,,bell',s ,,handbooks ,,to              
,,continental ,,churches      ,,notre   
,,dame ,,de ,,paris                     
,illustration3 ,,notre ,,dame ,,and     
,,the ,,pont ,,de ,l',,archev,,que4     
7,from an etching by ,c4 ,mryon47       
,,notre ,,dame ,,de ,,paris      ,a     
,,short ,,history  ,,description    ,,of
 ,,the ,,cathedral1 ,,with ,,some       
,,account ,,of ,,the ,,churches         
,,which ,,preceded ,,it      ,,by       
,,charles ,,hiatt      ,,author ,,of    
8,,chester ,,cathedral10 8,,beverley    
,,minster10    8,,westminster ,,abbey10 
,,etc41 ,,etc4      ,,with ,,forty-,,one
 ,,illustrations      ,,london3 ,,george
 ,,bell  ,,sons #aijb          ,,preface
      ,the task of writing an account of
 the cathedral of ,notre ,dame is       
materially lightened by the minute      
details of its history and  architecture
 to be found in the various writings of 
,m4 ,viollet-le-,duc1  of which1        
unfortunately1 the ,library of the      
,british ,museum does not  contain a    

complete set4 ,the ,description de      
,notre ,dame1 published  in #ahef by ,m4
 de ,guilhermy in conjunction with ,m4  
,viollet-le-,duc1  contains much useful 
material1 while the splendidly          
illustrated account  of the church in   
the first volume of ,paris  travers les 
,ages  is full of interesting           
archological particulars4 ,as the       
numerous  other authorities which have  
been used are quoted in the text1 it is 
unnecessary to enumerate them here4 ,the
 writer has found ,mr4 ,charles         
,herbert ,moore's ,development of       
,gothic ,architecture useful in not a   
few difficult matters4 ,he wishes       
specially to thank ,mr4 ,edward ,bell   
for  valuable suggestions on many       
important points4                       
,,charles ,,hiatt4      ,,chelsea1      
,october1 #aijb4          ,,contents    
,,chapter                               
,,page        ,i4 ,a ,,brief            
,,historical ,,account ,,of ,,the       
,,cathedral       #c       ,,ii4 ,,the  

,,place ,,of ,,notre ,,dame ,,in ,,the  
,,development ,,of         ,,french     
,,gothic                                
#ai      ,,iii4 ,,the ,,exterior        
#bg       ,,iv4 ,,the ,,interior4--,,the
 ,,nave                          #ee    
,v4 ,,the ,,transepts ,,and ,,the       
,,choir                      #ga        
,,vi4 ,,conclusion4--,,the ,,sacristy1  
,,etc4                  #id      ,,vii4 
,,list ,,of ,,the ,,bishops ,,and       
,,archbishops ,,of ,,paris     #ih      
,,index                                 
#ajc      ,,ground ,,plan               
,,at ,,end          ,,list ,,of         
,,illustrations                         
,,page      ,notre ,dame and the ,pont  
de l',archevque                         
,frontispiece      ,notre ,dame from the
 ,south                                 
#b      ,notre ,dame from the ,quai ,st4
 ,bernard                               
#c      ,queen ,marie ,antoinette       
returning ,thanks                       
#aa      ,the ,chevet                   

#ah      ,section of ,nave and ,double  
,aisle                                  
#ba      ,north ,aisles of the ,nave    
#bc      ,the ,west ,front              
#bf      ,chimres                       
#bg      ,string-course on the ,west    
,front                                  
#bi      ,carved ,foliage1 ,portail de  
la ,vierge                              
#cj      ,portail de la ,sainte-,vierge 
#ca      ,figure of ,st4 ,marcel        
#cc      ,sculpture of the ,last        
,judgement                              
#cd      ,tympanum of the ,porte ,sainte
 ,anne                                  
#ce      ,apostles--,central ,doorway   
#cf      ,figures--,porte ,sainte ,anne 
#cg      ,chimres                       
#ch         0                           
#ci      ,le ,stryge1 after ,mryon      
#da      ,the ,roof-ridge of ,notre     
,dame1 by ,j4 ,pennell                  
#dc      ,the ,original ,flche          
#dd      ,clocheton                     
#de      ,windows of the ,south ,aisle  

#df      ,triforium ,windows            
#dg      ,the ,north ,transept ,front   
#di      ,tympanum1 ,north ,transept    
#eb      ,the ,interior from the ,west  
,end                                    
#ed      ,the ,nave3 ,south ,arcade     
#eh      ,capital in the ,nave          
#ei      ,the ,nave3 ,north ,arcade     
#fa      ,the ,triforium ,gallery       
#fc      ,elevations of the ,nave       
#fe      ,angle of the ,choir and ,south
 ,transept                              
#gj      ,the ,north ,transept          
#gc      ,view of the ,choir at the ,end
 of the ,thirteenth ,century            
#hj      ,grille at ,entrance of ,choir 
#hb      ,the ,choir1 looking ,west     
#hc      ,the ,choir from the ,south    
,transept                               
#hg      ,the ,place du ,parvis in #afej
                                        
#id      ,notre ,dame in the ,thirteenth
 ,century1 with the ,bishop's ,palace   
#ih            ,illustration3 ,photo    
,ed4 ,hautecur1 ,paris4                 

,,notre ,,dame ,,from ,,the ,,south4    
,illustration3 ,,notre ,,dame ,,from    
,,the ,,quai ,,st4 ,,bernard4    ,,notre
 ,,dame ,,de ,,paris4    ,,chapter ,i4  
,a ,,brief ,,historical ,,account ,,of  
,,the ,,cathedral4      ,no city of the 
modern world has seen such amazing      
changes as the ,french  metropolis4 ,in 
the eyes of many persons1 from every    
downfall ,paris has  arisen more        
incontestably splendid4 ,but not to all 
is the ,paris of  ,baron ,hausmann      
lovelier than the city which preceded   
it4 ,for instance1  ,m4 ,joris-,karl    
,huysmans1 the author at once modern and
 mystical of  ,a ,rebours and ,la       
,cathdrale1 bitterly regrets the        
disappearance  of those ancient and     
brooding byways which lent to the ,paris
 of his  youth a curious charm which has
 now almost disappeared4 ,the ,paris of 
magnificent vistas is at least less     
fascinating to the artist than the      
comparatively provincial city of crooked
 lanes which has gone to make  way for a

 series of lofty and pretentious street 
fronts and spacious  squares4           
,strange it is that1 where so much has  
been changed1 the cathedral  church of  
,notre ,dame has remained almost        
unaltered in outline and  general       
effect4 ,revolutions have surged round  
it2 monstrous rites have  been          
perpetrated within it2 even the hail of 
shot and shell have left  this wonderful
 ,gothic creation poorer only in        
decorative detail4 ,there  is a certain 
fascination in the grimness of this     
mysterious building  in la ville lumire1
 and ,i am disposed to agree with ,mr4  
,richard  ,whiteing that it symbolises  
the underlying sadness1 as opposed to   
the superficial gaiety of the ,parisian4
 ,thousands of ,french churches  are    
dedicated to ,notre ,dame3 even in      
,paris itself we have ,notre ,dame  de  
l',assomption1 ,notre ,dame de l',abbaye
 aux ,bois1 ,notre ,dame des            
,blancs-,manteaux1 ,notre ,dame des     
,champs1 ,notre ,dame de ,lorette1 and  

,notre ,dame des ,victoires4 ,but still 
when we speak of ,notre ,dame we  allude
 instinctively to that vast edifice     
which frowns over the slow  and winding 
,seine4 ,the cathedral church of ,notre 
,dame is almost as  closely connected   
with the history of the ,french people  
as is the ,abbey  of ,westminster with  
that of the ,english4 ,and indeed the   
gray-white  building whose foundations  
are nearly washed by the waters of the  
,seine  has seen pageants more superb1  
and tragedies more luridly dramatic1    
than our own proud ,minster of the      
,west4 ,although it can boast no such   
marvellous continuity of vital historic 
episodes1 ,notre ,dame is the one       
building in the ,french metropolis which
 seems to stand as a symbol for  the    
whole city in all its memorable phases3 
with it may not be compared  the        
bragging grandeur of the ,arc de        
,triomphe1 the extensive splendour  of  
the ,louvre1 nor the rebuilt ,htel de   
,ville4 ,we do not forget the  exquisite

 beauties of ,la ,sainte ,chapelle1 the 
strange fascination of  the             
resting-place of the ,great ,napoleon1  
nor the majesty of the once  royal      
church of ,saint ,denis4 ,none of these1
 however1 will bear serious  comparison 
with the great ,metropolitan ,cathedral 
of ,paris4 ,notre ,dame  has an almost  
unearthly power of asserting its        
existence4 ,neither in  full sunshine1  
nor in the twilight1 nor when night has 
finally set in1  will it allow its      
majestic proportions to be overlooked4  
,mr4 ,henley  has finely spoken of 8the 
high majesty of ,paul's10 but even our  
own  metropolitan cathedral1 with its   
overwhelming dome1 is scarcely more     
predominant than ,notre ,dame4    ,the  
geographical position of the ,cathedral 
of ,paris is not unlike that  anciently 
possessed by ,westminster ,abbey1 and by
 that crown of the  ,fens1 ,ely         
,cathedral4 ,we find that ,notre ,dame  
dominates an islet of  the ,seine4 ,at  
its east end is that tragical commentary

 on the life of  modern ,paris1 ,the    
,morgue4 ,the late ,mr4 ,grant ,allen1  
with a cheerfulness  which we are far   
from sharing1 noted that this triumphant
 example of  the best ,gothic in the    
world has often been restored4 ,we      
believe that  he was one of many        
intelligent persons who derive a real   
satisfaction  from the so-called        
8restoration0 of an ancient work1 of    
which no real  8restoration0 is         
possible1 though repair is an obvious   
duty4    ,the medival churches of       
western ,europe nearly all claim a      
pre-,christian origin4 ,it is charming  
to the mind of a certain type  of       
antiquary to discover the origin of a   
,christian cathedral in the  wreck of a 
,roman temple4 ,for ,westminster ,abbey 
and for ,st4 ,paul's  ,roman foundations
 have1 with more or less accuracy1 been 
described4  ,in the case of ,notre ,dame
 it is certain that the remains of an   
altar  of ,jupiter were discovered in   
#agaa1 which would seem to indicate that

  a pagan temple once stood on or near  
the site in the ,gaulish city  of       
,lutetia ,parisiorum4 ,in point of fact1
 it is a matter of no small  difficulty 
to make out clearly the origin of ,notre
 ,dame1 or to describe  with certainty  
the ecclesiastical buildings which in   
the dim past  occupied its site4 ,a lady
 writer who has discussed the church    
with much  intelligence writes on this  
matter as follows3#a    ,footnote #a3   
,the ,churches of ,paris1 by ,s4 ,sophia
 ,beale3 ,london1 ,w4 ,h4  ,allen and   
,co41 #ahic4    8,the origin of ,notre  
,dame is enveloped in mystery4 ,whether 
its first  bishop1 ,st4 ,denis1 or      
,dionysius1 was the ,areopagite         
converted by ,st4  ,paul's preaching at 
,athens1 and sent by ,st4 ,clement to   
preach the  ,gospel to the ,parisians1  
or whether he was another personage of  
the  same name who was sent into ,gaul  
in the third century and martyred       
during the persecutions under ,decius1  
it is impossible to say1 as there  is no

 evidence of any value4 ,certain it is1 
however1 that the first  bishop of      
,paris bore the name of ,denis1 and that
 he suffered martyrdom1  with his two   
companions ,rusticus and ,eleutherius1  
on the summit of the  hill now called   
,montmartre4 ,tradition went so far as  
to point out the  spot where they first 
gathered their followers together--the  
crypt of  ,notre ,dame des ,champs2 also
 the prison where our ,lord appeared to 
them and strengthened them with ,his    
,holy ,body and ,blood at ,st4 ,denis   
de la ,chartre2 the place1 at ,st4      
,denis du ,pas1 where they suffered     
their first tortures2 and lastly1       
,montmartre1 where they were beheaded4  
,but1 with the exception of the latter1 
all these holy spots have  disappeared4 
,so1 too1 have the crosses which marked 
the route taken by  the ,saint1 when he 
carried his head to the place chosen for
 his burial1  at ,st4 ,denis4 ,an       
ancient church covered the remains of   
the three saints  until the present     

splendid building was erected1 in the   
reign of  ,dagobert ,i4 ,under the      
,roman dominion1 ,paris was comprised in
 the fourth  ,lyonnaise division1 of    
which ,sens was the metropolis4 ,hence  
the bishops  of ,paris acknowledged the 
,archbishop of ,sens as their primate   
until  #afbb1 when1 at the request of   
,louis ,,xiii41 ,pope ,gregory ,,xv4    
raised  ,paris to the see of an         
archbishopric4 ,the succession has      
consisted of  one hundred and nine      
bishops and fifteen archbishops1 eight  
of whom  have been raised to the dignity
 of ,cardinal4 ,besides ,st4 ,denis six 
have  been venerated as ,saints3        
,marcel1 in the fifth century2 ,germain1
 in the  sixth century2 ,ceran1 ,landry1
 and ,agilbert in the seventh1 and      
,hugues  in the eighth century40    ,we 
must leave this ancient and hazy story  
of saints and martyrs1 and  return to   
the thorny question of the origin of the
 cathedral4 ,from the  brief account of 
,notre ,dame by ,mr4 ,a4 ,j4 ,c4 ,hare  

in his entertaining  volume on ,paris1  
we glean that about the year #cge a     
church1 dedicated  to ,st4 ,stephen     
7,st4 ,etienne71 was built on the islet 
under ,prudentius1  eighth bishop of    
,paris4 8,in #ebh10 says ,mr4 ,hare1    
8through the gratitude  of              
,childebert--#8le nouveau               
,melchisedech'--for his recovery from a 
sickness by ,st4 ,germain1 another far  
more rich and beautiful edifice         
7dedicated to ,sainte ,marie--7 arose by
 the side of the first church1  and was 
destined to become ecclesia parisiaca1  
the cathedral of  ,paris4 ,childebert   
endowed it with three estates--at       
,chelles-en-,brie1  at ,la ,celle near  
,monterau1 and at ,la ,celle near       
,frjus--which last  supplied the oil for
 its sacred ordinances4 ,the new church 
had not long  been finished when ,la    
,cit1 in which the monks of ,s4 ,germain
 had taken  refuge with their treasures1
 was besieged by the ,normans2 but it   
was  successfully defended by ,bishop   

,gozlin1 who died during the siege4 ,it 
is believed that the substructions of   
this church were found during  recent   
excavations in the ,parvis ,notre       
,dame1#b and architectural  fragments   
then discovered are now preserved at the
 ,palais des ,thermes40  ,it may be     
taken for granted that ,childebert's    
church took the form of  a ,roman       
basilica1 and it is probable that ,roman
 materials were used in  its            
construction4 ,in #ahdg further ,roman  
remains were discovered on the  site    
which doubtless formed part of          
,childebert's building4 ,some of them   
are preserved at the ,htel-,cluny4      
,footnote #b3 ,the space to the west of 
the church was called ,parvis           
paradisus1 the earthly paradise leading 
by the celestial ,jerusalem4    ,i am1  
however1 inclined to agree with ,m4 de  
,guilhermy and ,m4  ,viollet-le-,duc1#c 
that the story of the cathedral previous
 to the  episcopacy of ,bishop ,maurice 
de ,sully 7#aafj-if7 is1 if not         

absolutely  fictitious1 at least merely 
conjectural4    ,footnote #c3 ,see      
,description de ,notre-,dame1 ,cathdrale
 de ,paris3  ,paris1 #ahef4 ,the main   
points of ,viollet-le-,duc's inventory  
of the  cathedral will be found in      
,queyron's ,histoire et ,description de 
l',eglise de ,notre ,dame1 ,paris3 ,e4  
,plon1 ,nourrit et ,cie4    ,this       
prelate--generally counted as the       
sixty-second occupant of the  see--seems
 at first to have united the adjacent   
churches of ,st4 ,stephen  and ,ste     
,marie on the ,ile de la ,cit1 and then 
7without immediately  and totally       
destroying them7 to have commenced a new
 one on the same  site1 of which ,pope  
,alexander ,,iii4 laid the              
foundation-stone in #aafc4  ,rapid      
progress must have been made with the   
work1 for it is certain  that in #aahe  
,heraclitus1 patriarch of ,jerusalem1   
officiated at the  altar1 in front of   
which1 in the year following1 ,geoffrey1
 ,count of  ,brittany1 son of ,henry    

,,ii4 of ,england1 was buried4 ,maurice 
de ,sully  provided for the continuation
 of the work after his death1 which took
  place in #aaif4 ,by his will he left  
five thousand livres in order  that the 
choir might be roofed with lead4 ,at    
this time1 according to                 
,viollet-le-,duc1 considerable progress 
must have been made with the  nave4     
,maurice de ,sully was succeeded by     
,eudes de ,sully 7#aaig-abjh71 on  whose
 death the see was occupied1 until      
#abai1 by ,pierre de ,nemours4  ,towards
 #abbc the west front was completed to  
the base of the great  gallery1 and by  
#abce the towers were left much as we   
see them to-day4  ,the spires1 which it 
is generally admitted they were intended
 to carry1  were never added4           
,between the years #abce and #abdj1 a   
fire seems to have broken out at  ,notre
 ,dame4 ,on this subject history is     
silent1 but that it did serious  damage 
is maintained by ,viollet-le-,duc on    
what appear to be sufficient  grounds4  

,according to him1 repair was made in   
haste1 so that rose  windows1 flying    
buttresses and other structural details 
were ruthlessly  sacrificed4 ,the west  
front seems to have escaped mutilation4 
,up to #abde  the cathedral1 vast as was
 its area1 possessed either no chapels  
at  all1 or chapels of inconsiderable   
dimensions4 ,in that year1 however1  the
 addition of new chapels was proceeded  
with4 ,it would appear that1  shortly   
after1 the plainness of the transept    
fronts in comparison with  the          
splendidly decorated west faade was     
acutely felt4 ,in #abeg1 ,jean  de      
,chelles was engaged on reconstructing  
the southern doorway4 ,at this  time    
,st4 ,louis was ,king of ,france1 and   
,renaud de ,corbeil bishop of  ,paris4  
,the northern door and the chapels next 
the transepts on either  side were      
altered immediately after the southern  
entrance4 ,in #acea1  ,jean ,ravy and   
,jean de ,bouteiller were engaged about 
the cathedral as  sculptors4    ,during 

the next three centuries ,notre ,dame   
escaped anything in the  nature of      
important change1 destruction or        
addition2 but in #afii an  era of       
reckless mutilation began4 ,between the 
last-named date and #agec  the          
,cloister1 the stalls of the sixteenth  
century1 the old high altar1  many      
sepulchral monuments1 and a vast        
quantity of stained glass were          
destroyed4 ,the work done in the names  
of 8repair0 and 8beautification0        
deprived the cathedral of mouldings1    
foliated capitals1 gargoyles  and       
pinnacles4 ,the damage inflicted by the 
architect ,soufflot 7who  designed the  
,panthon7 will be noticed later4        
,towards the end of ,louis  ,,xv4's     
reign the church was refloored with     
squares of marble4 ,the new  pavement   
involved the tearing up of a number of  
curious tombstones1  some of which      
covered the dust of men greatly         
distinguished in ,french  history4      
,between #aggc and #aghg minor          

alterations in the taste of the  time   
were made in various parts of the       
building1 but further additions  were   
brought to an end by the outbreak of the
 ,revolution4 ,that any  sculpture of a 
religious or royal character was spared 
at ,notre ,dame  during that terrific   
upheaval seems to have been due to the  
eloquence  of ,citoyen ,chaumette and   
the influence of ,citoyen ,dupuis4 ,of  
the great  work of repair and addition  
performed by the architects             
,viollet-le-,duc  and ,lassus1 their    
assistants and successors1 much will be 
said when we  consider the cathedral in 
detail4    ,we have already discussed   
the early story of ,notre ,dame1 and    
noted the  vicissitudes through which   
the fabric has passed4 ,i propose1      
before  concluding this introductory    
chapter1 to state in the briefest       
possible  way the great historical      
events with which the cathedral is      
connected1  from the death1 in #aaif1 of
 ,maurice de ,sully to the present time4

    ,from the tenth century up to the   
end of the fifteenth century the        
extraordinary ,fte des ,fous was        
celebrated in ,notre ,dame4 ,one of  the
 cathedral employs was elected ,evque   
des ,fous1 and1 wearing  the actual     
vestments used in religious services1   
was honoured with  a great banquet      
accompanied with grotesque dances and   
songs4 ,this  orgy took place in the    
church itself1 and was so popular that  
it  flourished in spite of the most     
determined efforts to suppress it4 ,a   
similar custom was observed in ,la      
,sainte ,chapelle4 ,during the early    
years of the thirteenth century the     
,dominican order was established4  ,st4 
,dominic himself preached once at least 
in ,notre ,dame4 ,during his  prayer    
before the sermon1 the ,virgin is said  
to have appeared to him  in a cloud of  
light and to have given to him a book   
containing the  subject-matter of his   
discourse4 ,raymond ,,vii41 ,count of   
,toulouse1  underwent the discipline of 

the lash for heresy before the door of  
the  cathedral in #abbi4 ,this spot was 
for centuries occupied by a pillory4    
,from #abbj onwards a series of disputes
 took place between the officials  of   
the church and the university4 ,during  
the long reign of ,st4 ,louis1  which   
ended in #abga1 the power of the bishop 
and chapter of ,paris  had increased    
enormously1 and a host of vassals did   
homage to ,bishop  ,etienne ,,ii4 for   
their lands4 ,the body of ,st4 ,louis   
was laid in state  in ,notre ,dame      
previous to its burial at ,st4 ,denis4  
,this custom was  followed in the case  
of many other ,french monarchs and      
princes of the  blood4    ,on ,april    
#ajth1 #acjb1 ,philippe-le-,bel held the
 first meeting of the  ,states-general  
in the cathedral4 ,in the month of      
,june1 #achi1 ,isabeau  de ,bavire made 
a solemn entry into ,paris4 ,froissart  
tells us that3  8,devant ladite glise de
 ,notre-,dame1 en la place1 l'vque de   
,paris  toit revtu des armes de         

