The transepts are of quite idyllic proportions, each possessing an ample rose window which makes up in design and framing what it may lack in the quality of glass with which it is set. These transepts, too, have undergone the usual restoration, and have come safely through with little sad effect. It is to be hoped that these continued restorations will be carried out with the same good taste, and in a like consistent manner. If so, there will be presented for the delectation of generations of the near future one of the most pleasing of the smaller cathedrals in all France. The triforium of the choir, and of the nave so far as it can be observed through the obstructing scaffolding, is singularly light and graceful, and the window framing throughout, though entirely lacking notable glass, is of manifest good design. In fine, then, the general effect of the Cathedral of Notre Dame de Seez is one of lightness and grace, and it may be considered as an extraordinarily fine architectural monument, in spite of the anomalies of its west front. The twin spires rise gracefully for perhaps two hundred and fifty feet, and are after the best manner of the great Gothic builders; of true proportions, and of the dwindling pyramidal form so much approved. The facade, between the towers and the extraordinary buttresses, is completely filled with an ample Gothic portal, which, though entirely destitute of sculpture, or indeed carving of any sort, offers a significant opportunity for some future efforts in this direction. [Illustration: _CATHEDRAL of NOTRE DAME BAYEUX_] VI NOTRE DAME DE BAYEUX The magnificently impressive Cathedral of Notre Dame is perhaps less intimately associated with Bayeux in the average mind than is the wonderful story-telling tapestry which is domiciled in the same city. As for this treasure of the past, it is a subject so vast, and of such great significance, in both history and art, that it has many times been made the subject of weighty consideration. A well-known English amateur, the Honourable E. J. Lowell, has stated that popular tradition has credited it as the handiwork of Matilda, Queen of William the Conqueror, who worked it to commemorate his glorious achievements. If this be really so, the queen was probably assisted largely by the ladies of her court, as the extensive work, measuring some hundred and sixty odd feet, could hardly have been accomplished single-handed. Professor Freeman assigns it to a similar period, but worked, as he thinks, by English workmen, for Odo, Bishop of Bayeux, the Conqueror's half-brother.