The figures in the jambs are, as was usual at the period, in the same block with the shafts themselves, and their extraordinary elongation, and the long upright folds of their draperies were, no doubt, intended to harmonise with their position as parts of columns. The heads are of peculiar dignity and grace. These doorways are probably the finest remaining of the transitional period. Their excessive richness contrasts strikingly with the severe though noble simplicity of the remainder of the façade, and displays not only that tendency to lavish all the resources of art upon the doorways, which so especially characterises French art, but also illustrates, in the most striking manner, the absolute independence of the architecture of mere ornamentation, and, at the same time, the freedom with which it avails itself of it; the rich doorways and the severely plain towers being equally glorious specimens of the style, and neither suffering in the least by juxtaposition with the other. I will just call attention to the singular ornamentation of the pedestal or basement of the doorways, by means of fluting, etc. This was common in France at that period, though I am not able to trace it to its source. It is almost identical with that of the western doorway of St. Germain des Pres,[16] and we find it carried out with still greater richness in the somewhat later doorways which flank the western façade at Rouen. The capitals in this façade (at Chartres) are of the kind I have above described. The southern tower and spire are most noble in their composition, and are hardly exceeded in beauty by those of any subsequent period. The next example I will allude to is the Cathedral of Noyon. The date of this cathedral is unknown; but the old church having been destroyed by fire in 1131, and the Bishop (Beaudoin), who shortly after succeeded to the see, being an intimate friend of Abbot Suger, it has been put down almost as an historical certainty that he commenced rebuilding the church not long after the erection of that of St. Denis, and that the designs were made under the advice of Suger. I am not prepared either to subscribe to this implicitly or to dispute it. On first examining the church, my impression was adverse to this theory; but St. Denis itself looks so much later than it is, and the apparent anomalies in the dates of this period are so perplexing, that one is disposed to hesitate before disputing a theory supported by such men as Viollet le Duc. If, however, the idea be correct, I should limit the early date to the _lower portion_ of the choir. The same intermixture of the round arch with the pointed obtains throughout the cathedral; but not only are the mouldings of later section in the western parts (as M. le Duc points out), but the capitals which prevail in the upper storeys of the choir itself are of a kind which I cannot think so early as the date assigned.