,notre-,seigneur et tout le collge4     
,aussi on  moult avoit grand clerg et la
 descendit la royne et la mirent hors de
  sa litire les quatre ducs qui l       
estoyent1 ,berry1 ,bourgogne1 ,touraine 
et ,bourbon4444 ,la royne de ,france fut
 adestre et mene parmy l'glise  et le   
chur jusqu'au grand autel et la se mit  
genoux et fit ses  oraisons ainsi que   
bon lui sembla1 et bailla et offrit  la 
trsorerie  de ,notre-,dame quatre draps 
d'or et la belle couronne que les anges 
lui  avoient pose sur la porte de       
,paris40    ,a great thanksgiving       
service was held when ,charles ,,vi4 had
 been saved  from burning4 ,the ,king1  
it may be recalled1 was dressed as a    
satyr at  a palace fte with five        
companions4 ,the ,duke of ,orleans was  
curious as  to the identity of the      
disguised1 and approached them with a   
torch1  which accidentally set their    
clothing alight4 ,the ,king was saved by
  the ,duchess de ,berri1 who threw a   
cloak over him1 but four of his         

companions were burned to death4    ,we 
must now turn to the time of ,henry ,v4 
of ,england1 who1 after  ,agincourt1    
became ,regent of ,france with the right
 of succession to  the throne4 ,after   
his marriage with ,catherine1 daughter  
of ,charles  ,,vi41 in #adbj1 he paid a 
solemn state visit to ,notre ,dame4 ,on 
,henry's  death his son1 afterwards     
,henry ,,vi41 was crowned ,king of      
,france in the  cathedral4 ,when the    
,english were driven from ,rouen1 a     
great service of  thanksgiving was held 
to celebrate the entry of ,charles      
,,vii4 into the  ,norman capital4       
,illustration3 ,,queen ,,marie          
,,antoinette ,,returning ,,thanks ,,for 
,,the ,,birth ,,of ,a ,,dauphin1        
,,january #ba,,st1 #aghb4               
7,from 8,paris  travers les ,ages407    
8,in the annals of ,notre ,dame10 says  
,mr4 ,w4 ,f4 ,lonergan in his ,historic 
,churches of ,paris1 8from the days of  
,louis ,,xi41 the rebellious dauphin    
who succeeded his father1 ,charles      

,,vii41 to the reign of the fourteenth  
,louis1 there is chiefly a long record  
of ,te ,deums after the victories  of   
the ,french army4 ,historic ,rheims1    
where ,clovis had been baptized  by ,s4 
,remi in #dif1 was the favoured city of 
the ,merovingians1 who  had accorded it 
great privileges40 ,amongst these was   
the right of  crowning and consecrating 
the ,kings of ,france4 ,save ,henri     
,quatre and  ,louis ,,xviii41 all of    
them were crowned at ,rheims2 but it was
 the  custom of the newly made          
sovereigns to go in state to ,notre     
,dame at  ,paris to return thanks for   
their advent to the throne4 ,amongst the
  most interesting of the historic      
events which took place in1 or were     
magnificently celebrated at ,notre      
,dame1 were the following3 the ,french  
victory over the ,venetians at ,agnadel 
or1 as the ,italians call it1  ,vaila1  
in #aeji2 the marriage of ,louis ,,xii4 
with ,mary1 sister of ,henry  ,,viii4 of
 ,england2 the victories of ,francis    

,i42 and the marriage of  ,mary ,stuart 
with the ,dauphin4 ,the marriage of     
,henri1 ,king of ,navarre1  with        
,marguerite de ,valois1 took place at   
the entrance to the cathedral1  as the  
,king was a ,protestant4 ,in #aeij the  
,catholic nobles swore at  the altar of 
,notre ,dame to fight this same ,henri  
to the bitter end4  ,in #aeic1 however1 
he became a ,catholic1 and attended mass
 at the  cathedral on the occasion of   
his accession to the throne as the first
  monarch of the ,bourbon line4 ,the    
metropolitan see was raised to the      
dignity of an archbishopric by ,pope    
,gregory ,,xv4 in #afbb4 ,in #afhb1     
under  ,louis ,,xiv41 the great bell or 
bourdon of the church was christened    
,emmanuel ,louis ,thrse1 the ,king and  
,queen being the sponsors4 ,later  on1  
in #afii1 the great changes in the      
church1 undertaken in fulfilment  of the
 vow of ,louis ,,xiii41 were begun4 ,the
 first stone of the new  altar was laid 
by the ,archbishop with the utmost pomp4

 ,the foundation  slab was inscribed3   
8,louis the ,great--son of ,louis the   
,just--after  he had suppressed heresy1 
established the true faith in his       
kingdom1  terminated gloriously wars by 
land and sea1 wishing to accomplish the 
vow of his father1 built this altar in  
the cathedral church of ,paris1         
dedicating it to the ,god of ,arms1     
,master of ,peace and ,victory1 under   
the invocation of the ,virgin1 patron   
and protector of his ,state1  ,a4,d4    
#afii40 ,during the reign of the 8,grand
 ,monarque10 ,te  ,deums were even more 
frequent than before4    ,we come at    
length to the part played by the        
cathedral during the  ,revolution4 ,we  
need say nothing of the fate of the     
fabric itself1  for that has already    
been alluded to4 ,its escape is little  
short of  marvellous4 ,the result of the
 sack of the treasuries of the churches 
of ,paris is best told in ,carlyle's    
vivid translation of ,mercier3  8,this1 
accordingly1 is what the streets of     

,paris saw3 ,most of these  persons were
 still drunk1 with the brandy they had  
swallowed out of  chalices2--eating     
mackerel on the patenas6 ,mounted on    
,asses1 which were  housed with         
,priests' cloaks1 they reined them with 
,priests' stoles2  they held clutched   
with the same hand communion-cup and    
sacred wafer4  ,they stopped at the     
doors of ,dramshops2 held out ciboriums3
 and the  landlord1 stoup in hand1 had  
to fill them thrice4 ,next came ,mules  
high laden with crosses1 chandeliers1   
censers1 holy-water vessels1            
hyssops2--recalling to mind the ,priests
 of ,cybele1 whose panniers1  filled    
with the instruments of their worship1  
served at once as  storehouse1 sacristy 
and temple40 ,on ,november #ajth1 #agic1
 the ,cult of  ,reason was decreed by   
the ,convention1 and ,notre ,dame       
converted into  the temple of the new   
religion4 ,to quote ,carlyle again3     
8,for the same  day1 while this brave   
,carmagnole-dance has hardly jigged     

itself out1  there arrive ,procureur    
,chaumette and ,municipals and          
,departmentals1  and with them the      
strangest freightage3 a ,new ,religion6 
,demoiselle  ,candeille1 of the ,opera2 
a woman fair to look upon1 when well    
rouged2  she borne on palanquin shoulder
 high2 with red woollen nightcap2 in    
azure mantle2 garlanded with oak2       
holding in her hand the ,pike of  the   
,jupiter-,peuple1 sails in3 heralded by 
white young women girt  in tricolor4    
,let the world consider it6 ,this1 ,o   
,national ,convention1  wonder of the   
universe1 is our ,new ,divinity2        
,goddess of ,reason1  worthy1 and alone 
worthy of revering4 ,her henceforth we  
adore4 ,nay1  were it too much of an    
august ,national ,representation that it
 also  went with us to the ci-devant    
,cathedral called of ,notre ,dame1 and  
executed a few strophes in worship of   
her8444 ,and now after due pause  and   
flourishes of oratory1 the ,convention1 
gathering its limbs1 does  get under way

 in the required procession towards     
,notre ,dame2--,reason1  again in her   
litter1 sitting in the van of them1     
borne1 as one judges1  by men in the    
,roman costume2 escorted by wind-music1 
red nightcaps1 and  the madness of the  
world4 ,and so1 straightway1 ,reason    
taking seat on  the high-altar of ,notre
 ,dame1 the requisite worship or        
quasi-worship  is1 say the ,newspapers1 
executed2 ,national ,convention chanting
 #8the  ,hymn to ,liberty1 words by     
,chnier1 music by ,gossec4' ,it is the  
first of the ,feasts of ,reason2 first  
communion-service of the ,new  ,religion
 of ,chaumette40 ,the real heroine of   
this orgy was probably an  opera dancer 
called ,maillard4 #8,demoiselle         
,candeille' was an actress  and writer  
of some repute1 who strenuously denied  
that she ever had  anything to do with  
the ,feast of ,reason4 ,an imitation    
8mountain0 was  erected in the nave for 
the 8fte10 on which was built a ,gothic 
temple  inscribed ,a la ,philosophie4   

,around were busts of famous            
philosophers1  and below an altar       
surmounted with the so-called ,torch of 
,truth4 ,the  goddess sat on the hill1  
hymns were sung in her honour and vows  
of  fidelity to her were taken4 ,in     
#agid the church was used as a bonded   
store for the wine seized in the cellars
 of guillotined or outlawed  ,royalists4
 ,the month of ,may in the same year saw
 the 8,temple of ,reason0  turned into  
that of the 8,supreme ,being10 for      
,robespierre persuaded the  ,convention 
to sign a decree recognising 8the       
consoling principle of  the ,immortality
 of the ,soul40 ,in #agie ,christian    
worship was once more  restored at      
,notre ,dame4 ,nothing of great         
importance happened to the  church until
 the star of ,napoleon rose--until1     
indeed1 the first ,consul  had become   
,emperor4    ,of all the magnificent    
ceremonies of which ,notre ,dame has    
been the  scene1 the most splendid was  
the joint coronation of ,napoleon and   

,josephine in the winter of #ahjd4 ,a   
full account of it will be found  in the
 ,mmoires de la ,duchesse d',abrants1 of
 which ,i quote a part1  purposely      
leaving it in the original ,french1 as  
any translation would  be comparatively 
colourless and unpicturesque3 8,le pape 
arriva le  premier4 ,au moment o il     
entra dans la basilique1 le clerg       
entonna  ,tu es ,petrus1 etc42 et ce    
chant grave et religieux fit une        
profonde  impression sur les assistants4
 ,pie ,,vii4 avanait du fond de cette   
glise1 avec un air  la fois majestueux  
et humble4444 ,l'instant qui  runit     
peut-tre le plus de regards sur les     
marches de l'autel1 fut  celui o        
,josphine reut de l'empereur la couronne
 et fut sacre  solennellement impratrice
 des ,franais4 ,lorsqu'il fut temps pour
 elle  de paratre activement dans le    
grand drame1 l'impratrice descendit  du 
trne et s'avana vers l'autel1 o         
l'attendait l'empereur1 suivie  de ses  
dames du palais et de tout son service  

d'honneur1 et ayant  son manteau port   
par la princesse ,caroline1 la princesse
 ,julie1  la princesse ,elisa et la     
princesse ,louis4444 ,je vis tout ce que
 je  viens de dire dans les yeux de     
,napolon4 ,il jouissait en regardant    
l'impratrice s'avancer vers lui2 et     
lorsqu'elle s'agenouilla 444  lorsque   
les larmes qu'elle ne pouvait retenir1  
roulrent sur ses mains  jointes qu'elle 
levait bien plus vers lui que vers      
,dieu1 dans ce  moment o ,napolon1 ou   
plutt ,bonaparte1 tait pour elle sa     
vritable  providence1 alors il y eut    
entre ces deux tres une de ces minutes  
fugitives1 unique dans toute une vie1 et
 qui comblent le vide de bien  des      
annes4 ,l'empereur mit une grce parfaite
  la moindre des actions  qu'il devait  
faire pour accomplir la crmonie4 ,mais  
ce fut surtout  lorsqu'il s'agit de     
couronner l'impratrice4 ,cette action   
devait tre  accompli par l'empereur1    
qui1 aprs avoir reu la petite couronne  
ferme et surmonte de la croix1 qu'il    

fallait placer sur la tte de  ,josphine1
 devait la poser sur sa propre tte1 puis
 la mettre sur celle  de l'impratrice4  
,il mit  ces deux mouvements une lenteur
 gracieuse  qui tait remarquable4 ,mais 
lorsqu'il en fut au moment de couronner 
enfin celle qui tait pour lui1 selon un 
prjug1 son toile heureuse  il fut coquet
 pour elle1 si je puis dire le mot4 ,il 
arrangeait cette  petite couronne qui   
surmontait la diadme1 en diamant1 la    
plaait1 la  dplaait1 la remettait       
encore1 il semblait qu'il voult lui     
promettre  que cette couronne lui serait
 douce et lgre40    ,napoleon1 on this  
occasion1 hastily took his crown from   
the ,pope's  hands and placed it        
haughtily on his own head--a proceeding 
which  doubtless startled his ,holiness4
 ,in ,may #ahad ,louis ,,xviii4 and his 
family attended mass at ,notre ,dame    
after their entry into ,paris4 ,a  great
 service was held there in #ahdj1 to    
celebrate the restoration of  the       
remains of ,napoleon ,i4 to ,french     

soil1 while ,archbishops ,affre1        
,sibour and ,darboy1 who died violent   
deaths1 were commemorated with  fitting 
solemnities4    ,the marriage of        
,napoleon ,,iii4 to ,eugnie de ,montijo1
 ,comtesse de  ,teba1 on ,january #bith1
 #ahec1 was the occasion of a great     
display of  gorgeous pageantry at ,notre
 ,dame1 as was the baptism of the       
ill-fated  ,prince ,imperial in #aheg4  
,the ,terrorists of #ahga robbed the    
treasury of  the cathedral of many      
valuable relics1 but their intention to 
injure  the fabric itself was prevented 
by the timely arrival of troops4 ,the   
most notable ceremonies during the      
existence of the present ,republic  have
 been the funeral service1 in ,june     
#ahid1 for ,president ,carnot1          
assassinated in that year at ,lyons1 and
 the splendid ,state funeral of  ,louis 
,pasteur in ,october #ahie4    ,the     
great festivals of the ,church are      
celebrated at ,notre ,dame on  a scale  
of almost unrivalled magnificence4 ,on  

,assumption ,day1 in  particular1       
splendid music1 wedded to the most      
ornate ritual1 produces  an effect never
 to be forgotten4 ,the pulpit of the    
metropolitan  cathedral has been        
occupied by a succession of great       
preachers1 amongst  them ,bossuet and   
,bourdaloue1 and the services and       
conferences are noted  throughout the   
,roman ,catholic world4 ,the ,dominican 
,lacordaire began in  #ahce a series of 
majestic and picturesque discourses1    
which earned for  him the title le      
,romantique de la ,chaire1 and he has   
been described  as filling as a preacher
 the place occupied in literature by    
,victor  ,hugo and in painting by       
,delacroix1 ,h4 ,vernet1 and ,delaroche4
 ,in recent  times among the most       
popular pulpit orators have been the    
fiery ,jesuit  ,pre ,ravignan1          
,monseigneur d',hulst1 ,pre ,monsabr1   
and ,m4 ,hyacinthe  ,loyson1 better     
known to fame as ,pre ,hyacinthe4       
,needless to say1 this is the merest    

outline of the wonderful history  of the
 ,cathedral ,church of ,paris4 ,if the  
columns of ,notre ,dame could  speak1   
they would--to adapt a phrase of        
,viollet-le-,duc--be able to  recount   
the history of ,france from the time of 
,philip ,augustus to our  own day4 ,it  
is therefore natural that the whole     
,french nation has for  ,notre ,dame a  
feeling of veneration and affection     
similar to that which  is called forth  
in ,english hearts by the ,abbey ,church
 of ,westminster4                       
,illustration3 ,photo  ,ed4 ,hautecur1  
,paris4                   ,,the         
,,chevet4    ,,chapter ,,ii4    ,,the   
,,place ,,of ,,notre ,,dame ,,in ,,the  
,,development ,,of ,,french ,,gothic4   
,the place of the ,cathedral of ,paris  
in the evolution of ,french  ,gothic#d  
is so important that ,i propose to      
devote a brief chapter to  it4 ,the     
subject is essentially technical1 but ,i
 will endeavour to make  it as easy of  
comprehension as possible4 ,the reader  

will doubtless  ask himself what is the 
difference between ,gothic and the style
 which  preceded it4 ,the reply1        
unfortunately1 cannot consist of a      
dogmatic  statement4 ,the subject is a  
great one1 and only a few sentences of  
this  handbook may be devoted to it4 ,i 
shall rely for the most part on the     
materials for a definition of ,gothic   
given by ,m4 ,viollet-le-,duc in his    
,dictionnaire ,raisonn de               
l',architecture ,franaise4 ,the question
 is  one of essential structural        
peculiarity as opposed to mere          
decorative  idiosyncrasy4 ,i am aware   
that many ,english writers whose        
opinions are  entitled to respect hold  
views in conflict with those here       
maintained4  ,the style which           
immediately preceded ,gothic is known   
generically as  ,romanesque4 ,in        
,romanesque the system may be described 
as one of inert  stability3 in ,gothic  
the system is one of scientifically     
calculated  thrusts and counter-thrusts4

 ,it was the affair of art to inform    
what  one may call the mechanics of the 
building with interest and beauty4      
,there have been many attempts to       
compromise the two systems1 so that  we 
often find ,romanesque features in      
obviously ,gothic buildings4 ,much  will
 be said in subsequent pages of the     
vaulting of ,notre ,dame4 ,i  would     
willingly have left this vexed question 
alone1 but were ,i so to  do1 this      
handbook would be little more than a    
descriptive catalogue  of objects of    
interest together with some historical  
reminiscences4  ,for the vaulting is of 
the essence of the whole matter3        
compared  with it the consideration of  
mouldings and of ornament is relatively 
unimportant4 ,to put the matter plainly1
 the very existence of a ,gothic  church
 depends upon the proper arrangement of 
what we may call its  mechanism--i4e4   
its vaulting1 piers1 buttresses and so  
forth4 ,the  mechanics being duly       
devised1 art steps in1 and renders the  

essential  beautiful4#e    ,footnote #d3
 ,french ,gothic is here generally      
intended to convey the  ,gothic of the  
,ile-de-,france4 ,the contemporary      
architecture of ,normandy  has a        
character of its own1 probably not less 
valuable than that of the               
,ile-de-,france4 ,but it is different1  
and its differences have been dealt     
with in other handbooks of this series4 
,footnote #e3 ,the difficulty of        
attributing medival work in any         
countries to particular designers is    
generally recognised4 ,i do not  wish to
 imply1 in the passage to which this    
note has reference1  that the mechanic  
and the artist were of necessity        
separate people4  ,most often the plan  
was arranged by a master-builder who    
himself  superintended the scheme of    
decoration4    ,it is not at ,paris that
 we can trace the first attempt to break
 away  from the principles of           
,romanesque3 the first step in the      
distinctly  ,gothic development of      

,french architecture1 according to some 
recent  authorities1 is to be found in  
the apse of the church of ,morienval4   
,morienval is a ,romanesque church1 but 
it has ribbed vaulting1 of which  there 
is no earlier instance in ,france4 ,at  
,st4 ,germer-de-,fly we find  the first 
truly ,gothic apse on a large scale ever
 constructed4 ,it  belongs to the second
 quarter of the twelfth century4 ,the   
same church  possesses a vaulted        
triforium which may fairly be considered
 the  forerunner of the far grander one 
at ,paris4 ,again1 the now suburban     
church of ,st4 ,denis has double aisles1
 which clearly foreshadow the  noble    
arrangement which exists at ,paris1     
,amiens1 and elsewhere4 ,many  writers  
are agreed in regarding ,st4 ,denis as  
the starting-point of  ,french ,gothic4 
,illustration3 ,,section ,,of ,,nave    
,,and ,,double ,,aisle1 ,,and ,a ,,plan 
,,of ,,one ,,bay4                       
,,scale #a ,,inch  #bi ,,feet4          
7,from ,viollet-le-,duc47    ,notre     

,dame was the first of the greater      
,french cathedrals in which  ,gothic    
principles of construction were         
logically carried out4 ,the  choir was  
begun1 according to ,m4 ,v4 ,mortet in  
his ,etude ,historique  et ,archologique
 sur la ,cathdrale de ,paris1 in the    
year #aafc4f  ,the nave 7with the       
exception of the extreme west end7 was  
completed  about the year #aaie4 ,the   
west faade was built in the early part  
of  the thirteenth century4 ,notre ,dame
 is thus older than the cathedral  of   
,amiens1 with which one naturally       
compares it4 ,amiens was built  between 
the years #abbj and #abhh1 except the   
lower stages of the west  front1 which  
were only completed towards the end of  
the fourteenth  century4 ,the towers are
 a 8debased0 addition4 ,in ,england the 
work being  done while the older parts  
of ,notre ,dame were in course of       
erection was  transitional2 the new     
style had by no means been fully        
understood and  put into practice4      

,perhaps we do not overstate the case   
when we say  that the science 7as well  
as the art7 of ,gothic found its first  
real  expression on a large scale in the
 ,cathedral of ,paris4    ,footnote #f3 
,i give the dates assumed by ,m4 ,v4    
,mortet and later writers  as well as   
those affixed by ,m4 ,viollet-le-,duc4  
,it will be noticed that  the           
differences between them are not        
material4    ,a glance at the           
ground-plan of ,notre ,dame shows us how
 widely it  differs from that of our own
 great churches4 ,first of all we notice
  that not merely the nave1 but the     
choir1 possesses double aisles--a       
feature which is lacking in ,english    
churches#g on so vast a scale  as       
,canterbury1 ,york1 ,ely or             
,peterborough4 ,the magnificence which  
the  system of double aisles lends to a 
great church need hardly be insisted    
upon4 ,for a ,french church the nave of 
,paris is long1 consisting of ten  bays4
 ,the smaller ,norman nave of ,norwich  

possesses1 however1 no less  than       
fourteen bays4 ,at ,paris one is struck 
by the slight projection  of the        
transepts4 ,in nearly all the greater   
churches of ,england the  transepts are 
of large proportions1 and frequently 7as
 at ,canterbury  and ,lincoln7 we find  
two pairs of transepts4 ,the transepts  
at ,notre  ,dame are without aisles1 and
 are so shallow that the church is only 
just cruciform4 ,speaking of these      
transepts ,professor ,roger ,smith      
observes3 8,they do not project beyond  
the line of the side walls1 so  that1   
although fairly well marked in the      
exterior and interior of the  building1 
they add nothing to its floor-space40   
,footnote #g3 ,chichester1 which is an  
early church1 has double aisles2  it is1
 however1 comparatively small1 and can  
in no sense be compared  with so immense
 a building as ,notre ,dame4            
,illustration3 ,photo  ,ed4 ,hautecur1  
,paris4                   ,,north       
,,aisles ,,of ,,the ,,nave4    ,the east

 end of ,notre ,dame takes the form of a
 magnificent semicircular  apse1--a form
 assuredly the most appropriate to a    
,gothic church4 ,the  square eastern    
termination1 so common in ,england1 is  
rare amongst the  larger churches of the
 best period of ,french ,gothic4 8,a    
more beautiful  eastern termination than
 the ,gothic apse10 says ,mr4 ,charles  
,herbert  ,moore1#h 8could hardly be    
conceived4 ,no part of the edifice does 
more  honour to the ,gothic builders4   
,the low ,romanesque apse1 covered with 
the primitive semi-dome1 and enclosed   
with its simple wall1 presented  no     
constructive difficulties1 and produced 
no imposing effect4 ,but  the soaring   
,french chevet1 with its many-celled    
vault1 its arcaded  stories1 its        
circling aisles and its radial chapels1 
taxed the utmost  inventive power1 and  
entranced the eye of the beholder40 ,it 
seems to  me that throughout his study  
of ,gothic ,mr4 ,moore is a little less 
than  fair to the ,romanesque builders4 

