tred the most significant events
of Church and State. To attempt to catalogue even briefly the charms and
notable attributes of even the first four, would require more than the
compass of several volumes the size of the present, whereas the attempt
made herein is merely to lead with as little digression as possible up
to the chief glories for which they are revered, and to suggest some of
the many important and epoch-making events intimately associated
therewith. More would be impossible, manifestly, unless the present work
were to transcend the limitations which were originally planned for it,
hence it is with no halting assertion that we enter boldly upon that
chronology or resume which, in a way, presents a marshalled array of
correlated facts which the reader may care to follow in further detail
in the list of bibliographical references included at the end of the
volume.

Certain facts relating to the history and the architectural features
generally of these great cathedrals are known to all, and are chronicled
with more or less completeness in many valuable and authoritative
works, ranging from the humble though necessary guide-book to the
extensive if not exhaustive architectural work of reference. The facts
given herein are such, then, as are often overlooked in the
before-mentioned classes of works, and as such are presented, not so
much with the avowed object of imparting information, as to remind the
reader of the wealth of interest that exists with relation to these
shrines of religious art. This seems to be the only preamble possible to
the chapters which attempt to even classify these magnificent buildings,
wherein much is attempted and so little accomplished in recounting their
varied attractions. Let this explanation stand, therefore, for any
seeming paucity of description which may exist.

[Illustration: _Le Bon Dieu d'Amiens_]

II

NOTRE DAME D'AMIENS

The ever impressive Cathedral of Notre Dame d'Amiens is in most English
minds the _beau ideal_ of a French cathedral. It is contemporary with
Salisbury in period, at least, but it has little to remind one of the
actual features of this edifice. Often associated therewith, as a
similar type, it has little in reality in common, except that each is
representative of a supreme style. Beyond this it is hard to see how any
expert, archaeologist, antiquary, or what not, would seek to discover
relationship between two such distinct types. Salisbury