'ANNO Domini M°CC° quarto decimo, veinqui Phelippe
li rois de France en bataille le roi Othon et le conte de
Flandres et le conte de Boloigne et plusors autres barons.'
Such is the entry under 27 July in the calendar of the Inge-
burg Psalter. In 1204 Château-Gaillard, Richard's carefully planned
castle, had fallen to the forces of Philip Augustus: three months
later Rouen was occupied by the French: at Bouvines in 1214
John's attempt, in alliance with his nephew Otto of Brunswick, to
regain his continental possessions was decisively foiled. The union
of England and Normandy, now almost a century and a half old,
was broken, and though for a time it was to be renewed it was
never again to form the dominant empire of north-west Europe.
And with Normandy went something of England's pre-eminence
in the arts. Individual and accomplished as is much of our Gothic
work, it lacks the high finality of Durham or the Bury Bible. In the
twelfth century, in architecture and painting, England is a great,
at moments supreme, exponent of a European style: in scale her
works were indeed in the grand manner and in quality the clear
product of genius. The ghost of Cluny, gaining new tangibility
with modern researches, may rise in rivalry: the domed Roman-
esque cathedrals of Spain have their own peculiar memorable
merits: Bamberg and Worms have their own grave splendours
but they are a later manifestation, a thirteenth-century prolonga-
tion of the style that is a peculiarly German feature: in sculpture
Provence and Burgundy cannot be challenged on any of our
fragmentary remains: but our Norman cathedrals are to the
Romanesque style what Chartres, Amiens, and Rheims are to
the Gothic, and the genius of painting was abroad in these islands
with a force of inspiration that was not to come again till Constable
and Turner. It is, however, seldom true to talk of the arts in terms
of nationalism. The English centres were the exponents of forms
and motifs current also throughout the north of France, and their
particular characteristics within the wider framework of the
Romanesque style belong to the Angevin empire and owe much

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