,the ,gothic apse1 which he so justly   
admires1 is1 after all1 evolved from the
 ,romanesque apse1 which he  holds in   
such light esteem4 ,while we may admit  
the superiority of the  ,gothic apse1 it
 is going too far to assert that the    
,romanesque apse  8produces no imposing 
effect40 ,the apse of ,norwich or       
,peterborough1  or of ,st4              
,bartholomew's 7,london7 is assuredly   
imposing in a very high  degree4        
,footnote #h3 ,development and          
,character of ,gothic ,architecture4    
,second  edition4 ,new ,york3 ,the      
,macmillan ,company1 #ahii4    ,in a    
subsequent chapter the structural and   
decorative details will be  fully       
discussed4 ,it may1 however1 be noted in
 passing that1 although  the ,cathedral 
of ,paris is in all essentials a ,gothic
 building1 the  influence of the        
,romanesque style is so marked in some  
of its details  that it is frequently   
described as a transitional structure4  
,as we  have seen1 the greater part of  

,notre ,dame belongs to the twelfth     
century2 and ,de ,caumont1 who in his   
,abcdaire attempted for ,french         
architecture a work of scientific       
division similar to that which  ,rickman
 essayed for ,english architecture1     
describes ,french work of the  twelfth  
century as ,architecture                
,romane-,tertiaire ou de ,transition4   
,the ,abcdaire1 however1 is now         
considered ingenious rather than        
authoritative4    ,with a few words     
about the west front this brief chapter 
must be  concluded4 ,the great faade of 
,notre ,dame was begun in #abjb4 ,it    
bears a general structural resemblance  
to that of the cathedral of  ,senlis1   
which dates from the second half of the 
twelfth century1  especially in the     
matter of its triple portals and the    
towers at the  termination of the       
aisles4 ,at ,senlis we have unmistakable
 evidence  of the ,gothic spirit1 but in
 its main plan this front is similar to 
the ,romanesque ,abbaye-aux-,hommes at  

,caen4 ,the builders of the west  front 
of ,notre ,dame thus owe something to   
the designers of ,senlis and  the       
,abbaye-aux-,hommes1 but they have      
achieved a variety and symmetry  of     
which their forerunners probably did not
 dream4 ,in construction1  as well as in
 the organic significance of its wealth 
of sculptured  decoration1 the faade of 
,notre ,dame is genuinely ,gothic as    
opposed to  ,romanesque4                
,illustration3 ,photo  ,ed4 ,hautecur1  
,paris4                   ,,the ,,west  
,,front4    ,,chapter ,,iii4    ,,the   
,,exterior4        ,illustration3 ,photo
  ,ed4 ,hautecur1 ,paris4               
,,chim,,res4    ,i have already said    
enough in reference to the commanding   
position  occupied by ,notre ,dame among
 the monuments of ,paris4 ,the great    
cathedral seen at a distance looks      
ancient indeed1 but a closer  inspection
 proves to us that the hands of modern  
men have been at  work on it4 ,indeed1  
one writer goes so far as to regret that

 it has  been scraped and patched       
without1 and bedizened and bedaubed     
within4  ,in the first edition of       
,victor ,hugo's famous novel1 ,notre    
,dame1  he tells us that if we examine  
one by one the traces of destruction    
imprinted on this ancient church1 the   
work of time would be found to  form the
 lesser portion--the worst destruction  
has been perpetrated  by men--especially
 by men of art4 ,since ,hugo wrote this 
much more  8restoration0 has been       
carried out at the metropolitan church  
of ,paris4  ,but though ,i regret       
so-called 8restoration0 on principle1 ,i
 cannot help  feeling that the work     
executed by ,m4 ,viollet-le-,duc and ,m4
 ,lassus is  far less objectionable than
 it might have been4 ,fortunately1      
unlike so  many great ,continental      
churches1 ,notre ,dame stands free and  
clear1  and may be examined on all sides
 without difficulty4 ,indeed1 it is now 
perhaps somewhat too isolated at the    
west end4 ,of course it does not        

possess one of those venerable closes1  
with a supplement of ancient            
ecclesiastical buildings1 which is the  
glory of the great churches of  our own 
land4    ,the ,faade4--,the west fronts 
of the greater ,gothic churches of      
,france are as a rule the most majestic 
features of their exteriors4 ,one  might
 write much to prove that the west front
 of ,amiens or of ,chartres  is superior
 to that of ,notre ,dame1 but this1     
after all1 is an arguable  question4    
,when we stand in front of the church by
 the ,seine we are  struck by the       
reticence1 by the obvious disdain of the
 easily obtained  picturesque1 which    
seem to have animated its designers4    
,the thing is  symmetrical with a fine  
symmetry rare among buildings of the    
time4  ,before we discuss the faade in  
detail1 let us quote a translation of   
,victor ,hugo's detailed description1 in
 the romance already alluded to3        
8,assuredly there are few finer pages of
 architecture than this faade1  in      

which1 successively and at once1 the    
three receding pointed portals2  the    
decorated and lace-like band of         
twenty-eight royal niches2 the  vast    
central rose window flanked by the two  
lateral ones1 like the  priest by the   
deacon and sub-deacon2 the lofty yet    
slender gallery of  trefoiled arcading1 
which supports a heavy platform upon its
 light  and delicate columns2 and lastly
 the two dark and massive towers with   
their eaves of slate1#i--;harmonious    
parts of an entirely magnificent        
whole1--rising one above another in five
 gigantic stories1--unfolding           
themselves to the eye combined and      
unconfused1 with innumerable details  of
 statuary and sculpture which powerfully
 emphasise the grandeur  of the         
ensemble3 a vast symphony in stone1 if  
one may say so--the  colossal work of a 
man and of a nation 444 on each stone of
 which one  sees1 in a hundred          
varieties1 the fancy of the craftsman   
disciplined  by the artist3 a kind of   

human creation1 mighty and prolific as  
the  ,divine ,creation itself of which  
it seems to have caught the double      
characteristics--variety1 eternity40 ,in
 the last few phrases ,victor  ,hugo    
has1 perhaps1 been guilty of the licence
 readily granted to so  great a master  
of rhetoric2 but the west front of      
,notre ,dame was a  monument certain to 
appeal to a writer to whom none deny the
 gift  of eloquence4 ,even a specialist 
who scrupulously avoids rhapsody is     
compelled to use superlatives in his    
description of this faade3 8,this  vast 
and superb design is not only the most  
elaborate that had been  produced up to 
its time1 but in point of architectural 
grandeur it has  hardly ever been       
equalled40 ,mr4 ,c4 ,h4 ,moore1 in the  
book alluded to in  a former chapter1   
rightly insists that the component      
elements of the  front are so treated as
 to manifest the ,gothic spirit not     
merely in the  portals1 the arcades1 and
 the apertures1 but even in so          

comparatively  small a matter as the    
profiles of the mouldings4    ,footnote 
#i3 ,these have been removed4           
,illustration3 ,,string-,,course ,,on   
,,the ,,west ,,front4                   
,from ,viollet-le-,duc4    ,the late ,p4
 ,g4 ,hamerton has well expressed a     
feeling of vague  disappointment which  
many persons who are not experts in     
,gothic  construction and decoration    
feel on seeing the west front3 8,may ,i 
confess frankly10 says ,mr4 ,hamerton1  
8that until ,i had carefully  studied it
 under the guidance of ,viollet-le-,duc1
 the front of ,notre  ,dame never       
produced upon me the same effect as the 
west fronts of some  other ,french      
cathedrals of equal rank8 ,i believe the
 reason to be that  ,notre ,dame is not 
so picturesque as some others1 and does 
not so much  excite the imagination as  
they do4 ,it is well ordered1 and a     
perfectly  sane piece of work 7which    
,gothic architecture is not always71 but
 it  has not the imaginative intricacy  

of ,rouen1 nor the rich exuberance of   
,amiens and ,reims1 nor the             
fortress-like grandeur of ,bourges1 nor 
the  elegant variety of ,chartres4444   
,the truth is that the virtues of the   
west front of ,notre ,dame are classic  
rather than romantic4 ,everything  in it
 seems the result of perfect knowledge  
and consummate calculation4  ,there are 
none of those mistakes which generally  
occur in a work of  wilder genius40     
,illustration3 ,,carved ,,foliage ,,from
 ,,the ,,portail ,,de ,,la ,,vierge4    
,from ,viollet-le-,duc4                 
,illustration3 ,photo  ,ed4 ,hautecur1  
,paris4                   ,,portail ,,de
 ,,la ,,sainte ,,vierge4    ,the        
sculptured decoration of the three great
 portals exceeds1 if  not in actual     
ornateness1 at all events in real       
beauty1 that of any  cathedral in the   
west of ,europe4 ,much of it has        
suffered at the hands  of the           
iconoclast1 but1 looking to the         
vicissitudes through which ,notre  ,dame

 has passed1 it is wonderful that so    
much of the original sculpture  has been
 preserved4 ,the recent restoration has 
been carried out with  a skill which is 
simply marvellous1 and the uninformed   
observer may  easily be betrayed into   
the belief that he is looking at an     
unaltered  ancient work4 ,whether this  
is a gain or a loss each of us must     
decide  for himself4 ,some able writers 
have urged that the success with which  
ancient work has been imitated shows    
that modern artists are capable  of the 
triumphs of the middle ages4 ,others    
dismiss the new work as an  unpardonable
 forgery4 ,it is outside the scope of   
this book to attempt  to describe in    
detail the wealth of statuary and       
carving which the  thirteenth-century   
craftsmen and those of modern times have
 lavished on  these portals4 ,for such a
 description we must refer the reader to
 the  voluminous accounts of            
,viollet-le-,duc and other writers4 ,the
 sculptures  of the north door1 called  

the ,portail de la ,saint ,vierge1 have 
been  described as constituting a       
complete poem in stone4 ,viollet-le-,duc
  considered the portal as the          
masterpiece of ,french carving of the   
early thirteenth century4 ,i adapt the  
following description of the  chief     
sculptures from ,mr4 ,lonergan3 ,on the 
pedestal of the central  pier are bas   
reliefs representing the ,creation of   
,eve1 the ,temptation  in the ,garden of
 ,eden1 and the ,ejection from          
,paradise4 ,above is the  ,virgin       
crowned1 and over her a small gabled    
construction referring to  the ,ark of  
the ,covenant4 ,on the upper part of the
 arch in the lower  division are three  
prophets and three kings4 ,in the second
 angels hold  the winding-sheet in which
 ,mary's body lies1 near a coffin-shaped
  tomb4 ,over this stands ,christ with  
eight apostles4 ,in the third  division 
we see ,mary glorified4 ,in the voussure
 are sixty figures of  angels1          
patriarchs1 kings and prophets as       

witnesses of the ,virgin's              
glorification4 ,under the large statues 
are medallions referring to  incidents  
in the lives of those represented4      
,thirty-seven bas reliefs  ornament the 
sides and pillars1 amongst them being   
the signs of the  zodiac and symbolic   
representations of the months of the    
year4 ,the  ironwork of the doors of    
this and of the adjoining portals is of 
a  splendidly elaborate character1 due1 
according to a quaint tradition1  to the
 skill and energy of the devil4         
,illustration3 ,photo  ,ed4 ,hautecur1  
,paris4                   ,,figure ,,of 
,,st4 ,,marcel1 ,,porte ,,sainte ,,anne4
      ,illustration3 ,photo  ,ed4       
,hautecur1 ,paris4                      
,,the ,,last ,,judgement4               
7,from the central doorway47            
,illustration3 ,photo  ,ed4 ,hautecur1  
,paris4                   ,,tympanum    
,,of ,,the ,,porte ,,sainte ,,anne4     
,the ,central portal has suffered more  
from mutilation than those which  are on

 either side of it4 ,in the eighteenth  
century the architect  ,soufflot--a man 
who was nothing if not                  
8classic0--removed the dividing  pier   
and cut away the lower division of the  
tympanum in order to  facilitate the    
passage of processions on high          
ceremonial occasions4  ,all traces of   
his vandalism have been removed1 and the
 dividing pillar  bears a modern statue 
of ,christ by ,geoffroy ,dechaume4 ,the 
pedestal  is a pentagon1 and has seven  
bas-relief medallions4 ,at the sides are
  the apostles1 while in the medallions 
are represented the virtues  and vices4 
,traces of mutilation are apparent in   
much of this work4  ,the tympanum itself
 is devoted to the ,last ,judgment4     
8,first we have  figures of the dead    
rising at the blast of the trumpet4 ,men
 and women  of all conditions and ranks 
wearily shake off the sleep of death40  
,also there is the ,archangel1 with     
representations on the right of 8the    
elect joyfully glancing heavenwards1    

while on the left the grinning  demons  
haul a row of chained souls to hell4    
,crowning all is seen the  ,redeemer1   
showing the wounds in ,his hands4 ,near 
,him are two angels1  and behind the    
,virgin and ,st4 ,john the ,evangelist  
interceding on their  knees for fallen  
humanity4 ,as a setting to this         
magnificent composition  are six rows of
 sculptured forms1 making a voussure or 
set of curves1  with figures of         
prophets1 doctors1 martyrs1 devils1     
toads1 damned  souls1 and a hideous ape 
with crooked toes and fingernails4 ,some
 of  the ornamentation of the six ranges
 of arch curves is gruesome and         
terrible4 ,it relates either to the     
celestial or infernal results of  the   
last judgment40 ,in its original state  
this great doorway must have  been a    
work of unrivalled dignity4 ,nowhere    
else do we find carving more            
expressive1 nor more perfectly          
subordinated to the architectural       
scheme4      ,illustration3 ,photo  ,ed4

 ,hautecur1 ,paris4                     
,,apostles4                   7,from the
 central doorway47      ,illustration3  
,photo  ,ed4 ,hautecur1 ,paris4         
,,the ,,porte ,,sainte ,,anne4          
7,figures from the ,old ,testament7     
,the doorway on the south is variously  
described as the ,portal of ,st4  ,anne 
or ,st4 ,marcel4 ,according to some     
writers it is the most ancient  of the  
three1 and contains fragments of 8the   
sculpture which formerly  adorned the   
old church of ,st4 ,stephen 7,st4       
,etienne74 ,these1 it is said1  were    
executed at the expense of ,etienne de  
,garlande1 who died in #aadb4  ,the     
dividing pier or trumeau bears the      
statue of ,st4 ,marcel 7see p4  #cc74   
,the tympanum is adorned with the       
8,history of ,joachim and ,anna10  the  
8,marriage of the ,virgin10 and the     
8,budding of ,joseph's ,staff40 ,each   
side is occupied with four statues of   
saints of the ,old ,testament4 ,the     
four main buttresses which divide the   

faade perpendicularly into three  parts 
are pierced with niches containing      
statues on a level with the  vaulting of
 the portals4 ,these statues represent  
,religion1 ,faith1 ,st4  ,denis1 and    
,st4 ,stephen4      ,illustration3      
,photo  ,ed4 ,hautecur1 ,paris4         
8,,chim,,res40    ,the second story of  
the faade is occupied by a noble arcade 
which  shelters twenty-eight colossal   
statues4 ,this is known as ,la ,galerie 
des ,rois1 and stretches across the     
entire width of the front4 ,the  statues
 were formerly believed to be           
conventional representations  of the    
ancient kings of ,france1 but they are  
doubtless intended for  the kings of    
,judah as ancestors of the ,virgin4 ,a  
similar feature  will be found as part  
of the faade of ,amiens4 ,there1        
however1 the  statues are at a greater  
height from the ground1 and are         
twenty-two  in number4 ,above the       
,galerie des ,rois at ,paris there is a 
graceful  open arcade of slender arches 

and columns4 ,the five large statues    
here date only from the year #ahed4 ,the
 third main division has in  the centre 
a vast wheel window with open tracery1  
while in each of  the lateral bays we   
have pointed arches with twin pointed   
openings  and small circular panels in  
the tympanum4 ,the vacant space in the  
spandrels of each division is occupied  
by a trefoil panel4 ,at ,amiens  once   
more we meet with a main division       
similarly composed4 ,at ,notre  ,dame1  
immediately over the division containing
 the wheel window1 is an  open arcaded  
screen of gigantic proportions1         
surmounted by a parapet  or pierced     
cornice behind which rise the two       
towers4 ,so dexterously  has this arcade
 been planned1 so graceful are its      
lines1 so delicate  its details1 that   
the impression which it leaves on the   
mind--in  spite of the solidity of its  
construction and the vastness of its    
scale--is almost that of some such      
unsubstantial material as lace4 ,to  the

 platform supported by this screen      
everybody should ascend1 if only  to    
make the acquaintance of the famous     
,chimres or 8,devils of ,notre  ,dame40 
,this collection of specimens of        
fantastic sculptured zoology is  without
 parallel in ,europe4 ,these weird      
beasts which scowl from their  point of 
vantage upon the ,french metropolis     
fascinated the great etcher  ,mryon1 and
 more recently they have formed the     
subject of a series of  admirable       
drawings by ,mr4 ,joseph ,pennell1 the  
value of which has been  enhanced by an 
essay1 partly descriptive1 partly       
philosophical1 from  the pen of the late
 ,r4 ,a4 ,m4 ,stevenson4 ,the chimres   
are not merely  curious examples of the 
extravagantly grotesque4 ,their horror  
lies1 not  in their departure from      
natural forms1 but in the fact that1    
while the  features of various beasts or
 monsters are retained1 they are        
impressed  with characteristics of      
ferocity and cunning which are          

essentially  diabolical or suggestive of
 the lowest depths of human depravity4  
,they  have nothing in common with the  
crude and impossible gargoyles so       
frequently found in buildings erected   
when the pointed style was in  its      
decadence4 ,speaking roughly1 their     
anatomy is possible3 it is  conceivable 
that they should breathe and live4      
,illustration3 ,photo  ,ed4 ,hautecur1  
,paris4                   8,,chim,,res40
    ,readers of ,hugo's ,notre ,dame    
will remember his description of the    
,archdeacon as he clung to the lead     
gutter of the tower3 8,meanwhile he     
felt himself going bit by bit2 his      
fingers slipped upon the gutter2  he    
felt more and more the increasing       
weakness of his arms and the  weight of 
his body2 the piece of lead which       
supported him inclined  more and more   
downwards4 ,he saw beneath him1         
frightful to contemplate1  the pointed  
roof of ,st4 ,jean-le-,rond1 small as a 
card bent double4  ,he looked1 one after

 another1 at the imperturbable          
sculptures of the  tower--like him      
suspended over the precipice--but       
without terror for  themselves or pity  
for him4 ,all around him was            
stone1--before his eyes  the gaping     
monsters2 in the ,parvis below1 the     
pavement2 above his  head1 ,quasimodo   
weeping40      ,illustration3 8,,le     
,,stryge10 ,,one ,,of ,,the ,,chim,,ras 
,,of ,,notre                   ,,dame1  
,,with ,,the ,,tower ,,of ,,st4         
,,jacques4                   7,after    
,mryon's ,etching4                      
,insatiable vampire l'ternelle luxure1  
,sur la grande cit convoite sa pture47  
,the ,towers1 though not of precisely   
the same size1 appear to  be so4 ,the   
summit of the north tower is reached by 
an ascent of two  hundred and           
ninety-seven steps4 ,each of the towers 
is pierced with  coupled pointed        
openings and profusely enriched with    
mouldings and  gargoyles4 ,both of them 
terminate with open parapets1 the       

staircases  ending in small turrets4    
,the panorama of ,paris from the top is 
magnificent1 while the view of ,notre   
,dame itself reveals to the full  its   
structural beauty4 ,few sights are more 
impressive than that of the  great roof 
ridge of the church1 broken by the      
graceful modern flche1  and ending in   
the circular chevet4 ,from this high    
place1 likewise1  one is able fully to  
appreciate the grand arrangement of     
flying  buttresses1 the forest of       
pinnacles1 the host of gargoyles1       
statues1  and other sculptured ornaments
 which adorn the structure4 ,of the     
famous  peal of thirteen ancient bells  
which formerly occupied the belfries  of
 the two towers1 only one--le bourdon de
 ,notre ,dame--still remains4  ,it has  
announced to ,paris most of the great   
victories of the ,french  army1 and it  
still gives the signal to other bells to
 usher in the  great festivals of the   
,church4 ,of the other bells existing   
here1 the  most interesting is one of   

,russian workmanship1 which was brought 
from  ,sebastopol4      ,illustration3  
,,the ,,roof-,,ridge ,,of ,,notre       
,,dame4                   7,from a      
drawing by ,joseph ,pennell1 by         
permission of the 8,pall ,mall          
,magazine407    ,the ,flche1 over the   
crossing1 was built in #ahei-fj1 the    
ancient one  being destroyed in #aghg   
and replaced by a bulb-like structure   
which  was irreverently compared to a   
pepper box4 ,to this circumstance       
,victor  ,hugo alludes scornfully3 8,un 
architecte de bon got l'a amput1 et  a  
cru qu'il suffisait de masquer la plaie 
avec ce large empltre de  plomb1 qui    
ressemble au couvercle d'une marmite40  
,in removing this  atrocity             
,viollet-le-,duc was assuredly          
performing a necessary service4  ,his   
elaborate though slender steeple is of  
oak covered with lead1 and  weighs      
#gej1jjj kilos4 ,it is ornamented with  
numberless crockets and  pierced with   
well-contrived openings4 ,the base is   

led up to by tiers  of statues placed on
 brackets in the angles formed by the   
junction of  the roofs of the nave1     
transepts and choir4 ,the ball below the
 cross  encloses reputed fragments of   
the cross and the crown of thorns4      
,there  can be little doubt that        
,viollet-le-,duc1 speaking generally1   
has  constructed a flche which would    
have commended itself to medival        
designers4 ,it is interesting to note   
the slender character of the  structures
 which in ,france rise above the        
crossings1 as compared with  the huge   
towers which occupy a like position in  
the ,english cathedrals  of ,lincoln1   
,canterbury and ,york1 or with the      
comparatively substantial  spires to be 
found at ,salisbury1 ,norwich and       
,lichfield4      ,illustration3 ,,the   
,,original ,,fl,,che4                   
7,from 8,paris  travers les ,ages407    
,illustration3 ,photo      ,ed4         
,hautecur1 ,paris4                      
,,clocheton ,,or ,,turret--,,apsidal    

