"Well, you see, in the distribution of the sacred arts France received architecture only. Consider the pre-Raphaelite painters. All the early painters were Italians, Spaniards, Flemings, or Germans. Those whom some writers try to represent as our fellow-countrymen are Flemings transplanted to Burgundy, or docile Frenchmen whose imitative work bears an unmistakable Flemish stamp. Look in the Louvre at our primitive artists; look at Dijon, especially at what remains from the time when northern art was introduced by Philippe le Hardi into his own province. It is impossible to feel a doubt. Everything came from Flanders--Jean Perreal, Bourdichon, even Fouquet are whatever you please, only not the inventors of an original Gallic art. "It is the same with the mystic writers. Of what use would it be to mention the nationalities to which they belong? They too are Spanish, Italian, German, Flemish--not one is French." "I beg your pardon, our friend!" cried Madame Bavoil, "there was the Venerable Jeanne de Matel, who was born at Roanne." "Yes, but she was the daughter of an Italian father who was born at Florence," said the Abbe Gevresin, who, hearing the bell ring for Nones, now folded up his table napkin. They all stood up and said grace, and Durtal made an appointment with the Abbe Plomb to visit the Cathedral. Then he went home, meditating, as he walked, on this strange division of art in the middle ages, and the supremacy given to France in architecture, when as yet she was so inferior in every other art. "And it must be owned," he concluded, "that she has now lost this superiority; for it is long indeed since she produced an architect. The men who assume the name are mere thieving bunglers, builders devoid of all individuality and learning. They are not even able to pilfer skilfully from their precursors. What are they nowadays? Patchers up of chapels, church cobblers, botchers and blunderers!" [1] The English use of the word Ogee is thus defined: "An arch or moulding which displays sectionally contrasted curves similar to that of the _cyma reversa_." FAIRHOLT, "Dict. of Terms used in Art;" and PARKER, "A Concise Glossary of Terms used in Architecture."--[_Translator_.] CHAPTER IV. Madame Bavoil was right; to understand the welcome the Virgin could bestow on Her visitors, the early Mass in the crypt must be attended; above all, the Communion should be received. Durtal made the experiment; one day when the Abbe Gevresin enjoined on him to approach the Table, he followed the housekeeper's advice and went to the crypt at early dawn.