The general plan is symmetrical, and severe, only the twenty chapels being ungracefully disposed. Ten of these are in the choir and ten in the nave. For the antiquary, versed in religious archaeology, the Cathedral of Sens would appear, from the very inconsistencies and exuberance of its style, to be of great interest. The fragments that remain of its former magnificent glass, the sculptured monuments, and the tombs and curiosities of the "_tresor_," which escaped Revolutionary spoliation, all combine in a glorious attraction for one who has the time and inclination to delve into the reminiscence of history and association of a past age. The glass of the choir, and of the chapel of St. Savinien, is of the thirteenth century. The colour is exceedingly brilliant, lively, and harmonious, with the iridescence of a mosaic of precious stones. The sixteenth-century glass, none the less than the framing itself, of the grand rose windows of the north and south transepts, is equally remarkable as to design and colour. The former represents the "Glorification of Jesus Christ," and the latter "Events in the Life of St. Etienne." The "_tresor_" of the cathedral is very numerous and is considered the richest in all France. The most notable are a reliquary of gold, set with sapphires and pearls, containing a fragment of the True Cross, given by Charlemagne in the year 800; four magnificent tapestries of the time of Charles V., representing the "Adoration of the Magi;" and the pontifical robes of St. Thomas (a Becket), chasuble, aube, stole, manipule, cordon, two mitres, and two collars. This courageous archbishop, persecuted by Henry II., took refuge in Sens in 1162. An elaborate tomb (of the eighteenth century), by Constant, is the mausoleum of the Dauphin, father of Louis XVI. _PART VI_ _Western Normandy and Brittany_ I INTRODUCTORY Most people who have read Ruskin, and most people have done so--in the past, will undoubtedly concur with his dictum that Rouen's "associated Norman cities," Bayeux, Caen, Coutances, St. Lo, Lisieux, and Dieppe, run the entire gamut of mediaeval architectural notes; or, as Ruskin himself has put it, "from the Romanesque to the flamboyant." He might well have added, the Renaissance and the pseudo-classicism of a later day. Beauties there are in this region, galore; and the examples which no longer exist, but of which the records tell, point to a still larger aggregate.