destruction of a famous equestrian statue which stood in the nave until 1792. It is generally considered to have been that of Philippe le Bel, clothed in the armour in which he won his victory over the Flemings at Mons-en-Pucelle in 1304. The identity of the statue has, however, been the subject of controversy. Viollet-le-Duc tells us that it represented, not Philippe le Bel, but Philippe VI. (of Valois), who defeated the Flemings at Cassel in 1328. On his return to Paris he rode into the cathedral on horseback in state, and vowed his harness to the Virgin. The Chapter disagree with Viollet-le-Duc, who is, however, supported in his contention by the Benedictine Père Montfaucon, by the writers who continued the chronicle of William of Nangis, and some others. The monument stood close to the last pillar on the right side of the nave. The =Pulpit= is a modern work, after the design of Viollet-le-Duc. It is of oak, and its decorations include statues of six of the apostles and of angelic figures. Suspended from the vaulting are eight imposing candelabra in bronze-gilt. =The Chapels of the Nave= contain singularly few features of historic interest, nor amongst the furniture of their altars are there many recent works of art of outstanding merit. They introduce us, however, to the vast scheme of mural painting which has been carried out from the designs and partly under the direction of Viollet-le-Duc. There can be no doubt that some scheme of polychromatic decoration was legitimate: almost every ancient church in France has indisputable evidence of its employment in the middle ages. The problem which faced Viollet-le-Duc was one of extreme difficulty. The area to be covered was enormous: the variations of light were excessive. Some parts were luminous, even radiant; others were hidden in almost continuous gloom. The schemes of colour had to be adapted to these varying conditions. The use of mosaic was considered and discarded. The expense would have been gigantic, and the material was considered, perhaps rightly, to be inappropriate to the style of architecture. Wall pictures, as such, were regarded as destructive to the _ensemble_, fatiguing to the eyes and mind, and productive of a certain patchy effect. A series of symbolical patterns of a rigidly conventional type, in which human figures are very sparingly used, was devised. It may be admitted at once that the learning and ingenuity displayed in the design of the scheme were such as might be expected from the most erudite and accomplished French architectural scholar of our time. The minute consideration which Viollet-le-Duc devoted to the subject may be judged from the following passage: “D’abord, la cathédrale de Paris, comme on sait, est orientée de telle façon que tout un côté du monument se présente vers le midi et l’autre vers le nord. Un de ces côtés reçoit donc une lumière plus vive et plus colorée que l’autre. Il a paru