From the main street of the town the Cathedral is reached by the Rue de la Grosse Horloge, which leads underneath the archway of the belfry. The Tour St. Romain rises at the end of the street like a tall white guide, and here, suddenly, we find ourselves face to face with the west façade of Notre Dame. The remark made by an American traveller, that he found Rome very much out of repair, is appropriate to many of the French cathedrals. Scheduled as historic monuments, they receive annually a dole from the Government towards maintenance and restoration, but so miserable is this contribution, and so inadequate to the possibility of early completion of the work, that a generation may pass away before the scaffolding is finally removed. The west portal of Rouen is half covered by a forest of timbering. Rheims suffers even more, and the same may be said for Notre Dame at Evreux, St. Urbain at Troyes, and many other cathedrals. Such glimpses, however, as we get of the west front of Rouen show us its glory. Ruskin writing of it says: “It is the most exquisite piece of pure Flamboyant work existing. There is not one cusp, one finial, that is useless, not a stroke of the chisel is in vain; the grace and luxuriance of it all are visible--sensible, rather, even to the uninquiring eye; and all its minuteness does not diminish the majesty, while it increases the mystery of the noble and unbroken vault.” Of the origin of this Flamboyant style a distinguished French writer, M. Enlart, in a paper lately read before the Archæological Institute of Great Britain, has asserted that it is to be found not in France, but in England; and specialising the west front of Rouen, he further states that, in the arrangement of its large bay enclosing the rose window and flanked by tiers of statues, it recalls absolutely the façades, earlier in date, of the cathedrals of Wells, Salisbury and Lichfield. With one or two exceptions, viz., St. Urbain at Troyes and a chapel in Amiens Cathedral, the Flamboyant style did not appear in France until the last quarter of the fourteenth century, and when it had once taken root, it maintained its integrity until the Renaissance, having the same characteristics from one end of the country to the other. It was not the evolution of any previous French style, but it derived its origin, as above stated, from a style which existed in England a century before. Roughly speaking, the features which distinguish the Flamboyant are, first, the ogee arch which is typical of the style, then special systems of vaulting, and flowing tracery of windows, forms of arches, “anse de panier,” &c., arch mouldings dying into piers without impost or capital, and generally a love of vegetal and undulating decoration. This “decorative caprice” reigned in France in the fifteenth century at a time when the Perpendicular style became universal in England and had completely driven out the ogee arch.