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This supremacy had to be kept up by the "strong hand," of which the ruined fortress is now the only reminder; but there is a more beautiful monument of old days and usages in the thirteenth-century church of St. Martin, not badly restored, where the stained-glass windows are genuinely mediæval, as well as the fresco on gold ground representing the "Seven Joys of Mary," painted in 1463.
Next to these come the Early English inserted arches, pierced as already described through the Norman wall and cutting away the lower part of two previously existing Norman windows on each side. The arches are of three plain orders, with chamfered edges, resting on clustered shafts; beyond these the new thirteenth-century work begins.
Between the buttresses of the chapels are four two-light windows, The outer arch of each of these windows is a beautiful example of late thirteenth-century moulded detail. The main line of the arch curve is excellent, and the whole opening between the head, jambs, and sill is beautifully proportioned.
"You must admit," said Durtal, "that these statues, before which the historians of this cathedral go into ecstasies, declaring in chorus they are the highest achievement of thirteenth-century sculpture, are far inferior to those of the twelfth century that adorn the great north porch. How evident is the lowering of the divine standard!
Is there more individuality in a thirteenth-century grotesque than in the "Faun" of the Capitol?
This is lighted by two pairs of narrow single-light windows on either side, and by a similar pair in the north face beneath the obtuse-angled gable. This room is, no doubt, a later addition. The entrance into the porch is a beautiful, deeply-recessed archway of thirteenth-century date, with numerous shafts of Purbeck marble on either side.
He was only too glad to yield himself entirely, not to her charm or to any sentimentality of religion, but to her mental and physical energy of creation which had built up these World's Fairs of thirteenth-century force that turned Chicago and St. Louis pale.
We can also trace, in remaniements of the Chanson DE ROLAND, comparatively rapid and quite revolutionary variations from the oldest the Oxford manuscript. Rhyme is substituted for assonance; the process entails frequent modernisations, and yet the basis of thirteenth-century texts continues to be the version of the eleventh century.
The effect is striking, but certainly somewhat incongruous. The choir is one of the most beautiful productions of the thirteenth-century style of the country, always approaching nearer to English work than the architecture of any other part of the Continent. Another church at Bayeux, that which now forms the chapel of the seminary, is well known as being more English still.
On the opposite side of the aisle is the doorway leading into what is known as the #sacristy#. This is a thirteenth-century addition to the church, and is of irregular shape, as it is wedged in, as it were, between the apsidal chapel on the east side of the transept and the south wall of the choir aisle.
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