[31] The steps are arranged in successive groups of eleven, with platforms between them. [32] As evidence of the popularity of Notre Dame du Puy this may suffice:--in Amiens cathedral, until A.D. 1820, there existed a series of pictures given by the “Confrèrie de Notre Dame du Puy.” A similar confrèrie existed at Limoges.--G. E. S. There is an image and a devotion of N. D. du Puy at Estella in Navarre, carried thither by French pilgrims.--G. G. K. [33] The passage to the right is evidently modern, that to the left looks as though it were ancient, but a protest against the removal of some ancient work, in the course of constructing it, which I have found in the _Bulletin Monumental_ [A. de Caumont], seems to show that it is not so. [34] S. Martin d’Ainay, at Lyon, is a parallel triapsidal church, with a central dome, and a western tower of unusual and picturesque outline, adorned largely with inlaid tiles and bricks. [35] At present the exterior of the lantern is covered with a domical roof; but an illustration that I have seen shows it finished with a low-pitched tile roof, and without any of the inlaid mosaic which is now upon it. [36] The division of the building into work done at various epochs is beyond question, though there may be some question as to the date I assign. [37] Mérimée, _Notes d’un Voyage en Auvergne_, p. 226. [38] See Viollet-le-Duc (_Dictionnaire_, art. “_Clocher_,” pp. 312–18) for a reference to this influence of the Rhine churches. [39] M. Viollet-le-Duc considers the earliest part of the cloister to date from the tenth century; M. Mérimée thinks the eleventh century more likely. [40] The _Maîtrise_ was, I believe, the school attached to the cathedral. [41] Mérimée, _Notes d’un Voyage en Auvergne_, p. 232. [42] It is very difficult to understand precisely where these hangings were found. M. Aymard, a distinguished antiquary at Le Puy, in the _Album Photographique d’Archéologie Religieuse_, speaks of the painting on the wall of the _Salle des États_, and then, in another place, says that the tapestries given by Jean de Bourbon served to decorate the _Salle des États_ of Velay, and after the regrettable destruction of that hall the remains of them were preserved part in the cathedral and part in the museum. Possibly he refers to the removal of the floor below the _Salle des États_, for the hall itself has not been destroyed. [43] M. Mallay, of Clermont, says that the mosaic work of the church of Notre-Dame-du-Port, Clermont, was all set in red mortar originally. [44] See further observations on this subject, page 223. [45] The predecessor in the See, Stephen II., uncle of Bishop Peter I., was buried at Lavoulte-Chilhac. [46] A diploma of A.D. 1146 is dated from the “Ville d’Anis” (i.e. Le Puy) and fixes the date at which this “cité” received the name of “ville.”