The interior fills no accepted formula of architectural expression, save that it is of the manner common to Anjou, the borderland between the Gothic aisled and the great and aisle-less southern naves, but it holds one's interest none the less. Perhaps, after all, it is the quality to interest, quite as much as that to please, which is the standard by which one makes estimates and forms opinions. There is a not very long nor very wide nave and choir, neither with aisles, and both with a vaulting which gives the appearance of being much lower than it really is, quite the contrary impression to that received from contemplation of the exterior. The bishop's throne sets midway on the right of the nave. Each bay of the side walls of the nave is composed of a wide pointed arch resting immediately upon the ground and filled with stone instead of glass; reminiscent of a similar effect in the Church of Notre Dame de la Cloture at Le Mans. The true windows of the nave rise in pairs above this arch, and contain rich, though somewhat fragmentary, glass of the thirteenth century. As characteristic of the Angevine style, there is no triforium or clerestory, and hence, it is claimed, no necessity for flying buttresses, the support being accomplished by less graceful, if as effective, heavy square piers built into the outer wall. The transepts are not pronounced as to length or breadth, their chief beauty being their rose windows. The choir, of the twelfth century, shows an interpolated and elaborately flamboyant doorway of a much later period. An ornate oaken pulpit of none too good Renaissance carving is in the nave, and the organ case over the western doorway is supported on the shoulders of a series of huge, grotesque, but monstrously human, wooden caryatides. This, with the gigantic, high canopied carven wood pulpit, one of the most extraordinary in the country, forms a relief to coldly chiselled stone, certainly;--but few will consider their charms such as would warrant counting them amongst ecclesiastical treasures. The fourteenth-century tapestries from Arras (or Paris) were made for King Rene and by him given to the cathedral. They represent scenes from the Apocalypse, and, though having suffered somewhat from the depredations of the Revolution, still exhibit evidences of rare qualities of workmanship in their design and colouring. The _benitier_ of _verd-antico_ marble supported by figures of lions is a Byzantine work of the eastern empire, given to the cathedral by King Rene. The Dukes of Anjou and Margaret of Anjou were buried here, but the tomb of the latter was desecrated and destroyed during the Revolution. Aside from these, no other monuments of note are to be seen. The Bishop's Palace, of the twelfth century, standing high beside the cathedral, was restored by Viollet-le-Duc and reflects a mediaeval splendour unseen elsewhere in the city, with respect to any great or small domestic establishment.