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X I X THE PLAN OF ST. GALL (three volumes), by Walter Horn and Ernest
Born
XX F R E N C H G O T H I C A R C H I T E C T U R E OF T H E 1 2 T H A N D I J T H CEN-
TURIES, by Jean Bony
French Gothic Architecture
of the 12th and 13th Centuries
JEAN BONY
French Gothic Architecture

of the 12th and 13th Centuries
UNIVERSITY OF CALIFORNIA PRESS
BERKELEY LOS ANGELES LONDON

F R E N C H G O T H I C A R C H I T E C T U R E OF T H E 1 2 T H AND 1 3 T H C E N T U R I E S
is a volume in the
California Studies of the History of Art Series
sponsored in part by the Samuel H. Kress Foundation
University of California Press
Berkeley Los Angeles
University of California Press Ltd
London, England
© 1983 by the Regents of the University of California
Designed by D A V E C O M S T O C K
Library of Congress Cataloging in Publication Data

Bony, Jean.
French Gothic Architecture of the 12 th and 13th Centuries.
(California studies in the history of art; 20)
Bibliography: p.
Includes index.
1. Architecture, Gothic—France. 2. Church architecture—
France. I. Title. II. Series.
NA5543.B66 726'.5'og44 74-82842
ISBN 0-520-02831 -7
To the memory of Henri Focillon, 1881-1943
Foreword
A SERIES of public lectures given in New York in 1 9 6 1 , as the
Charles T. Mathews Lectures, under the joint auspices of Columbia
University and the Metropolitan Museum of Art, gave me the op-
portunity of first presenting in this form my view of the historical
development of French Gothic architecture in the age of its begin-
nings and of its major creations. Many parts of the original text
have been expanded, and sometimes largely rewritten, but the
leading thread has remained unchanged and I have tried all along
to preserve something of the tone of the spoken word.
In the material presentation of this book a few points should
perhaps be explained. The graphic illustration has been treated as
an integral part of the reasoning, and it is as such that plans of
buildings are most often given as 'original reconstructed plans,'
with all the elements of hypothesis that such reconstructions entail.
Plans placed side by side or in close proximity have been estab-
lished on the same scale, but the differences of actual size between
buildings ruled out as unrealistic the use of a single, consistent scale
for all plans throughout the book. Sections and elevations, when
used, are of a rather diagrammatic nature. The maps, on the other
hand, have been made to hold elements of information not to be
found in the text or even in the notes; for it has been thought that,
when plotted on a map, series should appear as complete as
possible, to transmit an image of their geographical distribution.
The outlining of specific areas on the maps may of course seem a
questionable mode of simplification; but the risk has been taken of
offering such schemas, if only to strike the eye and invite reflection.
Vll
A travel grant from the Samuel H. Kress Foundation enabled
me to revisit a number of essential buildings in France in 1970, and
for this my special thanks go to Miss Mary M. Davis, Vice-President
of the Foundation. Assistance has come over the years from the
Regents of the University of California through their programs of
support for research, providing me with periods of time in which to
carry out revisions and assemble additional documentation.
The extensive illustration of this book could not have been put
together without help from many quarters. Kind consideration
from the Archives Photographiques and Caisse Nationale des
Monuments Historiques et des Sites, Paris, from the Courtauld
Institute of Art, University of London, and from the National
Monuments Record (England) has greatly aided me in the task.
Quite a few items of illustration, belonging to the Clarence Ward
Medieval Archive have been supplied by courtesy of the Photo-
graphic Archives of the National Gallery of Art in Washington,
D.C. Mrs. Shirley Prager Branner has put at my disposal photo-
graphs from the collection of the late Robert Branner. Mr. Sumner
McKnight Crosby has made a series of photographs of Saint-Denis
available to me. Mr. Neil Stratford has been kind enough to give me
prints of his photographs of Saint-Martin-aux-Bois. Monsieur
Pierre Bougard, Directeur des services départementaux d'archives
du Pas-de-Calais, has provided me with photographs of rare draw-
ings of the destroyed cathedral of Arras. Monsieur François
Hébert-Stevens has supplied me with photographs of Troyes and
Strasbourg cathedrals from the archives of the Editions Arthaud,
Paris. Monsieur J . R . Haeusser of the Oeuvre Notre-Dame at Stras-
bourg has sent me a photograph of an engraving of the Cathedral
by Isaac Brunn. Monsieur Henry Goiiin has granted me permis-
sion to take photographs of the remains of Royaumont Abbey. The
right to freely make use of photographs from their collections has
been accorded me by Walter Horn, Virginia Jansen, Vivian Paul
and Sarah Pearson. And the aid of Mademoiselle Jeanne Vinsot of
the Service des Monuments Historiques in the compilation of
photographic documentation has been a positive element in the
achieving of this book, to be acknowledged with much gratitude.
Vili
In the matter of graphic illustration, I have debts of a very
special nature. Mr. C.L. Wysuph has made the most generous gift
of his time and skill in the preparation and drawing of recon-
structed plans of Saint-Denis, Notre-Dame and Bourges and in the
reproducing of a set of diagrams. Mrs. Margaret Burke has exe-
cuted a great number of drawings with an expertise and a care for
exactness going far beyond her duties as illustrator—to which she
has added the outright gift of a splendid piece of draughtsman-
ship, an isometric reconstruction of Laon Cathedral. The many
maps, most demanding in their detail, have been transcribed by
Mrs. Adrienne Morgan, with an attention and a technical virtuosity
which greatly enhance their usefulness.
Mr. August Fruge, former Director of the University of
California Press, gave me great encouragement by his unstinting
approval of my aims in this work. It has been my good fortune to
have in Lorna Price an editor of uncommon understanding and
capabilities, who has clarified many problems for me; and in David
Comstock a designer of great sensitivity to the presentation of ar-
chitecture. And my wife, Mary, has given me the most precious col-
laboration at every stage in the making of this book.
T h e advice of fellow medievalists, especially Robert Branner,
Sumner Crosby, Louis Grodecki, Pierre Heliot, Peter Kidson and
Robert Mark, has been of the greatest help to me. Finally, and most
fundamentally, the director of this series, my colleague and friend,
Walter Horn, through his critical judgment and constant interest,
has made a reality of this long-standing enterprise.
ix
Contents
Introduction 1
I. The Technical Bases of Gothic Architecture 5
Romanesque Antecedents, 7
The Ile-de-France Milieu, 26
II. Gothic Spaciousness 45
The Genesis of the Gothic Chevet:
Saint-Martin-des-Champs, 49
The Choir of Saint-Denis, 61
The Interior Design of Sens Cathedral, 64
The Importance of Width, 73
III. The Early Gothic Grid 7g
Linear Values, 80
The Basic Pattern of Bays, 81
An Increasing Linearization, 86
A Stereometric System, 90
A Numerical Ordering, 96
The Four-Story Grid, 103
IV. A First Gothic System, ca. 1 1 6 0 - 1 1 8 0 117
Three Schools of Gothic, 120
A Constructional System: The Tribune Church, 124
Contrast between Parisian and Northern Group:
Volumes and Space, 1 3 1
Surfaces and Light, 145
Plurality within the Gothic Movement, 154
XI
V. Late 12th-Century Changes 157
Methods of Detached Shafting, 158
The Double-wall System, 166
A Simplified Elevation: The Braine Type, 172
Invention of the Flying Buttress, 179
Final Innovations at Laon, 186
VI. The Flying Buttress and the Second Gothic System 195
The Workings of the Flying Buttress, 196
The Start of a Great Renewal: The Bourges-Chartres
Contrast, 198
The World of Bourges, 202
The New Statement of Chartres, 220
VII. After Chartres and Bourges: Diffusion and Changes
between 1200 and 1230 245
Bourges and Chartres as Models, 248
The Bourges Series, 248
The Chartres Series, 254
Le Mans, 257
Reims, 266
Amiens, 275
Saint-Quentin and Beauvais, 281
The End of a System, 295
VIII. Divergent Trends in the Early 13th Century 303
Autonomous Gothic Developments, 305
Persistence of 12th-Century Types, 3 1 2
Bypassing of the Chartrain Stage:
The Braine Series, 328
Early 13th-Century Burgundy, 336
A Peripheral Gothic Movement, 341
IX. A Third Gothic System: The Rayonnant Style 357
First Signs of a New Approach, 361
The Saint-Denis Style, 366
A New Reims Style: Saint-Nicaise, 381
xii
After Saint-Nicaise and Saint-Denis: T h e 1240s, 386
Toward a New Brittleness, 3g6
X. Late 13th-Century Architecture 411
Diffusion of the Rayonnant, 4 1 5
T h e New Directions:
A Brittle Linear Style, 423
A Simplified Severe Style, 429
T h e Northern Edges of Burgundy, 437
Emergence of a New Gothic World, 445
Notes 465
Selective Bibliography 547
Index 583
xiii
Illustrations
ALL PHOTOGRAPHIC credits are entered in this list. The follow-
abbreviations are used:
A.C.L., Bruxelles
Archives centrales iconographiques de l'art national, In-
stitut Royal du Patrimoine Artistique, Ministère de l'Edu-
cation nationale et de la Culture, Brussels
Arch. Phot. Paris/ S.P.A.D.E.M.
Archives Photographiques, Caisse Nationale des Monu-
ments Historiques et des Sites, Ministère des Affaires
Culturelles, Paris
Bibl. nat., Paris
Bibliothèque nationale, Paris
Court. Inst.
Courtauld Institute of Art, University of London
Marburg
Bildarchiv Foto Marburg im Forschungsinstitut f ü r
Kunstgeschichte, Philipps-Universität, Marburg-an-der-
Lahn
N.M.R.
National Monuments Record, Royal Commission on His-
torical Monuments, England
Ward Archive, National Gallery
Photograph Clarence Ward Medieval Archive, courtesy of
the Photographic Archives, National Gallery of Art, Wash-
ington, D.C.
xv
page
Î. SOISSONS CATHEDRAL, interior (Photo: author) 4

2. RIVOLTA D'ADDA, SS. M A R I A E S I G I S M O N D O , interior 6
(Photo: Marburg)
3. DURHAM CATHEDRAL, interior, N aisle of choir 8
(Photo: author)
4. DURHAM CATHEDRAL, N aisle of choir, plan of vault, 9
by John Bilson, Journal of the Royal Institute of
British Architects, 3rd ser., VI, 1898-1899, 298,
fig. 10, by kind permission of the Editor
5. D U R H A M C A T H E D R A L , interior, N transept vaults 8
(Photo: F. H. Crossley, N.M.R., © M. H. Ridgway)
6. D U R H A M C A T H E D R A L , interior, E side of N transept 8
7. D U R H A M C A T H E D R A L , interior, nave from W 9
(Photo: N.M.R.)
8. L E S S A Y , interior, choir and N transept 11
(Photo: Heuzé, © Arch. Phot. Paris/S.P.A.D.E.M.)
9. J U M I È G E S , Chapter House, NE respond 11
(Photo: James Austin, FIIP)
10. MoissAC, interior, lower story of porch tower 12
(Photo: Lefèvre-Pontalis, © Arch. Phot. Paris/
S.P.A.D.E.M.)
11. S O I S S O N S C A T H E D R A L , nave vaults being rebuilt 13
after 1 9 1 4 - 1 9 1 8 war (Photo: Vergnol/Brunet,
© Arch. Phot. Paris/S.P.A.D.E.M.)
