still in many places clearly visible. The stones of the vaults are of various sizes and shapes, averaging about 12 x 3 inches, and are disposed in courses more or less regularly horizontal. The vaults at the crown are about 8 1/4 inches in thickness. Above them still stands the ancient timbered roof in its original form, ex
cept that it appears to have been in part renewed in 1777.
From the standpoint of archaeology the cathedral of Quimper is important, because it offers early and surely dated examples of several flamboyant features. Thus the arch of the east end of the ambulatory leading into the sacrament chapel offers a very remarkable instance of a continuous moulding dating not later than 1295. Although it appears to be due to accident, it may nevertheless have inspired the development of this motive destined to become so characteristic of the fifteenth century. The profiles of the two eastern piers of the chevet show veritable flamboyant wave mouldings. These also apparently date from the last quarter of the thirteenth century. In the south portal, which bears the arms of Jean V (1399-1442) and
Bertrand de Rosmadec (1417-1444), there occurs a flattened arch.
Few cathedrals of France possess as interesting stained glass as Quimper. If there is none of the golden age of the thirteenth century, there is in compensation an extraordinary series of windows of the fourteenth and especially of the fifteenth centuries, enabling us to trace the history of the art
across these epochs of which the monuments are so rare. The windows, it is true, were almost all damaged at the time of the Revolution, when the coats of arms they bore were destroyed, and they have been very indifferently restored. Nevertheless, much that is of the greatest importance remains. It is
fortunate that there are several indications of the date of individual windows. Thus the third window from the west on the north side of the nave clearstory contains the portrait of a canon who died in 1465. The fourth represents a man who was canon from 1486 to 1497. A window of the south transept is dated 1496. A canon of 1489-1497 is represented in the second window from the east on the south of the nave. This window seems to be later in style than the others on this side of the nave, and contemporary with those of the transept. The western window on the southern side represents Alain le Maout (1484-1493). Its style appears later than that of the earliest windows of the north side. The contrast in style between these excellent examples of the second half of the fifteenth century and the windows of the first half of the century in the choir is very marked. In the latter the figures are small and placed in large elaborate niches composed almost entirely of white or gray glass. White predominates even in the figures themselves. Such colors as are introduced are for the most part light and delicate, pale blues, thin greens, ochres and the like. The fields of color are comparatively small. SOUTHERN PORTAL OF THE CATHEDRAL OF
QUIMPER
The Cathedral of Quimper is unusual in that the facade has only one, instead of three, portals. The side portals are placed on the sides instead of in the front of the building. The decoration of the Portail Sainte- Catherine marks the passing of the religious in favor of heraldic iconography. The escutcheons of nobles above the portal have come to assume equal importance with the religious figures in the tympanum and voussoirs. This portal also offers an early example of a flattened arch.
cept that it appears to have been in part renewed in 1777.
From the standpoint of archaeology the cathedral of Quimper is important, because it offers early and surely dated examples of several flamboyant features. Thus the arch of the east end of the ambulatory leading into the sacrament chapel offers a very remarkable instance of a continuous moulding dating not later than 1295. Although it appears to be due to accident, it may nevertheless have inspired the development of this motive destined to become so characteristic of the fifteenth century. The profiles of the two eastern piers of the chevet show veritable flamboyant wave mouldings. These also apparently date from the last quarter of the thirteenth century. In the south portal, which bears the arms of Jean V (1399-1442) and
Bertrand de Rosmadec (1417-1444), there occurs a flattened arch.
Few cathedrals of France possess as interesting stained glass as Quimper. If there is none of the golden age of the thirteenth century, there is in compensation an extraordinary series of windows of the fourteenth and especially of the fifteenth centuries, enabling us to trace the history of the art
across these epochs of which the monuments are so rare. The windows, it is true, were almost all damaged at the time of the Revolution, when the coats of arms they bore were destroyed, and they have been very indifferently restored. Nevertheless, much that is of the greatest importance remains. It is
fortunate that there are several indications of the date of individual windows. Thus the third window from the west on the north side of the nave clearstory contains the portrait of a canon who died in 1465. The fourth represents a man who was canon from 1486 to 1497. A window of the south transept is dated 1496. A canon of 1489-1497 is represented in the second window from the east on the south of the nave. This window seems to be later in style than the others on this side of the nave, and contemporary with those of the transept. The western window on the southern side represents Alain le Maout (1484-1493). Its style appears later than that of the earliest windows of the north side. The contrast in style between these excellent examples of the second half of the fifteenth century and the windows of the first half of the century in the choir is very marked. In the latter the figures are small and placed in large elaborate niches composed almost entirely of white or gray glass. White predominates even in the figures themselves. Such colors as are introduced are for the most part light and delicate, pale blues, thin greens, ochres and the like. The fields of color are comparatively small. SOUTHERN PORTAL OF THE CATHEDRAL OF
QUIMPER
The Cathedral of Quimper is unusual in that the facade has only one, instead of three, portals. The side portals are placed on the sides instead of in the front of the building. The decoration of the Portail Sainte- Catherine marks the passing of the religious in favor of heraldic iconography. The escutcheons of nobles above the portal have come to assume equal importance with the religious figures in the tympanum and voussoirs. This portal also offers an early example of a flattened arch.