s the entire present edifice
which was being planned at that time. In this case it is quite possible
that the rebuilding was going on slowly, foot by foot, in a manner which
not only encompassed and absorbed the older building, but in reality
eradicated every vestige of it. Says a French writer of enthusiasm, "The
Cathedral of Coutances, as it now stands, is one of the most noble and
grand religious edifices in France, with all the qualities of a monument
of the first order, of perfect dimension, beauty of plan, unity of
workmanship, and distinction of form." Any one of these attributes, were
it literally so, might well turn a commonplace structure into an
unapproachable masterpiece. In a measure, all of his eulogy is quite
true, and the pity is that more do not know of its fascination and
charm.

The facade of the Cathedral of Notre Dame is of the indigenous
Norman-Gothic type. The fine towers, in addition to combining the
symmetrical elements of Gothic, have, each, as well, a flanking
towerlet, attached to their outer sides, enclosing a spiral stairway.
These extend to quite the full height of the tower proper; and, though
by no means a wholly attractive feature, are not as offensive as might
at first be supposed. It is doubtful, in fact, if the general strength
and impressiveness of the entire structure would not be impaired were
the arrangements otherwise.

The present ogival structure is built on the remains of a Romanesque
church erected by a famous Bishop of Coutances, Geoffroy de Montbray,
with funds supplied by Guillaume Bras-de-Fer, Odon, Roger, Onfroy, and
Robert, sons of Tancrede-de-Hauteville, the Norman conquerors of Sicily
and Calabria, whose names have been given fabled prominence in more than
one epic poem. The early structure was consecrated in 1056, in the
presence of William, then Duke of Normandy, a few years before he became
the Conqueror. Supposedly none of this former church remains; in fact,
what fragments, if any, exist, are doubtless covered in the present
foundations.

Mainly, the present structure is thirteenth-century work, with a
lady-chapel of the fourteenth century.

An unusual, and exceedingly beautiful, effect is given by the Gothic
window mullions, between the chapels, in reality a series of
geometrical window-frames, without glass. No florid ornament either
inside or out is to be found to offend against accepted ideals. In
short, "the whole is of a piece complete." The parapets