12. MAP: Distribution of early rib vaults 14
13. MAP: Distribution of early pointed arches 15
14. C L U N Y , interior, S transept (Photo: Heuzé, 18
15. S O I S S O N S , N O T R E - D A M E , interior, drawing by Tavernier 19
de Junquières, Paris, Bibliothèque nationale, Estampes,
Collection Destailleur (Photo: courtesy Bibl. nat., Paris)
16. V I L L E R S - S A I N T - P A U L , interior, N side of nave 20
(Photo: Martin-Sabon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
xvi
17. SERAINCOURT, interior (Photo: Martin-Sabon, 20
18. L I L L E R S , interior, nave to W (Photo: Mieusement, 22
19. T O U L O U S E , S A I N T - S E R N I N , interior (Photo: 22
20. B E A U V A I S , S A I N T - L U C I E N , ruins in early 19th c., 23
by Augustin Van den Berghe, Mémoires de la Société
Académique de l'Oise, V I I I , 1 8 7 1 - 1 8 7 3 , foil. 684
21. J U M I È G E S , N O T R E - D A M E , ruins of nave and W walls 23
of transept (Photo: James Austin, FIIP)
22. C A E N , S A I N T - E T I E N N E , analysis of nave elevation, 24
by Georges Bouet, Bulletin monumental, X X X I , 1865,
fac. 466
23. C A E N , S A I N T - E T I E N N E , interior, crossing and nave 24
from S transept (Photo: Ward Archive, National
Gallery)
24. P E T E R B O R O U G H C A T H E D R A L , interior of N transept 25
(Photo: author)
25. B E A U V A I S , S A I N T - E T I E N N E , view into nave and S aisle 28
from S transept (Photo: Ward Archive, National
Gallery)
26. M O R I E N V A L , interior of choir (Photo: Ward Archive, 2G
National Gallery)
27. M O R I E N V A L , exterior, E end from N 30
(Photo: Ward Archive, National Gallery)
28. E V R E U X C A T H E D R A L , interior, E bays of nave 30
(Photo: Marburg)
29. M O R I E N V A L , interior, vault of an ambulatory bay 31
30. V E R N E U I L - S U R S E I N E , interior, chancel vault 31
(Photo: author)
31. P A R I S , S A I N T - G E R M A I N - D E S - P R É S , interior of nave 33
(Photo: Marburg)
32. Comparative plans of piers of A. choir of Lessay. 34
B. nave of Saint-Etienne at Beauvais. (Drawing:
Margaret Burke)
xvii
33- AIRAINES, NOTRE-DAME, interior (Photo: author) 35
34. E T A M P E S , N O T R E - D A M E , interior, nave from S aisle 36
(Photo: J a m e s Austin, FIIP)
35. P A R I S , S A I N T - P I E R R E - D E - M O N T M A R T R E , interior, 37
S side o f nave (Photo: Enlart, © Arch. Phot.
Paris/S.P.A.D.E.M.)
36. S A I N T - D E N I S , W façade (Photo: Pierre Devinoy, 38
courtesy Mr. Sumner Crosby)
37. S A I N T - D E N I S , interior, S side o f narthex 3g
(Photo: Lefèvre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
38. SAINT-DENIS, interior, N side o f ambulatory 39
(Photo: © Arch. Phot. Paris/S.P.A.D.E.M.)
39. Comparison o f buttressing systems: 1. Paris, 41
Saint-Martin-des-Champs, choir. 2. Avallon,
Saint-Lazare, nave. 3. Pontigny, nave. [Redrawn after
Auguste Choisy, Histoire de l'architecture, Paris, 1899, II,
3 0 2 - 3 0 3 (Drawing: C. L. Wysuph)]
40. S E N S C A T H E D R A L , interior o f choir (Photo: Ward 44
Archive, National Gallery)
41. C O M O , S . A B B O N D I O , interior to E (Photo: Court. Inst.) 46
42. P A R A Y - L E - M O N I A L , view across nave from S aisle 47
Paris/S.P.A.D.E.M.)
43. CLUNY, interior view, drawing by Lallemand, 47
Voyage pittoresque de la France, I, 1787, pl.56 (Photo:
courtesy Bibl. nat., Paris)
44. D U R H A M C A T H E D R A L , interior, S side o f nave 48
45. P A R I S , S A I N T - M A R T I N - D E S - C H A M P S , plan, redrawn 50
after Henri Deneux, Congrès archéologique de France,
L X X X I I (Paris), 1 9 1 9 , 1 0 7 (Drawing: Margaret Burke)
46. P A R I S , S A I N T - M A R T I N - D E S - C H A M P S , interior o f choir 50
(Photo: Mas, © Arch. Phot. Paris/S.P.A.D.E.M.)
47. P A R I S , S A I N T - M A R T I N - D E S - C H A M P S , interior, vaulting 51
o f axial bays o f ambulatory (Photo: Court. Inst., ©
Sarah Pearson)
xviii
48. FECAMP, abbey church, plan of E end, redrawn after 53
Jean Vallery-Radot, Congrès archéologique de France,
L X X X I X (Rouen), 1926, 407 (Drawing: Margaret
Burke)
49. F E C A M P , exterior, E end from N E (Photo: Marburg) 53
50. S A I N T - S E V E R , plan, redrawn with alterations after 54
Etienne Fels, Congrès archéologique de France, CIL
(Bordeaux-Bayonne), 1939, 351 (Drawing: Margaret
Burke)
51. F O N T G O M B A U L T , interior, ambulatory and chapel on 54
S side of choir (Photo: Lefèvre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
52. P A R I S , S A I N T - M A R T I N - D E S - C H A M P S , interior, S side 55
of ambulatory (Photo: Lefèvre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
53. FONTGOMBAULT, exterior, E end (Photo: Lefèvre- 56
Pontalis, © Arch. Phot. Paris/S.P.A.D.E.M.)
54. P A R I S , S A I N T - M A R T I N - D E S - C H A M P S , exterior, E end 57
(Photo: Mas, © Arch. Phot. Paris/S.P.A.D.E.M.)
55. P A R I S , S A I N T - M A R T I N - D E S - C H A M P S , interior of axial 58
chapel (Photo: Martin-Sabon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
56. S A I N T - D E N I S , exterior, E end (Photo: Martin-Sabon, 59
57. P A R I S , S A I N T - M A R T I N - D E S - C H A M P S , exterior elevation 59
of E end, by Alexandre Lenoir, Statistique monumentale de
Paris, Paris, 1867
58. S A I N T - D E N I S , interior, N side of ambulatory 60
59. S A I N T - D E N I S , interior, S side of ambulatory 61
60. S E N S C A T H E D R A L , reconstructed original plan 64
(Drawing: Margaret Burke)
61. S A I N T - R É V É R I E N , interior to E (Photo: James Austin, 65
FIIP)
62. S E N S C A T H E D R A L , interior, chapel of Saint Jean 66
xix
63- SENS CATHEDRAL, interior, N side of ambulatory 67
64. S E N S C A T H E D R A L , interior of nave (Photo: Ward 69
65. L E M A N S C A T H E D R A L , interior, nave to W (Photo: Ward 7 0
66. S A I N T - L O U P - D E - N A U D , interior of nave (Photo: Ward 71
67. A V É N I È R E S , interior (Photo: Enlart, © Arch. 71
Phot. Paris/S.P.A.D.E.M.)
68. A N G O U L Ê M E C A T H E D R A L , interior (Photo: Lauros 73
Giraudon, Paris)
69. A N G E R S C A T H E D R A L , interior (Photo: Marburg) 73
70. Comparative sections of Angoulême and Angers 74
Cathedrals, from R. de Lasteyrie, L'architecture religieuse
en France à l'époque gothique, Paris, A. Picard, 1927, II,
figs. 677 and 678
71. P O I T I E R S C A T H E D R A L , interior of choir 75
(Photo: Marburg)
72. S A I N T - D E N I S , interior, angle of N transept and nave 78
(Photo: Guérinet, © Arch. Phot. Paris/S.P.A.D.E.M.)
73. O R L É A N S , old Romanesque cathedral, ruins of 83
S transept in 1623, drawing by Etienne Martellange
(Photo: courtesy Bibl. nat., Paris)
74. J U M I È G E S , parish church, interior of nave 83
(Photo: Walter Horn)
75. J U M I È G E S , N O T R E - D A M E , abbey church, reconstructed 84
interior with diaphragm arches (Drawing:
Rudolf Saenger)
76. J U M I È G E S , N O T R E - D A M E , ruins of nave (Photo: James 85
Austin, FIIP)
77. C A E N , S A I N T - E T I E N N E , isometric reconstruction of nave 86
bays, from E. Gall, Die gotische Baukunst in Frankreich und
Deutschland, Leipzig, Klinkhardt und Biermann Verlag,
1925, 25 (drawing by P. Walther), by kind permission of
Klinkhardt und Biermann, Braunschweig
xx
78. DURHAM CATHEDRAL, interior, E side of N transept 89
79. P A R I S , S A I N T - M A R T I N - D E S - C H A M P S , piers of hemicycle 89
(Photo: Martin-Sabon, © Arch. Phot. Paris/S.P.A.D.E.M.)
80. S A I N T - D E N I S , piers in narthex (Photo: Enlart, go
81. S A I N T - D E N I S , ambulatory vaults (Photo: Pierre Devinoy, g i
courtesy Mr. Sumner Crosby)
82. S A I N T - D E N I S , exterior of chevet chapels (Photo: Pierre 91
Devinoy, courtesy Mr. Sumner Crosby)
83. S A I N T - D E N I S , plan of E end (Drawing: C. L. Wysuph) 92
84. S A I N T - D E N I S , interior, double ambulatory 92
85. M U C H W E N L O C K , Chapter House, blind arcading 93
on N wall (Photo: N.M.R.)
86. S A I N T - D E N I S , reconstructed plan of Suger's projected 95
total rebuilding (Drawing: C. L. Wysuph)
87. S A I N T - D E N I S , tentative reconstruction of elevation 95
of Suger's church, choir and projected nave (Drawing:
Margaret Burke)
88. S A I N T - D E N I S , W façade (Photo: © Arch. Phot. 96
Paris/S.P.A.D.E.M.)
89. S A I N T - D E N I S , W façade in early 17th c., by Etienne g6
Martellange (Photo: © Arch. Phot. Paris/S.P.A.D.E.M.)
90. C H A R T R E S C A T H E D R A L , general view of W façade 97
(Photo: René Jacques, © Arch. Phot. Paris/S.P.A.D.E.M.)
91. C H A R T R E S C A T H E D R A L , reconstruction of 12th c. façade G 7
92. C H A R T R E S C A T H E D R A L , W façade (Photo: Marburg) 98
93. S E N S C A T H E D R A L , interior (Photo: James Austin, FIIP) gg
G4> C A E N , S A I N T - E T I E N N E , interior (Photo: Ward 101
G5> M O N T - S A I N T - M I C H E L , S side of nave (Photo: Estève, 101
g6. S E N S C A T H E D R A L , reconstruction of original elevation 101
xxi
97- LE MANS CATHEDRAL, N side of nave (Photo: Lefèvre- 102
98. S E N S C A T H E D R A L , N side of nave (Photo: Lefèvre- 102
99. S O I S S O N S , N O T R E - D A M E , exterior, drawing by Marena 104
Tinguy, 1665, Paris, Bibliothèque nationale, Estampes,
Collection Destailleur (Photo: © Arch. Phot.
Paris/S.P.A.D.E.M.)
100. B R U Y È R E S - L E S - L A O N , E end (Photo: Lefèvre-Pontalis, 104
101. M O N T - N O T R E - D A M E , ruins of chevet, 18th c. 105
watercolor from C. Givelet, Le Mont-Notre-Dame,
2nd ed. Limé, Imprimerie de la Croix de lAisne, 1893,
fac. 43 (Photo: courtesy Bibl. Nat., Paris)
102. C O U R M E L L E S , exterior of apse (Photo: Estève, 105
103. CHÂLONS-SUR-MARNE, NOTRE-DAME-EN-VAUX, 105
end wall of S transept (Photo: Lefèvre-Pontalis, © Arch.
104. N O Y O N C A T H E D R A L , E end (Photo: Lefèvre-Pontalis, 106
105. N O Y O N C A T H E D R A L , interior, tribune story of choir 106
Paris/S.P.A.D.E.M.)
106. N O Y O N C A T H E D R A L , interior of choir (Photo: Lefèvre- 107
107. E S S E N M U N S T E R , elevation of double bay of choir, 108
redrawn after Walther Zimmermann, Karolingische und
Ottonische Kunst. Werden-Wesen-Wirkung, Wiesbaden,
1957, 153, fig. 35, by kind permission of Franz Steiner
Verlag
108. T E W K E S B U R Y , interior, E side of S transept 108
(Photo: author)
109. T O U R N A I C A T H E D R A L , interior of nave 109
(Photo: Court. Inst.)
