The Rood-screens, or _Jubés_, which almost all French churches once possessed, are rarer than even the other parts of these enclosures. A good example of them is found in the church of the Madeleine at Troyes (Woodcut No. 669), which gives a favourable idea of the richness of decoration that was sometimes lavished on these parts. Though late in age, and aiming at the false mode of construction which was prevalent at the time of its execution, it displays so much elegance as to disarm criticism. It makes us too regret the loss of the rood-screens of St. Ouen’s (of which we can alone judge from drawings) and of the larger cathedrals; though of these we are able to form some idea by following out the design of the lateral screens, of which they formed a part. If to these we add the altars of the minor chapels, with the screens that divided them from the nave, the tombs of wealthy prelates and nobles, the organ galleries, with their spiral stairs and richly-carved instrument cases, and all the numberless treasures of art accumulated by wealth and piety, we may form some idea of what a Mediæval cathedral really was, though scarcely one now exists in any part of Europe in an entire state. DOMESTIC ARCHITECTURE. It is probable that specimens remain sufficient to elucidate in an archæological point of view the progress of domestic architecture in France, and thereby to illustrate the early manners and customs of the people; but these remains are much less magnificent and are less perfectly preserved than the churches and cathedrals, and have consequently received comparatively little attention. Had any of the royal palaces been preserved to our day, or even any of the greater municipal buildings, the case might have been different. The former have, however, perished, without an exception; and as regards the latter, France seems always to have presented a remarkable contrast to the neighbouring country of Flanders. [Illustration: 670. Hôtel de Ville de St. Antonin.]