On the smoking ruins the pope's legate made an appeal to the people's generosity, and once again Chartres presented the devotional scenes of 1145. Bishop and canons gave up three years of their revenue, and pious confraternities dragged in the big stones. Those passionate rivals, Richard Coeur-de-Lion and Philippe-Auguste, were donors. Thus every part of Chartres Cathedral has been raised by the hands and hearts of faith, and surely the personality which builders impart to their work breathes here in a piety of the soul that not all the science of later times has ever been able to simulate. _Non est hic aliud nisi Domus Dei et porta coeli._ The new cathedral went forward apace; early in the XIII century the big west rose was added to the much-transformed façade. By 1224 the upper vaulting was entirely closed in. The formal dedication was postponed till 1260, to allow for the completion of the two elaborate porches before the transept's doors. To that delayed consecration came St. Louis and his court. The name of the architect of Chartres is unknown, but its unity of plan is proof that it emanated from the brain of one man. The choir had double aisles, the nave a single one. It is believed that to the absence of side chapels in the nave is due the exceptionally good acoustic properties of this church in which the preacher's voice carries to every part. Unknown, too, is the architect of the tower built in the dawn of Gothic art, two generations before the present cathedral. The veriest amateur as he gazes at it is conscious that he has before him one of the supreme things of France. The more closely the _clocher vieux_ is analyzed, the more it becomes a touchstone by which will be judged other towers. A miracle of just gradation, it sprang in one jet from the brain of a man of genius. With a pleasurable sense of harmony the eye travels from the base to the tip of the spire. Proportion, not ornament, is the secret of its transcendent influence. The width is right--and so many towers fail there--the division of the stories is right, and radiantly right is that crucial point, the transition from the vertical square shaft to the inclined octagonal spire, accomplished here by means of dormers and turrets. An innovator was the architect of Chartres' belfry when he placed open windows in the gables. To obviate any monotonous optical effect, he made a ridge down each inclined plane of the spire, which spire is a massive pyramid forming almost half of the tower's height. Its bare nobility surpasses the richer open stonework of the spire to the north. [Illustration: _The Cathedral of Chartres (1194-1240). The Southern Aspect_]