any means of remarkable dimensions, it presents in its
appropriate disposition of detail a far more roomy and pleasing
arrangement than many a larger example.

The transepts are divided into a nave and side aisles, the columns which
partition them, like those of the nave proper, being cylindrical and of
massive proportions, which, however, lighten as they rise to the
vaulting. They are unusually symmetrical when viewed together, the
capitals of the lower series being ornately carved, each of a varying
design.

Above the aisles are lofty galleries. The nave chapels were added in the
sixteenth and seventeenth centuries. The stained glass, like that of the
rose windows, is in the nave distinctly good, particularly that of the
lower range on the southerly side. The pulpit, of carved wood of the
Renaissance period, is not of the importance and quality of this class
of work to be seen across the Rhine border.

The former Bishop's palace, adjoining the left of the choir, is now the
Palais de Justice. A few remains of a former Gothic cloister are to be
remarked, surrounded by the later construction.

[Illustration: _Notre Dame de Noyon_]

III

NOTRE DAME DE NOYON

In Notre Dame at Noyon, Notre Dame at Laon, and the cathedral at
Tournai, is to be noted the very unusual division of the interior
elevation into four ranges of openings, this effect being only seen at
Paris and Rouen among the large cathedrals. Noyon and Laon borrowed,
perhaps, from Tournai, where building was commenced at least a century
before either of the French examples first took form. It is perhaps not
essential that such an arrangement be made in order to give an effect of
loftiness, which might not otherwise exist; indeed, it is a question if
the reverse is not actually the case, though the effect is undeniably
one of grandeur. Soissons, too, may rightly enough be included in the
group, though the points of resemblance in this case are confined to the
rising steps to either transept, coupled with the joint possession of
circumambient aisles, and at least the suggested intent of circular
apsidal terminations to the transepts; though it appears that here this
plan was ultimately changed and one transept finished off with the usual
rectangular ending.

In this Noyon plainly excels, and there is found nowhere else in France
the perfect trefoil effect produced by the apsidal terminations of both
transepts and choir. So far as the transepts are