The central spire as it exists to-day, in reality an abomination of abominations, is naturally enough admired by all when first viewed from afar. It certainly looks not dwarfed, or even fragile, but simply delicate, and withal graceful, an opinion which ultimate association therewith speedily dispels. It must be one of the very first examples of modern iron or steel erection in the world, dating from 1827, following three former spires, each of which was burned. The architect responsible for this monstrosity sought to combine two fabrics in incoherent proportions. More than one authority decries the use of iron as a constructive element, and Chaucer's description of the Temple of Mars in the Knight's Tale reads significantly: "Wrought all of burned steel... Was long and straight and ghastly for to see." The great part of the exterior of this remarkable church is closely hidden by a rather squalid collection of buildings. Here and there they have been cleared away, but, like much of the process of restoration, where new fabric is let into the old, the incongruity is quite as objectionably apparent as the crumbling stones of another age. _Notre Dame de Rouen_ is singularly confined, but there seems no help for it, and it is but another characteristic of the age in which it was built,--that the people either sought the shelter of churchly environment, or that the church was only too willing to stretch forth its sheltering arms to all and sundry who would lie in its shadow. In an assignment of ranking beauty to its external features, the decorative west front must manifestly come first; next the _Portail aux Libraires_, with its arcaded gateway and the remains of the booksellers' stalls which still surround its miniature courtyard; then, perhaps, should follow the _Tour St. Romain_ and the _Portail de la Calende_, with its charmingly recessed doorway and flanking lancet arches. The sculptured decorations of all are for the most part intact and undisfigured. The gable of the southern doorway rises pointedly until its apex centres with the radiated circular window above, which, by the way, is not of the exceeding great beauty of the other two rose windows, which rank with those at Reims and Chartres as the _beaux ideals_ of these distinctly French achievements.