110. T O U R N A I C A T H E D R A L , interior of N transept (Photo: 109
xxii
Lefèvre-Pontalis, © A r c h . Phot. Paris/S.P.A.D.E.M.)
111. S A I N T - G E R M E R , interior o f choir (Photo: James Austin) 111
112. MAP : the Genesis of Gothic Architecture 112-13
(up to ca. 1 1 5 0 )
113. MAP: Early Gothic Architecture (second half 114-15
of the 12th c.)
114. L A O N C A T H E D R A L , interior, S side o f choir f r o m 116
crossing (Photo: author)
115. C H Â T E A U - L A N D O N , N O T R E - D A M E , interior, 120
hall choir (Photo: Lefèvre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
116. Plans without transept, reconstructed in original state: 122
A. Senlis Cathedral. B. Chartres, Saint-Père (now
Saint-Pierre). C. Saint-Leu d'Esserent. D. Mantes.
(Drawings: Margaret Burke)
117. P R O V I N S , S A I N T - Q U I R Ï A C E , interior (Photo: W a r d 123
118. V O U L T O N , interior, N side o f nave and choir (Photo: 123
Lefèvre-Pontalis, © Arch. Phot. Paris/S.P.A.D.E.M.)
119. S A I N T - G E R M E R , exterior f r o m S E (Photo: W a r d 124
120. N O Y O N C A T H E D R A L , exterior o f chevet (Photo: 125
121. L A O N C A T H E D R A L , transverse section of choir in its 126
original state (Drawing: Margaret Burke)
122. L A O N C A T H E D R A L , wall buttresses u n d e r tribune roofs, 127
S side of choir (Photo: W a r d Archive, National Gallery)
123. C A N T E R B U R Y C A T H E D R A L , segmental buttressing arch 127
u n d e r aisle roof o f Trinity Chapel (Photo: N.M.R.)
124. S A I N T - G E R M E R , section o f choir in isometric 129
perspective, f r o m A u g u s t e Choisy, Histoire de
l'architecture, Paris, Gauthier Villars, 1899,
457' fig- 20
125. LAON CATHEDRAL, interior, view into choir 130
f r o m transept tribune (Photo: Ward Archive,
National Gallery)
xxiii
126. Plans of the Northern Group: A. Arras Cathedral. 132
B. Noyon Cathedral. C. Cambrai Cathedral. D. Soissons
Cathedral. (Drawings: Margaret Burke)
127. S E N L I S C A T H E D R A L , interior from S transept 133
128. C A M B R A I C A T H E D R A L , drawing by Adam Frans 135
Van der Meulen, Musée des Gobelins (Photo: © A r c h .
129. A R R A S C A T H E D R A L , anonymous late 18th c. drawing 136
from Archives départementales du Pas-de-Calais,
Collection Barbier 484/1 (courtesy Monsieur Pierre
Bougard)
130. Reconstructed original plans of the cathedrals of 138
A. Paris, Notre-Dame. B. Laon, Notre-Dame. (Drawings:
Margaret Burke)
131. P A R I S , N O T R E - D A M E , general interior view 13g
132. P A R I S , N O T R E - D A M E , interior view from transept 140
tribune looking W (Photo: author)
133. P A R I S , N O T R E - D A M E , diagram showing structuring 141
of space (Drawing: author)
134. C H A R S , interior of choir (Photo: Martin-Sabon, 141
135. L A O N C A T H E D R A L , interior, crossing and lantern 142
(Photo: author)
136. L A O N C A T H E D R A L , general interior view (Photo: James 143
Austin, FIIP)
137. L A O N C A T H E D R A L , exterior, transept towers from NW 144
138. T O U R N A I C A T H E D R A L , exterior, transept towers from S 144
139. L A O N C A T H E D R A L , reconstruction of projected 144
composition of volumes as of ca. 11 7 0 - 1 1 7 5
140. L A O N C A T H E D R A L , interior, N side of choir 146
(Photo: James Austin)
xxiv
I4I- R E I M S , S A I N T - R E M I , interior of choir (Photo: Heuze, 147
142. R E I M S , S A I N T - R E M I , exterior, partial view of chevet 147
(Photo: author)
143. S O I S S O N S C A T H E D R A L , interior, S transept 148
(Photo: Marburg)
144. P A R I S , N O T R E - D A M E , interior, W side of S transept 150
(Photo: author)
145. C H A M P E A U X , interior of nave (Photo: Mas, 151
146. N O Y O N C A T H E D R A L , interior, S side of nave from 152
crossing (Photo: Lefevre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
147. M A N T E S , N O T R E - D A M E , interior (Photo: Martin-Sabon, 153
148. M A N T E S , N O T R E - D A M E , exterior of chevet 154
(Photo: author)
149. N O Y O N C A T H E D R A L , interior, S transept (Photo: 156
Lefevre-Pontalis, © Arch. Phot. Paris/S.P.A.D.E.M.)
150. C A N T E R B U R Y C A T H E D R A L , interior, choir, presbytery 160
and Trinity Chapel (Photo: N.M.R.)
151. L A O N C A T H E D R A L , piers of easternmost bays of nave 161
152. B L O I S , S A I N T - L A U M E R (now Saint-Nicolas), pier in 162
N choir aisle (Photo: Lefevre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
153. P A R I S , N O T R E - D A M E , double aisles on S side 162
of nave (Photo: Martin-Sabon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
154. C A N T E R B U R Y C A T H E D R A L , piers on S side of presbytery 164
(Photo: N.M.R.)
155. S O I S S O N S C A T H E D R A L , piers at entrance to S transept 164
chapel (Photo: Lefevre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
156. Early examples of piers with detached shafts: 165
France and England, redrawn (with corrections) from
xxv
Journal of the Warburg and Courtauld Institutes, X I I , 1949,
10 (Drawing: Margaret Burke)
1 5 7 . N o Y O N C A T H E D R A L , interior, N transept 167
(Photo: author)
1 5 8 . T O U R N A I C A T H E D R A L , exterior, S side of chevet 168
1 5 9 . N O Y O N C A T H E D R A L , exterior, S transept (Photo: 168
1 6 0 . C A N T E R B U R Y C A T H E D R A L , interior, ambulatory of 169
Trinity Chapel (Photo: N.M.R.)
1 6 1 . R E I M S , S A I N T - R E M I , interior, champenois passage 16G
in axial chapel (Photo: author)
1 6 2 . L A O N C A T H E D R A L , interior, transept to N 170
1 6 3 . L A O N C A T H E D R A L , interior, tribune story at end 170
of N transept (Photo: Ward Archive, National Gallery)
1 6 4 . L A O N C A T H E D R A L , interior, terminal wall at tribune 171
level of N transept (Photo: author)
1 6 5 . L A O N C A T H E D R A L , chapel at tribune level 171
of S transept (Photo: author)
1 6 6 . B R A I N E , S A I N T - Y V E D , interior, choir and transept 173
1 6 7 . L A O N , destroyed abbey church of Saint-Vincent, 174
interior view by Tavernier de Junquières, Paris,
Bibliothèque nationale, Estampes, Collection Destailleur
1 6 8 . J U Z I E R S , interior of choir (Photo: author) 174
1 6 9 . L Y O N C A T H E D R A L , interior of choir (Photo: Gelis, 175
1 7 0 . L Y O N C A T H E D R A L , exterior, N side of choir 175
(Photo: Marburg)
1 7 1 . C A N T E R B U R Y C A T H E D R A L , interior of Trinity Chapel 176
(Photo: N.M.R.)
172. CANTERBURY CATHEDRAL, exterior, S side of Trinity 177
Chapel (Photo: Lefèvre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
xxvi
173- LAUSANNE CATHEDRAL, interior, choir and S transept 178
(Photo: Bibliothèque cantonale et universitaire,
Lausanne, Archives de Jongh)
174. P A R I S , S A I N T - G E R M A I N - D E S - P R É S , exterior view 181
from S (Photo: Durand, © Arch. Phot.
Paris/S.P. A.D.E.M.)
175. C H A M P E A U X , exterior, S side of nave (Photo: Enlart, 181
176. S A I N T - L E U D ' E S S E R E N T , flying buttresses of chevet 182
Paris/S.P.A.D.E.M.)
177. P A R I S , N O T R E - D A M E , S W angle buttress of S transept, 184
drawing by Jean-Baptiste Lassus and Eugène
Viollet-le-Duc, Archives des Monuments Historiques
178. P A R I S , N O T R E - D A M E , reconstructed original sections 184
of choir and nave (Drawing: Margaret Burke)
179. M A N T E S , N O T R E - D A M E , flying buttresses of chevet 185
(Photo: author)
180. L A O N C A T H E D R A L , exterior, transept from NE 186
181. L A O N C A T H E D R A L , exterior, E chapel of N transept 188
(Photo: author)
182. N O Y O N C A T H E D R A L , exterior, end of S transept 188
(Photo: author)
183. L A O N C A T H E D R A L , exterior, E chapel of 189
N transept (Photo: Martin-Sabon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
184. L E M A N S C A T H E D R A L , exterior, radiating chapel 189
Paris/S.P.A.D.E.M.)
185. S E N L I S C A T H E D R A L , W façade (Photo: Lefèvre- 190
186. L A O N C A T H E D R A L , N transept façade (Photo: Ward 191
187. L A O N C A T H E D R A L , W façade (Photo: author) 192
xxvii
188. CHARTRES, SAINT-PERE (now Saint-Pierre), view from ig4
interior of nave showing abutment of flying buttresses
(Photo: Esteve, © Arch. Phot. Paris/S.P.A.D.E.M.)
189. S O I S S O N S C A T H E D R A L , flying buttresses of E end 196
(Photo: author)
1 9 0 . B O U R G E S C A T H E D R A L , reconstructed original plan 199
(Drawing: C. L. Wysuph)
1 9 1 . C H A R T R E S C A T H E D R A L , reconstructed original plan 199
1 9 2 . B O U R G E S C A T H E D R A L , exterior from SE 202
1 9 3 . C H A R T R E S C A T H E D R A L , aerial view from SE 203
(Photo: Aerophoto-Viollet)
1 9 4 . B O U R G E S C A T H E D R A L , chevet (Photo: Ward Archive, 204
National Gallery)
1 9 5 . B O U R G E S C A T H E D R A L , segment of outer ambulatory 205
with chapel (Photo: Marburg)
1 9 6 . B O U R G E S C A T H E D R A L , flying buttresses on S side 206
1 9 7 . B O U R G E S C A T H E D R A L , general interior view 210
1 9 8 . B O U R G E S C A T H E D R A L , diagonal view across nave from 211
S aisle (Photo: Ward Archive, National Gallery)
1 9 9 . B O U R G E S C A T H E D R A L , full elevation of one choir bay 213
2 0 0 . B O U R G E S C A T H E D R A L , ambulatory elevation 214
2 0 1 . B O U R G E S C A T H E D R A L , interior to W from upper 215
triforium (Photo: Ward Archive, National Gallery)
2 0 2 . B O U R G E S C A T H E D R A L , N side of choir and nave 217
2 0 3 . B O U R G E S C A T H E D R A L , interior of choir 218
2 0 4 . C H A R T R E S C A T H E D R A L , general interior view (Photo: 219
Martin-Sabon, © Arch. Phot. Paris/S.P.A.D.E.M.)
2 0 5 . C H A R T R E S C A T H E D R A L , interior of choir 221
xxviii
206. CHARTRES CATHEDRAL, double ambulatory 222
and chapels (Photo: Martin-Sabon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
2 0 7 . C H A R T R E S C A T H E D R A L , double aisles on 223
S side of choir (Photo: Martin-Sabon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
2 0 8 . C H A R T R E S C A T H E D R A L , vault of pinched bay of 224
ambulatory (Photo: Ward Archive, National Gallery)
2 0 9 . B R A I N E , S A I N T - Y V E D , bay of N transept 225
(Photo: author)
2 1 0 . C H A R T R E S C A T H E D R A L , bay on N side of nave 225
2 1 1 . C H A R T R E S C A T H E D R A L , exterior of nave, S side 228
(Photo: René Jacques, © Arch. Phot.
