1. _Chapelle des Ames du Purgatoire._ Christ rescuing a soul from Purgatory. A statue by De Chaume in coloured stone. The colour scheme of the chapel is warm and brilliant. 2. _Chapelle de Sainte-Geneviève._ The decorations, which are somewhat profuse, were given by the “dames de l’Institut de l’œuvre de Sainte Geneviève.” 3. _Chapelle Saint-Joseph_, with statue of Joseph with the Child Jesus in his arms. 4. _Chapelle Saint-Pierre._ Statue in wood of the saint by M. Corbon. The carved woodwork of the sixteenth century still remains, and includes panels with representations of the Twelve Apostles, St. Germain, and Sainte Geneviève. 5. _Chapelle Saint-Anne._ 6. _Chapelle du Sacré-Cœur._ Statue in coloured stone by M. de Chaume. 7. _Chapelle de l’Annonciation._ With a statue of the Virgin in wood by M. Corbon. Paintings by Perrodin, one of the best pupils of Flandrin, of David, St. Michel, Isaiah, St. Anne, St. Joseph, St. John, St. Luke, St. Augustine, St. Bernard, St. Dominic, and St. Bonaventure. Before we turn from the nave to the choir and transepts, let us say a few words as to the _stained glass_, which was once the glory of the church. There is probably no Gothic interior in France which has suffered more terribly from the destruction of its ancient windows than Notre Dame. The coldness and severity which the mural decorations of Viollet-le-Duc vainly strive to mitigate were perhaps not felt at all when the light from every window seemed to be transmitted in glowing and gleaming shafts of every conceivable colour and tone. Fortunately, the old glass still remains in the great rose windows. That over the west door has been described; the others will be noticed in the account of the transepts. The rest of the glass was deliberately destroyed, not by an infuriated mob, but by those in authority, in 1741. The work of destruction was performed by Jean Leviel and his brother, who cheerfully substituted for the priceless material they removed great sheets of dull, monotonous _grisaille_, with borders ornamented with the _fleur-de-lis_. The introduction of _grisaille_ has been quaintly described by Michelet as _le protestantisme entrant dans la peinture_. Its use at Notre Dame is nothing short of a disaster. Efforts have been made in some parts of the building to replace it with glass of a less sombre character, but these efforts so far have done little to lessen our regret for the calamity of 1741. [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ ANGLE OF THE CHOIR AND SOUTH TRANSEPT.] CHAPTER V. THE TRANSEPTS AND THE CHOIR. The austere character of the nave emphasises the splendid decorations of the eastern parts. No massive screen prevents our seeing the church from the great entrance to the apse. The fact that the choir is open possibly lessens our sense of mystery and of awe, but we are more than compensated by the splendid view of the building from end to end.