In the Middle Ages, when books were rare, and those who could read them rarer still, this sculpture was certainly most valuable as a means of popular education; but, as Victor Hugo beautifully expresses it, “Ceci tuera cela: le livre tuera l’Église.” The printing-press has rendered all this of little value to the present generation, and it is only through the eyes of the artist or the antiquary that we can even dimly appreciate what was actual instruction to the less educated citizens of the Middle Ages, and the medium through which they learned the history of the world, or heard the glad tidings of salvation conveyed from God to man. All this, few, if any, can fully enter into now; but unless it is felt to at least some extent, it is impossible these wonderful buildings can ever be appreciated. In the Middle Ages, the sculpture, the painting, the music of the people were all found in the cathedrals, and there only. Add to this their ceremonies, their sanctity, especially that conferred by the relics of saints and martyrs which they contained— all these things made these buildings all in all to those who erected and to those who worshipped in them. [Illustration: 630. Bay of Nave of Beauvais Cathedral. No scale.] The cathedral of Beauvais is generally mentioned in conjunction with that of Amiens, and justly so, not only in consequence of its local proximity, and from its being so near it in date, but also from a general similarity in style. Beauvais is in fact an exaggeration of Amiens, and shows defects of design more to be expected in Germany than in France. It was commenced five years later than Amiens, or in 1225, and the works were vigorously pursued between the years 1249 and 1267, though the dedication did not take place till 1272. The architects, in their rivalry of their great neighbour, seem to have attempted more than they had skill to perform, for the roof fell in in 1284, and when rebuilt, additional strength was given by the insertion of another pier between every two of those in the old design, which served to exaggerate the apparent height of the pier arches. Emboldened by this, they seem to have determined to carry the clerestory to the unprecedented height of 150 ft., or about three times the width, measuring from the centre of one pier to that of the next. It is difficult to say what the effect might have been had the cathedral been completed with a long nave, an acute vault, wide pier-spaces and bold massive supports; possibly however not so sublime as the choir alone is at present, for, owing to its limited floor area, the eye has only to glance aloft and the stupendous height and the magnificent construction produce an effect of splendour and size which is only excelled by that of the great Hall of Karnac and the interior of St. Sophia.[39] The qualities just quoted of the choir would seem to have inspired the builders of later generations, for although the south transept was commenced only in 1500, and the