Paris/S.P.A.D.E.M.)
2 1 2 . C H A R T R E S C A T H E D R A L , N transept from choir 229
triforium (Photo: Ward Archive, National Gallery)
2 1 3 . S O I S S O N S C A T H E D R A L , S transept and easternmost 230
bays of nave (Photo: Ward Archive, National Gallery)
2 1 4 . C H A R T R E S C A T H E D R A L , sequence of bays on N side of 231
nave (Photo: Estève, © Arch. Phot. Paris/S.P.A.D.E.M.)
2 1 5 . C H A R T R E S C A T H E D R A L , exterior, S side of nave 232
2 1 6 . C H A R T R E S C A T H E D R A L , choir vaults (Photo: Ward 233
2 1 7 . C H A R T R E S C A T H E D R A L , rose window of W façade 234
(Photo: Marburg)
2 1 8 . C H A R T R E S C A T H E D R A L , detail of flying buttresses 235
of nave (Photo: Ward Archive, National Gallery)
2 1 9 . C H A R T R E S C A T H E D R A L , interior, E side of S transept 236
(Photo: author)
2 2 0 . C H A R T R E S C A T H E D R A L , cantonné piers of nave 237
(Photo: Marburg)
2 2 1 . N O Y O N , Bishop's Chapel before 1 9 1 4 (Photo: Lefèvre- 238
2 2 2 . C H A R T R E S C A T H E D R A L , chevet from NE (Photo: 238
Estève, © Arch. Phot. Paris/S.P.A.D.E.M.)
xxix
223- PARIS, NOTRE-DAME, W façade (Photo: author) 240
2 2 4 . P A R I S , N O T R E - D A M E , aerial view f r o m SW 241
(Photo: Aérophoto-Viollet)
2 2 5 . C H A R T R E S C A T H E D R A L , aerial view f r o m E 242
(Photo: Aérophoto-Viollet)
2 2 6 . C H A R T R E S C A T H E D R A L , flying buttresses of chevet 242
(Photo: Marburg)
2 2 7 . C H A R T R E S C A T H E D R A L , N transept rose 243
(Photo: Marburg)
2 2 8 . L E M A N S C A T H E D R A L , interior of choir 244
(Photo: J a m e s Austin, FIIP)
229. Reconstructed plans of chevets of the Bourges 249
series: A. T o u r s , Saint-Martin. B. T o l e d o Cathedral.
C. Le Mans Cathedral. D. Coutances Cathedral.
(Drawings: Margaret Burke)
2 3 0 . C O U T A N C E S C A T H E D R A L , chevet f r o m SE 250
(Photo: W a r d Archive, National Gallery)
2 3 1 . P A R I S , N O T R E - D A M E , buttresses of nave, S side 250
(Photo: W a r d Archive, National Gallery)
2 3 2 . C O U T A N C E S C A T H E D R A L , view into choir f r o m N 251
transept (Photo: W a r d Archive, National Gallery)
2 3 3 . C O U T A N C E S C A T H E D R A L , double ambulatory on 251
S side of choir (Photo: W a r d Archive, National Gallery)
2 3 4 . T O L E D O C A T H E D R A L , double ambulatory 252
2 3 5 . T O L E D O C A T H E D R A L , diagram of flying buttresses of 252
chevet, by V. L a m p é r e z y Romea, Historia de la
Arquitectura Cristiana Espanôla en la Edad Media,
Madrid, II, 1909, 47, fig. 52
2 3 6 . T O U R S , S A I N T - M A R T I N , view f r o m miniature by 253
J e a n Fouquet in Grandes Chroniques de France, Paris,
Bibliothèque nationale, Ms. fr. 6 4 6 5 , fol. 2 2 3
2 3 7 . S O I S S O N S C A T H E D R A L , interior, N side of nave 255
(Photo: author)
2 3 8 . O R B A I S , view into choir (Photo: W a r d Archive, 256
National Gallery)
XXX
239- L O N G P O N T , ruins of nave (Photo: Ward Archive, 256
National Gallery)
240. L E M A N S C A T H E D R A L , chevet from S E (Photo: author) 257
241. L E M A N S C A T H E D R A L , interior of choir at 258
mid-height (Photo: Lefèvre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
242. LE MANS CATHEDRAL, inner ambulatory at mid-height 2 5 9
2 4 3 . L E M A N S C A T H E D R A L , elevation of inner ambulatory 261
244. Chevet designed by Villard de Honnecourt and Pierre 262
de Corbie, from the Album of Villard de Honnecourt,
Paris, Bibliothèque nationale, Ms. fr. 1 9 0 9 3 , fol. 15
2 4 5 . L E M A N S C A T H E D R A L , forked flying buttresses 263
of chevet (Photo: author)
2 4 6 . L E M A N S C A T H E D R A L , aerial view of chevet 264
(Photo: © Institut Géographique National, Paris)
2 4 7 . L E M A N S C A T H E D R A L , exterior of choir from N 265
(Photo: Marburg)
2 4 8 . R E I M S C A T H E D R A L , plan (Drawing: Margaret Burke) 266
2 4 9 . R E I M S C A T H E D R A L , exterior from SE 267
2 5 0 . R E I M S C A T H E D R A L , interior, ambulatory chapels 268
2 5 1 . R E I M S C A T H E D R A L , general interior view 269
2 5 2 . R E I M S C A T H E D R A L , S transept façade (Photo: 272
2 5 3 . R E I M S C A T H E D R A L , interior, S side of nave 273
(Photo: Marburg)
2 5 4 . R E I M S C A T H E D R A L , inner face of S transept façade 273
2 5 5 . R E I M S C A T H E D R A L , aerial view (Photo: © Robert 274
Durandaud, Paris)
2 5 6 . A . A M I E N S C A T H E D R A L , plan, redrawn after G. Dehio 276
and G. von Bezold, Die kirchliche Baukunst des
xxxi
Abendlandes, Stuttgart, J . G. Cotta, 1 8 8 4 - 1 9 0 1 , plate
363(3)
256.5 & C. Comparative sections of the naves of Chartres 276
and Amiens cathedrals. (Drawings: Margaret Burke)
257. A M I E N S C A T H E D R A L , general interior view 277
258. A M I E N S C A T H E D R A L , W façade (Photo: Ward 279
259. S A I N T - Q U E N T I N , reconstructed plan of 13th c. work 282
260. S A I N T - Q U E N T I N , aerial view (Photo: 283
Aérophoto-Viollet)
261. L I N C O L N C A T H E D R A L , exterior from S S E 283
(Photo: N.M.R.)
262. S A I N T - Q U E N T I N , general interior view 284
263. S A I N T - Q U E N T I N , elevation of choir 284
264. S A I N T - Q U E N T I N , interior, hemicycle and ambulatory 286
(Photo: author)
265. S A I N T - Q U E N T I N , interior, entrance to ambulatory 286
chapels (Photo: James Austin, FIIP)
266. S A I N T - Q U E N T I N , exterior, chevet and E transept 288
267. B E A U V A I S C A T H E D R A L , exterior, chevet from S 289
(Photo: Marburg)
268. B E A U V A I S C A T H E D R A L , plan in 1272 reconstructed 290
269. B E A U V A I S C A T H E D R A L , interior, view into choir and 291
N transept (Photo: Ward Archive, National Gallery)
270. B E A U V A I S C A T H E D R A L , N side of choir as completed 292
in 1272: reconstructed by Robert Branner, from Art de
France, II, Hermann, Paris, 1962, 78 (Photo: courtesy
Mrs. Shirley Prager Branner)
271. B E A U V A I S C A T H E D R A L , interior, N side of choir, from 2G2
Art de France, II, Hermann, Paris, 1962, 79 (Photo:
xxxii
Robert Branner, courtesy Mrs. Shirley Prager Branner)
272. B E A U V A I S C A T H E D R A L , aerial view 294
(Photo: Aerophoto-Viollet)
273. Developmental Sequence of Chevet Formulas: 296-97
A. Paray-le-Monial. B. Noyon Cathedral. C. Bourges
Cathedral. D. Le Mans Cathedral. E. Beauvais
Cathedral. (Drawings: Margaret Burke)
274. MAP: High Gothic Architecture (mid-i 190s to 298-99
mid-1230)
275. MAP: The Peripheral Gothic Milieux 300-301
(up to mid-13th c.)
276. V I L L E N E U V E - S U R - Y O N N E , interior (Photo: Lefevre- 302
277. T O U L O U S E C A T H E D R A L , interior, nave to W 305
(Photo: Esteve, © Arch. Phot. Paris/S.P.A.D.E.M.)
278. S A N T E S - C R E U S , interior, dormitory (Photo: Lefevre- 307
279. N A R B O N N E , N O T R E - D A M E D E L A M O U R G U I E R , interior, 307
N side of nave (Photo: Enlart, © Arch. Phot.
Paris/S.P.A.D.E.M.)
280. A N G E R S , S A I N T - S E R G E , interior, choir (Photo: Mas, 308
281. A N G E R S , S A I N T - S E R G E , extrados of choir vaults 310
(Photo: Hurault, © Arch. Phot. Paris/S.P.A.D.E.M.)
282. A N G E R S , S A I N T - S E R G E , interior, detail of choir vault 310
(Photo: M a s , © Arch. Phot. Paris/S.P.A.D.E.M.)
283. A I R V A U L T , interior, nave vaults (Photo: Esteve, 311
284. P O N T I G N Y , interior, nave (Photo: Ward 311
285. B A M B E R G C A T H E D R A L , interior, nave and W choir 313
(Photo: Marburg)
286. R O C H E A B B E Y , ruins of N transept (Photo: N . M . R . ) 313
287. W E L L S C A T H E D R A L , interior, nave (Photo: Court. Inst.) 3 1 4
288. L I M B U R G - A N - D E R - L A H N , exterior from N E 315
(Photo: Marburg)
XXXLLL
289. LIMBURG-AN-DER-LAHN, interior, view into choir 316
(Photo: Marburg)
2 9 0 . F E C A M P , interior, N side of nave, E bays 318
2 9 1 . R O U E N C A T H E D R A L , interior, nave (Photo: Martin- 318
Sabon, © Arch. Phot. Paris/S.P.A.D.E.M.)
2 9 2 . C A E N , S A I N T - E T I E N N E , interior, choir 319
2 9 3 . W H I T B Y A B B E Y , ruins of choir (Photo: Department 319
of the Environment, London, British Crown Copyright,
reproduced with permission of the Controller of Her
Britannic Majesty's Stationery Office)
2 9 4 . B A Y E U X C A T H E D R A L , interior, choir and ambulatory 320
2 9 5 . C A N T E R B U R Y C A T H E D R A L , interior, N side of choir 321
(Photo: N.M.R.)
2 9 6 . L I N C O L N C A T H E D R A L , interior, E side of S transept 322
(Photo: N.M.R.)
2 9 7 . B A Y E U X C A T H E D R A L , exterior, chevet (Photo: Ward 324
2 9 8 . S O I S S O N S C A T H E D R A L , exterior, chevet (Photo: author) 3 2 5
2 9 9 . L I N C O L N C A T H E D R A L , nave buttresses (Photo: N.M.R.) 325
300. M o RET, interior, choir (Photo: Enlart, 326
3 0 1 . S A I N T - L E U D ' E S S E R E N T , interior (Photo: Ward 326
3 0 2 . B R I E - C O M T E - R O B E R T , interior, choir 327
(Photo: Martin-Sabon, © Arch. Phot. Paris/S.P.A.D.E.M.)
3 0 3 . T A V E R N Y , interior, apse (Photo: Lefevre-Pontalis, 329
3 0 4 . N E S L E S - L A - V A L L E E , interior, nave (Photo: author) 329
305. Reconstructed plans of: A. Braine, Saint-Yved. 331
B. Trier, Liebfrauenkirche. [Redrawn after G. Dehio
and G. von Bezold, Die kirchliche Baukunst des
Abendlandes, Stuttgart, J. G. Cotta, 1 8 8 4 - 1 9 0 1 ,
plate 365 (3 & 4); (Drawing: Margaret Burke)]
xxxiv
306. OUDENAARDE, ONZE-LIEVE-VROUWEKERK 332
interior, choir (Photo: Court. Inst.)
