From the point of view of situation this cathedral is more attractively placed than many another which is located in a city which perforce must be ranked as a purely commercial and manufacturing town. From the Pont Neuf, which crosses the Vienne, the view over the gardens of the bishop's palace and the Quai de l'Evêché is indeed grand and imposing. Chronologically the parts of this imposing church run nearly the gamut of the Gothic note--from the choir of the thirteenth, the transepts of the fourteenth and fifteenth, to the nave of the early sixteenth centuries. This nave has only latterly been completed, and is preceded by the elegant octagonal tower before mentioned. This _clocher_ is a thirteenth-century work, and rises something over two hundred and four feet above the pavement. In the north transept is a grand rose window after the true French mediæval excellence and magnitude, showing once again the northern spirit under which the cathedral-builders of Limoges worked. In reality the façade of this north transept might be called the true front of the cathedral. The design of its portal is elaborate and elegant. A series of carved figures in stone are set against the wall of the choir just beyond the transept. They depict the martyrdom of St. Etienne. The interior will first of all be remarked for its abundant and splendidly coloured glass. This glass is indeed of the quality which in a later day has often been lacking. It dates from the fourteenth and fifteenth centuries, except a part, readily discernible, which is of the nineteenth. The remains of a precious choir-screen are yet very beautiful. It has been removed from its original position and its stones arranged in much disorder. Still it is a manifestly satisfying example of the art of the stone-carver of the Renaissance period. It dates from 1543. Bishop Langeac (d. 1541), who caused it to be originally erected, is buried close by, beneath a contemporary monument. Bishops Bernard Brun (d. 1349) and Raynaud de la Porte (d. 1325) have also Renaissance monuments which will be remarked for their excess of ornament and elaboration. In the crypt of the eleventh century, presumably the remains of the Romanesque church whose portal is beneath the western tower, are some remarkable wall paintings thought to be of a contemporary era. If so, they must rank among the very earliest works of their class. The chief treasures of the cathedral are a series of enamels which are set into a reredos (the canon's altar in the sacristy). They are the work of the master, Noel Loudin, in the seventeenth century. In the Place de l'Hôtel de Ville is a monumental fountain in bronze and porcelain, further enriched after the manner of the mediæval enamel workers. The _collection de ceramique_ in the Musée is unique in France, or for that matter in all the world. The _ateliers de Limoges_ were first established in the thirteenth century by the monks of the Abbey of Solignac.