class gave a new impetus to admiration of the Maid. Arts and letters
completed the transfiguration of Jeanne.

Catholics, like the learned Canon Dunand,[129] vie in zeal and
enthusiasm with free-thinking idealists like M. Joseph Fabre.[130] By
reproducing the two trials in a very artistic manner, in modern French
and in a direct form of speech, M. Fabre has popularised the most
ancient and the most touching impression of the Maid.[131]

[Footnote 129: Chanoine Dunand, _Histoire de Jeanne d'Arc_, Toulouse,
1898-1899, 3 vols. in 8vo.]

[Footnote 130: Joseph Fabre, _Jeanne d'Arc liberatrice de la France_,
new edition, Paris, 1894, in 12mo.]

[Footnote 131: _Proces de condamnation de Jeanne d'Arc...._,
translated with commentary by J. Fabre, new edition, Paris, 1895, in
18mo.]

From this period date almost innumerable works of erudition, among
which must be noted those of Simeon Luce, which henceforth no one who
would treat of Jeanne's early years can afford to neglect.[132]

[Footnote 132: _Jeanne d'Arc a Domremy_, _op. cit._; _La France
pendant la guerre de Cent Ans_, _op. cit._]

We are equally indebted to M. Germain Lefevre-Pontalis for his fine
editions and his discerning studies so eruditely graceful and exact.

Throughout this period of romantic and Neo-Catholic enthusiasm the
arts of painting and sculpture produced numerous representations of
Jeanne, which had hitherto been very rare. Now everywhere were to be
found Jeanne in armour and on horseback, Jeanne in prayer, Jeanne in
captivity, Jeanne suffering martyrdom. Of all these images expressing
in different manners and with varying merit the taste and the
sentiment of the period, one work only appears great and true, and of
striking beauty: Rude's Jeanne d'Arc beholding a vision.[133]

[Footnote 133: Lanery d'Arc, _Le livre d'Or de Jeanne d'Arc_, Nos.
2080 to 2112.]

The word _patrie_ did not exist in the days of the Maid. People spoke
of the kingdom of France.[134] No one, not even jurists, knew exactly
what were its limits, which were constantly changing. The diversity of
laws and customs was infinite, and quarrels between nobles were
constantly arising. Nevertheless, men felt in their hearts that they
loved their native land and hated the foreigner. If the Hundred Years'
War did not create the sentiment of nationality in France, it fostered
it. In his "Quadrilogue Invectif" Alain Chartier represents France,
indicated by her robe sumptuously adorne