t received from contemplation of
the exterior. The bishop's throne sets midway on the right of the nave.
Each bay of the side walls of the nave is composed of a wide pointed
arch resting immediately upon the ground and filled with stone instead
of glass; reminiscent of a similar effect in the Church of Notre Dame de
la Cloture at Le Mans. The true windows of the nave rise in pairs above
this arch, and contain rich, though somewhat fragmentary, glass of the
thirteenth century. As characteristic of the Angevine style, there is no
triforium or clerestory, and hence, it is claimed, no necessity for
flying buttresses, the support being accomplished by less graceful, if
as effective, heavy square piers built into the outer wall.

The transepts are not pronounced as to length or breadth, their chief
beauty being their rose windows.

The choir, of the twelfth century, shows an interpolated and elaborately
flamboyant doorway of a much later period.

An ornate oaken pulpit of none too good Renaissance carving is in the
nave, and the organ case over the western doorway is supported on the
shoulders of a series of huge, grotesque, but monstrously human, wooden
caryatides. This, with the gigantic, high canopied carven wood pulpit,
one of the most extraordinary in the country, forms a relief to coldly
chiselled stone, certainly;--but few will consider their charms such as
would warrant counting them amongst ecclesiastical treasures.

The fourteenth-century tapestries from Arras (or Paris) were made for
King Rene and by him given to the cathedral. They represent scenes from
the Apocalypse, and, though having suffered somewhat from the
depredations of the Revolution, still exhibit evidences of rare
qualities of workmanship in their design and colouring.

The _benitier_ of _verd-antico_ marble supported by figures of lions is
a Byzantine work of the eastern empire, given to the cathedral by King
Rene.

The Dukes of Anjou and Margaret of Anjou were buried here, but the tomb
of the latter was desecrated and destroyed during the Revolution. Aside
from these, no other monuments of note are to be seen.

The Bishop's Palace, of the twelfth century, standing high beside the
cathedral, was restored by Viollet-le-Duc and reflects a mediaeval
splendour unseen elsewhere in the city, with respect to any great or
small domestic establishment.

The Maison Barrault in the Logis Barrault, built by a former mayor of
the city, one time Chancello