There is also the church of S. Jacques, whose west front has the unusual feature of a sham gable on either side of the real central gable.[27] These gables are above the aisles, and completely conceal their roofs and the clerestory. The nave is of early-pointed date, but very much altered; only the two eastern bays appearing to retain the original triforium and clerestory,--the latter a lancet with internal jamb-shafts, which are continued into the triforium and form a portion of the arcades of four pointed arches which occupy each bay,--an arrangement very similar to that of the clerestory of S. Remi. These two bays are groined with a sexpartite vault, which is slightly domical in its longitudinal section. The alternate piers in the nave consist of coupled columns of very solid character, and with very deep capitals. Some of these columns are regularly fluted. The rest of the nave has been much altered in the fourteenth century, whilst the choir is flamboyant, with aisles of Renaissance style, but groined in stone. The crossing is surmounted by a very large flèche of timber covered with lead, almost completely modernized, but showing still some large three-light windows of middle-pointed style. The _Maison des Musiciens_, in the Rue de Tambour, is a well-known example of excessively good domestic architecture of the thirteenth century. From Rheims I made my way by railway to Châlons-sur-Marne, where I was rewarded by the sight of one of the most interesting churches I have ever seen, that of Notre Dame, and of a cathedral of inferior interest. It was the more gratifying to find such really fine work just on the extreme borders of the country to which French influence extended, and beyond which to the eastward the churches appear to be entirely German in their style.