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Mont-Saint-Michel and Chartres by Henry Adams
page 12 of 511 (02%)
Church was building on the Mount. Normans were everywhere in 1066,
and everywhere in the lead of their age. We were a serious race. If
you want other proof of it, besides our record in war and in
politics, you have only to look at our art. Religious art is the
measure of human depth and sincerity; any triviality, any weakness,
cries aloud. If this church on the Mount is not proof enough of
Norman character, we will stop at Coutances for a wider view. Then
we will go to Caen and Bayeux. From there, it would almost be worth
our while to leap at once to Palermo. It was in the year 1131 or
thereabouts that Roger began the Cathedral at Cefalu and the Chapel
Royal at Palermo; it was about the year 1174 that his grandson
William began the Cathedral of Monreale. No art--either Greek or
Byzantine, Italian or Arab--has ever created two religious types so
beautiful, so serious, so impressive, and yet so different, as Mont-
Saint-Michel watching over its northern ocean, and Monreale, looking
down over its forests of orange and lemon, on Palermo and the
Sicilian seas.

Down nearly to the end of the twelfth century the Norman was fairly
master of the world in architecture as in arms, although the
thirteenth century belonged to France, and we must look for its
glories on the Seine and Marne and Loire; but for the present we are
in the eleventh century,--tenants of the Duke or of the Church or of
small feudal lords who take their names from the neighbourhood,--
Beaumont, Carteret, Greville, Percy, Pierpont,--who, at the Duke's
bidding, will each call out his tenants, perhaps ten men-at-arms
with their attendants, to fight in Brittany, or in the Vexin toward
Paris, or on the great campaign for the conquest of England which is
to come within ten years,--the greatest military effort that has
been made in western Europe since Charlemagne and Roland were
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