al of St. Vaast,
dating from 1755 to 1833, is of the Grecian style of temple building,
little suited to the needs of a Christian church. The crucial plan
consecrated by catholic usages of centuries is not however wholly
abandoned. There is something of a suggestion of the Latin cross in its
design, but its abside faces toward the southeast rather than due south,
with its principal entrance to the northwest, a sufficiently unusual
arrangement, where most French churches are duly orientated, to be
remarked, particularly as there is little that can be said in praise of
the structure. The interior follows the general plan of the Corinthian
order; the windows, neither numerous nor of sufficiently ample
dimensions to well serve their purpose, number nine only in the choir,
and five on each side of the nave.

There are, to the abside, seven collateral chapels, some of which
contain passable sculptured monuments, removed from the old abbey of St.
Vaast, a foundation erected in the sixth century and reconstructed by
Cardinal de Rohan in 1754. The remains of the old abbey buildings have
been built around and incorporated in the present Episcopal Palace, the
extensive Musee, and Bibliotheque; and are situated immediately to the
right of the facade of the cathedral.

The grisaille glass seen in the interior is unusual, but mediocre in the
extreme.

There are, however, some good statues in white marble in the Chapelle de
St. Vaast, while in another chapel, given by Cardinal de la Tour
d'Auvergne, is one equally good of Charles Borromee.

There are four great statues at the extremities of the transepts,
representing the four evangelists; and three others in the choir, of
Faith, Hope, and Charity.

In the north transept, also, are two triptychs of the Flemish school, by
Bellegambe, a native of Douai (1528).

The Abbe Bourasse, in his charming work on the cathedrals of France,
says, plainly, and without fear or favour: "We have tried to speak
impartially of all species of architecture--but why do we not admire the
Cathedral of Arras? It is against all traditions of '_notre art
catholique_.' We contend that this is not good. What, say you, can we
praise? It is a great work--of the stone-mason; you should study it from
some distance. It is without life, without movement, without dignity."

Whatever may be the faults of its cathedral, Arras is, nevertheless, an
interesting city,--modernized, to be sure, by boulevards laid out alon