edifying rather than mystical, given to history rather than to speculation, and seeking through the moralized science of lapidaries and bestiaries and astronomical manuals to aid the everyday life of a serious and practical people.
Normandy had also something to say to the world in that most mediæval of arts, architecture, and especially in that Romanesque form of building which flourished in the eleventh century and the first half of the twelfth. The great Norman churches of this epoch were the natural outgrowth of its life—the wealth of the abbeys, the splendor of princely prelates like Odo of Bayeux and Geoffrey of Coutances, the piety and penance of William the Conqueror and Matilda, expiating by two abbeys their marriage within the prohibited degrees, the religious devotion of the people as illustrated by the processions of 1145. The biographer of Geoffrey de Mowbray, for example, tells[1] us how the bishop labored day and night for the enlargement and beautification of his church at Coutances (dedicated in 1056), buying the better half of the city from the duke to get space for the cathedral and palace, travelling as far as Apulia to secure gold and gems and vestments from Robert Guiscard and his fellow Normans, and main taining from his rents a force of sculptors, masons,
- ↑ Gallia Christiana, xi, instr., coll. 219-23; Mortet, Recueil de textes relatifs à l'histoire de l'architecture (Paris, 1911), pp. 71-75.
