Laon Cathedral is justly entitled to carve the Liberal Arts on its façade. A score of the coming notable men of the XII century were Anselm's pupils; one of them was that bishop who began the Primary Gothic tower of the cathedral at Rouen. Anselm and his brother trained the youths who, having heard St. Norbert of Cologne preach in Laon Cathedral, in 1120, followed him to Prémontré, in the forest of Coucy, which estate gave its name to the new order Norbert there founded. Like the Cistercians, so swift an increase had the white canons of Prémontré that they soon counted a thousand houses over Europe and were an evangelizing force for their century even as Cluny had been earlier and as the Franciscans and Dominicans were to be in the XIII century. The citizens of Laon clamored for Anselm as their bishop when the miserable Gaudri was killed in 1112, but he declined the honor and directed the choice to the worthy Bartholomew de Vir, who restored temporarily the cathedral. It is not known exactly when was laid the foundation stone of Laon's Gothic cathedral. By its sculpture, the profiles, and the noticeable keystones, the archæologists say that it belongs to the last third of the XII century and that it kept to its original plans, though its building continued into the first third of the XIII century. The bishop-founder was a pupil of Anselm's and himself had taught rhetoric in Paris. Gautier de Mortagne (1155-71) gave generously of his own revenues to the new works. The choir he built ended in a semicircle and consisted of the present three bays next the transept. There, and in the west wall of the transept, the profiles are different from those elsewhere in the church. In a second spell of work they finished the transept, the nave, the towers, and the west façade just before 1200. Laon's façade ranks among the great western frontispieces of Gothic architecture, a model for that of Rheims. What chiefly characterizes it are the profound shadows made by cavernous porches, projecting gables, and other varied surfaces. It has been called a supreme composition in light and shade. In accentuating the upward surge of lines it was a pioneer. When the façade was finished the choir was lengthened by seven bays, and now was terminated by a flat wall whose prototype is to be found in Laon town in the church of St. Martin, an early-Gothic edifice, building about 1165. Various regional churches used the square chevet. As the custom died out in France, it struck root in England, where the Cistercians made it popular. Those accustomed to the rectagonal chevet of the English cathedral may prefer that type, but to a lover of the apse of the French cathedral, of the curving procession path with its radiating chapels that mystically suggests the thorn crown around the Sacred Head, it will ever seem a dull way to end a sanctuary precisely like a transept arm.