of the cathedral at Rheims it is clear that Robert de Coucy had the same plan in his eye, though he gave up the triple-arched entrance from the aisle; whilst at S. Quentin we see an almost similar plan at a rather later date. The whole of the nave retains the original very simple Romanesque arcades, and lofty groined triforia; but its groining throughout is fine early-pointed work and of grand dimensions, the width in clear of the vault being about forty-five feet. It is a curious fact that in this nave the triforium compartment is absolutely more lofty than that below it which contains the arch opening into the aisle. In the choir there is a sort of fourfold division in height such as I have described at Soissons and Laon, an arcade of pointed arches being introduced between the clerestory and the triforium; but as this arcade is in part a continuation of the lines of the clerestory windows, and as there is no string-course to divide the stage in two, the effect is better than in other examples of the same arrangement. There is much matter for careful study in the interior; among other things may be noticed the remarkably fine and large corbels supporting the groining shafts in the eastern part of the nave, adorned with figures of the prophets bearing scrolls and still retaining traces of their old colouring; and again, the very beautiful sculpture of some of the early capitals near the western end of the nave, and on either side of the great western doorway. In the windows of the apse are some small remains of fine early glass. Among the other architectural remains in Rheims is the church of S. Maurice, consisting of a Romanesque nave and aisles, and a lofty groined flamboyant choir, the west front of good character, having small buttresses supported on shafts on each side of the central door, and separating the western triplet of broad lancets above the doorway. The rest of the church is very uninteresting.