The upper portion of the west end is filled by the great rose window, which, as we have noticed, is so beautiful a feature of the façade. The tops of the pipes of the great organ hide the lower part of it from our view inside. The lovely painted glass, which is ancient, has representations of the Virgin and Child surrounded by prophets. Amongst other features are the signs of the Zodiac, the labours of the months, and the Virtues in triumph with lances in their hands. The gallery on which the organ is now placed was possibly used for the performance of miracle plays. As it is at a relatively great height from the pavement, this is at least doubtful. The =Organ= is a fine instrument of wonderful power. It was practically rebuilt by Thierry Lesclope in 1730, and enlarged by Cliquot in 1785. In recent years it has been immensely improved by M. Cavaillé-Coll, who gave it 5266 pipes and 80 stops. It plays a great part in the splendid musical services for which the Cathedral is famous. [Illustration: Exterior. Interior. ELEVATIONS OF THE NAVE. (_From Viollet-le-Duc._)] The Nave is almost devoid of monuments; nothing breaks up the vast lines of the architecture. The most important tomb is that of Jean Etienne Yver, Canon of Paris and Rouen, who died in February 1467. It has escaped serious mutilation, and is a realistic performance in the style prevailing in France at the end of the fifteenth century. On the base is a gruesome representation of the body of the Canon being given over to the worms. Above this, two saints are helping him to rise from the coffin, and directing his attention towards Heaven. The whole thing is repulsive, but it is interesting as a curiosity. Many historic memorials perished during the Revolution, but some were removed to Versailles and still exist there. They include the tombs of Jean Jouvenel des Ursins (_d._ 1431) and his wife Michelle de Vitry; the Maréchal Albert de Gondi, Duc de Retz (_d._ 1602); and his brother Pierre de Gondi, Bishop of Paris (_d._ 1616). Two monuments have disappeared from the nave which were highly esteemed in their day. Writing of Notre Dame in his _Crudities_ in 1611, Thomas Coryat says: “I could see no notable matter in the cathedral church, saving the statue of Saint Christopher on the right hand at the coming in of the great gate, which is indeed very exquisitely done, all the rest being but ordinary.” The statue so delighted the old traveller that he had eyes for nothing else, for the architecture of Notre Dame is anything but ordinary. The Chapter of the Cathedral did not share his view, for they deliberately destroyed it in 1786. It was presented to the church in 1413 by Antoine des Essarts, whose tomb with his effigy in armour stood near it. Its destruction is remarkable, for colossal things were very much to the taste of those who lived at the end of the seventeenth century. The Revolution is responsible for the