he cathedral St. Maurilius consecrated. To say exactly when
the work of reconstruction was begun which St. Louis saw completed has
puzzled antiquarians far more diligent and learned than I am. But M.
Viollet le Duc has pointed to unmistakable signs of work earlier than
the rest in the two circular chapels of the apse, in the chapels of
the transept, and in the two side-doors of the western facade, which
open to the aisles. M. de Beaurepaire has also demonstrated, from a
close study of the Chapterhouse accounts, that when Richard de Malpalu
was dean in 1200, one Jean d'Andeli is spoken of as "Cementario, tunc
_magistro_ fabrice ecclesiae rothomagensis." He was also a relation of
one of the canons. The _Chronique du Bec_ gives the credit of
initiating the design to Ingelramus, or Enguerrand, from 1200 to 1214;
but this does not contradict the possibility of partners in the work,
and that the choir at any rate was done before the Norman influence
was much affected by the Ile de France, may be seen at once in the
fourteen tall and strong round pillars with their simple capitals and
massive round arches, which produce a very fine effect of pure
solidity amongst the lighter pointed work surrounding them. After
Enguerrand came "Durand le Machon," who dwelt in the same house that
Jean d'Andeli had held on lease, and after him, again, the name of
Gautier de St. Hilaire occurs before that of Jean Davi towards the end
of the thirteenth century.

[Illustration: ROUEN CATHEDRAL FROM THE NORTH-WEST]

The period of the first coming of Philip Augustus in the ten years
after 1210 is strongly marked by the influence of the Ile de France,
and by the French Gothic work of Suger, which at first swept out of
its path every other style with which it came in contact. But by
degrees the Norman transition re-asserts itself, and the northern
pointed work made its appearance, whose history is completed in
England, and is a different school from the Gothic on the French side
of the Channel. But every century and every style seems to have had
its say and left its mark upon the fabric of Rouen. After the
thirteenth century had built choir and transepts and a great part of
the nave, and before its close had begun the decoration of the
magnificent side portals, and the refinement of the Lady Chapel, the
first thing the fifteenth century did was to enlarge the windows of
the choir after its own manner, and widen the windows of the nave as
well. The on