Notre-Dame has two towers at the west end, and a _flèche_ over the intersection of the nave, choir and transepts. This is modern; and why? Because, in 1787, an architect was found who considered it well to "amputate" the old one. Listen to Victor Hugo: "Un architect de bon gout l'a amputé, et a cru qu'il suffisait de masquer la plaie avec ce large emplâtre de plomb, qui ressemble au couvercle d'une marmite"--doubtless that strange species of turret so common in London, familiarly termed a pepper-box. The western _façade_, though not so rich as that of Reims, is nevertheless exceedingly beautiful. It is divided into three parts in its width, and into four stories in its elevation. Here is what our old friend Dibden says of it in his time: "Of Notre-Dame, the West front, with its marygold windows, is striking both from its antiquity and richness. It is almost black from age" (would it were so now!)--"but the alto-relievos, and especially those above the doors, stand out in almost perfect condition. These ornaments are rather fine of their kind. There is, throughout the whole of this West front, a beautiful keeping, and the towers are _here_ somewhat more endurable, and therefore somewhat in harmony. Over the North transept door, on the outside, is a figure of the Virgin--once holding the infant Jesus in her arms. Of the latter only the feet remain. The drapery of this figure is in perfectly good taste, a fine specimen of that excellent art which prevailed towards the end of the XIIIth century. Above is an alto-relievo subject of the _Slaughter of the Innocents_. The soldiers are in quilted armour. I entered the cathedral from the Western door, during service-time. A sight of the different clergymen engaged in the office filled me with melancholy, and made me predict sad things of what was probably to come to pass! These clergymen were old, feeble, wretchedly attired in their respective vestments, and walked and sung in a tremulous and faltering manner. The architectural effect of the interior is not very imposing, although the solid circular pillars of the nave, the double aisles round the choir, and the old basso-relievo representations of the Life of Christ upon the exterior walls of the choir, cannot fail to afford the antiquary very singular satisfaction. The choir appeared to be not unlike that of S. Denis." Notre-Dame should be visited by lovers of plain song. To hear forty men and boys chant Gregorian tones, with _ad libitum_ accompaniments upon a small organ, is a treat not to be forgotten. And note, the _small_ organ, for the large one at the end of the nave is only used for voluntaries; thundering accompaniments to the voices being unknown in Paris. [ILLUSTRATION: NOTRE-DAME DURING SERMON.]