The titles of some of Archbishop Turpin’s chapters will show the nature of his history.  They are these:  “Of the Walls of Pampeluna, that fell of themselves.”  “Of the War of the holy Facundus, where the Spears grew.” (Certain of the Christians fixed their spears in the evening, erect in the ground, before the castle; and found them, in the morning, covered with bark and branches.) “How the Sun stood still for Three Days, and of the Slaughter of Four Thousand Saracens.”

Turpin’s history has perhaps been the source of the marvellous adventures which succeeding poets and romancers have accumulated around the names of Charlemagne and his Paladins, or Peers.  But Ariosto and the other Italian poets have drawn from different sources, and doubtless often from their own invention, numberless other stories which they attribute to the same heroes, not hesitating to quote as their authority “the good Turpin,” though his history contains no trace of them; and the more outrageous the improbability, or rather the impossibility, of their narrations, the more attentive are they to cite “the Archbishop,” generally adding their testimonial to his unquestionable veracity.

The principal Italian poets who have sung the adventures of the peers of Charlemagne are Pulci, Boiardo, and Ariosto.  The characters of Orlando, Rinaldo, Astolpho, Gano, and others, are the same in all, though the adventures attributed to them are different.  Boiardo tells us of the loves of Orlando, Ariosto of his disappointment and consequent madness, Pulci of his death.

Ogier, the Dane, is a real personage.  History agrees with romance in representing him as a powerful lord who, originally from Denmark and a Pagan, embraced Christianity, and took service under Charlemagne.  He revolted from the Emperor, and was driven into exile.  He afterwards led one of those bands of piratical Northmen which ravaged France under the reigns of Charlemagne’s degenerate successors.  The description which an ancient chronicler gives of Charlemagne, as described by Ogier, is so picturesque, that we are tempted to transcribe it.  Charlemagne was advancing to the siege of Pavia.  Didier, King of the Lombards, was in the city with Ogier, to whom he had given refuge.  When they learned that the king was approaching they mounted a high tower, whence they could see far and wide over the country.  “They first saw advancing the engines of war, fit for the armies of Darius or Julius Caesar.  ‘There is Charlemagne,’ said Didier.  ‘No,’ said Ogier.  The Lombard next saw a vast body of soldiers, who filled all the plain.  ‘Certainly Charles advanced with that host,’ said the king.  ’Not yet,’ replied Ogier.  ‘What hope for us,’ resumed the king, ’if he brings with him a greater host than that?’ At last Charles appeared, his head covered with an iron helmet, his hands with iron gloves, his breast and shoulders with a cuirass of iron, his left hand holding an iron lance, while his right hand grasped his sword.  Those who went before the monarch, those who marched at his side, and those who followed him, all had similar arms.  Iron covered the fields and the roads; iron points reflected the rays of the sun.  This iron, so hard, was borne by a people whose hearts were harder still.  The blaze of the weapons flashed terror into the streets of the city.”