VAN P A M E L E ,
307. IEPER, SINT MAARTEN, exterior, chevet 333
(Photo: copyright A.C.L., Bruxelles)
308. OUDENAARDE, ONZE-LIEVE-VROUWEKERK, 333
exterior from NE (Photo: copyright A.C.L., Bruxelles)
309. TONGEREN, ONZE-LIEVE-VROUWEKERK, interior, 334
N side of nave (Photo: copyright A . C . L . , Bruxelles)
310. V I L L E N E U V E - L E - C O M T E , interior, choir from S (Photo: 335
311. C L A M E C Y , S A I N T - M A R T I N , interior, N side of nave 336
312. A U X E R R E C A T H E D R A L , interior, choir (Photo: Gossin, 336
313. A U X E R R E C A T H E D R A L , interior, view into Lady Chapel 337
314. A U X E R R E C A T H E D R A L , interior, upper stories 337
of choir (Photo: Lefevre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
315. S E M U R - E N - A U X O I S , interior, N side of choir 338
(Photo: Virginia Jansen)
316. D I J O N , N O T R E - D A M E , interior (Photo: Martin-Sabon, 338
317. D I J O N , N O T R E - D A M E , exterior, chevet (Photo: Enlart, 339
318. S E M U R - E N - A U X O I S , exterior, chevet (Photo: 339
319. D I J O N , N O T R E - D A M E , interior, upper stories 340
of nave (Photo: Lefevre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
320. L Y O N C A T H E D R A L , interior, N side of nave (Photo: 340
Enlart, © Arch. Phot. Paris/S.P.A.D.E.M.)
321. D O L C A T H E D R A L , interior, S side of nave (Photo: 342
322. S E E S C A T H E D R A L , interior, nave (Photo: Ward 342
323. N O R R E Y , interior, choir (Photo: Court. Inst.) 343
xxxv
324- SAINT-OMER, NOTRE-DAME (former cathedral), 344
interior, transept (Photo: Martin-Sabon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
325. S O U T H W A R K C A T H E D R A L , interior, S side 344
of choir (Photo: F. H. Crossley, Court. Inst.,
© M. H. Ridgway)
326. S E M U R - E N - A U X O I S , interior E bays of nave 345
(Photo: Virginia Jansen)
327. B O U R G E S , S A I N T - P I E R R E - L E - G U I L L A R D , interior, 345
S side of choir and nave (Photo: Marburg)
328. C O U T A N C E S C A T H E D R A L , interior, choir from 347
S transept (Photo: Ward Archive, National Gallery)
329. B A Y E U X C A T H E D R A L , interior, N side of nave 347
330. B O X G R O V E P R I O R Y , interior, N side of choir 348
(Photo: N . M . R . )
331. PERSHORE ABBEY, interior, S bays of choir 348
(Photo: author)
332. NETLEY ABBEY, ruins of S transept 349
(Photo: N.M.R., © B. T. Batsford)
333. MAP: Diffusion of the Triforium Elevation with two 350
superposed interior passages
334. MAP: Diffusion of the Two-story Elevation with 351
interior clerestory passage
335. P E T E R B O R O U G H C A T H E D R A L , W façade 352
(Photo: author)
336. R E G E N S B U R G , S T . U L R I C H , interior 353
(Photo: Court Inst.)
337. P A R I S , N O T R E - D A M E , exterior, rose window of S 356
transept (Photo: Court. Inst.)
338. R E I M S C A T H E D R A L , tomb of Hugues Libergier 359
33g. A M I E N S C A T H E D R A L , interior, S side of nave 360
340. A M I E N S C A T H E D R A L , interior, clerestory window 363
of nave (Photo: Ward Archive, National Gallery)
xxxvi
341- BEAUVAIS CATHEDRAL, interior, ambulatory and 363
radiating chapels (Photo: Lefèvre-Pontalis, © A r c h .
342. R O Y A U M O N T A B B E Y , ruin o f N transept (Photo: 364
author, by kind permission o f Monsieur H e n r y Goiiin)
343. R O Y A U M O N T A B B E Y , detail o f above (Photo: author, 364
by kind permission o f Monsieur H e n r y Goiiin)
344. S A I N T - D E N I S , interior, nave and choir (Photo: W a r d 366
345. S A I N T - D E N I S , interior, N side o f choir (Photo: Robert 367
B r a n n e r , courtesy Mrs. Shirley Prager Branner)
346. G O N E S S E , interior, nave (Photo: W a r d Archive, 368
National Gallery)
347. S A I N T - D E N I S , interior, detail o f aisle wall (Photo: 370
Lefèvre-Pontalis, © A r c h . Phot. Paris/S.P.A.D.E.M.)
348. P A R I S , S A I N T - G E R M A I N - D E S - P R É S , remnants 370
o f Lady C h a p e l (Photo: Lefèvre-Pontalis, © A r c h . Phot.
Paris/S.P.A.D.E.M.)
349. T R O Y E S C A T H E D R A L , interior, choir f r o m 371
ambulatory (Photo: H e n r y Paillasson, courtesy Editions
A r t h a u d , Paris)
350. S A I N T - D E N I S , elevation and section o f u p p e r stories 372
in E bays on N side o f nave, d r a w i n g by E u g è n e
Viollet-le-Duc, Dictionnaire raisonné de l'architecture
française du Xle au XVIe siècle, V , Paris, 1861, 394, fig. 24
3 5 1 . S A I N T - D E N I S , exterior, slab roof above S aisle o f nave 374
(Photo: Pierre Devinoy, courtesy Mr. S u m n e r Crosby)
352. S A I N T - D E N I S , interior, main arcade and piers 374
on N side o f nave (Photo: Pierre Devinoy, courtesy
Mr. S u m n e r Crosby)
353. S A I N T - D E N I S , interior, N side o f nave (Photo: 376
Robert B r a n n e r , courtesy Mrs. Shirley Prager Branner)
354. S A I N T - G E R M A I N - E N - L A Y E , chapel, interior (Photo: 378
Robert B r a n n e r , courtesy Mrs. Shirley Prager Branner)
355. S A I N T - G E R M A I N - E N - L A Y E , exterior, S side o f chapel 378
(Photo: © A r c h . Phot. Paris/S.P.A.D.E.M.)
xxxvii
356. SAINT-DENIS, exterior, N transept façade (Photo: 379
357. S A I N T - D E N I S , interior of N transept 380
(Photo: A. F. Kersting, AIIP, FRPS)
358. R E I M S , S A I N T - N I C A I S E , W façade in 1625, 3^2
engraving by N. De Son (Photo: Enlart,
359. S T R A S B O U R G C A T H E D R A L , interior, from engraving 382
of 1630 by Isaac Brunn (Photo: Courtesy Oeuvre
Notre-Dame, Strasbourg)
360. L O N G P O N T , ruins of W façade (Photo: author) 385
361. T O U R N A I C A T H E D R A L , exterior, chevet 387
362. T O U R N A I C A T H E D R A L , interior, choir 387
363. P A R I S , S A I N T E - C H A P E L L E , exterior, S side (Photo: 388
Robert Branner, courtesy Mrs. Shirley Prager Branner)
364. P A R I S , S A I N T E - C H A P E L L E , interior, upper chapel 389
365. A M I E N S C A T H E D R A L , exterior, chevet chapels (Photo: 389
366. P A R I S , S A I N T E - C H A P E L L E , interior, lower chapel 390
367. A M I E N S C A T H E D R A L , interior, S aisle of nave (Photo: 390
368. S T R A S B O U R G C A T H E D R A L , interior, nave (Photo: 392
369. S T R A S B O U R G C A T H E D R A L , interior, N side of nave 393
(Photo: Henry Paillasson, courtesy Editions
Arthaud, Paris)
370. T O U R S C A T H E D R A L , exterioi", chevet (Photo: Ward 393
371. M E T Z C A T H E D R A L , interior (Photo: Ward Archive, 394
National Gallery)
372. B E A U V A I S C A T H E D R A L , interior, triforium of 394
hemicycle bays (Photo: Chaine, © Arch. Phot.
Paris/S.P.A.D.E.M.)
xxxviii
373- COLOGNE CATHEDRAL, interior (Photo: Marburg) 395
374. COLOGNE CATHEDRAL, exterior, chevet 395
Paris/S.P.A.D.E.M.)
375. A M I E N S C A T H E D R A L , exterior, chevet (Photo: Ward 397
376. A M I E N S C A T H E D R A L , exterior, u p p e r parts of chevet 398
377. P A R I S , N O T R E - D A M E , N transept façade 398
378. P A R I S , N O T R E - D A M E , detail of gables flanking N 399
transept doorway (Photo: author)
379. P A R I S , N O T R E - D A M E , portal zone of N transept façade 399
(Photo: Marburg)
380. E V R E U X , S A I N T - T A U R I N , Shrine of St. Taurin 401
(Photo: Moreau, © Arch. Phot. Paris/S.P.A.D.E.M.)
381. R E I M S C A T H E D R A L , W façade 402
382. W E L L S C A T H E D R A L , detail of W façade 403
383. P A R I S , N O T R E - D A M E , S transept façade 404
384. M A P : T h e Rayonnant Style (ca. 1 2 3 0 - 1 3 0 0 ) 406-407
385. M A P : Gothic Europe in the second half of 408-409
the 13th c.
386. C L E R M O N T - F E R R A N D C A T H E D R A L , interior, choir 410
387. P A R I S , N O T R E - D A M E , Porte Rouge (Photo: Heuzé, 412
388. S T R A S B O U R G C A T H E D R A L , detail of stained-glass 412
window in clerestory of nave (Photo: Thaon,
389. P S A L T E R OF S A I N T L o u i s , Cain and Abel sacrificing, 412
Paris, Bibliothèque nationale, Ms. lat. 1 0 5 2 5 , fol lv.
390. S T R A S B O U R G C A T H E D R A L , windows in N aisle of nave 414
xxxix
391- STRASBOURG CATHEDRAL, detail of stained-glass 414
from N aisle of nave (Photo: Thaon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
392. S T R A S B O U R G C A T H E D R A L , detail of stained-glass 414
from S clerestory of nave (Photo: Thaon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
393. L E O N C A T H E D R A L , interior, choir from S transept 415
394. V A L M A G N E , interior, main arcade of choir (Photo: 416
Estève, © Arch. Phot. Paris/S.P.A.D.E.M.)
395. R O U E N C A T H E D R A L , N transept façade: Portail des 417
Libraires (Photo: Ward Archive, National Gallery)
396. B A Y E U X C A T H E D R A L , S transept façade (Photo: Ward 417
397. W E S T M I N S T E R A B B E Y , Chapter House window 418
(Photo: author)
398. L O N D O N , O L D S T . P A U L ' S C A T H E D R A L , east end, 418
engraving by Wenceslaus Hollar, in W. Dugdale, The
History of St. Paul's Cathedral in London, London 1658
399. L I N C O L N C A T H E D R A L , exterior, east end 418
of Angel Choir (Photo: N.M.R.)
400. Y O R K M I N S T E R , interior, nave from N transept 420
(Photo: N.M.R., © B. T. Batsford)
401. E X E T E R C A T H E D R A L , interior, N side of presbytery 420
and choir (Photo: F. H. Crossley, Court. Inst., © M. H.
Ridgway)
402. R E G E N S B U R G C A T H E D R A L , exterior, choir from S 422
403. T R O Y E S , S A I N T - U R B A I N , exterior from S E 422
404. T R O Y E S , S A I N T - U R B A I N , general interior view 422
405. T R O Y E S , S A I N T - U R B A I N , interior, S side of choir and 424
apse (Photo: Enlart, © Arch. Phot. Paris/S.P.A.D.E.M.)
406. S T R A S B O U R G C A T H E D R A L , exterior from W 425
xl
407• STRASBOURG CATHEDRAL, detail of W façade (Photo: 425
408. S A I N T - G E R M E R , interior, vestibule to Lady Chapel 427
Paris/S.P.A.D.E.M.)
409. PARIS, NOTRE-DAME, interior, dado in a chapel on N 427
side of nave (Photo: © Arch. Phot. Paris/S.P.A.D.E.M.)