,,chapels4    ,the ,buttress            
,system4--,the buttress system of ,notre
 ,dame has  been the subject of careful 
study and explanation by ,mr4 ,moore4   
8,in  the external system10 he remarks1 
8the flying buttresses were1 as  at     
first constructed1 magnificently        
developed1 and were double in a  twofold
 sense4 ,that is1 the piers which divide
 the double aisles were  formerly       
carried up through the roof so as to    
form buttresses to the  vaulted         
triforium gallery1 and1 rising above the
 roof of this gallery1  they received   
the heads of the double flying          
buttresses over the outer  aisle1 and   
gave foothold to another pair of arches 
over the triforium  gallery4 ,the lower 
arch of the outer pair was above the    
aisle roof1  while the lower arch of the
 inner pair was beneath the roof of the 
triforium4 ,the principle of equilibrium
 maintained by opposing thrusts  was    
here completely developed2 the inert    
principle no longer governs  the        

construction1 though a survival of the  
former method of building is  found in  
the walls of the aisles and clerestory1 
which are no longer  necessary to the   
strength of the edifice40 ,the flying   
buttresses1 as  we now see them1 are    
7according to ,viollet-le-,duc7         
alterations dating  from the early part 
of the thirteenth century4 ,they consist
 of huge  arches clearing both aisles   
with a single span4 ,the flying         
buttresses  of the upper tier are       
wonderfully light and elegant1 looking  
always to  the large span which they    
have to clear4 ,they join the space     
between  the windows of the clerestory  
to lofty upright buttresses terminating 
in fine crocketed pinnacles and         
ornamented with an amazing wealth of    
sculpture4 ,the flying buttresses of the
 lower tier are thicker1 and  most      
frequently spring from elaborate        
clochetons1 one of which is  illustrated
 here4      ,illustration3 ,photo       
,ed4 ,hautecur1 ,paris4                 

,,windows ,,on ,,the ,,south ,,side4    
,the ,windows of ,notre ,dame are on the
 vast scale which is usual  in the      
greater ,gothic churches of the         
,ile-de-,france1 and present a very     
remarkable contrast to the small and    
simple windows which were deemed        
sufficient by the builders of our own   
early cathedrals in the pointed  style4 
,at ,notre ,dame the area of solid wall 
is slight in relation to  the area      
filled in with glass4 ,it is not so much
 a case of windows in  walls1 as of     
walls connecting windows4 ,the external 
buttress system  and the internal       
vaulting system at ,notre ,dame comprise
 the essentials  of the structure1 so   
that the walls are of the nature of     
enclosures  rather than necessary       
structural parts4 ,we have travelled far
 from the  ,romanesque principle1 in    
which the walls were primarily          
weight-bearers4  ,the windows of the    
aisles and of the ambulatory are of     
great size and  display many differences

 of detail1 but they nevertheless       
maintain a  general similarity1 the     
designers1 while appreciating the value 
of  uniformity1 being too richly endowed
 with the prevailing fertility of       
invention in matters of decorative      
detail exactly to repeat even the  most 
successful arrangement4 ,each is divided
 into two main pointed  lights1 above   
which a large circle1 quatrefoil or     
similar device1  occupies the head of   
the window1 the arches also being cusped
 or foiled  in varying patterns4 ,the   
main lights are again subdivided into   
two1  with trefoils or quatrefoils in   
the heads4      ,illustration3 ,photo   
,ed4 ,hautecur1 ,paris4                 
,,triforium ,,windows4    ,above these  
noble windows are gabled heads whose    
sides are enriched  with crockets or    
cusps1 their centres being occupied with
 circular  decorative panels1 and their 
angles having small richly carved       
bosses4 ,sometimes the canopies consist 
of beautiful open-work4  ,everywhere    

grotesque gargoyles project between     
them1 and the mouldings  terminate in   
corbels in the shape of small1 highly   
wrought human  heads4 ,this series of   
windows emphasises the prodigality with 
which  sculpture in human forms or in   
the forms of naturalistic or fantastic  
animals is to be found in nearly all    
parts of ,notre ,dame4 ,it is this      
prodigality1 wisely distributed1 which  
places this cathedral in such  acute    
contrast--speaking from the standpoint  
of the uninitiated  observer--to our own
 early pointed structures4 ,the upper   
aisle-wall  between the lower tier of   
flying buttresses is in some parts of   
the  building occupied by wheel windows 
of varied pattern1 most elaborately     
ornamented4 ,but at the east end the    
triforium lights show another  device3  
two small arches have in the angle      
between them quatrefoiled  openings4 ,it
 is notable that this dignified and     
beautiful device is  foreshadowed by    
some of the windows in the ,byzantine   

church in ,athens1  and even in the     
sixth-century church of ,qualb ,louzeh1 
in ,central ,syria4    ,the clerestory  
lights occupy the full width of the     
space between the  piers of the upper   
flying buttresses4 ,finally1 at the base
 of the roof  runs an open-work parapet4
 ,as we have already observed1 many of  
the  windows were hastily rebuilt after 
the fire of which we have previously    
spoken4      ,illustration3 ,photo      
,ed4 ,hautecur1 ,paris4                 
,,north ,,transept ,,front4    ,north   
and ,south ,transept ,fronts4--,these1  
as we have seen1 are  comparatively late
 work1 but though subordinate to the    
great faade1  they are of intricate     
design and great ornateness4 ,they fail 
of effect1  however1 when they are      
compared with the monumental and        
inevitable  grandeur of the west front4 
,the south faade1 of the date #abeg1 is 
undoubtedly the work of ,jean de        
,chelles4 ,an inscription tells us very 
exactly that it was begun on the second 

day of the ,ides of ,february1  in      
honour of the mother of ,christ4 ,there 
are writers who would have  us believe  
that to the work of de ,chelles we      
should apply1 if not the  word          
8debased10 at least the word            
8flamboyant40 ,for this there seems  to 
be no good reason1 unless1 indeed1 we   
are prepared to allow that  systems of  
architectural classification are more   
important than the  buildings which are 
their subject-matter4 ,it will be at    
once recognised  that the lateral fronts
 of ,notre ,dame--while they lack the   
elementary  grandeur so conspicuous in  
the works of the pioneers of ,gothic in 
the  ,ile-de-,france--have nothing in   
common with the later ,perpendicular    
buildings of ,england1 wherein          
decoration runs riot and construction   
sometimes degenerates into trickery4    
,the great feature of each of  these    
minor fronts is a vast rose window4 ,it 
is difficult to repress  the feeling    
that these fronts have been deliberately

 constructed with  a view to lend       
emphasis to these lovely circular       
insertions1 rich as  they are in        
appropriate tracery4 ,whether or not we 
are to limit the  work of ,jean de      
,chelles to the southern front 7or the  
lower portion  of it71 or whether we are
 to attribute to him the opposite front 
and  the arrangement of chapels adjacent
 to and east of the transepts1 is a     
nice question4 ,the documentary         
evidence1 to which access is difficult1 
would1 indeed1 appear narrowly to limit 
the work of ,jean de ,chelles to  that  
fragment with which he has been         
immemorially associated4 ,but it  were  
unwise to rely too closely on ancient   
documents in which definite  statements 
of fact are not to be found4 ,it is     
possible that1 even if  ,jean de        
,chelles did not personally superintend 
the erection of the  southern front1 he 
designed the opposite front and the     
chapels in  question4 ,he may1 indeed1  
have left pupils fully acquainted with  

his  methods and nearly tied to him by  
bonds of sentiment1 who in their own    
productions perpetuated1 not merely the 
main features of the style of  their    
master1 but used exactly the same       
material as he employed4 ,once  more1   
the sculptor is prominent2 once more1   
the structural parts are  adorned with  
beautiful statuary4 ,the great point is 
that 7using the  word as widely as it   
may fairly be used7 uniformity is       
achieved4 ,of  ,notre ,dame we may      
say--what we cannot say of buildings    
possibly more  interesting to the       
architect and the antiquary--that from  
east to west1  from north to south1 it  
strikes the observer as the splendid    
outcome  of a single imagination1 or of 
a number of imaginations dominated by   
the same impulse1 rather than the       
haphazard result of peculiar and        
fortuitous circumstances4               
,illustration3 ,photo      ,ed4         
,hautecur1 ,paris4                      
,,tympanum ,,of ,,the ,,north ,,transept

 ,,doorway4    ,the sculpture of the    
portal of the ,north ,transept is       
devoted to the  history of the          
,virgin--of whom the dividing pier      
between the doors  bears a beautiful    
statue4 ,the carving in the lowest      
division of the  tympanum deals with the
 ,birth of ,christ1 the ,visit of the   
,magi1 the  ,presentation in the        
,temple1 and the ,flight into ,egypt4   
,the carving of  the other divisions    
refers to the history of ,theophilus1 a 
mythical  monk who signed a contract    
with the ,devil1 like ,faust1 but was   
saved by  the interference of the       
,virgin4 ,on each side of the portal are
 three  empty niches4 ,these1 as well as
 the portal1 possess canopies4 ,an      
arcade  of lights is the chief feature1 
between the entrance and the great  rose
 window previously alluded to4 ,the     
portal of the ,south ,transept  has     
figures of ,christ1 ,st4 ,martin1 ,st4  
,stephen1 ,st4 ,john the ,baptist1      
,moses1 ,st4 ,denis1 ,st4 ,thomas1 ,st4 

,peter1 ,st4 ,bartholomew1 ,david1  and 
,aaron4 ,the tympanum has a             
representation of the ,martyrdom of ,st4
  ,stephen4 ,this portal is seldom used4
 ,again we have the arcade of lights    
leading to the great rose4 ,the gable   
end is in its turn pierced by  another  
smaller circular window of remarkable   
beauty4 ,it will be seen  that while    
there are great differences between the 
fronts of the two  transepts1           
structurally they resemble one another4 
,returning to the north side of the     
church1 beneath one of the windows      
belonging to a choir chapel is the      
well-known ,porte ,rouge1 a delicate    
masterpiece which we may probably       
attribute to the early part of the      
fourteenth century4 ,in its tympanum is 
represented the ,coronation  of the     
,virgin1 while in its vaulting we have  
scenes in the life  of ,st4 ,marcel4    
,the door gained its name from the fact 
that it was  originally painted red4 ,it
 seems always to have held a high place 

in  the affections of the ,parisians4   
,victor ,hugo appears specially to have 
delighted in it1 for he writes3 8,la    
petite ,porte-,rouge atteint presque    
les limites des dlicatesses gothiques du
 quinzime sicle40 ,near  the ,porte     
,rouge1 under the windows of the ,choir 
chapels1 are seven  bas-reliefs         
representing scenes from the ,virgin's  
life4 ,they date from  the sixteenth    
century4    ,he must be insensible      
indeed to the grandeur of ,gothic       
building who  fails to be impressed when
 he stands at the east end of ,notre    
,dame4  ,there1 in the great main       
circular sweep1 we can appreciate the   
tiers of  buttresses1 the spear-like    
forest of pinnacles1 each one           
constructively  necessary1 each duly    
subordinated to an ordered scheme1 each 
wisely  and appropriately decorated4    
,standing here1 we are indeed under the 
spell of the august ecclesia parisiaca1 
the ancient silent witness of  changes  
so immense and so fruitful of result1 of

 victories in the arts  alike of peace  
and war which have been of such profound
 consequence not  merely to ,paris1 and 
to ,france1 but to mankind in general4  
,illustration3 ,photo      ,ed4         
,hautecur1 ,paris4                      
,,the ,,interior ,,from ,,the ,,west    
,,end4    ,,chapter ,,iv4    ,,the      
,,interior4--,,the ,,nave4      ,it is  
difficult accurately to state why a     
sense of disappointment is  so often    
felt on entering the ,cathedral of      
,paris4 ,the unsatisfactory  impression 
given by ,notre ,dame is one experienced
 by visitors of all  kinds4 ,the        
architectural critic1 who looks upon a  
,gothic church as  the result of certain
 clearly defined principles of          
construction and  decoration1 must      
inevitably find in it much to admire4   
,but while it  satisfies the specialist1
 and possibly impresses those who have  
little  pretence to technical           
information1 it lacks the qualities of  
mystery  and of surprise which          

distinguish some buildings less ancient 
and less  stately4 ,thus we find one    
writer complaining that it is heavy1    
another  that it is cold1 and a third   
that it is relatively unpicturesque4    
,most of those who have recorded their  
dissatisfaction with the  interior of   
,notre ,dame have sought to explain the 
causes thereof4  ,the splendid promise  
of the exterior1 it is suggested1       
discounts the  remarkable beauties of   
the inside4 ,some feel that the         
regularity1  the coherence which        
distinguish the church1 produce an      
ensemble at  once ponderous and         
monotonous4 ,others complain of the lack
 of colour2  while on the other hand not
 a few protest against the intrusion of 
recent polychromatic decorations4 ,it is
 possible that the secret lies  in      
certain structural idiosyncrasies4 ,the 
church is extremely broad  in comparison
 with its length4 ,the bays are so few  
as to give to  the interior an air of   
undue severity4 ,fergusson1 in his      

history of  architecture1 condemns the  
vaulting ribs as ineffective4 ,the      
marble  pavement is regarded on all     
hands as a misfortune3 nothing could be 
more tedious or inappropriate4 ,it is1  
however1 to be observed that as  one    
becomes familiar with the interior its  
shortcomings are forgotten  and the     
dignity of its proportions and details  
are apprehended more  fairly4           
,dimensions4--,the length of ,notre     
,dame is #cij ft42 the width at  the    
transepts1 #add ft42 the length of the  
nave1 #bbe ft42 and the width  of the   
nave 7without the aisles71 #ci ft4 ,the 
height of the vaulting is  #ajb ft4 ,de 
,breul1 in his ,thtre des ,antiquits de 
,paris1 mentions a  copper tablet which 
formerly hung against one of the pillars
 of ,notre  ,dame and gave the          
dimensions of the cathedral in the      
following verses3--        ,si tu veux  
savoir comme est ample1      ,de        
,notre-,dame le grand temple1      ,il y
 a1 dans uvre1 pour le seur1      ,dix  

et sept toises#aj de hauteur1      ,sur 
la largeur de vingt-quatre1      ,et    
soixante-cinq sans rebattre1      ,a de 
long aux tours haut montes              
,trente-quatre sont comptes2      ,le   
tout fond sur pilotis1      ,aussi vrai 
que je te le dis4    ,footnote #aj3 ,a  
8toise0 is something over six feet4     
,the curiosity of these lines excuses   
the inaccurate statements1              
comparatively trifling1 conveyed in     
them4 ,notre ,dame1 unlike most  medival
 churches on the ,continent1 is almost  
painfully clean4 ,the  gaudy shrines    
which render some of the most splendid  
of ,italian  churches almost grotesque  
are absent from ,notre ,dame4 ,the broom
 and the  duster have been too freely   
used3 all that is not appropriate has   
been  too sedulously banished4    ,in   
the old floor1 amongst a multitude of   
other interesting memorials of  the     
dead1 the tombstones of the following   
were to be found3 ,philippe  7son of    
,louis ,,vi4 and ,archdeacon of ,paris71

 d4 #aafa2 ,prince ,geoffrey  of        
,england1 d4 #aahf2 ,queen ,isabelle of 
,hainault1 d4 #aahi2 the  dauphin1      
,louis 7son of ,charles ,,vi471 d4      
#adae2 ,louise 7mother of  ,franois     
,i471 d4 #aeca2 and ,louis ,,xiii4 7his 
viscera only71 #afdc4  ,amongst the more
 famous ecclesiastics were the          
following3 ,eudes de  ,sully 7#abjh72   
,etienne ,,ii4 7#abgi72 ,cardinal       
,aymeric de ,magnac 7#acdh72  ,bishop   
,pierre d',orgemont 7#adji72 and        
,dumoulin1 ,patriarch of ,antioch       
7#addg74 ,in addition there were three  
,archbishops of ,paris who died  during 
the seventeenth century1 and ,renaud1   
,archbishop of ,sens 7d4  #afaf74 ,the  
substitution of squares of marble for   
the tombstones of  these historic       
personages admits of absolutely no      
defence4    ,let us now consider the    
,roof4 ,mr4 ,charles ,herbert ,moore    
thus describes it in his ,development   
and ,character of ,gothic               
,architecture3--    8,here is a vast    

nave 7completed except the extreme west 
end by  about the year #aaif71 so       
admirably roofed with stone that the    
work  has lasted intact for seven       
hundred years1 and will probably1 if    
not wantonly injured1 last for centuries
 to come4 ,these vaults are             
sexpartite4444 ,the diagonal ribs are   
round-arched1 while the transverse  and 
longitudinal ribs are pointed4 ,the     
intermediate transverse ribs  are1      
however1 pointed but slightly2 and to   
bring their crowns up to  the level of  
the intersections of the diagonals they 
are considerably  stilted4 ,the crowns  
of the main transverse ribs are a little
 lower  than those of the diagonals1 and
 those of the longitudinals are lower   
still4 ,the vaults have1 therefore1 a   
distinctly domical form4 ,these  various
 adjustments1 by greater or less        
pointing1 stilting1 and even  by the    
retention of the round arch where it    
will serve best1 exhibit  the           
flexibility of the ,gothic system in an 

interesting and instructive  manner40   
,mr4 ,moore1 after some further details1
 continues3--8,in the  vaults of ,paris1
 as in all ,gothic vaults1 the shells   
consist of  successive courses of       
masonry which are slightly arched from  
rib to rib  over each triangular cell4  
,the beds of these successive courses   
are  not parallel1 but are variously    
inclined according as the mason found   
necessary or convenient in developing   
the concave and winding surfaces        
engendered by the forms and positions of
 the ribs to which they had  to be      
accommodated4 ,these courses of masonry 
have here in ,paris1 as  they have in   
most ,gothic vaults1 a considerable     
inclination near the  springing from the
 longitudinal rib upward toward the     
diagonal1 and  they become gradually    
more level as they approach the crown of
 the  vault1 where they are more nearly 
parallel4 ,but perfectly parallel  they 
can hardly ever be1 since each course   
forms a portion of a  surface that is   

concaved in all directions40 ,mr4 ,moore
 adds that in  the earliest and finest  
,gothic vaultings this masonry is       
composed of  small stones perfectly     
faced and closely jointed2 and the      
vaulting of  ,paris1 especially that of 
the choir1 is a model of careful and    
finished  workmanship4                  
,illustration3 ,photo      ,ed4         
,hautecur1 ,paris4                      
,,the ,,nave3 ,,south ,,arcade4    ,the 
vaulting of the choir differs from that 
of the nave1 but the  difference is one 
rather of detail than of principle4 ,we 
have already  said much about the       
external buttress system by which this  
splendid  roof is sustained4 ,internally
 this vaulting rises from slender       
shafts springing from the capitals of   
the great cylindrical columns           
constituting the main arcade of the     
ground story4 ,the piers at ,paris  are 
ill adjusted to the vaults1 a feature   
which has resulted in an  immense amount
 of learned discussion4 ,they were      

obviously intended  for quadripartite   
vaulting4 ,it seems probable that       
suddenly1 for  a reason which we are not
 now in a position to appreciate1 the   
quadripartite form was abandoned in     
favour of the sexpartite form  actually 
adopted4 ,students of this subject are  
advised to refer to pp4  #aad-ae of the 
second edition of ,mr4 ,moore's book1   
where the differences  between the      
vaulting imposts of the nave and choir  
are discussed and  delineated4 ,they may
 profitably compare this with ,m4       
,viollet-le-,duc's  ,construction 7p4   
#afd74 ,m4 ,viollet-le-,duc1 it may be  
added1 suggests  that the necessities of
 the sexpartite system were provided for
 by the  monolithic shafts grouped round
 every other pier in the arcade dividing
  the aisles4      ,illustration3       
,,capital ,,in ,,the ,,nave4            
,from ,viollet-le-,duc4    ,the somewhat
 heavy character of the great           
cylindrical piers which  divide the nave
 from the aisles is largely redeemed by 

the beautiful  carving with which the   
capitals are ornamented4 ,the plants    
which the  sculptors have               
conventionalised are those commonly     
found in the fields  adjacent to ,paris4
 ,these ornate capitals are genuinely   
,gothic in  feeling1 and have nothing in
 common with those which crown the piers
  of our ,anglo-,norman 7,romanesque7   
cathedrals4 ,again1 the plinths of the  
columns are utterly unlike the simple   
and massive bases on which the  round   
columns of our older churches most often
 rest4 ,we have already  alluded to the 
ill-adaptation of these piers and their 
capitals to the  sexpartite form of     
vaulting employed4 ,in the case of the  
most westerly  piers of the main arcade 
an attempt seems to have been made--with
 no  great success1 as it appears to    
me--to minimise the illogical effect  of
 the vaulting imposts4 ,the result has  
been the emphasis of that very  want of 
congruity which it was sought to remedy4
 ,it would be difficult  to find a less 

satisfactory arrangement than that which
 obtains in the  pier and capital       
delineated in our illustration1 where   
four smaller  cylinders are attached to 
the main one4 ,here1 not merely is the  
pier  itself rendered unwieldy by its   
satellites1 but the capital loses  all  
symmetry owing to the interposition of  
the small capitals which  crown those   
satellites4 ,it will be noticed that the
 arches of the main  arcade are by no   
means uniform4 ,thus we have a wide arch
 adjacent to an  extremely narrow one1  
while the builders of the period did not
 hesitate  to make use of a round arch  
where they found that form more         
convenient4  ,it is in some measure     
these peculiarities which have induced  
not a few  authors to describe ,notre   
,dame as a transitional church4    ,in  
no part of ,notre ,dame do we more      
perfectly appreciate the grandeur  of   
the scale of the church than when we    
stand in the vast double aisles  on     
either side of the nave4 ,with every    

step we take the view changes4  ,we     
hesitate to leave the spot upon which we
 stand lest we should lose  its charm1  
and yet we feel that probably a vista   
even more beautiful  awaits us a few    
paces beyond4 ,the lines of vast piers  
seem as if they  were consciously       
engaged in surprising us3 now they come 
together and  close the view suddenly1  
unexpectedly2 then they open1 revealing 
a  richly furnished altar in1 as it     
were1 a colossal frame of masonry4      
,everywhere the lines of the building   
strike us as vast1 massive1 almost      
elemental1 but everywhere there is an   
ordered1 if a somewhat ponderous        
symmetry4 ,it is strange that there ever
 was an age in which the innate  dignity
 and majesty of these lines were not    
felt4 ,yet so barbarous did  the        
architecture of ,notre ,dame appear to  
eighteenth-century eyes1 that  a        
desperate attempt was made to hide it4  
,vast pictures in gilt frames  were     
placed from capital to capital of the   

main arcade on both sides4  ,in this way
 the arches were completely hidden1 and 
a square appearance  7supposed to       
suggest the classical7 was given to the 
lowest story4 ,the  openings of the     
triforium were spared1 as anything      
placed in front of  them would block the
 view of the crowds who used to fill the
 tribunes  on state occasions4 ,the     
nave1 however1 thus turned into a kind  
of  picture gallery1 was considered very
 satisfactory 7see illustration1  p4    
#aa74 ,needless to say1 no trace of the 
pictures now remains1 and  the great    
arches are free and open once more4 ,the
 piers dividing the  aisles are not all 
of the same construction4 ,round every  
other pier  are grouped monolithic      
shafts1 possessing delicately foliated  
capitals  with moulded abaci4 ,two      
shafts1 with a single abacus and plinth1
  alternate with a single shaft4 ,in all
 there are twelve shafts round  the     
pier4 ,these piers1 with their cluster  
of satellites1 contrast  finely with the

