drawing to celebrate the functions elsewhere, the canons seized the ornaments and sacred utensils belonging to the guilds. The guilds thereupon refused to adorn the chapels of the cathedral with tapestries, as had been the custom. Moreover, they attempted to steal certain relics from the church.
Affairs took a serious turn on the occasion of the funeral of one of the master-builders of the cathedral, named G. Le Goaraguer. The canons of the cathedral accompanied by all the clergy went to the house of the deceased to bring his body to the cathedral where it was to be buried. The corporations also attended the funeral. A fight broke out between the canons and the corporations. The bourgeois of the city, armed with sticks, aided the workmen in attacking the clergy. In the melee the coffin was overturned, and the corpse was rolled in the street. It appears to have been the intention of the townspeople to throw the clergy into the river,
but the canons succeeded in escaping, and took refuge in the cathedral.
The archives also throw interesting light on the construction of the vaults. It is evident that in the fifteenth century wood was exceedingly scarce in the neighborhood of Quimper, since it was imported for the roof from Brasparts and Pleyban. The cement employed in the vaults was encaustic, and there is preserved the recipe for its composition. Twenty-five pounds of resin were mixed with one pound of tallow. Le Men thinks lime was probably also added. Not only was the cement heated, but it was necessary also to heat the masonry to which it was applied. The heating of the stone made it necessary to cover the soffits ot the vaults with a plaster wash. On a cream background were painted imitation stone joints. This decoration was destroyed in the nineteenth century, but traces are
GROESKAER WINDOW, CATHEDRAL OF QUIMPER
This window, the westernmost on the north clearstory of the nave, is the fine,st in the nave of the cathedral. The subjects represented are: 1, a kneeling canon before a prie-dieu on which is a restored escutcheon. This canon is Laurent du Groeskaer, who was canon of Quimper in 1496. He is presented by his patron, St. Lawrence. 2, St. Corentin, bishop of Quimper. 3, St. John the Evangelist. 4, St. Michael and the Dragon. It will be evident on comparison with the windows in the choir that the glass of the end of the fifteenth century has become more pictorial and more clear, but is losing its architectural character.
WINDOW ERECTED BETWEEN 1417 AND 1419, CATHEDRAL OF QUIMPER
This is the second window from the transept in the north clearstory of the choir. The subjects represented are: 1, St. George and the Dragon; 2, St. Julien; 3, St. Margaret and the Dragon; 4, St. Catherine. Le Men describes the last panel as representing St. Catherine supported on a wheel, but as the window exists there is n© wheel. The saint is crowned and haloed and holds a naked sword and a shield with a device.
Affairs took a serious turn on the occasion of the funeral of one of the master-builders of the cathedral, named G. Le Goaraguer. The canons of the cathedral accompanied by all the clergy went to the house of the deceased to bring his body to the cathedral where it was to be buried. The corporations also attended the funeral. A fight broke out between the canons and the corporations. The bourgeois of the city, armed with sticks, aided the workmen in attacking the clergy. In the melee the coffin was overturned, and the corpse was rolled in the street. It appears to have been the intention of the townspeople to throw the clergy into the river,
but the canons succeeded in escaping, and took refuge in the cathedral.
The archives also throw interesting light on the construction of the vaults. It is evident that in the fifteenth century wood was exceedingly scarce in the neighborhood of Quimper, since it was imported for the roof from Brasparts and Pleyban. The cement employed in the vaults was encaustic, and there is preserved the recipe for its composition. Twenty-five pounds of resin were mixed with one pound of tallow. Le Men thinks lime was probably also added. Not only was the cement heated, but it was necessary also to heat the masonry to which it was applied. The heating of the stone made it necessary to cover the soffits ot the vaults with a plaster wash. On a cream background were painted imitation stone joints. This decoration was destroyed in the nineteenth century, but traces are
GROESKAER WINDOW, CATHEDRAL OF QUIMPER
This window, the westernmost on the north clearstory of the nave, is the fine,st in the nave of the cathedral. The subjects represented are: 1, a kneeling canon before a prie-dieu on which is a restored escutcheon. This canon is Laurent du Groeskaer, who was canon of Quimper in 1496. He is presented by his patron, St. Lawrence. 2, St. Corentin, bishop of Quimper. 3, St. John the Evangelist. 4, St. Michael and the Dragon. It will be evident on comparison with the windows in the choir that the glass of the end of the fifteenth century has become more pictorial and more clear, but is losing its architectural character.
WINDOW ERECTED BETWEEN 1417 AND 1419, CATHEDRAL OF QUIMPER
This is the second window from the transept in the north clearstory of the choir. The subjects represented are: 1, St. George and the Dragon; 2, St. Julien; 3, St. Margaret and the Dragon; 4, St. Catherine. Le Men describes the last panel as representing St. Catherine supported on a wheel, but as the window exists there is n© wheel. The saint is crowned and haloed and holds a naked sword and a shield with a device.