There are seven chapels at the east of the church, but none are found in the naves. The plainness of the nave, in comparison with the ornate character of the exterior, is very remarkable, but this plainness detracts nothing from the impressiveness of its long arcades, its towering roof, the noble lines which rise from the ground and support, as it were, on slender sinews of stone, the shadowy ceiling. The rose-windows, four in number, are filled with glass of the thirteenth century, and the tall windows of the chevet and clerestory contain a many colored mosaic of a similar sort. I was particularly struck with the rose-window over the western portal. It represents the Beautiful Vision; the Eternal Father is throned in the central ring of the window, and in the radiating panes is the Hierarchy of Paradise, angels and archangels and all the company of Heaven, while in a wider circumference are grouped the redeemed, contemplating in adoration the majesty of God. I noticed two very interesting tombs in Rheims cathedral. The first was the sarcophagus of Jovinus, the Christian prefect of Rheims, in the fourth century, who protected the church and was originally buried in the Abbey of St. Nicaise, from whence his tomb was brought to the cathedral. It consists of a single block of snowy marble, nine feet long, and four feet high, on which the consular general is represented in a spirited bas-relief mounted on horseback and saving the life of a man from the lion, in whose flank Jovinus has launched his spear. Very fine indeed is the workmanship of this monument. The figures which surround Jovinus are men of handsome countenance, evidently portraits, their dress and arms being finished with the utmost nicety of detail. The figures are about half life-size. The other tomb is that of St. Remigius, a Renaissance work erected by Cardinal Delenoncourt in 1533. It is sumptuous and gaudy rather than beautiful. Twelve statues, full life-size, represent the twelve peers of France, six are the prelates of Rheims, Laon, Langres, Beauvais, Chalons, and Noyon; the six lay peers are the dukes of Burgundy, Normandy and Aquitaine, and the counts of Flanders, Champagne, and Toulouse. The white marble of these somewhat stagey figures is beautifully worked and the effect is imposing.