 simple cylinders with bold foliated    
capitals with which  they alternate1 and
 lend variety and interest to the       
arcades 7see  illustration1 p4 #bc74    
,illustration3 ,photo      ,ed4         
,hautecur1 ,paris4                      
,,the ,,nave1 ,,north ,,arcade4    ,the 
vaulting of the aisles is quadripartite1
 the ribs being strongly  marked and    
possessing carved bosses at the point of
 intersection4  ,beyond the outer aisles
 on each side is a series of chapels1   
which will  be described presently4 ,the
 accompanying illustrations give a good 
idea  of the piers1 capitals and        
vaulting of this part of the church4    
,the ,triforium1 to which there are four
 staircases1 is of immense  size1 owing 
to the fact that it passes over the     
double aisles on  both sides of the     
nave4 ,its designers no doubt           
contemplated its use  as a gallery from 
which the grand ceremonies which took   
place in the  church could be witnessed 
by large numbers of people4 ,it is      

ceiled  with stone--a feature common to 
most of the greater cathedrals of       
,france--so that no wooden beams can be 
seen anywhere in the building4  ,this   
obviously increases the massiveness of  
the whole1 though a certain  tendency to
 heaviness is perhaps emphasised4 ,the  
masonry is everywhere  very fine1 and in
 the small details a high degree of wise
 as opposed to  futile finish is        
maintained throughout4 ,the galleries   
are excellently  lighted4 ,above the    
nave-aisles low pointed arches enclose a
 foliated  circle1 the corners at the   
base being filled with small trefoils4  
,in  the choir the lights consist of    
rose or wheel windows1 in the tracery   
of which there is great variety of      
pattern4 ,the openings towards  the     
church take their place admirably in the
 elevation1 being in  character with the
 main arcade beneath and the clerestory 
above4 ,they  are almost austerely      
simple1 and possess none of the         
ornateness which  characterises the     

triforiums of ,westminster1 ,lincoln1   
and other ,english  buildings of        
slightly later date4 ,a large plain     
pointed arch encloses  two and in some  
cases three pointed arches1 which are   
separated from  one another by delicate 
columns bearing foliated capitals with  
square  abaci4 ,they have small square  
bases4 ,these columns are a hundred and 
four in number4 ,a low openwork railing 
of iron fills in the front  of the      
gallery4 ,the triforium goes round the  
whole building3 that  portion which is  
at the end of the transepts1 however1   
consists of a  narrow passage which is  
not open to the church4 ,the banners    
which were  captured by ,french armies  
were exhibited from the triforium so    
long as  war continued4 ,on the         
conclusion of peace1 they were taken    
down--a  proceeding which might be      
followed in other countries with        
advantage4  ,the part of the triforium  
in the choir differs only in detail from
  that in the nave4 ,over the triforium 

come the vast windows1 altered in  the  
thirteenth century1 which comprise the  
,clerestory1 of which  more is said on  
page #gb4 ,the stained glass will be    
fully discussed  hereafter4             
,illustration3 ,,the ,,triforium        
,,gallery1 ,,or 8,,tribunes40           
7,from 8,paris  travers les ,ages407    
,the upper portion of the west end is   
filled by the great rose window1  which1
 as we have noticed1 is so beautiful a  
feature of the faade4  ,the tops of the 
pipes of the great organ hide the lower 
part of it  from our view inside4 ,the  
lovely painted glass1 which is ancient1 
has  representations of the ,virgin and 
,child surrounded by prophets4 ,amongst 
other features are the signs of the     
,zodiac1 the labours of the months1  and
 the ,virtues in triumph with lances in 
their hands4 ,the gallery on  which the 
organ is now placed was possibly used   
for the performance of  miracle plays4  
,as it is at a relatively great height  
from the pavement1  this is at least    

doubtful4 ,the ,organ is a fine         
instrument of  wonderful power4 ,it was 
practically rebuilt by ,thierry         
,lesclope in  #agcj1 and enlarged by    
,cliquot in #aghe4 ,in recent years it  
has been  immensely improved by ,m4     
,cavaill-,coll1 who gave it #ebff pipes 
and #hj  stops4 ,it plays a great part  
in the splendid musical services for    
which  the ,cathedral is famous4        
,illustration3 ,exterior4               
,interior4                              
,,elevations ,,of ,,the ,,nave4         
7,from ,viollet-le-,duc47    ,the ,nave 
is almost devoid of monuments2 nothing  
breaks up the vast  lines of the        
architecture4 ,the most important tomb  
is that of ,jean  ,etienne ,yver1 ,canon
 of ,paris and ,rouen1 who died in      
,february #adfg4  ,it has escaped       
serious mutilation1 and is a realistic  
performance in  the style prevailing in 
,france at the end of the fifteenth     
century4  ,on the base is a gruesome    
representation of the body of the ,canon

  being given over to the worms4 ,above 
this1 two saints are helping him  to    
rise from the coffin1 and directing his 
attention towards ,heaven4  ,the whole  
thing is repulsive1 but it is           
interesting as a curiosity4  ,many      
historic memorials perished during the  
,revolution1 but some were  removed to  
,versailles and still exist there4 ,they
 include the tombs  of ,jean ,jouvenel  
des ,ursins 7d4 #adca7 and his wife     
,michelle de  ,vitry2 the ,marchal      
,albert de ,gondi1 ,duc de ,retz 7d4    
#afjb72 and his  brother ,pierre de     
,gondi1 ,bishop of ,paris 7d4 #afaf74   
,two monuments  have disappeared from   
the nave which were highly esteemed in  
their  day4 ,writing of ,notre ,dame in 
his ,crudities in #afaa1 ,thomas ,coryat
  says3 8,i could see no notable matter 
in the cathedral church1 saving  the    
statue of ,saint ,christopher on the    
right hand at the coming in of  the     
great gate1 which is indeed very        
exquisitely done1 all the rest  being   

but ordinary40 ,the statue so delighted 
the old traveller that  he had eyes for 
nothing else1 for the architecture of   
,notre ,dame is  anything but ordinary4 
,the ,chapter of the ,cathedral did not 
share his  view1 for they deliberately  
destroyed it in #aghf4 ,it was presented
  to the church in #adac by ,antoine des
 ,essarts1 whose tomb with his  effigy  
in armour stood near it4 ,its           
destruction is remarkable1 for  colossal
 things were very much to the taste of  
those who lived at the  end of the      
seventeenth century4 ,the ,revolution is
 responsible for the  destruction of a  
famous equestrian statue which stood in 
the nave  until #agib4 ,it is generally 
considered to have been that of         
,philippe  le ,bel1 clothed in the      
armour in which he won his victory over 
the  ,flemings at ,mons-en-,pucelle in  
#acjd4 ,the identity of the statue has1 
however1 been the subject of            
controversy4 ,viollet-le-,duc tells us  
that  it represented1 not ,philippe le  

,bel1 but ,philippe ,,vi4 7of ,valois71 
who  defeated the ,flemings at ,cassel  
in #acbh4 ,on his return to ,paris he   
rode  into the cathedral on horseback in
 state1 and vowed his harness to the    
,virgin4 ,the ,chapter disagree with    
,viollet-le-,duc1 who is1 however1      
supported in his contention by the      
,benedictine ,pre ,montfaucon1 by  the  
writers who continued the chronicle of  
,william of ,nangis1 and  some others4  
,the monument stood close to the last   
pillar on the right  side of the nave4  
,the ,pulpit is a modern work1 after the
 design of  ,viollet-le-,duc4 ,it is of 
oak1 and its decorations include statues
 of  six of the apostles and of angelic 
figures4 ,suspended from the vaulting   
are eight imposing candelabra in        
bronze-gilt4    ,the ,chapels of the    
,nave contain singularly few features of
  historic interest1 nor amongst the    
furniture of their altars are there     
many recent works of art of outstanding 
merit4 ,they introduce us1  however1 to 

the vast scheme of mural painting which 
has been carried  out from the designs  
and partly under the direction of       
,viollet-le-,duc4  ,there can be no     
doubt that some scheme of polychromatic 
decoration was  legitimate3 almost every
 ancient church in ,france has          
indisputable  evidence of its employment
 in the middle ages4 ,the problem which 
faced  ,viollet-le-,duc was one of      
extreme difficulty4 ,the area to be     
covered  was enormous3 the variations of
 light were excessive4 ,some parts were 
luminous1 even radiant2 others were     
hidden in almost continuous gloom4  ,the
 schemes of colour had to be adapted to 
these varying conditions4  ,the use of  
mosaic was considered and discarded4    
,the expense would have  been gigantic1 
and the material was considered1 perhaps
 rightly1  to be inappropriate to the   
style of architecture4 ,wall pictures1  
as  such1 were regarded as destructive  
to the ensemble1 fatiguing to the  eyes 
and mind1 and productive of a certain   

patchy effect4 ,a series of  symbolical 
patterns of a rigidly conventional type1
 in which human  figures are very       
sparingly used1 was devised4 ,it may be 
admitted  at once that the learning and 
ingenuity displayed in the design of    
the scheme were such as might be        
expected from the most erudite and      
accomplished ,french architectural      
scholar of our time4 ,the minute        
consideration which ,viollet-le-,duc    
devoted to the subject may be judged    
from the following passage3 8,d'abord1  
la cathdrale de ,paris1 comme  on sait1 
est oriente de telle faon que tout un ct
 du monument se  prsente vers le midi et
 l'autre vers le nord4 ,un de ces cts   
reoit  donc une lumire plus vive et plus
 colore que l'autre4 ,il a paru  qu'il  
tait ncessaire de profiter de cette     
disposition pour tablir  l'harmonie     
gnrale4 ,au lieu de combattre l'effet de
 cette orientation1  on a cru devoir    
l'appuyer4 ,ainsi1 en premier lieu1     
toutes les fentres  des chapelles       

tournes vers le sud sont garnies de     
grisailles  tons  nacrs et froids4 ,de l
 il resulte qu'en entrant dans le       
monument on  voit un ct de lumire1 un ct
 d'ombre1 un ct chaud et brillant  et un
 ct froid4 ,il en rsulte instinctivement
 pour l'il un effet  gnral tranquille4  
,rien n'est plus fatigant pour les yeux 
qu'un  intrieur clair par les jours     
contraires de qualits semblables comme  
intensit de lumire1 valeur de tons et   
coloration4 ,la peinture des  chapelles 
devait concorder naturellement avec le  
systme de rpartition  de la lumire4     
,suivant une rgle gnrale1 la tonalit des
 peintures  du ct nord est plus froide  
que celle du ct du midi4 ,cependant1    
comme il faut conserver l'unit1 de      
distance en distance1 du ct sud1  des   
tons gris1 des tons verts1 froids1      
rappellent l'harmonie gnrale  du ct     
nord1 et1 du ct septentrional1 des tons 
chauds rappellent  l'harmonie gnrale du 
ct mridional40#aa    ,footnote #aa3     
8,peintures ,murales des ,chapelles de  

,notre-,dame de ,paris40  ,paris3 ,a4   
,morel4 ,see the preface by             
,viollet-le-,duc for further details  of
 his principles of decoration4    ,in   
spite of all these elaborate            
precautions1 in spite of so  much       
patience and learning1 the result as a  
whole seems to me  unsatisfactory4 ,one 
wearies of the ingenious geometrical    
curves1 the  crosses1 the squares1 the  
lozenges1 the coloured stars1 the       
excessively  and laboriously            
conventionalised foliage1 and the rest4 
,the whole  strikes one as dead and     
mechanical1 as mere covering of stone   
for the  sake of doing so4 ,and the     
colour1 though by no means aggressive1  
is  unsatisfying4 ,the experiment was   
heroic1 and the result might certainly  
have been very much worse1 but the      
stone-work would have been better       
untouched4    ,the ,chapels on the north
 side of the nave 7from west to east7   
are3 #a4  ,the ,chapelle des ,fonts     
,baptismaux4 ,the bronze carving of the 

font is  by ,brachelet4 #b4 ,the        
,chapelle ,saint-,charles4 ,there are a 
statue in  painted stone by ,m4 de      
,chaume and a good piscina4 ,the wall   
decorations  are cold and sombre4 #c4   
,the ,chapelle de la ,sainte-,enfance4  
,it  contains a group representing      
,christ caressing a ,french and a       
,chinese  child1 by ,m4 de ,chaume4 #d4 
,the ,chapelle ,saint-,vincent-de-,paul4
  ,the decorations of this chapel are   
somewhat elaborate1 and gilding  is     
freely used4 #e4 ,the ,chapelle de      
,saint-,franois-,xavier4 ,there  is a   
group representing the ,saint baptising 
a ,chinese4 #f4 ,chapelle  de           
,saint-,landry1 with statue by ,de      
,chaume4 #g4 ,chapelle de               
,sainte-,clotilde1 with statue by the   
same artist4    ,the following are on   
the south side 7west to east73    #a4   
,chapelle des ,ames du ,purgatoire4     
,christ rescuing a soul from            
,purgatory4 ,a statue by ,de ,chaume in 
coloured stone4 ,the colour scheme  of  

the chapel is warm and brilliant4 #b4   
,chapelle de ,sainte-,genevive4  ,the   
decorations1 which are somewhat profuse1
 were given by the  8dames de           
l',institut de l'uvre de ,sainte        
,genevive40 #c4 ,chapelle               
,saint-,joseph1 with statue of ,joseph  
with the ,child ,jesus in his  arms4 #d4
 ,chapelle ,saint-,pierre4 ,statue in   
wood of the saint by ,m4  ,corbon4 ,the 
carved woodwork of the sixteenth century
 still remains1  and includes panels    
with representations of the ,twelve     
,apostles1 ,st4  ,germain1 and ,sainte  
,genevive4 #e4 ,chapelle ,saint-,anne4  
#f4 ,chapelle  du ,sacr-,cur4 ,statue in
 coloured stone by ,m4 de ,chaume4 #g4  
,chapelle  de l',annonciation4 ,with a  
statue of the ,virgin in wood by ,m4    
,corbon4  ,paintings by ,perrodin1 one  
of the best pupils of ,flandrin1 of     
,david1  ,st4 ,michel1 ,isaiah1 ,st4    
,anne1 ,st4 ,joseph1 ,st4 ,john1 ,st4   
,luke1 ,st4  ,augustine1 ,st4 ,bernard1 
,st4 ,dominic1 and ,st4 ,bonaventure4   

,before we turn from the nave to the    
choir and transepts1 let us say  a few  
words as to the stained glass1 which was
 once the glory of  the church4 ,there  
is probably no ,gothic interior in      
,france which has  suffered more        
terribly from the destruction of its    
ancient windows than  ,notre ,dame4 ,the
 coldness and severity which the mural  
decorations of  ,viollet-le-,duc vainly 
strive to mitigate were perhaps not felt
 at all  when the light from every      
window seemed to be transmitted in      
glowing  and gleaming shafts of every   
conceivable colour and tone4            
,fortunately1  the old glass still      
remains in the great rose windows4 ,that
 over the  west door has been described2
 the others will be noticed in the      
account  of the transepts4 ,the rest of 
the glass was deliberately destroyed1   
not  by an infuriated mob1 but by those 
in authority1 in #agda4    ,the work of 
destruction was performed by ,jean      
,leviel and his brother1  who cheerfully

 substituted for the priceless material 
they removed  great sheets of dull1     
monotonous grisaille1 with borders      
ornamented  with the fleur-de-lis4 ,the 
introduction of grisaille has been      
quaintly described by ,michelet as le   
protestantisme entrant dans  la         
peinture4 ,its use at ,notre ,dame is   
nothing short of a disaster4  ,efforts  
have been made in some parts of the     
building to replace it with  glass of a 
less sombre character1 but these efforts
 so far have done  little to lessen our 
regret for the calamity of #agda4       
,illustration3 ,photo      ,ed4         
,hautecur1 ,paris4                      
,,angle ,,of ,,the ,,choir ,,and ,,south
 ,,transept4    ,,chapter ,v4    ,,the  
,,transepts ,,and ,,the ,,choir4        
,the austere character of the nave      
emphasises the splendid decorations  of 
the eastern parts4 ,no massive screen   
prevents our seeing the church  from the
 great entrance to the apse4 ,the fact  
that the choir is open  possibly lessens

 our sense of mystery and of awe1 but we
 are more than  compensated by the      
splendid view of the building from end  
to end4    ,the irritating custom of    
railing off the eastern limb of the     
church  and demanding a fee for         
admission happily does not obtain at    
,notre  ,dame4 ,it is all but universal 
in ,england1 and renders an intelligent 
appreciation of the architectural       
history of our great churches a  matter 
of some difficulty4 ,at ,paris one may  
wander where one will1  so long as one  
does not interrupt the offices4 ,that   
pompous and  irresponsible chatterer the
 cathedral verger does not impose       
himself  upon us1 and disturb our study 
and diminish our pleasure1 as he does in
  churches on this side the ,channel4   
,only the ,sacristy need be visited in  
the company of an official4    ,the     
transepts of ,french cathedrals are     
rarely such important features  as they 
are in those of this country4 ,the vast 
church of ,bourges has no  transepts at 

all4 ,at ,noyon1 as at ,paris1 the      
transepts have no aisles4  ,of the      
crossing and transepts at ,paris        
,viollet-le-,duc and ,guilhermy  write  
as follows3    8,at the four angles of  
the crossing1 massive piers1 some       
covered with  combined pilasters1 others
 with clustered columns1 rise without a 
break  from the ground to the vaulting4 
,the two transepts at the outset were   
only of two bays similar to those of the
 nave4 ,they were lengthened  by a      
shallower bay when the faades were      
rebuilt4 ,the later bays are  easily    
distinguished from the four older ones4 
,thin round vaulting-ribs  cross at a   
crown deeper and more pronounced than   
those of the older  parts4 ,the north   
and south doors are set in a rich       
arcading1 of which  the divisions and   
the tympanums can be compared to nothing
 more fitly  than a large window with   
mullions4 ,in the south transept1       
statues more  or less mutilated1        
representing ,christ and the saints1    

remain at the  points of the gables4 ,in
 describing the exterior of the faades  
we  pointed out the open gallery which  
extends the whole breadth of each       
transept1 and the great rose window a   
little above it4 ,the exterior  arcading
 of the gallery is repeated by a similar
 arcading inside4  ,there is a passage  
between the two rows of little columns1 
and there  is another above this4 ,the  
effect of the rose windows in the       
interior1  with glowing stained glass in
 all their compartments1 recalls the    
marvellous descriptions that ,dante has 
given us of the circles of  ,paradise4  
,the incomparable splendour alternately 
astonishes and  enchants us4 ,to        
decorate the side walls of his bays1    
,jean de ,chelles  continued the        
arcading and the mullioned windows40    
,the vaulting and the rose of the south 
transept were repaired between  the     
years #agbe and #agbh by ,boffrand1 the 
king's architect1 at the  expense of    
,cardinal de ,noailles4 ,the pair of    

arches leading to the  choir aisles with
 their elaborate crocketed canopies are 
somewhat  feebly contrived in both      
transepts4 ,the clustered shafts are    
clumsily  arranged4 ,the details on the 
north side differ from those on the     
south4  ,on the east and west sides of  
both transepts there are two narrow bays
  of the triforium4 ,the clerestory     
consists of short pointed windows  with 
wheel windows beneath them4 ,this is due
 to ,viollet-le-,duc1 and  is intended  
to show us the arrangement which        
obtained throughout the  church previous
 to the alterations which resulted from 
the fire in the  thirteenth century4#ab 
,footnote #ab3 ,in his 8,paris0         
7,london1 ,edward ,arnold1 #aijj71 ,mr4 
,hilaire  ,belloc thus refers to the    
fire of #abah3 8,in #abah a happy       
accident gave  us the incomparable unity
 which the ,cathedral alone possesses   
among  medival monuments2 for in that   
year1 on the eve of the ,assumption1    
four inspired thieves climbed into the  

roof-tree and warily let down  ropes    
with slip-knots to lasso the silver     
candlesticks on the altar4  ,these they 
snared1 but as they pulled them up the  
lights set fire to  the hangings that   
were stretched for the feasts1 and the  
fire spread to  the whole choir40 ,the  
writer gives no authority for this      
story4      ,illustration3 ,photo       
,ed4 ,hautecur1 ,paris4                 
,,the ,,north ,,transept4    ,at the    
angle of the south transept in front of 
the great south-east  pier of the       
crossing is the famous statue of the    
,virgin and  ,child1 which1 in ,notre   
,dame1 occupies a place not unlike the  
far  more famous and more venerable     
statue of ,s4 ,peter in the vast        
basilica  which at ,rome is dedicated to
 him4 ,mr4 ,belloc has used a photograph
 of  it as the frontispiece to the      
volume quoted in the footnote1 and he   
writes of it as follows3 8,but of all   
the additions to the interior of  ,notre
 ,dame which popular fancy or the       

traditions of some crisis give  it1 none
 is more worthy of being known than that
 which alone survives  of them1 and     
which ,i have made the frontispiece of  
this book4 ,it is not  that the statue  
has--as so much of the fourteenth       
century can boast--a  peculiar beauty2  
it is indeed 7when seen from below1 as  
it was meant  to be7 full of a delicacy 
that the time was adding to the severity
 of  the thirteenth century2 it has from
 that standpoint a very graceful        
gesture2 the exaggeration of the        
forehead disappears1 the features  show 
the delicate and elusive smile that the 
fourteenth century always  gave to its  
,madonnas1 and there appears also in its
 general attitude  the gentle           
inclination of courtesy and attention   
that was also a  peculiar mark of a     
statuary which was just escaping the    
rigidity of  ,early ,gothic4 ,but its   
beauty1 slight and ill-defined1 is not1 
,i repeat1  the interest of the statue4 
,it is because this image dates from the

  awakening of the capital to its       
position in ,france1 because it is the  
symbol of ,paris1 that it rises up      
alone1 as you may see it now1 where  the
 southern transept comes into the       
nave1#ac all lit with candles  and      
standing out against the blue and the   
lilies4 ,it is a kind of core  and      
centre to the city1 and is1 as it were1 
the genius catching up the  spirit of   
the wars1 and giving the generation of  
the last siege and  reconstruction1 as  
it will give on in the future to others 
in newer  trials1 a figure in which all 
the personality of the place is stored  
up and remembered4 ,it was made just at 
the outbreak of the ,hundred  ,years'   
,war1 it received the devotion of       
,etienne ,marcel1 it heard the  outcry  
that followed the defeat of ,poictiers  
and the captivity of the  king40 ,mr4   
,belloc concludes3 8,it has been for    
these five hundred years  and more the  
middle thing1 carrying with full meaning
 the name #8,our  ,lady of ,paris1'     

which seems to spread out from it to the
 ,church1 and  to overhang like an      
influence the whole city1 so that one   
might wonder  sometimes as one looked at
 it whether it was not the figure of    
,paris  itself one saw40    ,footnote   
#ac3 ,see p4 #gj4    ,in front of the   
statue is an iron grille terminating in 
spikes for  candles4 ,after ,poitiers1  
the citizens of ,paris annually offered 
a  gigantic candle to be burned in front
 of this statue in order that the  ills 
which afflicted ,france might cease4 ,it
 was of the exact length of  the walls  
of the capital itself1 and was of course
 coiled up ropewise4  ,the first        
presentation was made on ,august #adth1 
#adcg4 ,the candle  necessarily grew    
with every increase in the area of the  
city4 ,by the  beginning of the         
seventeenth century it was felt that the
 limits of  vastness had been reached1  
and in #afje a silver lamp1 which was   
always  to burn before the statue1 was  
presented instead of the candle4 ,this  

was destroyed by the ,revolutionists4   
,on the pillar below the statue is  a   
sculpture said to represent ,eve with   
the serpent's tail4 ,the identity  of   
the existing statue with the original   
one so eloquently described  by ,mr4    
,belloc has been doubted1 but the       
grounds for doubt appear to be  small4  
,in this transept are two marble slabs  
in memory of seventy-five  victims of   
the ,commune4    ,the place on the north
 side1 corresponding with the statue of 
,notre-,dame de ,paris on the south1 is 
filled by a statue of ,st4 ,denis1  a   
fairly good work by ,nicolas            
,coustou4#ad ,the splendid glass of the 
great rose window in the south transept 
has in the main divisions of  its four  
circles the twelve apostles1 and a host 
of bishops and saints  with symbols and 
palms1 to whom angels bear golden crowns
 of glory4 ,in  one of the small        
compartments ,st4 ,denis is represented 
carrying his  head1 and in others are   
scenes from what is known as 8les       