410. S E E S C A T H E D R A L , interior, view into ambulatory and 428
choir (Photo: Lefèvre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
411. SEES CATHEDRAL, interior, N side of choir 428
4 1 2 . S A I N T - M A R T I N - A U X - B O I S , exterior from SE 430
(Photo: Neil Stratford)
4 1 3 . S A I N T - M A R T I N - A U X - B O I S , general interior view 431
Paris/S.P.A.D.E.M.)
414. SAINT-MARTIN-AUX-BOIS, interior, N elevation 431
(Photo: Neil Stratford)
415. H A M B Y E A B B E Y , ruins of E end (Photo: Estève, 432
416. H A M B Y E A B B E Y , ruins of choir (Photo: Estève, 433
417. A G N E T Z , interior, N side of nave (Photo: Lefèvre- 434
418. C H A M B L Y , general interior view (Photo: Mas, 435
419. N A R B O N N E C A T H E D R A L , exterior from SE (Photo: 436
420. N A R B O N N E C A T H E D R A L , interior of choir 436
(Photo: Vivian Paul)
421. A U X E R R E , S A I N T - G E R M A I N , interior, choir 438
422. A U X E R R E , S A I N T - G E R M A I N , interior, entrance to Lady 438
Chapel (Photo: Ward Archive, National Gallery)
423. L L A N T H O N Y P R I O R Y , ruins of nave (Photo: author) 439
xli
424- JUMIEGES, SAINT-PIERRE, ruins of nave 439
(Photo: Walter Horn)
425. CHESTER CATHEDRAL, interior, vestibule to 440
Chapter House (Photo: F. H. Crossley, Court. Inst.,
© M. H. Ridgway)
426. A M I E N S C A T H E D R A L , interior, crossing vault 440
(Photo: Lefevre-Pontalis, © Arch. Phot.
Paris/S.P.A.D.E.M.)
427. M U S S Y - S U R - S E I N E , general interior view (Photo: 441
428. F O U N T A I N S A B B E Y , ruins of N arcade of nave 442
(Photo: author)
429. B R I N K B U R N P R I O R Y , interior, N arcade of nave 442
(Photo: F. H. Crossley, Court. Inst., © M. H. Ridgway)
430. S A I N T - T H I B A U L T , exterior from N E (Photo: Heuze, 443
431. S A I N T - T H I B A U L T , interior of choir (Photo: Heuze, 444
432. G L O U C E S T E R C A T H E D R A L , interior, N side of choir 447
(Photo: F. H. Crossley, Court. Inst., © M. H. Ridgway)
433. C A R C A S S O N N E , S A I N T - N A Z A I R E , exterior from S E 447
434. C A R C A S S O N N E , S A I N T - N A Z A I R E , interior, S transept 448
with chapels (Photo: © Arch. Phot. Paris/S.P.A.D.E.M.)
435. T O U L O U S E , C H U R C H OF T H E C O R D E L I E R S , section and 450
elevation, from Thomas King, The Study-Book of
Mediaeval Architecture and Art, 2nd ed., Edinburgh,
1 8 9 3 , 1 , pl.95
436. T O U L O U S E , C H U R C H O F T H E J A C O B I N S , exterior 450
from S (Photo: Thaon, © Arch. Phot.
Paris/S.P.A.D.E.M.)
437. T O U L O U S E , C H U R C H OF T H E J A C O B I N S , interior 451
438. A L B I C A T H E D R A L , exterior from S E (Photo: Marburg) 452
439. A L B I C A T H E D R A L , interior (Photo: Esteve, 453
xlii
44°- BARCELONA CATHEDRAL, interior (Photo: Court. Inst.) 453
441. MINDEN CATHEDRAL, interior (Photo: Marburg) 454
442. F R E I B U R G - I M - B R E I S G A U , C H U R C H OF T H E 455
FRANCISCANS, interior (Photo: Marburg)
443. FLORENCE, S. MARIA NOVELLA, interior 457
(Photo: Marburg)
444. F L O R E N C E , S. C R O C E , interior 457
(Photo: Alinari/Editorial Photocolor Archives)
445. S A L I S B U R Y C A T H E D R A L , interior of choir 459
(Photo: Marburg)
446. H O W D E N , interior, N side of nave (Photo: 459
F. H. Crossley, Court. Inst., © M. H. Ridgway)
447. B R I S T O L C A T H E D R A L , interior of choir (Photo: N . M . R . ) 460
448. P O I S S Y , S A I N T - L O U I S , exterior elevation, drawing 461
by Robert de Cotte (Photo: courtesy Bibl. nat., Paris)
449. D I J O N , S A I N T - B E N I G N E , interior (Photo: Martin-Sabon, 462
xliii
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to London. Once there, he made his way—and a long way it was—to
the fashionable quarter of Belgrave Square. It was a sultry July
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Nevertheless, many gay equipages were dashing about,
containing society notabilities and bright parasols. One of these
swept round a corner just as Laurence was about to cross the street;
he had only a fleeting glimpse as it passed by. A landau and pair of
bay steppers, with what is called “extravagant” action, powdered
servants, two ladies in light summer dresses, and a young man, with
a button-hole and lavender gloves, on the back seat.
One of the ladies had a faint resemblance to Madeline, as well as
could be gathered, from an impression of bright dark eyes, shaded
by a French picture-hat and a chiffon sunshade. No, it could not be
her. This was some patrician beauty, who looked as if she had been
accustomed to such an equipage from the days of her perambulator.
It was merely a passing idea, and quickly brushed aside by
Laurence as he once more walked on rapidly. At length he
approached the house—he was at the same side of the square—
within four numbers now. His heart beat rather quickly as he glanced
up. No; none of the upper blinds were pulled down, he observed with
relief, and then he took in the dimensions of this palatial mansion,
with a porch and pillars, conservatory, billiard-room, and buildings
built out, and built on, wherever they could be crammed. The
awnings were out—gay red and white striped ones—banks of
flowers bloomed in the balconies. Oh, what a contrast to Solferino
Place! Would not Madeline see it too? he asked himself, with a pang.
After a moment’s hesitation he rang the bell, and almost instantly the
door was opened by a tall, supercilious looking footman.
“Is—is—Miss—West at home?” stammered her husband.
“Not at home,” replied the servant, in a parrot voice, holding out
his hand for the card that he presumed would be forthcoming.
“Is she quite well?” ventured the visitor.
“Quite well, sir, thank you,” having studied the questioner, and
come to the conclusion that he was not one of your nobodies, like his
worthy master. “Who shall I say?” he asked confidentially.
“It is of no consequence. I have forgotten my cards. I will call
again,” turning as he spoke and slowly descending the steps.
This was a most rum go in Jeames’s opinion. He might, at least,
have left his name! But no. Jeames stood gazing after him, with what
is called “the door in his hand,” for two whole minutes, glanced
sleepily around the big, white, hot-looking square, and then went in
to study the paper and the latest betting on Goodwood.
Laurence made his way to Mr. Jessop’s chambers, in—oh,
extravagance!—a hansom, and found that gentleman extremely
busy, and, as he expressed it, “up to his ears.” He, however,
knocked off for the time being, in order to have a smoke and a chat
with his friend, whom he declared that he found looking as fit as a
fiddle, and requested to know when he was going to put his shoulder
to the wheel again?
“Lots for you to do, my boy. Martin has married an heiress and cut
the concern. My sister has married the son of old Baggs, of the great
firm of Baggs and Keepe, solicitors. My fortune is made, and so is
yours!”
“I’m glad to hear it.”
“And, by Jove, old chap! those articles of yours, in the Pepper and
Salt Magazine, have taken the whole baking—are regular scorchers;
lots of people are talking of them, and asking if they are by the same
Laurence Wynne, of the Inner Temple—fellow with a beard? Who
would have thought of your breaking out in that line, eh? as ready
with your pen as your tongue.”
“Readier.”
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and you can have a finger in the pie if you like.”
Larry did not clutch at this lucrative opening; he puffed away
moodily at a cigarette, and stared out of the window in rather an
abstracted fashion.
His keen-eyed friend noted this, and said, in a totally different key
—
“And what about Mrs. Wynne?”
His companion looked at him quickly, coloured faintly, threw his
cigarette out of the window, and said nothing.
“She has not told the old gentleman yet?”
“No, not yet.”
“So I surmised, as they say in America. I saw her at the opera last
night, the cynosure of all eyes, and her proud and happy father
noting that half the glasses in the house were fixed on Miss West.
Ahem! How long is it to go on—this little comedy? Eh?”
“I can’t tell you!” impatiently. “Not another hour as far as I am
concerned. I don’t wish her to sail under false colours any longer. I
came up to see her to-day.”
“The deuce you did!” in blunt amazement.
“But she was out.”
“I suppose you saw the house and the style. By Jove! it’s like
royalty. I dined there last week.”
“You did?” in unfeigned amazement.
“Yes, your most humble servant. I’ve met Mr. West at my club; he
knows a friend of mine—an impecunious lord—that is all. The dinner
was a banquet, a feast fit for Lucullus himself. I had the honour of
being presented to Miss West.”
“Indeed!”
“Of course I had never seen her before,” winking at his friend.
“And, upon my word, I declare I scarcely recognized her! Dress,
diamonds, and manner—manner begotten of importance,
appreciation, wealth, and luxurious surroundings. Not that Mrs.
Wynne’s manners were not always those of a gentlewoman, but
there is a difference between doing the honours of a couple of
herrings and a sheep’s head, in one living room, and being the
hostess presiding over a French dinner—with perfect appointments
and exotic flowers—entertaining lords and ladies and bishops—eh?
—and doing it well, too. But wherever she got her good blood,
Laurence, it did not come from her father’s side of the house. I
sometimes felt inclined to run my fork into him, or to shy a wine-glass
at his head. He is so blatantly proud of Robert West, his success, his
money, his grand acquaintances, and, above all, his daughter.
Excuse me, he is a thundering little bounder!”
“You think he will be furious when he knows that he has a son-in-
law?” said Laurence, gravely.
“If you were a lord—or even a baronet—and had some sort of
handle to your name——”
“But as I have nothing—not even Q.C.?”
“I think, from what I know of him, that he will be unpleasant, my
dear Larry—very unpleasant.”
“And the first shape that his unpleasantness will take will be to turn
Madeline out of doors?”
“Yes, I should say so—I think the odds are fifty to one.”
“Well, she has her own home, at any rate. I shall set to work on
Monday. I’ll go round and see about my old chambers. You can send
me those papers, and tell Tom, the clerk, that I am coming back for
good. I shall take lodgings as soon as I have looked round—in a
more airy locality than Solferino Place. Mrs. Holt will keep the child
till we are settled.”
“You—er—mean—you and Mrs. Wynne?” looking curiously at his
companion.
“Well, yes; who else should I mean?”
“Does she say anything about returning?”
“No-o,” staring confusedly; “but it is understood.”
Here ensued a short silence, during which Mr. Jessop was nerving
himself to speak his mind to his friend—to speak for that friend’s
good—a thankless task, but he assured himself that it was his duty.
“Larry, old chap, you and I have been pals since we were in
jackets at Harrow, and I’ve been your ally ever since the day you
licked Thompson, major, for pitching into me. We’ve always stuck
together somehow ever since. I think a great deal about your
concerns. What hurts you hurts me.”
“Out with it,” cried the other, brusquely. “Out with it. I know you are
going to say something disagreeable. That will do for the overture!”
“I must say one word to prepare you, old man,” suddenly standing
up, laying his hand on his companion’s shoulder, and looking down
into his face. “It is a fatal mistake to expect too much in life—to be
too sanguine! Don’t—don’t be too sure that she wants to come
back.”
CHAPTER XVI.
TWO VISITS AND A LETTER.
Miss West returned from her drive. She had been to Lord’s to see
the Oxford and Cambridge cricket match. She had been surrounded
by admirers, like flies round a pot of honey, and had the most eligible
partis of the season endeavouring to win their way to her good
graces as she promenaded up and down between the innings, and
partook of tea and strawberries in the tents; and Lady Rachel (who
had her own diversions) looked on and said to herself, “That
Madeline was becoming much too run after, and Tony would have to
mind what he was about.” Meanwhile, Mr. West, for whose society
there was no competition, hugged himself with joy, as he saw a
baronet and a baron approach Madeline in turn. This was precisely
as it should be! Then he went up to Lord Tony and said, “I say, Tony,
wasn’t that the Duke of Margate I saw you talking to just now—a
funny old Johnny, with a shabby hat and red face?”
