arrangement could be found at the destroyed abbey of Quincy (Yonne), also a daughter of
Pontigny.
Caroline A.Bruzelius
[See also: LOUIS VI THE FAT; PONTIGNY; VÉZELAY]
Aubert, Marcel, and La Marquise de Maillé. L’architecture cistercienne en France. 2 vols. Paris:
Éditions d’Art et d’Histoire, 1943, Vol. 1, pp. 287–89.
Bruzelius, Caroline. “The Transept of the Abbey Church of Chaalis and the Filiation of Pontigny.”
Mélanges Anselme Dimier 3 (1982):447–54.
Lefèvre-Pontalis, Eugène. “Chaalis.” Bulletin monumental 66 (1902):448–87.
Mesqui, Jean. Île-de-France gothique. 2 vols. Paris: Picard, 1988, Vol. 1, pp. 127–35
CHACE
. A musical composition employing strict canonic imitation at the unison, usually in three
voices: the medieval analogue to Frère Jacques. Probably derived from 13th-century
techniques of voice exchange found in some organa and motets, the earliest complete
French chaces appear in the first quarter of the 14th century. The name probably refers to
the manner in which voices “chase” each other, often employing hocket effects. Se je
chant mains que ne sueil is a text on hunting, subject matter suggested by the term itself.
Around the middle of the 14th century, Machaut wrote a ballade in the form of a chace,
and employed chaces in two of his lais, one of which uses three-voice unison canons to
symbolize the Trinity (“Car cil .iij. font toute une essance”).
Lawrence Earp
[See also: HOCKET; MACHAUT, GUILLAUME DE]
Kuegle, Karl. “Die Musik des 14. Jahrhunderts: Frankreich und sein direkter Einflußbereich.” In
Die Musik des Mittelalters, ed. Hartmut Möller and Rudolf Stephan. Laaber: Laaber, 1991, pp.
352–84.
CHAISE-DIEU
. The Benedictine abbey of Chaise-Dieu (Haute-Loire) was founded in 1044 by St.
Robert of Turlande, a canon of Brioude, who retired to these forested heights to lead a
life of prayer and penance. Chaise-Dieu reached its apogee in the 12th and 13th centuries,
when it had over 200 monks and was at the head of a community of ten abbeys and some
300 priories. The new abbey church of Saint-Robert, begun in the early 14th century
under Abbot Pierre-Roger de Beaufort (later Pope Clement VI), is in the severe Gothic
style of southern France. The western façade consists of two fortified towers joined by an
arcade. The nave is unusually vast (241 feet by 79 feet by 59 feet) and flanked by side
aisles of the same height. There is no transept or ambulatory, and the chevet ends with
chapels opening directly onto the choir. The choir screen is 15th-century, as are the 144
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