In the British Museum contains eighteen chansons of the cycle.
The cycle of twenty or more chansons which form the geste of Guillaume reposes on the traditions of the Arab invasions of the south of France, from the battle of Poitiers (732) under Charles Martel onwards, and on the French conquest of Catalonia from the Saracens.
The chansons de geste of the cycle of Guillaume are: Enfances Garin de Monglane (15th century) and Garin de Monglane (13th century), on which is founded the prose romance of Guerin de Monglane, printed in the 15th century by Jehan Trepperel and often later; Girars de Viane (13th century, by Bertrand de Barsur-Aube), ed.
The conclusions arrived at by earlier writers are combated by Joseph Bedier in the first volume, "Le Cycle de Guillaume d'Orange" (1908), of his Legendes epiques, in which he constructs a theory that the cycle of Guillaume d'Orange grew up round the various shrines on the pilgrim route to Saint Gilles of Provence and Saint James of Compostella - that the chansons de geste were, in fact, the product of 11th and 12th century trouveres, exploiting local ecclesiastical traditions, and were not developed from earlier poems dating back perhaps to the lifetime of Guillaume of Toulouse, the saint of Gellone.
Villehardouin does not in the least conceal the fact that the pope ("l'apostoilles de Rome," as he calls him, in the very phrase of the chansons) was very angry with this; for his own part he seems to think of little or nothing but the reparation due to the republic, which had loyally kept its bargain and been defrauded of the price, of the infamy of breaking company on the part of members of a joint association, and perhaps of the unknightliness of not taking up an adventure whenever it presents itself.