“Ye-e-s—I—I believe so,” shrinking instinctively from what he knew
was to follow—as per usual.
“Then just, when you get a nice little opening, introduce me,
there’s a good fellow. Watch him when he comes out of the long tent;
he is having tea with the FitzMorse Montagues. I’ll do as much for
you another time.”
Lord Tony dreaded these demands. He even went so far as to hide
from Mr. West, or to absent himself altogether from gatherings where
they were likely to meet. He had introduced his sister to the Wests.
He liked Madeline immensely. His aunt, Lady Clapperclaw, had
called, and Miss West had got cards from a few good houses, but he
really drew the line at presenting “the old squatter,” as Mr. West was
nicknamed by all his acquaintances. People did not like it. They
glared fiercely when this dapper, well-dressed, white-spatted, white-
hatted little person was introduced to them—a man who bowed and
talked, and talked and grinned, exactly like a toy monkey! Confound
Tony Foster, who the deuce was this infernal little cad? What was
Tony about? He was always mixed up with a second-rate set, but
why thrust his shoddy friends on them? However, when it came to be
hinted that the “squatter” was rolling in money, and dying to spend it
—literally panting to give entertainments of the costliest description
—a second Monte Cristo, with a spirit of unbounded generosity and
one lovely daughter—matters took a different complexion. Mr. West
was elected to a couple of good clubs, some visiting-cards and
invitations were left on Mr. and Miss West by footmen who had
descended from coroneted landaus. Ladies with slim, smiling,
scapegrace sons called on the heiress. Fast young married women,
who looked forward to dances and all manner of festivities, called
(and made their friends leave cards). Young men who had seen and
admired Miss West got introduced, and dropped in on Sundays. Lord
Moneycute, an elderly baron, who had long been looking for a wife
with money, also Sir Crete Levanter, called—and they subsequently
dined—frequently at 365. Many people whom the ignorant colonial
thought smart, grand, and distinguished, called; but it was not all
gold that glittered; there was a great deal of brass about some of
these visitors! On the other hand, pretty mammas, with daughters
who were in the best set, set their faces against these parvenus.
Mammas with rich and titled sons were equally stand-off. One or two
great ladies, who had been introduced, as it were, accidentally to
Miss West, cut her at once.
But the Wests were as yet ignorant of the lights and shades of
London society, and they were both—Mr. West especially—perfectly
satisfied that, though not in the Marlborough House set, they were
close upon its borders.
“A gentleman had called to see her,” murmured Miss West

languidly, as she drew off her gloves on the threshold of the
morning-room. “Did he leave his card?”
“No, ma’am, he did not; he said he had forgotten it.”
“And he asked for me—not for Mr. West?” she continued
indifferently, glancing at her parent, who was rapidly turning over a
pile of notes, and picking out those emblazoned with a coronet.
“I’ll tell you who it was,” he broke in; “it was Lord Maltravers. He
came about that macaw he promised you.”
“No, sir,” put in Jeames, firmly but respectfully; “it was no
gentleman I ever saw before—certainly not Lord Maltravers—though
he might have been a lord for all I know to the contrary.”
“It wasn’t a tradesman?”
“Oh no, sir!” most emphatically.
“What was he like?” inquired Madeline, opening a letter very
deliberately as she spoke, her thoughts very far away from
Laurence.
“Well, ma’am, he looked quite the gentleman. He was tall, about
my ’ight” (complacently), “very dark eyes, a short beard—what you’d
consider a ’andsome young man. He carried a queer-looking stick
with a ivory top, and he seemed disappointed as you were not at
home!”
“A queer-looking cane with an ivory top, and he seemed
disappointed!” The letter fluttered out of Madeline’s hands, and fell to
the ground, as the unconscious Jeames thus blandly announced that
the visitor had been her husband! She was glad to stoop quickly, and
thus hide her face, with its sudden increase of colour. Laurence had
come up to see her! What rashness! What madness!
“Well!” exclaimed her father, looking at her sharply, “have you
made out your mysterious visitor, eh?—eh?—eh?”
“I think he must have been the brother of one of my school-fellows
from the description,” she said, with wonderful composure, tearing
open another letter as she spoke.
“Humph!” grunted Mr. West, in a tone that showed that school-
fellows’ brothers were not at all in his line.
“Here is an invitation to Lord Carbuncle’s for Thursday week,” said
his daughter, dexterously turning the current of his thoughts into a
much less dangerous channel, and holding out the note for his
perusal.
“Thursday week. Let’s see; what is there for Thursday week, eh?”
“We dine with the Thompson-Thompsons in Portland Place.”
“Oh dear me, yes, so we do,” querulously. “What a confounded
nuisance!” in a tone of intense exasperation. “Can’t we throw them
over?”
But his daughter gave him no encouragement, knowing full well
the enormity of throwing people over when a better engagement
presented itself, and that such proceedings were not countenanced
by good society in Vanity Fair.
So Mr. West (who was cheered by another coroneted invitation-
card) was fain to submit with what grace he could muster.
The next morning Miss West resolved upon a bold step. She
pleaded a headache as an excuse from attending Sandown, and as
soon as she had seen her parent safely off the premises, she hurried
upstairs, dressed herself very plainly, put a black veil in her pocket—
also a well-filled purse—and, walking to a short distance, took a
hansom for Waterloo Station. This time she travelled first class, of
course, and hired a fly to take her to the farm—at least, to the lane
leading to the farm—and there to wait, in case Mr. Holt was unable
to drive her back. She desired to give every one an agreeable
surprise.
Mrs. Holt, who was in the kitchen shelling peas into a yellow bowl,
gave a little scream when she beheld Mrs. Wynne standing on the
threshold, between her and the sunshine, and, upsetting half the
pods, rushed at her hospitably, wiping her hands on her apron, and
assuring her that “she was more welcome than the flowers in May.
Baby was well, and growing a rare size, but Mr. Wynne was out; he
and the farmer had gone away together just after breakfast, and
would not be back till late, and did ever anything happen so
contrary?”
Her square brow knit into lines of disappointment when the young
lady, in answer to her eager queries, informed her that she was not
come to stay—that, in fact, she was going to Ireland in two or three
days with her father and a party of friends. He had taken the
shooting of a large estate in the south, and was most anxious to
inspect it.
“Ay, dearie, dearie me!” said Mrs. Holt, after an eloquent pause,
“and what will Mr. Wynne say to that? I’m thinking he will not be for
letting you go,” and she shook her head dubiously.
This was precisely the subject that Madeline had come to discuss
with him, and he was away for the day. How excessively provoking
and tiresome!
Mrs. Kane had been won over with money, Mrs. Harper with
valuable presents, and the hint of an invitation to stay at Belgrave
Square. There remained but Laurence to deal with. He really must
learn to be patient—to wait for the auspicious moment when, having
gained the whole of her father’s confidence and affection, he began
to realize that she was so absolutely necessary to his happiness and
to his social success that he could never spare her. Then, and not till
then, would she throw herself into his arms and confess to him that
she was married to Laurence Wynne. Laurence and the baby would
be brought to Belgrave Square in triumph, and share her lot in
basking in the sun of wealth and luxury. This was Mrs. Wynne’s nice
little programme, and ten times a day she repeated to herself this
formula—“Laurence must wait.”
She kissed her little boy, and praised his rosy cheeks, and asked
many questions about her husband, and was so surprised to hear
that he wrote for hours and hours; but Mrs. Holt remarked that she
took no interest now in the chickens, calves, or dogs—or, what she
once found irresistible, the dairy!
Also Mrs. Holt’s quick woman’s eye did not fail to notice her
blazing rings when she pulled off her gloves, her valuable little
wristlet-watch, which she consulted nervously from time to time, her
plain but expensive dress, that rustled when she moved. Ah! she
could see—although she tried not to show it—that Mrs. Wynne had
changed. Her mind was possessed now by riches, and he, poor
young man, would never be able to keep her contented, now she
had had the taste of money, and knew what it was to be a great lady;
and Mrs. Holt shook her head wistfully, as she made a red-currant
tart. Meanwhile Madeline carried baby down to the gate and looked
out for Laurence, but no Laurence came, and baby was surprisingly
heavy. Then she went round the garden. Oh, how small it looked
somehow, and there was horrid green weed on the pool! Then she
made her way into their sitting-room, with its old glass book-case,
brass-faced clock, samplers hanging on the walls, and plain red tiles
underfoot. A dainty summer breeze was playing with the white
curtains through the open lattice, and the great hollyhocks and
sunflowers were rearing their heads and endeavouring to peep in
from the garden. There was Laurence’s pipe; there, in a corner,
stood the stick which had betrayed him; and there was his writing,
just as he had left it—ruled sermon paper. No, not a letter! What was
it all about? And she took it up and glanced over it. It was some
rubbish, headed, “Middle-aged Matrons.” How absurd!
Then, on the spur of the moment, she called in Mrs. Holt, and
consigned Master Harry to her motherly arms, whilst she sat down to
indite a letter to Laurence, with his own favourite pen and at his own
table.
“Dear Laurence” (she said),
“I came down on purpose to see you, and am so dreadfully
disappointed to find you are out, for I dare not wait, and I had
so much to say to you. I am delighted to find baby so grown,
and to hear such good accounts of yourself. I believe you
were at Belgrave Square yesterday. Laurence, how could you
be so rash? Fortunately, no one suspected who you were, or
that you were anything to Miss West. I feel quite another
person than Miss West now that I am down in the country,
and looking out of the window in front of me into this dear old
garden and the far-away wooded hills.
“I feel as if money was nothing in comparison to youth and
domesticity and peace, and that I could be happy here for
ever with you; but I know that, once back in my own boudoir
this very selfsame evening, I shall change my mind again,
and look upon rustic life as intolerable—a living death, a being
buried alive without a fashionable funeral. Money and
money’s worth I must attain; love I have. I wish to command
both—love and money. We know what love is without money,
don’t we? I shall never, never change to you, Laurence, you
may rely on that.
“I received your last letter safely, and have laid to heart all
you say; but, dear, dear Laurence, you must let me take my
own time with papa. I will tell him sooner or later; but, indeed,
I am the best judge of how and when and where. You used to
say I was foreseeing and prudent and wise, in the days of No.
2. Surely I am not changed in three months’ time! Leave it all
to me. He will come round yet, and, like the good people in
the fairy-tales, we shall live happy ever after. On Sunday night
we all go to Ireland by the mail from Euston. It is quite a
sudden idea. Papa has given up the idea of the Scotch
moors, and was talked into taking this shooting and deer-
forest and castle by an agreeable Irish nobleman he met at
his club. There is every inducement to sportsmen, from red
deer to black cock, as well as three thousand acres of ground
and a castle.
“We are to have a succession of visitors. I hope to do great
things in three months, and will write to you every week and
report progress.
“Ever, dear Laurence, your loving wife,
“M. W.”
His loving wife put this effusion into an envelope, directed it, and
placed it on the mantelpiece, where it would be sure to catch his eye,
and then she felt considerably relieved in heart and mind, and had
tea in the kitchen with Mrs. Holt, turning the cakes and praising the
butter, and softening Mrs. Holt’s feelings the longer she stayed in her
company. Then she had a confidential chat about baby and his
clothes, and placed twenty pounds in her listener’s hand for his
wardrobe, in spite of that good woman’s protestation that it was just
five times too much. She also made the farmer’s wife a substantial
present of money, telling her very prettily, with tears in her eyes, that
it was not in return for her kindness, for no sum could repay that, but
as a small token of gratitude.
By various means she reinstated herself in Mrs. Holt’s good
graces, and having hugged the baby and kissed him over and over
again, and taken a hearty leave of her hostess, she set off briskly on
foot to where the patient fly awaited her. She paused at the end of
the lane, and looked back on the Holt farm. It was a homely,
sequestered spot, buried in fields and trees, and very peaceful; but it
looked somehow more insignificant—shabbier than she had fancied.
