y of butter. To the right is a
much less imposing tower, but one that is much more true as to its
style. It rises scarcely above the central gable, and helps to
exaggerate the lack of uniformity of the facade, a condition much
deplored by the true Gothic builder, though whether such varying detail
does not after all make a more interesting, and perhaps as edifying a
work for pleasurable contemplation, is an open question. There is, in
any event, a marvellous power in this massive west front to confirm
one's opinion that it is a comprehensive and yet varied thing. Another
curious feature of this front is a pair of overlying buttresses of no
apparent purpose as to staying power, since the wall space which they
flank is of no inordinate height. The window space, though, is ample;
and, though mostly in blank to-day, at a future time those blanks might
be broken out; hence the necessity for these extra props.

The interior gives, likewise, a grand impression, one of vaster
magnitude than in reality exists. The length is probably exaggerated by
reason of the lack of transepts; but its breadth, including nave and
aisle, is unusually great, and the height is further magnified by the
fact that the aisles themselves have three ranges of openings, above
which, in the nave, rise the triforium and clerestory,--surely alone a
sufficiently unusual arrangement to account the church as of remarkable
planning. Its great beauty may be said to be the magnificent proportions
throughout, rather than the preeminent intrinsic value of any specific
detail.

The rose window of the west end, though of grand proportions, appears to
fail utterly as a supreme effort because of the flatness and depression
given to its circumferential outline. Like that of St. Gatien at Tours
it is of an uncertain lozenge shape, while the effect is further
lessened by the mediocrity of its glass and framing.

The general appearance of the interior is one of symmetrical grandeur,
wherein the effect of each dimension is probably enlarged, but with a
fine and consistent proportion. Its conventional embellishments are not
unduly ornate; though, for that matter, they do not give the impression
of being wanting to any great degree either in quality or quantity. In
no particular, however, is the sculptured form of figure or foliage of
that excellence and magnitude of that of the cathedral at Reims or at
Amiens.

The magnificent proportions of the choir well merit the ter