The interior of the Cathedral extends in date from the Romanesque to the Renaissance period. The nave bays offer examples of what is known as “skeleton construction”; they consist of a Romanesque pier arch (said to be the remaining work of Lanfranc) surmounted by a large clerestory and small glazed triforium; the clerestory wall, as Mr. Bond points out, is so shallow that it “ceases to exist _quâ_ wall.” It is in some way analogous to the choir of Gloucester in its “attenuated construction.” The lights are filled in with glass, apparently of the late fifteenth century. As Whewell says, the transepts and part of the choir are most remarkable and most ancient examples of the Flamboyant style. The choir, burnt down in 1346, was restored in the second half of the fourteenth and early fifteenth centuries; the transept was finished about 1450. The English took possession of the town in 1418, but this did not in any way hinder the work from being carried on. In 1422 Tchan le Boy was made _maître de l’œuvre_, and to him is attributed the Lantern Tower, springing from a beautiful vaulted base. The _vitrail_ of the Saintes Maries and its mouldings, probably designed by Le Boy, follows the English type. Evreux is, according to Whewell, “a mixture of Flamboyant and Renaissance. The Flamboyant dies down gradually into Italian, especially in the series of wooden screens to the chapels round the choir, where every sort of mixture is noticeable.” In some of the glass and on the outside panels of the west doors the artists have attempted to show their knowledge of the newly-discovered science of perspective, but they pay little regard to the vanishing point. On the north side, the windows of the aisle, with high pediments cutting the balustrades, are very beautiful examples of the prevailing style. The western towers “are to be considered as Gothic conceptions expressed in classical phrases.” In the far west of the town, at the end of the Rue Josephine, lies Saint Taurin, the second church of Evreux, in its quiet little square, screened by magnificent elm-trees, a square and solid-looking building, with a good deal of work that is very interesting and undoubtedly ancient. Originally the church formed part of a Benedictine Abbey founded in 1026; an ancient crypt remains, built, as purports to be the case with so many churches, round the tomb of the patron, Saint Taurin, who in the fourth century brought Christianity into the town, and whose story may be read in the fifteenth-century glass of the choir. His relics are preserved in a wonderful carved casket of the thirteenth century, which may be seen by the curious in the church treasury. In three bays of the south nave the vaulting ends in some curious stone carving in the form of grotesque heads, which belong to the sixteenth century.