Miracles began to occur. The faithful flocked to the new shrine, bringing rich gifts, and about the year 1210 the building was again able to be taken in hand. The church was completed. But when this was done, either because they were not content with the choir of Hilduard, as being unworthy of the later nave, or because it was already in need of repair, the monks of S. Père rebuilt the choir towards the end of the reign of S. Louis. The apse was finished in or about the year 1310. The monks made it, as it were, almost one sheet of glass, and supported their beautiful, if daring, creation by a series of sixteen buttresses without, which are higher, lighter and more graceful than those of the nave. A beautiful thirteenth-century doorway on the north side of the church is the remaining feature of note on the exterior. But, in spite of the variety of dates to which the various portions of the building belong, it is, as a whole, singularly well proportioned and full of grace. Within, since the Revolution, when the tombs of Fulbert and many other bishops were destroyed together with much valuable and artistic furniture, carved stalls and a Renaissance jubé, there are two main attractions--the windows and the Limousin enamels. But before speaking of them we must mention the epitaph of Robert, son of Richard, first Duke of Normandy, who was _not_ Archbishop of Rouen, as the inscription which is in the aisle states. Also the very rich and graceful triforium of the nave, and the later and still more delicate triforium of the choir, cannot fail to please. The unique gallery of fourteenth-century glass presented by the windows of S. Père is, as M. l’Abbé Bulteau remarked, arranged methodically in a carefully-considered combination and not according to the whims of the various founders, as was to a large extent the case with the thirteenth-century lights of the Cathedral. On the left-hand side of the nave are represented the Apostles and episodes from the Gospel story; on the right, the Confessors and incidents drawn from the lives of the martyrs; in the choir, martyrs, prophets and saints group round our Saviour, who, as a little child, is borne on His mother’s arm, and as a grown man hangs upon the tree of the Cross. All the windows of the church, therefore, viewed thus, seem to converge towards a common centre, which is Jesus Christ our Lord. The scheme of the majority of windows is the presentation of large single figures of stained glass surrounded by broad bands of grisaille. On the north or left-hand side, beginning from the west end, next the old tower, are two Apostles, set in a broad frame of grisaille.