ing a chamfer carved with barely visible small
claws. They rest on a small stone wall going on along the whole length
of the front. The lintel is a big monolith block of granite, and it is
topped by an opus reticulatum (diamond-shaped masonry) of
diamond-shaped stones. Photo by Alain Dermigny. [Alain-095]

[Illustration]

179. Saint-Loup. Sketch of the Romanesque west gate. Sketch by Marie
Lebert.

[Illustration]

180. Saint-Loup. The south wall of the choir. In the first row, the
south gate is flanked by two flat buttresses. Between these buttresses,
above the gate, the masonry is supported by a cornice with three large
carved modillions. The first modillion is a grotesque human being
putting his right hand to his mouth while folding his left arm. The
second modillion is a human head. The third modillion is a crouched
human being, with his hands on his knees. Photo by Alain Dermigny.
[Alain-097]

[Illustration]

181. Saint-Loup. The Romanesque tower rises above the first row of the
choir. Photo by Alain Dermigny. [Alain-096]

[Illustration]

182. Saint-Loup. The Romanesque tower. The masonry of its walls is made
of regular granite blocks, that are smaller than for other parts of the
church. The granite was extracted from the granite ground of
Avranches, that is close to Saint-Loup. In the foreground, on the
right, this buttress belongs to the north side chapel adjacent to the
second row of the choir. This chapel was added in 1602 by the lords of
Saint-Loup. Photo by Alain Dermigny. [Alain-098]

[Illustration]

183. Saint-Loup. The Romanesque tower. This square tower consists of
two floors topped by a spire. The first floor is ornated north and
south with large blind arcades. The second floor is opened by a bay on
each side. The level between the two floors is underlined by a
chamfered band. Photo by Alain Dermigny. [Alain-099]

[Illustration]

184. Saint-Loup. The Romanesque tower. The upper floor is opened by a
bay on each side. This bay is surrounded by a semi-circular arch formed
by two grains surrounded by a chamfered band. Each grain is molded with
a thick angle torus followed by a listel and a broad shallow cavetto.
On both sides of the bay, the grains rest on four small attached
columns. The basket capitals are carved with geometric designs--angle
hooks, half-circles--or human heads. These baskets are topped with a
square abacus going on as a square horizontal band alon