This chapel of the normal school, as it now is, was once the southern limb of the great transept. With the tower of the Eau Bénite, the smaller tower of the Horloge, and the Chapelle Bourbon, it is the sole remaining relic of the church itself. Until after 1823, the transept was open to the wind and rain, which threatened ruin to the fabric. It was decided, therefore to close the gaping arches of the collateral on the east and west, and to build a wall on the north side. The immense height of the transept, emphasized by the vaulting shafts, is made more striking by the small space within which it is viewed, and the blind gallery and clerestory, with their arcades, and coupled, engaged columns, and fluted pilasters, enable one to break through, in imagination, that northern wall, and get a realistic glance, east and west, into the sanctuary, and down the five aisles of the church as it was. The two chapels remaining in the transept, are those of St. Martial and St. Stephen. The former, half domed and lighted by three windows, is similar in style to the original apsidal chapels; that of St. Stephen is fine Gothic work of the first half of the fourteenth century. Here was buried Pierre de Chastelux, abbot from 1322 to 1343, who bought the Palais des Thermes, at Paris, where Jean de Bourbon, a century later, was to commence the Hotel de Cluny. Here, too, was buried, in the middle of the chapel, Jacques d'Amboise (1480-1510), the successor of Jean de Bourbon, and the completer of the Palais Abbatial, here at Cluny, and of the Hotel de Cluny at Paris. The brickwork of the south wall of the transept still shows the position of the two doors, one for ordinary use, and one processional gateway, leading into the cloisters. The most important remaining building is the Chapelle Bourbon, which was added to the south end of the smaller (eastern) transept by Abbot Jean de Bourbon (1456-1480), who had his own private oratory here, whence he could assist, through an aperture in the wall, at the ceremonies before the great altar in the sanctuary. Enough remains of the decoration of the chapel to show, at a glance, that it was a good example of late Gothic art. Around it were ranged, on a series of sculptured corbels or consoles, the heads of fifteen prophets, painted in colours. They are not lacking in expression, but are clumsy and heavy. These busts served as supports for fifteen stone statues, those of St. Paul, the Virgin Mary, John the Baptist, and the twelve Apostles, all of which have disappeared, no one knows whither. The guide told us that one of these statues, that of Christ, was in gold, and all the others in silver; a statement which, if it be true, accounts sufficiently for their disappearance. The only thing of interest remaining in the grounds of the école normale is the thirteenth-century bake-house, close to the Tour du Moulin, by the river wall.