owed much to Italy I have little doubt: for even if there had been no trace of an Italian influence in the extreme delicacy of the whole of the sculpture, in the twining foliage of the door jambs, and the very singular and graceful foliage of the archivolts, yet it might, I think, have been detected indirectly. For in this same church, in the aisle round the apse, there still remains a monument of an Archbishop Maurice, the Italianizing character of which is most marked, and at the same time its details show that it is a work of precisely the same school as the western aisle-doorways. None who have been in Italy can forget the almost invariable type of the finer early monuments--a simple arch, surmounted immediately by a gable of very flat pitch, and supported on detached shafts. They will remember them at Verona often, in Venice, in Genoa, in Perugia, and indeed in all directions and of all dates; well, in this monument, we have the same thing, a round arch exquisitely adorned with angels (whereof two in the centre bear up the soul of the archbishop) and immediately above the arch a very flat pediment or gable. Perhaps, too, it is an Italian influence, which is evidenced in another respect in the decorations of the western doors. The alternate orders of the arch are simply chamfered, presenting in section three sides of an octagon, and these are covered with regular sunk patterns of the simplest kind, but marvellously effective. Go from Rouen to Genoa and you find the western doorways executed in marble, every plain surface in which is inlaid with geometrical patterns,--light patterns on dark ground, and dark on light. The effect is very similar in the two places: at Genoa the very best materials were to be had: and at Rouen where nothing but common stone was used, the artist struck out a system which produced an effect all but equal to that obtained at Genoa. And yet with all this similarity I am not disposed to class these two buildings together as the work of one man. The architect of Genoa loved mouldings much more than did the architect of these doorways; and I think I have met with a sufficient number of traces of similar work to convince me that it was the style of a class, not of a man, and one of those many and glorious phases through which our art in her rapid progress passed. The western doors at Mantes are very similar in their detail; those of Chartres--what a study they are!--partake largely of the same spirit; in the western façade of Notre Dame, Paris, there are traces of it; in Notre Dame, Châlons-sur-Marne, the south doorway was identical in character, and fragments of work of the same style have been discovered in the course of lowering the floor of that church to its ancient level; and in S. Germer, in the chapter-house of S. Georges de Boscherville, in the western doorway of Angers cathedral, and in parts of S. Remi at Rheims, I think we see the same style more or less developed. Undoubtedly the