Each bay of the triforium is divided, as usual, into three round-headed arches--of which two are blind and the centre one pierced--with fluted, or zig-zagged pilasters between them. In the chapel of St. Léger are two quite interesting fifteenth century frescoes of the raising of Lazarus, and the stoning of Stephen--both, probably, by a painter of the Flemish school. The former picture, though mutilated and faded, is still quite realistic; too much so, in a sense; for the bystanders are so interested in the miracle that they have elbowed the Christ quite to one side of the picture. Martha is prominent, in the conventional attitude, with her handkerchief to her nose. "Jam Foetet." [Illustration: PORCH OF EGLISE NOTRE DAME--BEAUNE _Facing page 232_] But Notre Dame, though good, is not the best of Beaune. The church must yield to the Hôtel Dieu. History, or, at any rate, my history, does not relate how Nicholas Rolin, the Chancellor of Philippe le Bon, came to erect at a little fifth-rate town, such as is Beaune, a hospital unrivalled in all France; yet such is the fact. I do not even know why he built one at all, unless old Louis XI.'s mot be true--that he had "made enough poor to necessitate building a hospital to keep them in." But, there it is, an eighth wonder of the world; beautiful, from the crest on the gable to the knocker on the door. This Hôtel Dieu, seen on a grey day or a blue one, is absolutely harmonious and satisfying. Whether you follow the length of soft, yellow, brown wall, the blue-grey expanse of the high-pitched roof, the delicate flêche, or the starry, gabled hood over the entrance, your eye feasts upon a poem in form and colour; you feel at once the intense delight of looking upon a work of art that could not have been better done. But you will stay longest before the porch, the most daring and most completely successful that exists. The entrance is beneath a flattened arch, through a panelled door with a beautiful forged-iron knocker and alms-box; all protected by a glorious three-gabled hood, crocketed and pinnacled, and built into the main wall, from which it projects without visible support. The pendants have angels, bearing shields, with the arms of Nicholas Rolin and his wife. The hood is slated in grey, as is the roof, and the blue vault beneath is starred with golden stars, symbolizing the little heaven within. Upon the blue tympanum is written in gold letters, "Hostel Dieu, 1443." All these blues and golds harmonise perfectly with the great crested roof, whether in its more sombre, grey mood, or when the richer purples come leaping from it at the call of the sun, to play about the sides of the dormers, or among the shadows of the flagged pinnacles above.