Fashioned and enriched by the hand of man, the land of Normandy has in turn profoundly influenced the character of its inhabitants. First and foremost, the Norman is a peasant, industrious, tenacious, cautious, secretive, distrustful of strangers, close-fisted, shrewd, even to the point of cunning, a hard man at a bargain, eager for gain, but with the genius for small affairs rather than for great, for labor and economy rather than enterprise and daring. Suspicious of novelty, he is a conservative in politics with a high regard for vested interests. The possession of property, especially landed property, is his great ambition; and since, as St. Francis long ago reminded us, property is the sower of strife and suits at law, he is by nature litigious and lawyerly. There is a well-known passage of Michelet which describes the Norman peasant on his return from the fields explaining the Civil Code to his attentive children; Racine, who immortalized Chicaneau in his _Plaideurs_, laid the scene in a town of Lower Normandy. Even in his time this was no new trait, for the fondness for legal form and chicane can be traced in the early days of the _Coutume de Normandie_, while the _Burnt Njal Saga_ shows us the love of lawsuits and fine points of procedure full-blown among the Northmen of primitive Iceland. If Normandy is the _pays de gain_, it is also the _pays de sapience_. Hard-headed and practical, the Norman is not an idealist or a mystic; even his religion has a practical flavor, and the Bretons are wont to assert that there has never been a Norman saint. With the verse of Corneille and the splendid monuments of Romanesque and Gothic architecture before us, no one can accuse the Normans of lack of artistic sense, yet here, too, the Norman imagination is inclined to be restrained and severe, realistic rather than romantic. Its typical modern writers are Flaubert and Maupassant; its typical painter is Millet, choosing his scenes from Barbizon, but loyal to the peasant types of his native Normandy. Indeed Henry Adams insists that Flaubert’s style, exact, impersonal, austere, is singularly like that of those great works of Norman Romanesque, the old tower of Rouen cathedral and St. Stephen’s abbey at Caen, and shows us “how an old art transmutes itself into a new one, without changing its methods.”[3] In history, a field in which the Norman attachment to the past has produced notable results, the distinguishing qualities of Norman work have been acute criticism and great erudition rather than brilliant imagination. In science, when a great Norman like Laplace discovered the nebular hypothesis, he relegated it to a note in the appendix to his ordered and systematic treatise on the motions of the heavenly bodies. The Norman mind is neither nebular nor hypothetical!