PART IV Central France

I. ST. ETIENNE D'AUXERRE

II. ST. ETIENNE DE BOURGES

III. ST. CYR AND ST. JULIETTE DE NEVERS

IV. ST. MAMMÈS DE LANGRES

V

NOTRE DAME D'AUXONNE

PART V East of Paris

I. INTRODUCTORY

II. NOTRE DAME DE BOULOGNE-SUR-MER

III. NOTRE DAME DE CAMBRAI

IV. NOTRE DAME DE ST. OMER

V. ST. VAAST D'ARRAS

VI. ST. ETIENNE DE TOUL

VII. ST. ETIENNE, CHÂLONS-SUR-MARNE

VIII. ST. DIÉ

IX. ST. LAZARE D'AUTUN

X. ST. BÉNIGNE DE DIJON

XI. NOTRE DAME DE SENLIS

XII. ST. ETIENNE DE MEAUX

XIII. ST. PIERRE DE TROYES

XIV. ST. ETIENNE DE SENS

PART VIWestern Normandy and Brittany

I. INTRODUCTORY

II. NOTRE DAME D'EVREUX

III. NOTRE DAME D'ALENÇON

IV. ST. PIERRE DE LISIEUX

V. NOTRE DAME DE SÉEZ

VI. NOTRE DAME DE BAYEUX

VII. NOTRE DAME DE ST. LO

VIII. NOTRE DAME DE COUTANCES

IX. ST. PIERRE D'AVRANCHES

X. ST. SAMSON, DOL-DE-BRETAGNE

XI. ST. MALO AND ST. SERVAN

XII. TRÉGUIER

XIII. ST. BRIEUC

XIV. ST. POL DE LEON

XV. ST. CORENTIN DE QUIMPER

XVI. VANNES

Appendices

I. The Architectural Divisions of France

II

III

IV

V

VI

VII

VIII

IX

X

INDEX

Отрывок из книги

M. F. Mansfield

Published by Good Press, 2019

.....

Arthur Young, than whom no more perspicuous observer has ever chronicled his impressions, wrote (1704) that to see the best of France, the part most varied in topography, and resourceful and attractive in its monuments, one should land at Havre and follow the sinuosity of the Seine to Paris, thence the highroad to Moulins and on to the Rhône at Valence, an outline which somewhat approaches the limitations of territory of which this book treats. To be sure, he wrote of economic and agricultural conditions, and he mostly made his pertinent observations on land holdings, stock keeping, and hedgerows, or rather that lack of them which is so apparent throughout France; but these details of themselves only suggest more complete evidences of the existing forces which indicate the growth of the wealth and power which has made this region so rich in its architectural memorials of the past, and which ought to more than compensate for any lack of scenic grandeur.

It is to be regretted, of course, that none of these larger cathedrals are to be seen to-day in their completely perfected forms. To what extent would not the glories of Reims, of Amiens, of Beauvais, or of Rouen, be enhanced, were it possible for us to even imagine their splendour, were they possessed of the symmetry and well-favoured situation of the Dom at Cologne? And so it is that we can but feel regret when we mentally note the lack of nave at Beauvais, of spires at Bourges, and, yet again, regret even with more pain the monstrousness of the cast-iron flêche which has been added to the central tower at Rouen. But these are after all minor imperfections—seldom, if ever, in aught but pleasurable anticipation, do we see in the masterpieces of art or nature a perfect unity; so why seek to negative their virtues by futile criticism? It would seem to be all-sufficient that such details, sins of omission or commission, should be noted merely, that we may pass on to other charms which must compel our allegiance.

.....

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