,combats des  ,aptres10 amongst them    
being the arrival of ,st4 ,matthew in   
the presence  of the ,king of ,egypt1   
and the baptism of the ,king after his  
conversion  by the ,apostle4 ,the great 
rose window of the opposite transept is 
devoted to scenes from the life of the  
,virgin4 ,she is represented with       
,christ in her arms1 and is surrounded  
with an army of patriarchs1  judges1    
prophets1 priests and kings1 all of whom
 are related to the  ,saviour by ties of
 blood or as ,his spiritual forerunners4
 ,the glass  includes curious           
representations of the ,antichrist1     
decapitating  ,enoch2 and of the        
destruction of the ,antichrist by the   
,almighty1 who  appears in a cloud4 ,the
 small rose or wheel windows in the     
sides of  the transepts have been filled
 with glass from designs by ,steinheil4 
,the pavement of the transepts is of    
squares of black ,bourbon  marble       
alternating with ,dinan stone4 ,great   
attention was given by  ,viollet-le-,duc

 to the polychromatic decoration of the 
transepts1    ,footnote #ad3 ,see p4    
#hi4 but it cannot be said that he has  
been more  successful in these parts of 
the church than elsewhere4 ,the effect  
aimed at appears to have been that of   
tapestry with simple patterns2  indeed1 
of the whole it is said1 8cette         
dcoration forme1 jusque sous  les roses1
 une sort de brillante tapisserie40     
,some of the canopies are  of the most  
intricate patterns1 but they would be   
better suited to  wood or metal work    
than to painting4 ,the scheme includes a
 series of  paintings by ,perrodin of   
persons distinguished in the history of 
the  diocese of ,paris4 ,the figures    
have elaborate decorative borders4      
,the removal of statues and memorials   
from the nave1 which we have  already   
deplored1 had just the shadow of a      
justification from the  purely sthetic  
standpoint4 ,many of the monuments were 
incongruous1  some were positively      
grotesque4 ,in ,westminster ,abbey we   

have an example  of the shocking effect 
of inappropriate statuary in a ,gothic  
building2  we know1 only too well1 how  
terribly one of the most beautiful      
interiors in the world suffers from a   
crowd of tombs which are out  of keeping
 with the very spirit of the place4 ,by 
the removal of the  memorials at ,notre 
,dame1 the church has doubtless regained
 the aspect  intended by its designers4 
,the nave leads uninterruptedly to the  
choir1 which ends in the high  altar2   
and the high altar1 with the adjacent   
shrine of ,st4 ,marcel1 was  the primary
 reason of the existence of the         
cathedral4 ,we have seen that  in its   
earlier form little or no provision was 
made for chapels and  consequently for  
side altars4 ,everything was arranged to
 concentrate  the eye on the chief      
altar1 and to lend dignity to its       
position4 ,its  sacred character was    
respected even in the far-off days in   
which the  body of the church was used  
for commercial purposes1 or for         

festivals  the reverse of religious4    
,the great eastern limb of the church is
 raised above the transepts  by three   
steps4 ,once we have passed into the    
,ambulatory1 or  pourtour1 of the choir1
 we are in the most interesting part of 
the  building2 for here our story is of 
historical monuments and decorative     
objects still happily existing1 and not 
an account of things which have  long   
since ceased to be4 ,when we step into  
the ambulatory1 we pass from  newer to  
older work1 but we experience no violent
 transition from one  style to another4 
,the style of the choir is1 speaking    
generally1 the  style of the whole      
church4 ,the differences1 interesting as
 they are  to the minute student of     
architectural development1 are such as  
would  remain unnoticed by those who do 
not pretend to special knowledge4  ,this
 unity reminds one of an ,italian       
,romanesque basilica rather than  a     
,gothic cathedral4 ,viollet-le-,duc has 
noted that the capitals in the          

triforium of the choir seem to be       
earlier in date than those of the  main 
arcade beneath it2 that if nothing were 
left save the capitals  of the two      
parts1 one would conclude that those of 
the triforium were  earlier4 ,this is   
manifestly impossible1 but it shows that
 not the  smallest deviation of style   
was allowed in constructing the upper   
story4    ,among the capitals of the    
columns in the choir there are a few    
representations of animal life amongst  
the conventional foliage1  while the    
capitals in the nave represent foliage  
alone4 ,the choir is  throughout a shade
 nearer ,romanesque than the nave1 but  
the difference  is so slight that only  
close examination reveals it4 ,already  
we have  remarked on the superiority of 
an apsidal termination to any other form
  in a ,gothic church4 ,the ordered     
grandeur of ,notre ,dame is nowhere more
  impressive than in the beautiful sweep
 of the apse with its spacious          
ambulatory4 ,it must have been even more

 imposing in its simplicity  before the 
construction of the side chapels was    
undertaken1 although  we are far from   
regretting an addition which1 though it 
may have  reduced the original dignity  
of the church1 has added variety to it  
and  rendered it more interesting4      
,let us begin our detailed examination  
of the choir and its chapels with  the  
famous ,screen of sculptures by ,jehan  
,ravy and his nephew  ,jehan le         
,bouteiller1 which we must study from   
the ambulatory4 ,in his  ,history of    
,sculpture1 ,professor ,wilhelm ,lbke   
devotes considerable  space to this     
series in the chapter devoted to        
8,northern ,sculpture  in the ,late     
,gothic ,epoch0 7#acjj to #adej74 ,after
 stating that ,france  exhausted herself
 during the golden age of ,gothic       
sculpture1 and that  the period under   
discussion was so stormy as to be       
unfavourable to the  production of works
 of art1 he writes of the screen as     
follows3    8,one of the most important 

works of the epoch the end of the       
thirteenth and the beginning of the     
fourteenth centuries are the  extensive 
reliefs which cover the choir screen in 
the interior of the  ,cathedral of      
,paris4 ,these are only the remains of  
the formerly far  richer plastic        
ornament which1 in a great measure1 fell
 a sacrifice  under ,louis ,,xiv4 to a  
vain love of ostentation4 ,the earlier  
series  on the north side contains a    
crowded representation in an unbroken   
line of the ,history of ,christ2 from   
the ,annunciation to the ,prayer  at    
,gethsemane4 ,these representations are 
vividly conceived1 and the  style in    
which they are executed breathes the    
spirit of the thirteenth  century4      
,perhaps they belong to the end of that 
century or to the  beginning of the     
next4 ,the reliefs on the south side are
 different in  many points4 ,they       
continue the ,history of ,christ2 and1  
indeed1 the  whole was so arranged that 
the cycle which began at the east passed

  along the north side to the west end  
of the choir1 and was continued  on the 
lectern1#ae where the ,passion1         
,crucifixion and ,resurrection  were    
depicted in front of the congregation1  
concluding at the south  side in a scene
 moving from west to east4 ,of the      
latter scenes1 the  only ones now in    
existence are those which extend from   
the ,meeting  of ,christ as the         
,gardener with ,mary ,magdalen to the   
,farewell to the  ,disciples after the  
,resurrection4 ,the artist of these     
later scenes left  his name1 in an      
inscription that has now disappeared1#af
 as ,jehan  ,ravy1 who for twenty-six   
years conducted the building of ,notre  
,dame1  at the end of which time it was 
completed under his nephew ,master      
,jehan de ,bouteiller1 in #acea4 ,master
 ,ravy evidently thought that he  could 
improve upon his predecessor's work on  
the north side2 for  while the latter   
had combined the scenes into one        
unbroken series1 he  divided his into   

separate compartments by arcades1 so    
that these later  representations1 which
 are still in existence1 are separated  
from each  other by small columns4 ,in  
so doing he followed the general taste  
of  the century1 which was inclined to  
exchange a picturesque character  for   
the calm epic relief of the former      
period4 ,while1 however1 his  somewhat  
short figures are certainly superior in 
correctness to the  figures of the north
 side1 owing to his understanding of the
 physical  structure and to the neatness
 of execution1 there is in the figures  
of the north side a fresher tone of     
feeling and more grace of action1       
compared with which the far more        
constrained attitudes of the later      
works form an unpleasing contrast1 and  
even occasionally degenerate  into      
commonplaceness4 ,thus in these works1  
in spite of all expenditure  of artistic
 care1 there is an unmistakable decline 
of creative power40    ,footnote #ae3   
,the ,rood-loft4    ,footnote #af3 ,this

 has been restored1 and reads3 8,c'est  
maistre  ,jehan ,ravy maon de ,notre    
,dame par l'espace ,,xxv ans qui commena
  ces nouvelles histoires1 et ,jehan le 
,bouteiller son nepveu qui les          
aparfaites en ,,mcccli40    ,the series 
on the north side should be visited     
first4 ,the scenes are  fourteen in     
number1 and have reference to the       
,visitation3        ,the ,shepherds and 
the ,star of ,bethlehem2      ,the      
,nativity2      ,the ,visit of the      
,magi2      ,the ,slaughter of the      
,innocents2      ,the ,flight into      
,egypt2      ,the ,presentation in the  
,temple2      ,christ among the         
,doctors2      ,his ,baptism2      ,the 
,marriage-,feast at ,cana2      ,the    
,entry into ,jerusalem2      ,the ,last 
,supper2      ,christ ,washing the ,feet
 of ,st4 ,peter2      ,the scene in the 
,garden of ,olives4    ,the later works 
on the south side1 in which ,professor  
,lbke traces a  decline of creative     
force1 represent3        ,the ,meeting  

of ,christ as the ,gardener with ,mary  
,magdalen2      ,the ,holy ,women 7the  
,three ,maries7 ,kissing the ,saviour's 
,feet2      ,jesus appearing to the     
,apostles 7who are represented in a     
turreted building72      ,the ,disciples
 of ,emmaus1 with ,christ among them2   
,the ,breaking of the ,bread2           
,another version of ,christ ,appearing  
to the ,apostles2      ,the ,doubt and  
the ,conversion of ,st4 ,thomas2        
,the ,miraculous ,draught of ,fishes2   
,christ's ,message to the ,apostles to  
,preach the ,gospel to          all     
,nations4    ,it is extremely fortunate 
that these very interesting sculptures  
have  been left to us1 for they         
constitute incomparably the most        
important  of the internal decorations  
at ,notre ,dame1 which1 as we have seen1
  is relatively poor in the medival     
tombs which are the glory of            
,westminster ,abbey4 ,while we are      
thankful for what is left1 we cannot    
help feeling a grudge against ,cardinal 

de ,noailles1 who caused some of  the   
scenes to be removed1 and thus left the 
series incomplete4 ,that the  modern    
restoration of the painting of the      
sculpture was wise can hardly  be       
maintained4#ag    ,footnote #ag3 ,the   
fine collection of casts at the ,crystal
 ,palace  includes most of this series4 
,it is a pity that they cannot be placed
  in some more appropriate and          
convenient place4      ,illustration3   
,,view ,,of ,,the ,,choir ,,at ,,the    
,,end ,,of ,,the ,,xiii4 ,,century1     
,,showing ,,the ,,carved ,,rood-,,screen
 ,,and ,,the ,,shrine ,,of              
,,st4 ,,marcel4                   7,from
 ,viollet-le-,duc47    ,for the moment  
we will leave the ambulatory1 and       
consider the  ,choir and ,sanctuary4 ,it
 will be interesting1 before we examine 
the present state of these parts1 to    
sketch briefly their aspect in the      
fourteenth century4 ,corrozet and ,de   
,breul have left us descriptions  which 
have been illustrated and elucidated by 

the indefatigable  ,viollet-le-,duc4    
,the entrance to the choir at the       
crossing was filled  by a magnificent   
screen of stone richly adorned with     
carving4 ,this  was about eighteen feet 
high4 ,the top formed the rood-loft1    
which was  approached by two circular   
staircases placed at either end of the  
screen4 ,in the centre was1 of course1  
the entrance to the choir4 ,when  the   
doors were open the high altar could be 
seen from the end of the  nave4 ,over   
this door was a decorated gable         
terminating in a great  crucifix4       
,according to ,de ,breul this crucifix  
was a masterpiece of  sculpture1 as were
 the other statues which composed the   
group4 ,the loft  was broad1 and had on 
both sides an open stone parapet1 on    
which were  placed carved lecterns4 ,the
 west front of the screen had sculptured
  scenes of the ,passion1 which formed  
part of the series by ,jehan ,ravy  and 
,jehan de ,bouteiller lately described4 
,on either side of the  doorway1 beneath

 the sculptures1 were small altars4 ,the
 choir-stalls  of carved wood occupied  
much the same place as do those which we
 see  to-day4 ,between the rows of      
stalls were low tombs with recumbent    
figures4 ,the ,sanctuary1 approached by 
steps1 was railed off1 and filled  the  
apse4 ,the space between the columns was
 filled by a screen with  carved scenes1
 which rose almost to the level of the  
bases of the  capitals4 ,the altar was  
low1 and of stone1 and possessed a      
re-table on  which was placed a cross4  
,enclosing it on all sides1 save that   
towards  the church1 was a screen with  
hangings of tapestry4 ,at the four      
corners  of this screen were tall       
figures of angels4 ,immediately behind  
the  altar1 and towering over it1 was   
the shrine of ,st4 ,marcel1 a lofty open
  structure of brass and other metals in
 two stages1 ending in a gable at  the  
apex of which rose a crucifix4    ,on   
the first stage1 so that it could be    
seen from all parts of the  choir1 was  

the feretrum or reliquary of ,st4       
,marcel4 ,this chief shrine  had on its 
side shrines of less importance1 while1 
in the background  to the north1 was the
 small altar of the ,trinity1 on which  
was placed  the reliquary of ,notre     
,dame1 containing portions of the dress 
and other  relics of the mother of      
,christ4 ,a few fine tombs were also in 
the  sanctuary1 and not far away was a  
bronze statue of ,eudes de ,sully4 ,an  
illustration1 partly conjectural1 of the
 choir and sanctuary in the  condition  
which ,i have attempted to describe from
 ,viollet-le-,duc's  ,dictionnaire1 is  
reproduced here4 ,it will be seen that  
while the  furniture and ornament of    
this part of the church is sufficiently 
splendid1 it is nevertheless simple4    
,there would be ample space for the  due
 performance of the great ceremonials   
which constantly took place4  ,such was 
the appearance of the choir and         
sanctuary until ,louis ,,xiv41 in       
fulfilment of the vow of ,louis ,,xiii41

 who had dedicated himself and his      
kingdom to the ,virgin1 began his       
transformation4      ,illustration3     
,photo      ,ed4 ,hautecur1 ,paris4     
,,grille ,,at ,,entrance ,,of ,,choir4  
,the ,choir is raised above the body of 
the church by three steps1  and on the  
right and left hand is enclosed by a low
 grille in  wrought iron with gilding4  
,this rests on a stone foundation1 and  
is  terminated towards the centre by two
 massive columns1 on which  are hung the
 gates1 which are of very beautiful     
design1 representing  conventionalised  
foliage and flowers4 ,at the top of the 
gate1 in the  centre1 is a foliated     
cross4 ,the two bays on the south side  
of the  choir nearest the entrance have 
the same arrangement of a small pointed 
window with a rose window beneath it1 as
 exists in the side of the  transept    
immediately adjacent4 ,the remaining    
windows are in the altered  and enlarged
 form1 and the triforium of the choir is
 similar to1 though  of earlier date    

than1 that which runs round the nave4   
,illustration3 ,photo      ,ed4         
,hautecur1 ,paris4                      
,,the ,,choir1 ,,looking ,,west4    ,the
 ,stalls occupy three bays on either    
side of the choir4 ,the  erection of    
these stalls is part of the work        
undertaken by order of  ,louis ,,xiv4 in
 accomplishment of his father's vow1 and
 it follows that  they are not in       
character with the architecture of the  
choir4 ,it was  once proposed that for  
this reason new stalls of 8,gothic0     
design should  take their place4 ,there 
is little likelihood of this being done 
now4  ,incongruity among things         
beautiful in themselves is by no means a
  calamity1 and we may fairly question  
alike the taste and the learning  of    
those who crave for uniformity at all   
cost4 ,one is glad to think  that       
,viollet-le-,duc never for a moment     
contemplated the banishment of  these   
stalls1 which are a particularly fine   
example of the best work  of which the  

craftsmen of the time were capable4 ,the
 stalls have been  rearranged since they
 were first placed in the choir1 and    
their number  has diminished4           
,originally there were one hundred and  
fourteen stalls2  now there are ten     
less4 ,they are divided on each side    
into upper and  lower tiers1 each tier  
having twenty-six seats4 ,the carvings  
are the  work of ,jean ,nel and ,louis  
,marteau1 the designs being supplied by 
,jean  de ,goulon4 ,the designer and the
 executants have combined to produce a  
really admirable piece of work1 of which
 a full account is given in a  very     
careful monograph1 published by ,chouvet
 in ,paris in #ahee1 entitled  ,album   
des ,boiseries sculptes du ,chur de     
,notre ,dame de ,paris4 ,in  this volume
 the carvings are dealt with one by one1
 and their merits  intelligently        
discussed4 ,at the back of the upper row
 of stalls are  eight large carved      
panels1 which represent scenes in the   
life of the  ,virgin4 ,at the west end  

of the stalls are placed1 opposite to   
one  another1 the throne of the         
archbishop and a similar throne for the 
dean of the chapter4 ,these thrones or  
seats have elaborately-carved  canopies4
 ,the relief on the back of the chair or
 throne on the right  represents the    
cure of ,childebert ,i4 by ,st4         
,germain1 ,bishop of ,paris4  ,on the   
opposite chair is represented in similar
 style the martyrdom of  ,st4 ,denis4   
,throughout the entire cathedral1 in    
sculpture1 in stained  glass1 in        
carving1 the ,virgin is glorified1 and  
next to her in honour  comes ,st4       
,denis4 ,the stalls are lighted by lamps
 in metal brackets1  and the choir      
itself is illuminated by handsome       
candelabra similar to  those in the     
nave4 ,in the second bay on the north   
side of the choir is  a small organ used
 in the daily offices4    ,close by this
 organ the stones of the pavement are   
movable1 and cover  the entrance of a   
small crypt4 ,this is the principal     

subterranean  chamber of the cathedral1 
and it was constructed so recently as   
the  eighteenth century4 ,it was set    
apart as the burial place of the        
,archbishops of ,paris1 and is little   
more than a vault4 ,over the coffins  of
 those of the ,archbishops who have been
 ,cardinals are suspended their  red    
hats and tassels4 ,the excavations for  
this little crypt led to a  discovery   
which was of great interest to          
archologists4 ,amongst other  ,roman    
remains was a small altar to ,jupiter1  
which is now preserved in  the ,cluny   
,museum4 ,in ,paris  travers les ,ages  
we read of a small  crypt below the     
,chapelle ,s4 ,anne1 on the south side  
of the nave4 ,used  now as a coal       
cellar1 it was formerly a burial place1 
as is attested  by the following        
inscription3 8,cave pour les cercueils  
de plomb2 cave  pour la spulture des    
chanoines2 caves pour la spulture des   
musiciens1  enfants de ,churs et        
officiers clercs40    ,the pavement of  

the choir is of pieces of marble of     
various colours1  which together form a 
geometrical pattern4 ,as one looks at   
it1 one  laments the magnificent tombs  
with bronze effigies which were formerly
  the glory of this part of the church4 
,illustration3 ,photo      ,ed4         
,hautecur1 ,paris4                      
,,the ,,choir ,,from ,,the ,,south      
,,transept4    ,the ,sanctuary is       
approached by four steps of ,languedoc  
marble1 and  three additional steps of  
the same material lead to the high      
altar4  ,the ,high ,altar still retains 
most of the leading features of the     
arrangement of ,louis ,,xiv4 ,it was    
begun in #afii1 and finished in #agad4  
,the pseudo-classical architecture by   
means of which the great pillars  of the
 apse were hidden has of course been    
swept away4 ,the principal  group of    
sculpture1 representing the ,descent    
from the ,cross1 is  by ,nicolas        
,coustou1 who was born at ,lyons in     
#afeh4 ,he was a pupil of  ,coysevox1   

his uncle1 who at that time was director
 of the ,academy of  ,painting and      
,sculpture at ,paris4 ,he obtained the  
grand prix1 and went  to study at ,rome1
 where he was profoundly influenced by  
the work of  ,michael ,angelo4          
,coustou's output on his return to      
,france was enormous4  ,the 8,descent   
from the ,cross10 at ,notre ,dame was   
doubtless inspired by  the famous group 
by ,michael ,angelo in ,st4 ,peter's at 
,rome4 ,it cannot  be said that ,coustou
 has approached the greatest of the     
,italians in  the profundity of his     
pathos or in tragic solemnity1 but the  
group at  ,notre ,dame is not without   
decided merit1 although it leans towards
 the  melodramatic and artificial4      
,on one side of the altar is a kneeling 
statue of ,louis ,,xiii4 by  ,guillaume 
,coustou1 and on the other a similar    
statue of ,louis ,,xiv4  by ,antoine    
,coysevox4 ,guillaume ,coustou was the  
younger brother of  ,nicolas1 and like  
him studied at ,rome4 ,he represents    

