were finished: the large pillars of the transept were only lacking the tower, the two arms of the transept were approaching completion, and doubtless also the nave was quite advanced. The Hundred Years’ War retarded the work without actually interrupting it. We find Charles VI. in 1380 allowing 3,000 livres to the Abbé Arnaud du Breuil to hasten the work. The portal called _des Marmousets_ at the south arm of the transept is now given over to the sculptors. However the hour for rapid achievement has passed. It is not until 1439 that the two roses of Master Alexandre de Berneval and his legendary pupil unfold at the extremities of the transept. Under Admiral d’ Estouteville, Archbishop of Rouen and Abbé of the monastery, the entrance to the choir was closed by a precious Gothic rood-screen; but the nave had yet to be finished, and the central tower and the façade had yet to be done. The Abbé Bohier at the very last of the Fifteenth Century, finished the building. The delicious square tower, eighty-two metres high, set off with bays, with gables and corner buttresses upon which are grafted the flying-buttresses of the octagonal belfry with the open-worked crown, is of the same date, the same style, and, perhaps, of the same hand as the _Tour de Beurre_. We possess the plan of the façade, drawn at this time by an unknown artist. It recalls the taste of the Normans for the porches under bell-towers of which few examples are to be found outside of their province after the Thirteenth Century. This master conceived two large, square towers placed diagonally, of a most original effect of perspective, and beneath which opened two lateral porches whose sheltered arches broke the draughts and were very converging and very convenient for the entrance and exits in and out of the church of the several filing processions. We are astonished to think that such a picturesque arrangement was never carried into effect. The execution of the plan was never commenced. The two bell-towers had been carried up to twenty metres and then abandoned. Their dimensions frightened the architect Grégoire, who in 1840 was charged with enriching Marc d’ Argent’s façade, and he pulled down the stumps to build those two towers with their thin spires and that commonplace façade with its dry lines that we now see.