suit the new conditions, those who had contributed their leisure to the beautifying of the streets, turned their attention to the neglected foundations on the Heights. They found in the new Christian spirit something of the enthusiasm of the thirteenth century, and ridding the creed of all save the principle of love which Christ had made the foundation of His church, set themselves to embodying this principle with its mystic consequences of sacrifice into gothic arch and deep-stained glass, upon a scale and design heretofore never accomplished. Abandoning the transitional style at first contemplated, they adopted the general scheme of Chartres; but in lieu of the almost discordant steeples of Chartres they substituted a design taken rather from what is left of St. Jean, at Soissons, varying in height and detail, but identical in style, stimulating wonder without shocking it. The entrance porches of the western façade were inspired by Rheims and Bourges, for there were five of them; the nave and choir towered to the heights of Beauvais; and in the center rose the spire of Salisbury. The lateral steeples flanking the north and south approaches were completed with the same bewildering variety as on the west front, and the apse, where rested the sanctuary, terminated the story with a cluster of chapels that equaled, if not excelled, the _chevet_ of Le Mans; and so every part of this tribute to Christ lifted itself up in adoration to heaven like a flame. It rose from a green sward, and adjoining it, on the north side, was a cloister that in the hush of its seclusion brought back hallowed recollections of a bygone age. It was from this cloister that Latona drew her following; for Latona, with her thoughts turned to Eleusis and not to Galilee, conceived of a worship which--though sorrow had a part in it--partook also of joy and thanksgiving; sacrifice assuredly, but for the happiness of this world, rather than for its mortification; an after life also, but an after life for which preparation in this world might through the great unselfishness of a few assure the happiness of the many. So that while sacrifice for the sake of sacrifice had become the underlying principle of the Christian religion, sacrifice for the making of joy became the central idea of the new cult. And Latona, as indeed every mystic, the more she dwelt upon these things, the more she grew to believe in her mission; she began by dreaming dreams and ended by seeing visions; she found that fasting and asceticism contributed to lengthen and strengthen the moments when, losing consciousness of this world, she seemed to find herself in direct communion with the divine. Her body soon showed the traces of her spiritual life; she lost her beauty, but in the place of it came a happiness so radiant that as she walked in the streets to her allotted task it caused men and women to stand and wonder.