,louis ,,xiii4  offering his crown and  
sceptre1 which he holds in his hands1 to
 the  ,virgin4 ,the statue of ,louis    
,,xiv4 suggests the accomplishment of   
his  father's vow4 ,coysevox1 from whose
 chisel it came1 was the leading        
,french sculptor of his time4 ,he was   
born at ,lyons in #afdj1 and died  in   
#agbj4 ,the statues of angels bearing   
the instruments of the ,passion  are by 
various sculptors4 ,the angel with the  
crown of thorns and that  carrying the  
reed are by ,corneille ,van ,clve4 ,the 
angel with the nails  is by ,claude     
,poirier2 that with the sponge by ,simon
 ,hurtrelle2 that  with the scroll by   
,laurent ,magnier2 and that with the    
lance by ,anselme  ,flamen4 ,the        
bas-relief in bronze-gilt in front of   
the altar represents  the ,entombment1  
and is by ,van ,clve4 ,the cross and    
candelabra formerly  belonged to the    
cathedral of ,arras4 ,the lectern of    
sculptured bronze  is dated #agee1 and  
has on its base the name of ,duplessis1 

founder to  the ,king4 ,a superb example
 of ,gobelins tapestry1 the gift of     
,napoleon  ,i41 is used on great        
festivals to cover the floor of the     
sanctuary4 ,the  pavement is partly in  
mosaic1 and has a representation of the 
arms of  ,france4    ,the comparatively 
new stained glass of the choir and apse 
is not so bad  as one might expect4 ,it 
is by ,marchal of ,metz4 ,the central   
window of  the apse is devoted to the   
,visitation4 ,to the right are ,eudes de
 ,sully  and ,st4 ,marcel2 ,st4         
,augustine and ,st4 ,jerome2 ,st4 ,luke 
and ,st4 ,john2  ,daniel and ,jeremiah2 
,david and ,abraham2 ,st4 ,george and   
,st4 ,martin2  ,charlemagne and ,pope   
,leo4 ,,iii42 and ,st4 ,hilaire and ,st4
 ,irne4 ,to the  right the subjects are 
,st4 ,denis and ,maurice de ,sully2 ,st4
 ,gregory and  ,st4 ,ambrose2 ,st4 ,mark
 and ,st4 ,matthew2 ,ezekiel and        
,isaiah2 ,aaron and  ,melchisedec2 ,st4 
,stephen and ,st4 ,laurent1 ,st4 ,louis 
and ,st4 ,gregory  ,,vii41 and ,st4     

,remi and ,st4 ,martin4 ,the small rose 
windows of the  choir1 like those of the
 transept1 are filled with glass by     
,steinheil4  ,the choir1 more perhaps   
than any other part of the cathedral1   
has  suffered from the wholesale        
destruction of glass which has already  
been described4 ,visitors to the        
cathedral of ,chartres can estimate the 
value of medival glass in a ,gothic     
cathedral4 ,it is unfortunate that  the 
great windows of the clerestory at      
,paris were filled up before  the       
notable revival in the art of stained   
glass1 which commenced in  ,england1 and
 has now extended to ,france4    ,we    
must now return to the ,ambulatory and  
the adjacent chapels4 ,it is  in this   
part of the church that                 
,viollet-le-,duc's decorations are most 
profuse1 and it is not possible to      
consider them successful4 ,it is  quite 
probable that no such scheme of         
decoration could be open to fewer       
objections than that of                 

,viollet-le-,duc4 ,the truth is that the
 colour  confuses our appreciation of   
the fine lines of the architecture1 and 
it  is frequently restless and          
irritating where it should be most      
reposeful4    ,the ,chapels of the      
,choir4 ,on the south side are the      
following  chapels3--    ,chapelle      
,saint-,denis4 ,the chief object of     
interest here is a statue1  by ,auguste 
de ,bay1 of ,archbishop ,affre1 who is  
represented at the  moment when he made 
his heroic appearance on the barricade  
of the  ,faubourg ,saint ,antoine with  
an olive branch4 ,this was on ,june     
#beth1  #ahdh1 during the ,commune4 ,the
 ,archbishop was struck by a ball and   
killed4    ,chapelle ,sainte-,madeleine4
 ,this chapel contains the grave of  the
 ,papal nuncio ,garibaldi1 ,archbishop  
of ,myra1 who died in #ahec4            
,archbishop ,sibour1 who was murdered in
 the church of ,st4 ,etienne du  ,mont  
on ,jan4 #hth1 #aheg1 by a priest1 is   
commemorated by a kneeling  statue in   

marble by ,dubois4    ,chapelle         
,saint-,guillaume4 ,the statue of the   
,virgin seated1 with  the ,child ,jesus 
in her arms1 is attributed to ,bernini1 
who came from  ,rome to ,paris during   
the reign of ,louis ,,xiv4 to make      
alterations and  additions to the       
,louvre4 ,the ,mausoleum of             
,henri-,charles d',harcourt1            
,lieutenant-general of the armies of the
 ,king1 who died in #agfi1 is a         
pretentious and theatrical work which   
was once highly esteemed4 ,it is  by the
 sculptor ,pigalle1 and is of white     
marble4 ,the widow who kneels  by the   
tomb and appears to be calling her      
husband is warned away by a  figure of  
,death4 ,the genius of ,war is          
represented lamenting1 and the  whole is
 completed by trophies of arms4         
,chapelle ,saint-,georges4 ,amongst the 
elaborate mural decorations of  this    
chapel is a picture by ,steinheil of    
,st4 ,george and the ,dragon4  ,the     
statue of ,archbishop ,darboy is by     

,bonnassieux4 ,the prelate is           
represented falling amidst the bullets  
of the ,communists1 whom he  blesses as 
he dies4 ,this tragic incident took     
place in the prison  of ,la ,roquette1  
on ,may #bgth1 #ahga4 ,close by is a    
kneeling statue of  ,archbishop ,morlot 
7d4 #ahfb7 by ,lescorn4 ,the chapel also
 contains a  statue of ,st4 ,george by  
the same artist4    ,the following are  
the chapels on the north side of the    
choir3--    ,la ,chapelle de ,notre     
,dame des ,sept ,douleurs1 or ,la       
,chapelle du ,petit  ,chur4 ,the        
bas-reliefs over the altar represent the
 angel appearing  to the ,virgin ,mary1 
the ,descent from the ,cross1 and the   
,entombment4  ,the statue in wood of    
,notre ,dame des ,sept ,douleurs is by  
,corbon4 ,the  compositions1 in six     
panels1 by ,perrodin1 represent3 ,jesus 
bearing the  ,cross2 ,christ on         
,calvary2 the ,descent from the ,cross2 
the ,communion of  the ,virgin2 and the 
,death of the ,virgin4 ,the nine carved 

wood stalls  are of the same period as  
those of the choir4 ,they were possibly 
part of the original series1 which1 as  
we have seen1 was reduced in  number4   
,at all events1 the details indicate    
that the same designer  and craftsmen   
were employed on them4 ,this chapel     
contains the only  important fragment of
 the original polychromatic decoration  
with which  the walls of the cathedral  
were anciently embellished4 ,it consists
 of  a mural painting dating from the   
fourteenth century4 ,in the centre is   
represented the ,virgin enthroned with  
the ,child4 ,to the right is ,st4       
,denis1 and on the left ,bishop ,simon  
,matiffas de ,buci1 who built the  three
 chapels on the left of the apse4       
,beneath the picture was formerly  the  
,bishop's tomb4 ,below the              
representation of the ,virgin and ,child
 is  a curious design representing      
angels bearing away a human soul4 ,this 
painting was unfortunately restored by  
,m4 ,maillot the elder1 and has         

consequently lost much of its           
antiquarian interest4    ,chapelle      
,saint-,marcel4 ,pierre ,deseine's      
enormous monument to  ,cardinal de      
,belloy fills a large part of this      
chapel4 ,the cardinal is  represented   
giving alms to two orphan girls4 ,st4   
,denis looks on1 and  records the       
cardinal's name on a list of the bishops
 of ,paris noted  for their charity4    
,close by is the tomb1 with reclining   
figure1 of  ,monseigneur de ,quelen1 by 
,de ,chaume4 ,amongst the mural         
decorations of  this chapel the chief is
 a large painting by ,maillot the       
younger4 ,the  subject is the           
8,translation of the relics of ,st4     
,marcel from the old  ,church of ,st4   
,marie to the ,church of ,notre ,dame by
 ,bishop ,eudes de  ,sully40 ,the       
personages represented are portraits of 
the officials of  the diocese1 and      
include ,archbishop ,darboy and the ,abb
 la ,place4 ,in  the vaulting is a      
design representing the ,coronation of  

,st4 ,marcel4    ,chapelle              
,saint-,louis4 ,this chapel has six     
statues in wood by ,corbon1             
representing ,christ1 the ,virgin1 ,st4 
,john1 ,st4 ,denis1 ,st4 ,rustiguex1    
and ,st4 ,eleutherius4 ,the kneeling    
statue of ,archbishop ,louis-,antoine de
  ,noailles1 who died in #agbi1 is by   
,de ,chaume4    ,chapelle               
,saint-,germain4 ,tomb of ,archbishop   
,leclerc de ,juign  7died #ahaa71 a     
kneeling figure in relief4 ,the tomb was
 repaired by  ,viollet-le-,duc1 who     
modified its original design4           
,chapelle ,saint-,ferdinand4 ,monument  
of ,archbishop de ,beaumont 7died       
#agha71 from designs by                 
,viollet-le-,duc4    ,chapelle          
,saint-,martin4 ,monument of            
,jean-,baptiste de ,vardes1 ,comte  de  
,gubriant1 ,marshal of ,france1 who died
 in #afdc1 and of his wife  ,rene du    
,bec ,crespin4 ,a splendid service was  
celebrated in ,notre ,dame  on the      
,marshal's death4 ,his wife was sent to 

,poland as ambassadress  extraordinary1 
and died there in #afdc1 without being  
able to erect a  monument to her        
husband4 ,the ,marquis de ,vardes       
erected the tomb1 which  was practically
 destroyed during the ,revolution4 ,it  
was renewed from  designs by            
,viollet-le-,duc4    ,behind the        
,sanctuary is the tomb with a jewelled  
effigy of ,archbishop  ,matiffas de     
,buci1 who died in #acjd4 ,it was       
removed from ,la ,chapelle  de ,notre   
,dame des ,sept ,douleurs4 ,in the      
arcading below the bas-reliefs  of      
,jehan ,revy and ,jean le ,bouteiller   
are placed little brasses with  the     
names1 arms1 and date of the death of   
the persons whose remains  are buried at
 ,notre ,dame4 ,a list of the most      
interesting of these has  already been  
given4            ,illustration3 ,,the  
,,place ,,du ,,parvis ,,in #afej4       
7,from an engraving by ,van ,merlen47   
,,chapter ,,vi4    ,,conclusion4 ,,the  
,,sacristy1 ,,etc4      ,notre ,dame was

 within comparatively recent times      
surrounded with  streets so narrow that 
vehicular traffic was impossible4       
,amongst the  most characteristic were  
the ,rue de ,glatigny and the ,rue de   
,marmousets1  which1 as late as #ahfe1  
preserved the dimensions1 and something 
of  the aspect1 of a side street in the 
middle ages4 ,the quartier thus         
intersected literally teemed with       
churches of which nothing remains4      
,amongst them perhaps the most important
 were those dedicated to                
,saint-,landry1 ,sainte-,genevive des   
,ardents1 ,saint-,pierre aux ,bufs1     
,saint-,aguan1 ,saint-,marine1          
,saint-,luc1 ,saint-,jean le ,rond1     
,saint-,denis  au ,pays and             
,saint-,christophe4 ,none of them appear
 to have been large1  and of some the   
origin and history remain obscure4      
,on the south side of the ,cathedral    
stood the ,palais ,episcopal1 which  was
 constructed by ,maurice de ,sully and  
added to by ,matiffas de ,bucy  and     

other prelates4 ,on ,feb4 #adth1 #ahca1 
it was attacked by the mob1 and  five   
hours sufficed for its complete         
destruction4 ,the contents included  a  
library of #bj1jjj volumes1 a collection
 of #a1ejj manuscripts1  those of the   
ancient archives of the church1 which   
escaped the  ,revolutionists1 a fine    
collection of pictures1 and priceless   
works of  art of an ecclesiastical      
character4 ,these were thrown into the  
,seine1  burned1 or stolen4    ,the     
,clotre or ,cloister of ,notre ,dame was
 on the north side and  at the east end 
of the church4 ,it is difficult to say  
what was its  early aspect1 but in the  
sixteenth century and afterwards it in  
no way resembled the cloister of a      
monastery1 but consisted of an          
agglomeration of separate houses4 ,it   
was in the nature of a ,college  of     
,secular ,canons4 ,it was similar to the
 ,temple in ,london in that it          
possessed gates of its own1 which shut  
it off from the rest of the  city4 ,the 

,cloister contained thirty-seven houses 
for the canons of the  ,cathedral1 who  
were allowed to have living with them   
their near female  relatives4 ,no other 
women1 lay or religious1 were allowed to
 sleep in  the cloister4 ,the tedious   
,rue du ,clotre ,notre-,dame occupies a 
portion  of the space on which the      
,cloister stood4    ,the ,sacristy was  
formerly a part of the ,palais          
,episcopal4 ,it had  been rebuilt by    
,soufflot1 whose work was partially     
destroyed in #ahca4 ,a  new sacristy has
 been constructed by ,viollet-le-,duc in
 the style of the  thirteenth century4  
,the exterior is richly ornamented with 
statues and  pinnacles4 ,it communicates
 with the south ambulatory of the choir 
by  means of two covered passages1 one  
of which leads into the ,sacristie  du  
,chapitre1 which contains a large hall1 
the room of the ,chapter  above1 which  
is the cathedral treasury1 and a vestry 
for the canons4  ,the great hall has    
stained glass windows in which bishops  

of ,paris are  represented4    ,it      
contains a crucifix and two statuettes  
by ,corbon1 a fine armoire  decorated   
with paintings of scenes in the life of 
,st4 ,denis4 ,there are  pictures in    
various parts of the building by        
,vaulos1 ,salvator ,rosa1  ,lebrun1     
,louis ,testelin1 ,charles ,poerson and 
others1 but none of them  are of much   
note4 ,a picturesque little cloister1   
with a fountain in the  middle          
surmounted by a crucifix1 is one of the 
agreeable features of  the building4    
,its eastern arcade is glazed1 the      
windows representing  scenes in the life
 of ,ste4 ,genevive4    ,the ,treasury1 
once endowed with enormous riches1 was  
despoiled at the  ,revolution of all but
 a few objects of value4 ,there still   
remains the  reputed ,crown of ,thorns  
7supposed to have been given to ,st4    
,louis71  brought hither from ,la       
,sainte ,chapelle4 ,the so-called ,nail 
of the ,true  ,cross formerly belonged  
to the royal abbey of ,st4 ,denis4      

,these relics  are only exposed on      
,fridays in ,lent4 ,the reliquaries are 
for the most  part imitations of those  
which were formerly in ,la ,sainte      
,chapelle4  ,perhaps the most           
interesting of the objects exhibited is 
a gold cross1  probably of              
twelfth-century workmanship4 ,it        
belonged to the ,emperor  ,manuel       
,comnenus1 and was bequeathed by the    
,princess ,anne de ,gonzague to  the    
church of ,st4 ,germain des ,prs in     
#ahfc4 ,in addition there are the  relic
 of the ,true ,cross sent to ,bishop    
,galon in #aaji1 from the ,church  of   
the ,holy ,sepulchre in ,jerusalem2 the 
8discipline0 of ,st4 ,louis2 the        
crozier in copper and wood of ,bishop   
,eudes de ,sully2 the crucifix used  by 
,st4 ,vincent-de-,paul at the death-bed 
of ,louis ,,xiii42 the pastoral  cross  
of ,archbishop ,affre2 a silver image of
 the ,virgin and ,child  presented in   
#ahba by ,charles ,x42 the ostensoir    
given by ,napoleon ,i41  and services of

 plate presented by the same monarch and
 by ,napoleon  ,,iii4 ,the vestments are
 very magnificent1 and include the      
coronation  mantle of ,napoleon ,i4 and 
the chasuble worn by ,pope ,pius ,,vi4  
when he  crowned him4 ,the soutanes worn
 by ,archbishops ,affre1 ,sibour1 and   
,darboy in their last moments1 marked by
 the instruments which produced  their  
violent deaths1 have a tragic interest4 
,the somewhat obtrusively picturesque   
modern building to the west of the      
,sacristy is known as the ,presbytre4   
,it has been often ridiculed1  and at   
times rather fiercely denounced1 but if 
any building was to  be erected on the  
site1 it seems difficult to imagine     
anything less  offensive4 ,it is        
pleasing and unpretentious1 and         
contrasts only too  favourably with the 
dull houses of the ,rue du ,clotre      
,notre-,dame1 which  are as             
undistinguished as they well can be4    
,the space at the back of the ,cathedral
 is laid out as a garden4 ,this  is     

modern and somewhat formal1 but it      
affords a fine view of the east  end1   
and constitutes a welcome oasis of trees
 and grass in a grey waste  of          
commonplace buildings4 ,in the centre is
 a fountain with a statue  of the       
,virgin and ,child1 and fragments of    
sculpture and carving taken  from the   
church at different times lie about4    
,the reader who wishes to  understand at
 a glance the various changes which have
 taken place in  that part of the       
,french metropolis which lies in the    
very shadow of  the cathedral should    
refer to the second volume of the       
magnificent work  ,paris  travers les   
,ages1 in which a plan of the district  
in #ahha is  compared with conjectural  
plans of the same in the years #aaej1   
#aeej1  and #agej4    ,the huge open    
space west of the cathedral is the      
,place du ,parvis  ,notre-,dame4 ,this  
oblong place far exceeds the church     
itself in area1  and gives to the west  
front a somewhat dwarfed appearance4 ,on

 the  left-hand side 7looking east7 is  
the vast ,hotel ,dieu1 the modern name  
of the hospital1 known as the ,maison   
,dieu1 which for centuries has been     
associated with ,notre ,dame4 ,the      
present building was only completed  in 
#ahgg4 ,it is from the designs of ,m4   
,diet1 and is by no means of an         
ornamental character1 although the total
 cost was #cf1djj1jjj francs4  ,on the  
west side of the ,place du ,parvis are  
the barracks of the ,garde              
,republicaine4 ,close to them is one of 
those open-air flower markets  which are
 so charming and characteristic a       
feature of the ,paris of  to-day4       
,illustration3 ,,notre ,,dame ,,in ,,the
 ,,xiii ,,century1 ,,showing ,,the      
,,bishop',s                   ,,palace  
7,l',v,,ch7 ,,on ,,the ,,left4          
7,from 8,paris  travers les ,ages407    
,,chapter ,,vii4    ,,list ,,of ,,the   
,,bishops ,,and ,,archbishops ,,of      
,,paris4    7,i have adopted the        
spelling and dates generally given by   

,french  ,catholic writers in compiling 
this list74      ,st4 ,denis1 who is    
counted as the first bishop by ,roman   
,catholic  writers1 is said to have been
 succeeded by the following1 of whom    
little or nothing is known3 ,mallo or   
,mallon2 ,massus2 ,marcus2 ,adventus2   
,ventorien2 ,paul2 ,prudence2 ,st4      
,marcel 7died about #dcf72 ,vivien2     
,felix2  ,flavien2 ,ursicien2           
,apedemius2 ,heraclitus 78 #dij-ebe72   
,probat2 ,amelius2    ,saffarac         
7#ede-eeb74    ,eusbe ,i4 7#eeb-eee74   
,st4 ,germain 7#eee-egf74    ,raguemond 
7#egf-eia74    ,eusbe ,,ii4 7#eib-eid74 
,faramode 7872 ,simplicius 7872 ,saint  
,cran 7#fjf-fba72 ,leudebert 7872       
,aubert4    ,st4 ,landry 7#fej-fef74    
,chrodobert 7#fef-ffc74    ,sigobrand   
7#ffc-ffd74    ,importun 7874    ,st4   
,agilbert 7#fff-fhj74    ,sigefroid 7872
 ,tournsaede 7872 ,adolphe 7872         
,bernechaire1 7874    ,st4 ,hugues      
7#gbb-gcj74    ,marside4    ,fdole 7872 
,raguecapt 7872 ,madalbert 7872         

,desdefroid 7872 ,escheurade  7874      
,ermenfroi 787    ,inchalde 7#hji-hca74 
,ercheurade 7#hca-heg74    ,ene         
7#heg-hhc74    ,ingelvin 7874    ,gozlin
 7#hhc-hhf74    ,anschric 7#hhf-iaa74   
,thodulphe or ,gendulphe 7#iaa-ibb74    
,this bishop is believed to have  been  
succeeded by ,falrade2 ,adelhelme2      
,gauthier ,i42 ,albric2 ,constante2     
,garin2 ,rainaud ,i42 ,elisiard1 and    
,giselbert4    ,renault ,,ii41 de       
,vendome 7#iib-ajai74    ,azelin or     
,albert 7874    ,francon 7#ajbj-ajcj74  
,imbert ,hesselin 7#ajcj-ajfj74         
,godefroi de ,boulogne 7#ajfa-ajic74    
,guillaume ,i4 de ,montfort             
7#ajie-aajb74    ,foulques ,i4          
7#aajb-aajd74    ,galon 7#aaje-aaaf74   
,giselbert or ,gilbert 7#aaaf-aabd74    
,etienne ,i4 de ,senlis 7#aabd-aadb74   
,thibault 7#aadc-aaeg74    ,pierre      
,lombard 7#aaeh-aaei74    ,maurice de   
,sully 7#aafj-aaif74    ,eudes de ,sully
 7#aaig-abjh74    ,pierre ,,ii4 de      
,nemours 7#abjh-abai74    ,guillaume de 

,seiguelay 7#abbj-abbc74    ,barthlmy   
7#abbc-abbg74    7,the see is believed  
to have been vacant for a year7         
,guillaume d',auvergne 7also called     
,guillaume de ,paris7 7#abbh-abdi74     
,gauthier ,,ii4 de ,chateau-,thierry    
7#abdi-abej74    ,renault ,,iii4 de     
,corbeil 7#abej-abfh74    ,etienne ,,ii4
 7#abfh-abgi74    ,ranulfe ou ,raoul    
d',homblires 7#abgi-abhh74    ,simon    
,matiffas de ,bucy 7#abij-acjd74        
,guillaume ,,iv4 de ,baufet             
7#acjd-acai74    ,etienne de ,bourret   
7#acbj-acbe74    ,hugues ,,ii4          
7#acbf-accb74    ,guillaume ,v4 de      
,chanac 7#accb-acdb74    ,foulques ,,ii4
 7#acdb-acdi74    ,audoin ,aubert 7874  
,pierre ,,iii4 de la ,fort 7#acej-aceb74
    ,jean ,i4 de ,meulan 7#aceb-acfc74  
,etienne ,,iv4 de ,paris 7#acfc-acfh74  
,aimeric de ,maignac 7#acfh-achd74      
,pierre ,,iv4 d',orgement 7#achd-adji74 
,grard de ,montaigu 7#adji-adbj74       
,jean ,,ii4 de ,courte-,cuisse          
7#adba-adbb74    ,jean ,,iii4 de la     

