with houses. Here stands the post-office;
and with the most unsuspecting frankness, on the part of the owner,
I had permission to examine, with my own hands, within doors, every
letter--under the expectation that there were some for myself. Nor was
I disappointed.

But you must come with me to the cathedral, and of course we must
enter together at the western front. There are five porticoes;
the central one being rather large, and the two, on either side,
comparatively small. Formerly, these were covered with sculptured
figures and ornaments, but the Calvinists in the sixteenth, and the
Revolutionists in the eighteenth century, have contrived to render
their present aspect mutilated and repulsive in the extreme. On
entering, I was struck with the two large transverse Norman arches
which bestride the area, or square, for the bases of the two towers.
It is the boldest and finest piece of masonry in the whole building.
The interior disappointed me. It is plain, solid, and divested of
ornament.

Hard by the cathedral stood formerly a magnificent episcopal palace.
Upon this palace the old writers dearly loved to expatiate. There is
now, however, nothing but a good large comfortable family mansion;
sufficient for the purposes of such hospitality and entertainment as
the episcopal revenues will afford.

It is high time that you should be introduced in proper form to the
famous Bayeux tapestry. Know then, in as few words as possible, that
this celebrated piece of tapestry represents chiefly the Invasion of
England by William the Conqueror, and the subsequent death of Harold
at the battle of Hastings. It measures about 214 English feet in
length, by about nineteen inches in width; and is supposed to have
been worked under the particular superintendence and direction of
Matilda, the wife of the Conqueror. It was formerly exclusively kept
and exhibited in the cathedral; but it is now justly retained in the
Town Hall, and treasured as the most precious relic among the archives
of the city.

There is indeed every reason to consider it as one of the most
valuable historical monuments which France possesses. It has also
given rise to a great deal of archeological discussion. Montfaucon,
Ducarel, and De La Rue, have come forward successively--but more
especially the first and last; and Montfaucon in particular has
favored the world with copper-plate representations of the whole.
Montfaucon's plates are generally much too small; a