How small the windows were! How close it stood to the big yard, with
its swarming poultry and calves and dirty duck-pond! And what
horrible knives and spoons Mrs. Holt used, and what fearful shoes
she wore! However, she was a good old soul, and had taken great
care of baby. Then she once more turned her back on the farm, and
set her face towards her father’s luxurious mansion. Luckily for
herself, she was home before him—was dressed, and sitting half
buried in a chair, engrossed in a novel, when he returned in high
good humour. He had been winning and losing in the best of
company, and was very eloquent about a certain Roman prince who
had been uncommonly pleasant, and had said he “would like to be
presented to you, Madeline!” His little hard head was so full of this
new acquaintance that he had not room for a thought as to where or
how his daughter had spent the day. Indeed, from all evidence to the
contrary, she might never have been out of the house.
Laurence found Madeline’s letter staring at him from the
mantelpiece when he came home. He snatched it eagerly, and
devoured it then and there, and as he came to the last line his
sensations were those of exceedingly bitter disappointment—yes,
and something more, he was hurt. It seemed to him that through the
epistle ran an under-current of jaunty indifference, and this cut him to
the quick.
And she was going to Ireland for three months! Well, at any rate,
he would see her off; a railway station was open to the public. She
need not necessarily see him; but he would see her. The next day he
carried out his intention, travelling up to town early in the morning,
visiting his chambers, dining with his friend Jessop, and being in
good time to speed the Irish mail at Euston. He watched and waited,
and saw many parties approach; but yet not his particular party. They
did not appear until within five minutes of the departure of the train.
And what a fuss they made! More than all their predecessors put
together. There was one footman running for tickets, another being
carried madly along the platform in tow of two powerful setters, one
retainer had the booking of the luggage, another was arranging the
interior of their Pullman sleeping-car, and then the party came up to
it, and Laurence beheld his father-in-law for the first time—a neat,
trim, bustling little man, talking vociferously and gesticulating about
Lady Rachel’s luggage. There was a very well-dressed, dark little
woman, not young, but juvenile in air and style, who laughed and
talked incessantly to a big man in a tweed suit, and looked at Mr.
West with contemptuous grimaces, and shrugged her shapely
shoulders. There was a “lout” in wonderful knicker-bockers—so he
mentally ticketed Lord Tony. There was a tall girl in a sort of long
racing-coat. There were two lady’s-maids; and last, but not least,
there was Madeline—Madeline so altered that he could scarcely
believe his eyes—Madeline in a regal travelling-cloak, carrying a
Chinese lap-dog, giving directions to hurrying footmen and maids,
and dispensing smiling adieux among a group of young men who
had come to see them off—meaning Miss West. This was surely not
his Madeline—the little school-girl he had married, the devoted,
struggling, hard-working wife and mother, late of 2, Solferino Place.
He stood back for a moment in the shadow of the book-stall, and
realized for the first time the immense gulf that divided him from Mr.
West’s heiress—the great yawning chasm which lay between him
and Madeline. What would fill it—what? He could think of no bridge
but money.
Very poignant were his thoughts as he stood thus—poor, aloof,
and alone, whilst his radiant wife made her beaming farewells from
the window of the Pullman car.
“She should say good-bye to him too,” he declared to himself, with
sudden fierce resolve, and, stepping forward, he stood out in the full
light, a little apart from the gay group who were now removing their
hats with a real or simulated air of regret as the great long train, that
was to carry the popular heiress westward, began slowly to move.
Madeline smiled and nodded and waved her hand. But who was that
standing a little aside, farther down the platform? It was Laurence—
Laurence, whom she had not beheld for three months. It gave her
quite a shock to see him—but a pleasant shock, that sent the blood
tingling through her veins.
How well he looked!—quite himself again; and how well he
contrasted with these gilded youths whom she had just (she hoped)
seen the last of! She would have blown him a kiss had she dared;
but her father’s little beady eyes were upon her, and she could only
sit and look—she might not even bow! Then, with sudden
compunction, and justly alarmed by the expression on his face, she
leant quickly out of the window and nodded and smiled.
The other young men accepted this final signal with
demonstrations of rapture. Little did they guess that it was not for
them, but for that quiet, gentlemanly-looking fellow a few yards to
their left. If they were not aware of this, he was.
“Who is that man on the platform,” said Lady Rachel, “that looks
as if he was seeing us off too? There is no one else in the car but
ourselves.”
“Oh, I’m sure I don’t know,” responded Mr. West. “There are heaps
of people going over, though I dare say he belongs to the
Ravenstayle party. Lord Ravenstayle is in the train. It would not
surprise me if it were his nephew, Cosmo Woodwing—aristocratic-
looking sort of chap—and took a good stare at you, eh, Maddie?”
facetiously. “Will know you again next time he sees you?”—highly
delighted at his own conceit. “I suppose you have no idea who he is,
eh?”
Madeline had an excellent idea of who he was, but this was no
time to confide her secret to her parent—better to save this little
domestic bomb for a more discreet opportunity.
Madeline had a shrewd idea that the mysterious gentleman who
had taken a good long look at her—the presumable Lord Cosmo
Woodwing—was her own husband!
CHAPTER XVII.
GONE TO IRELAND.
Laurence Wynne stood upon the platform and watched the Irish
mail—“The Wild Irishman”—wind its great long body slowly out of the
station—watched till the red light, like a fiery eye, became smaller
and smaller, and disappeared from view. Then he hurried off to
Waterloo to catch his own train—which he missed—and, going by
the next, walked from Guildford, a distance of twelve miles, arriving
home at one o’clock in the morning, to the intense relief of Mrs. Holt,
who had been sitting up for him in a nightcap of portentous
dimensions, and who, seeing that he looked tired and dusty, and
what she mentally termed “down,” was disposed to be a very mother
to him, even to setting a cold supper before him at that unparalleled
and improper hour, and staying him with a flagon of her own home-
brewed ale—a sure token of favour.
“And so she’s gone!” she exclaimed at last, when she could
absolutely contain herself no longer. “Actually gone to Ireland.”
“Yes, Mrs. Holt, she is gone,” acquiesced her lodger, coolly.
“And goodness knows when she will come back,” she continued
indignantly. “Dear, dear, dear! I wonder what my master would say if
I’d a done the like—just walking off and leaving him and an infant to
fend for themselves; but I suppose fine folk is different, and don’t
mind?” giving her cap-frills a mighty toss.
Laurence said nothing. He was not going to tell this worthy and
virtuously irate matron, that he did mind very much. No matter how
he felt himself, he would have every one else think well of Maddie.
He would hardly admit to his own heart that she was not quite
perfect, that he was beginning to feel sorely jealous of her father, her
fine surroundings, and her fashionable friends. However, there was
no use in thinking; what he had to do was to work, and endeavour to
win for himself name, fame, and fortune.
The next morning he set himself to make a real beginning. He
packed up his slender belongings, he took his last walk round the
fields and garden with farmer Holt, he consigned his son to the care
of his kind hostess for the present, and, promising to run down often
and look them up, he, in his turn, was taken to the station by the
chestnut colt, and departed to make a fresh start in life, whilst the
burly farmer stood on the platform and flourished his adieux with a
red-spotted handkerchief. Then, returning slowly home, agreed with
the missus in finding the place “summat lonely-like now,” in missing
their late inmate, and in praising him up to the skies. Mrs. Holt was
inclined to improve the occasion by drawing invidious comparisons
between Mr. Wynne and his wife. “She was not like him—he had
more true worth in his little finger than she had in the whole of her
body,” etc.
But the worthy master, who had not been blind to Madeline’s pretty
face and fascinating smiles, would not listen for a moment to such
treason, and told his better half, rather sharply, to “hold her tongue!”
Laurence Wynne took up his quarters in the Temple temporarily—
in a set of gloomy old chambers, with small, narrow windows and
small panes, looking out on nothing in particular—at any rate he had
no view to distract his attention from his work, and of work he had
plenty.
His friend Jessop (unlike some so-called friends), having got a
good start up the ladder of law, reached back a hand to his
struggling schoolfellow; and an opening—a good opening—was all
that his struggling schoolfellow required. His brains, his ceaseless
industry, his good address, and his handsome appearance did the
rest. He was far cleverer than his friend Jessop, and had twice his
perseverance and talent for steady application. Jessop could keep a
bar dinner in a roar of laughter, but Wynne could hold, as it were, in
his hand, the eyes and ears of a jury. He had a natural gift for
oratory; he had a clear, sonorous voice; he was never at a loss for a
word—the right word; never said too much, or too little; never lost an
opportunity of making a point, or of driving home an argument. In
short, among the juniors he was a pearl of price. His brilliant articles
of biting satire, which were read by every one, had brought his name
up, and his name had been speedily followed by his appearance in
person—his appearance in a successful case. In short, a tide in his
affairs had come, and he had taken it at the flood, and the little skiff
“success” was sailing over the waves in gallant style.
He had been most fortunate in one or two minor cases; he could
not afford to be careless, like great men who had made their
reputations. He began to be spoken of as a very rising junior, and to
be consulted on crotchety points of law, to be listened to whenever
he opened his lips, to be asked out to many professional dinners,
and to receive—oh, joy!—not a few briefs on which the name of
Laurence Wynne was inscribed in a round legal hand.
Yes, he was getting on rapidly. He could now afford to pay well for
the maintenance of Master Wynne, to make handsome presents to
the Holts, to allow himself new clothes and books, and the luxury of
belonging to a good club.
And what about Mrs. Wynne all this time?
Madeline was rather agitated by so unexpectedly beholding her
husband on the platform, the night they left for Ireland. Her heart
beat fast, and her eyes were rather dim as they lost sight of his
figure in the crowd.
“Poor Laurence! How fond he was of her,” she said to herself, with
a sharp pang of compunction. “Fancy his coming up all that way, for
just one glimpse, one little look across the crowd!” But, latterly,
Madeline West had been so overwhelmed with attention, that she
now took many things as a matter of course, and but a proper tribute
to her own importance.
She and Lady Rachel occupied the same sleeping compartment,
and her ladyship, who was an old and experienced traveller, wasted
no time in gazing dreamily out of the window like Madeline, but took
off her hat and dress and lay down in her berth, and was soon
asleep, whilst the other sat with her eyes fixed on the dusky country
through which they were passing, asking herself many disturbing
questions, and fighting out a battle in her own breast between
Laurence and luxury. At times she had almost resolved to tell her
father all within the next twelve hours, and to accept the
consequences, whatever they might be. She was wrong to deceive
him; she was wrong to leave Laurence and the child. Yes; she would
do the right thing at last—confess and go back.
With this decision laboriously arrived at, her mind was more at
ease—a load seemed lifted from her brain; and she laid her head on
her pillow at last and fell asleep.
But morning brings counsel—we do not say that it always brings
wisdom. In the cool, very cool dawn, as she sat on the deck of the
Ireland and watched the sun rise and the shores of Erin rise into
view, her courage ebbed away; and as she partook of a cup of hot
coffee at Kingsbridge Station, and encountered her father, who was
exceedingly short in his temper, owing to a bad night’s rest, her good
intentions melted as snow before the sun. No, no, she told herself;
she must wait until her parent was in a more genial, indulgent mood.
To speak now would be fatal, even supposing there was an
opportunity for a few moments’ tête-à-tête.
The party travelled down at express speed to Mallow Junction,
and from there a short rail journey brought them near their
destination. It was four o’clock on a superb August afternoon as they
drove up to Clane Castle. The owner and agent had not misled the
new tenants; it was a castle, a fine commanding structure tucked
under the wing of a great purple mountain, and was approached by
an avenue that wound for a full Irish mile through a delightful
demesne. What oaks! what beeches! what green glades and
scuttling rabbits! what cover for woodcock! and, outlined against the
sky-line on the mountain, was that a deer?
The exclamations of pleasure and astonishment from his daughter
and his guests made Mr. West’s tongue wag freely.
“Yes; it’s a fine place. I said, ‘None of your picnic shanties for me.’
I said, ‘I must have a decent house and a fair head of game—money

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