,roche-,taill 7#adbb-adbc74    ,jean    
,,iv4 de ,nant 7#adbc-adbg74    ,jacques
 de ,chastelier 7#adbg-adci74    ,denis 
,,ii4 du ,moulin 7#adci-addg74          
,guillaume ,,vi4 ,chartier 7#addg-adgb74
    ,louis de ,beaumont 7#adgc-adib74   
,gerard ,gobaille 7#adid74    ,jean ,v41
 ,simon de ,champigny 7#adid-aejb74     
,etienne ,v41 ,poncher 7#aejc-aeai74    
,franois de ,poncher 7#aeai-aecb74      
,jean ,,vi4 de ,bellay 7#aecb-aeea74    
,eustache de ,bellay 7#aeea-aefd74      
,guillaume ,viole 7#aefd-aefh74         
,cardinal ,pierre ,v4 de ,gondi         
7#aefh-aeih74    ,cardinal ,henri de    
,gondi de ,retz 7#aeih-afbb74           
,,archbishops4    ,paris was raised to  
the rank of an archbishopric on the     
demand of ,louis  ,,xiii4 to ,pope      
,gregory ,,xv4 7,the ,bull is dated     
,oct4 #bjth1 #afbb47    #a4             
,jean-,franois de ,gondi 7#afbb-afed74  
,first ,archbishop of ,paris4  ,buried  
in ,notre ,dame4    #b4                 
,jean-,franois-,paul de ,gondi          

7,cardinal de ,retz74 ,buried in        
,saint-,denis 7#afed-afgi74    #c4      
,pierre ,,vi4 de ,marca 7d4 #affb74     
,buried in ,notre ,dame4    #d4         
,hardouin de ,prfix de ,beaumont 7d4    
#afga74 ,buried in ,notre ,dame4    #e4 
,franois de ,harlay de ,champvallon 7d4 
#afie74 ,buried in ,notre ,dame4    #f4 
,louis-,antoine de ,noailles4 ,cardinal 
7d4 #agbi74 ,buried in ,notre  ,dame4   
#g4 ,charles-,gaspard-,guillaume de     
,vintimille du ,luc 7d4 #agdf74 ,buried 
in ,notre ,dame4    #h4                 
,jacques-,bonnet-,gigault de ,bellefonds
 7d4 #agdf74 ,buried in ,notre  ,dame4  
#i4 ,christophe de ,beaumont du ,repaire
 7d4 #agha74 ,buried in ,notre ,dame4   
#aj4 ,antoine-,elonore-,lon ,le ,clerc  
de ,juign de ,neuchelle 7d4 #ahaa74     
,buried in ,notre ,dame4    #aa4        
,jean-,baptiste de ,belloy4 ,cardinal4  
,died1 aged ninety-eight years  and     
eight months1 in #ahjh1 and buried in   
,notre ,dame4    #ab4                   
,alexandre-,anglique de                 

,tallyrand-,perigord4 ,born #agcf4      
,archbishop of  ,reims #aggf4 ,cardinal 
#ahag2 ,died #ahba4    #ac4             
,hyacinthe-,louis de ,qulen4 ,born      
#aggh4 ,bishop of ,samosate #ahag2      
,archbishop of ,paris #ahba4 ,died      
#ahci4    #ad4 ,denis ,,iii41 ,auguste  
,affre4 ,born #agic4 ,archbishop of     
,paris #ahdj4  ,struck by a ball at the 
barricades in the ,faubourg             
,saint-,antoine on  ,june #beth1 #ahdh1 
and died two days later4    #ae4        
,marie-,dominique-,auguste ,sibour4     
,born #agib4 ,bishop of ,digue #ahci2   
,archbishop of ,paris #ahdh4 ,was       
assassinated on ,jan4 #crd1 #aheg1 in   
the  church of ,saint-,etienne du ,mont 
by a priest4 ,he had as auxiliary bishop
  ,lon-,franois ,sibour4    #af4        
,franois ,,iii41 ,nicolas-,madeleine    
,morlot4 ,born #agie4 ,bishop of        
,orlans #ahci2 ,archbishop of ,tours    
#ahdb2 ,cardinal #ahec2 ,archbishop of  
,paris #aheg4 ,died #ahfb4    #ag4      
,georges ,darboy4 ,born #ahac4 ,bishop  

of ,nancy #ahej2 ,archbishop of  ,paris 
#ahfc4 ,arrested as a hostage by the    
,commune on ,april #dth1 #ahga1  and    
shot on ,may #bgth4    #ah4             
,joseph-,hippolyte ,guibert4 ,born      
#ahjb4 ,archbishop of ,tours #aheg2     
,archbishop of ,paris #ahga2 ,cardinal  
#ahgc4 ,died #ahhf4    #ai4             
,franois-,marie-,benjamin ,richard4     
,born #ahai4 ,bishop of ,belley  #ahga2 
,coadjutor of ,archbishop ,guibert      
#ahge2 ,archbishop of ,paris #ahhf4     
,cardinal #ahhi4          ,,index       
,aisles1 double1 #bb1 #fj        ,altar1
 high1 #hf        ,ambulatory1 #gf      
,apse1 #bb        ,archbishops1 list of1
 #ajj-ajb          ,bells1 #db          
,bishops1 list of1 #ih-ajj              
,bishop's ,palace1 #id1 #ih             
,buttress system1 #dd          ,chapels 
added1 #h           0    of the choir1  
#ij-ic2              of the nave1 #ff-fi
        8,chimres10 #dj        ,choir1  
#hb2 in the thirteenth century1 #ha     
,clerestory3 nave1 #fd2                 

transepts1 #gb        ,cloister1 or     
,clotre1 #h1 #ie        ,crypt1 #hf     
,darboy1 ,archbishop1 statue of1 #ia    
,decoration1 coloured mural1 #ff-fh1 #ge
        8,devils of ,notre ,dame10 #bj  
,dimensions of the cathedral1 #ef       
,doorways3 west1 #cj-ch2                
transepts1 #dh-ec          ,flche1 #db  
,galerie des ,rois1 #ci        ,garden1 
#if        ,glass1 stained1 #fi1 #hi    
,gothic construction1 #bj        ,grille
 of choir1 #hb          ,historical     
events1 #i-af        ,hospital 7,hotel  
,dieu71 #ig        ,hugo1 ,victor1 on   
,notre ,dame 7see ,notre ,dame7         
,maurice de ,sully1 ,bishop1 first      
builder of the present church1 #g       
,monuments in the nave1 #fd             
,napoleon ,i41 coronation of1 #ad       
,notre ,dame3 early history of the      
church1 #e-g2        historical events  
in1 #i-af2        its place in ,french  
,gothic1 #ai2        ,victor ,hugo on1  
#bg-bi1 #dj1 #db        8,notre ,dame de
 ,paris10 statue of1 #gb-ge             

,organ1 #fd          ,parvis1 ,place du1
 #id1 #ig        ,piers of the nave1    
#eh1 #fj        ,portail de la ,ste4    
,vierge1 #cj           0    central1 #cd
           0    ,ste4 ,anne or ,st4     
,marcel1 #cc1 #ch        ,porte ,rouge1 
#ec        ,presbytre1 #if              
,relics1 #ie1 #if        ,revolution1   
the1 #ab        ,roman remains1 #e1 #hf 
,roof1 #db1 #eg        ,rose windows of 
transepts1 #ge          ,sacristy1 #ie  
,st4 ,denis1 #e2 statue of1 #ge2        
chapel of1 #ij        ,st4 ,marcel1     
statue of1 #cc1 #ch2        shrine of1  
#gf1 #ha2        chapel of1 #ib         
,sanctuary1 #ha1 #hf        ,screen1    
sculptured1 in choir1 #gg               
,stalls1 choir1 #he        8,stryge1    
le10 #da          ,tombstones in the    
nave1 #ef        ,towers1 #db           
,transepts1 #bb1 #dh1 #gb               
,treasury1 #ie        ,triforium1 #fb   
,vaulting1 #eg1 #fb          ,west      
front1 #g1 #bd1 #bh-db        ,windows1 
#df            ,,chiswick ,,press3      

,,printed ,,by ,,charles ,,whittingham  
,,and ,,co4    ,,tooks ,,court1         
,,chancery ,,lane1 ,,london4            
,,internal ,,dimensions4                
,length 7total7               #cij feet4
        0    of nave               #bbe 
0        0    of transepts          #add
   0      ,width of nave vault          
#ci   0      ,height of  0   8          
#ajb   0         0   0  towers          
#bjd   0      ,area                     
#ed1jej sq4 feet4                       
,illustration3 ,,plan ,,of ,,the        
,,cathedral ,,of ,,notre ,,dame1 ,,paris
       ,,entrance ,,to ,,the ,,towers4  
#a #b #c #d #e #f #g       #ad #ac #ab  
#aa #aj #i #h       #ej #dj #cj #bj #aj 
#j #ej #ajj       ,,scale ,,of ,,feet4  
#a4 ,chapelle des ,fonts ,baptismaux4   
#b4 ,chapelle ,saint-,charles4       #c4
    0     de la ,sainte-,enfance4       
#d4    0     ,saint-,vincent-de-,paul4  
#e4 ,chapelle de                        
,saint-,franois-,xavier4       #f4      
,chapelle de ,saint-,landry4       #g4  

0     de ,sainte-,clotilde4       #h4   
,chapelle de l',annonciation4       #i4 
0     du ,sacr ,cur4      #aj4    0     
,sainte-,anne4      #aa4    0           
,saint-,pierre4      #ab4    0          
,saint-,joseph4      #ac4    0          
,sainte-,genevive4      #ad4    0       
des ,ames du ,purgatoire4      #ae4     
,statue of ,notre ,dame de ,paris4      
,a4 ,chapelle ,saint-,martin4      ,b4  
0     ,saint-,ferdinand4      ,c4    0  
,saint-,germain4      ,d4    0          
,saint-,louis4      ,e4    0            
,saint-,marcel4      ,f4    0     de ,n4
 ,d4 des ,sept ,douleurs1           or  
du ,petit ,chur4      ,g4 ,chapelle     
,saint-,georges4      ,h4    0          
,saint-,guillaume4      ,i4    0        
,sainte-,madelaine4      ,j4    0       
,saint-,denis4       ,a4,k4,mo,,rgan4   
del3            ,illustration3 ,h4 ,n4  
,king1 photo4                           
,,westminster4 ,,wall ,,arcade ,,and    
,,frescoes ,,in ,,the                   
,,chapter-,,house          ,,bell',s    

,,cathedral ,,series    ,post #hvo4     
,profusely ,illustrated1 #as4 #f;d4 net 
each        8,this excellent series of  
,cathedral handbooks which have         
thoroughly established their reputation 
as guides to the      archaeological1   
architectural1 historical1 and religious
      stories of our                    
cathedrals40--,saturday ,review4        
,volumes on ,london ,cathedrals         
,churches          ,,st4 ,,paul',s      
,,cathedral4 ,an ,account of the ,old   
and ,new        ,buildings1 with a short
 ,historical ,sketch4 ,by the ,rev4     
,,arthur ,,dimock1 ,m4,a4 ,fourth       
,edition1 ,revised4 ,with #ch           
,illustrations and a ,plan4             
8,one of the richest volumes of ,messrs4
 ,bell's #8,cathedral        ,series4'  
,the study of the fabric is painstaking1
 and the        details as to monuments 
will be found very helpful to a         
visitor4444 ,the whole history is       
brought down to the present             
day40--,london ,quarterly ,review4      

8,the work is cleverly compiled1 and the
 illustrations add not        a little  
to its value as a souvenir to be        
treasured by those        who visit the 
cathedral1 not because it is one of the 
sights        of ,london1 but for the   
reason that they take an intelligent    
and reverential interest in that great  
monument of ,wren's                     
genius40--,city ,press4                 
,,westminster ,,abbey4 ,by ,,charles    
,,hiatt4 ,third        ,edition4 ,with  
#de ,illustrations and #b ,plans4       
8,it has been compiled with great care  
from the best        authorities1 and is
 especially full on the monuments4      
,visitors        could not have a better
 guide to the most famous of ,english   
minsters40--,london ,quarterly ,review4 
8,this excellent work is likely to      
become the most popular guide        to 
,westminster ,abbey4 ,it supplies the   
need both of the student        of      
architecture and the visitor to ,london1
 giving a capital        rsum of the    

history of the ,abbey1 with a           
well-written        description of the  
building itself4 ,the book is profusely 
illustrated40--,liverpool ,mercury4     
,,st4 ,,saviour',s1 ,,southwark4 ,by    
,,george ,,worley4 ,with        #cf     
,illustrations and a ,plan4             
8,mr4 ,worley's painstaking description 
of the cathedral is the        most     
complete that we have seen1 and its     
value is increased by        many good  
illustrations and a plan40--,manchester 
,guardian4          8,those who wish to 
visit this ,metropolitan ,cathedral     
intelligently1 and with personal profit1
 will do well to        possess         
themselves with this reliable and       
interesting little                      
handbook40--,builder4          8,an     
admirable example of careful            
work40--,gentleman's ,magazine4         
,,st4 ,,bartholomew-,,the-,,great1      
,,smithfield4 ,a short ,history of the  
,foundation1 and a ,description of the  
,fabric1 and also of the         ,church

 of ,st4 ,bartholomew-the-,less4 ,by    
,,george ,,worley4 ,with #db            
,illustrations and a ,plan4             
8,the author has made a conscientious   
study of the venerable                  
,smithfield church1 and has succeeded in
 presenting a thoroughly                
interesting account of this remarkable  
relic of the twelfth                    
century40--,builder's ,journal4         
8,mr4 ,worley has treated his subject   
with skill1 and produced a        most  
readable volume40--,church ,times4      
,,the ,,temple ,,church4 ,a ,description
 of the ,fabric and its ,contents1      
with a short ,history of the ,order4 ,by
 ,,george ,,worley4 ,second             
,edition1 ,revised4 ,with #ca           
,illustrations and a ,plan4          8,a
 short and excellent account of the     
church of the ,knights        ,templars 
in ,london1 prefaced by a brief history 
of the ,order4        ,nothing has been 
forgotten that the curious might        
reasonably        want to know4444 ,to  

any one interested1 such an excellent   
handbook as this1 with its lucid        
explanations1 plans1        photographs1
 and technical information of the very  
best1 is                                
indispensable40--,spectator4            
,illustration3 ,photo4      ,photochrom 
,co4                   ,,southwark      
,,cathedral ,,from ,,the ,,east         
,,bell',s ,,cathedral                   
,,series--continued    #as4 #f;d4 net   
each        ,,bangor4 ,by ,p4 ,b4       
,,ironside ,,bax4        ,,bristol4 ,by 
,h4 ,j4 ,l4 ,j4 ,,mass1 ,m4,a4 #bnd     
,edition4        ,,canterbury4 ,by      
,,hartley ,,withers4 #fth ,edition4     
,,carlisle4 ,by ,c4 ,k4 ,,eley4 #bnd    
,edition4        ,,chester4 ,by         
,,charles ,,hiatt4 #dth ,edition4       
,,chichester4 ,by ,h4 ,c4 ,,corlette1   
,a4,r4,i4,b4,a4 #crd ,edition4          
,,durham4 ,by ,j4 ,e4 ,,bygate1         
,a4,r4,c4,a4 #dth ,edition4             
,,ely4 ,by ,,rev4 ,w4 ,d4 ,,sweeting1   
,m4,a4 #crd ,edition4        ,,exeter4  

,by ,,percy ,,addleshaw1 ,b4,a4 #dth    
,edition1 revised4        ,,gloucester4 
,by ,h4 ,j4 ,l4 ,j4 ,,mass1 ,m4,a4 #eth 
,edition4        ,,hereford4 ,by ,a4    
,,hugh ,,fisher1 ,a4,r4,e4 #bnd         
,edition1        revised4               
,,lichfield4 ,by ,a4 ,b4 ,,clifton4 #crd
 ,edition1 revised4        ,,lincoln4   
,by ,a4 ,f4 ,,kendrick1 ,b4,a4 #eth     
,edition4        ,,llandaff4 ,by ,e4 ,c4
 ,,morgan ,,willmott1 ,a4,r4,i4,b4,a4   
,,manchester4 ,by the ,,rev4 ,t4        
,,perkins1 ,m4,a4        ,,norwich4 ,by 
,c4 ,h4 ,b4 ,,quennell4 #bnd ,edition1  
revised4        ,,oxford4 ,by the ,,rev4
 ,,percy ,,dearmer1 ,m4,a4 #bnd         
,edition1        revised4               
,,peterborough4 ,by the ,,rev4 ,w4 ,d4  
,,sweeting1 ,m4,a4 #dth        ,edition4
        ,,ripon4 ,by ,,cecil ,,hallett1 
,b4,a4 #bnd ,edition4                   
,,rochester4 ,by ,g4 ,h4 ,,palmer1      
,b4,a4 #bnd ,edition1 revised4          
,,st4 ,,albans4 ,by the ,,rev4 ,t4      
,,perkins1 ,m4,a4        ,,st4 ,,asaph4 

,by ,p4 ,b4 ,,ironside ,,bax4           
,,st4 ,,david',s4 ,by ,,philip ,a4      
,,robson1 ,a4,r4,i4,b4,a4 #bnd          
,edition4        ,,st4 ,,patrick',s1    
,,dublin4 ,by the ,,very ,,rev4 ,j4 ,h4 
,,bernard1        ,m4,a41 ,d4,d4 #bnd   
,edition4        ,,salisbury4 ,by       
,,gleeson ,,white4 #eth ,edition4       
,,southwell4 ,by the ,,rev4 ,,arthur    
,,dimock1 ,m4,a4 #bnd        ,edition1  
revised4        ,,wells4 ,by the ,,rev4 
,,percy ,,dearmer1 ,m4,a4 #eth ,edition4
        ,,winchester4 ,by ,p4 ,w4       
,,sergeant4 #dth ,edition1 revised4     
,,worcester4 ,by ,e4 ,f4 ,,strange4 #crd
 ,edition4        ,,york4 ,by ,a4       
,,clutton ,,brock4 #eth ,edition4       
,,an ,,itinerary ,,of ,,english         
,,cathedrals ,,for ,,the ,,use ,,of     
,,travellers4        ,by ,,james ,g4    
,,gilchrist1 ,a4,m41 ,m4,d41 and the    
,,rev4 ,t4        ,,perkins1 ,m4,a41    
,f4,r4,a4,s4 #bnd ,edition1 revised4    
,uniform with above ,series1 #as4 #f;d4 
net each        ,,bath ,,abbey1         

,,malmesbury ,,abbey1 ,,and             
,,bradford-,,on-,,avon ,,church4 ,by    
the ,,rev4 ,t4 ,,perkins1 ,m4,a4        
,,beverley ,,minster4 ,by ,,charles     
,,hiatt4 #crd ,edition4        ,,st4    
,,martin',s ,,church1 ,,canterbury4 ,by 
the ,,rev4 ,,canon ,c4 ,f4              
,,routledge4 #bnd ,edition4             
,,romsey ,,abbey4 ,by the ,,rev4 ,t4    
,,perkins1 ,m4,a4                       
,,stratford-,,on-,,avon ,,church4 ,by   
,,harold ,,baker4 #bnd ,edition4        
,,tewkesbury ,,abbey4 ,by ,h4 ,j4 ,l4   
,j4 ,,mass1 ,m4,a4 #dth        ,edition4
        ,,wimborne ,,minster and        
,,christchurch ,,priory4 ,by the ,,rev4 
,t4        ,,perkins1 ,m4,a4 #bnd       
,edition4        ,,the ,,churches ,,of  
,,coventry4 ,by ,,frederick ,w4         
,,woodhouse4        ,,malvern ,,priory4 
,by the ,,rev4 ,,anthony ,c4 ,,deane4   
,in preparation4      ,,london3 ,g4     
,,bell ,,and ,,sons1 ,,ltd4    ,,york   
,,house1 ,,portugal ,,street1           
,,kingsway1 ,w4,c4                      

,transcriber's ,note3    ,punctuation   
has been standardised2 hyphenation      
retained as it appears  in the original 
publication4    ,changes have been made 
as follows3        ,page #d        that 
our own proud ,minster changed to       
than our own proud ,minster        ,page
 #g        ,description de ,notre-,dame1
 ,cathdral de ,paris changed to         
,description de ,notre-,dame1 ,cathdrale
 de ,paris        ,page #aj        se   
mit ,a genoux et fit changed to         
se mit  genoux et fit        ,page #ac  
music by ,gossee changed to        music
 by ,gossec        ,page #ad            
parfaite  la moinde des actions changed 
to        parfaite  la moindre des      
actions        ,page #ae        apres   
avoir reu changed to        aprs avoir  
reu          douce et legre changed to  
douce et lgre        ,page #ai          
mere decorative idiosyncracy changed to 
mere decorative idiosyncrasy            
,page #bj        ,ths choir was begun   
changed to        ,the choir was begun  

,page #dj        ,chimres or 8,devils of
 ,notre ,dame40 changed to              
,chimres or 8,devils of ,notre ,dame40  
was in its decadance changed to         
was in its decadence        ,page #da   
,,one ,,of ,,the ,,chimaeras ,,of       
,,notre ,,dame changed to        ,,one  
,,of ,,the ,,chim,,ras ,,of ,,notre     
,,dame        ,page #db        which was
 irrevently compared changed to         
which was irreverently compared         
,page #eb        ,,tympanium ,,of ,,the 
,,north ,,transept ,,doorway changed to 
,,tympanum ,,of ,,the ,,north ,,transept
 ,,doorway        ,page #ec        ,near
 the ,port ,rouge changed to            
,near the ,porte ,rouge        ,page #fe
        in the cathedrall church changed
 to        in the cathedral church      
,page #fg        ,il en rsultei         
nstinctivement pour changed to          
,il en rsulte instinctivement pour      
,page #gh        ,notre ,dame par       
,vespace ,,xxv changed to        ,notre 
,dame par l'espace ,,xxv        ,page   

#hi        by ,antoine ,coyevox changed 
to        by ,antoine ,coysevox         
,page #ij        ,archbishop ,sibor1 who
 was murdered changed to                
,archbishop ,sibour1 who was murdered   
,page #ib        ,archbishop ,leclercq  
de ,juign changed to        ,archbishop 
,leclerc de ,juign        ,page #ie     
,the ,cloture or ,cloister of ,notre    
,dame was on        ,the ,clotre or     
,cloister of ,notre ,dame was on        
,page #if        church of ,st4 ,germain
 des ,prs changed to        church of   
,st4 ,germain des ,prs          dull    
houses of the ,rue du ,cloture          
,notre-,dame changed to        dull     
houses of the ,rue du ,clotre           
,notre-,dame        ,page #ii           
,barthlemy 7#abbc-abbg7 changed to      
,barthlmy 7#abbc-abbg7        ,page #aje
        ,cloister1 or ,cloiture changed 
to        ,cloister1 or ,clotre