But he has written so appreciatively of the beauties of the figures, that we can overlook his shortcomings. He further says, "That different hands were employed on the same portal (the North Transept) may be seen in the forty-two small seated figures of bishops, saints and kings, which in three rows fill the hollows of the archi-volts. They are one and all of enchanting beauty, grace, and dignity; the little heads delightful; the attitudes most varied; the drapery nobly arranged, and so varied in conception that it would be impossible to conceive more ingenious variations." Of the smaller portal which contained the beautiful figure of Christ in benediction, known as the "_Beau Dieu_," he says: "This is a work of such beauty that it may be considered _the most solemn plastic creation of its time_. It shows perfect understanding and admirable execution of the whole form in its faultless proportions, and moreover there is such majesty in the mild, calm expression of the head, over which the hair falls in soft waves, that the divine seriousness of the sublime Teacher seems glorified by the truest grace. The right hand is uplifted, and the three forefingers stretched out; the left hand holds the orb, and, at the same time the mantle, which is drawn across the figure, and the noble folds of which are produced by the advancing position of the right foot. The following of nature in this masterly figure is in all its details so perfect that not merely the nails of the fingers, but the structure of the joints is characterized in the finest manner." Two years ago it was ablaze with all this sculptural splendor. Now the picture is replaced by a gray monotone of fire-swept portals empty of tracery; of gaping, blackened lancet window-panes destitute of glass; its perfectly designed Gothic arches laced with fantastically bent iron bars, and its nave buried in pulverized calcined heaps of ashes from which protrude here and there blackened, charred beams, while scattered about are the broken fragments of the great bronze bells which once pealed out pæons of sound in celebration of imperial coronations. Although many have attempted the task, it is difficult if not impossible to analyze Rheims, or even adequately to describe its vital exquisite quality, its stimulating originality, or to explain clearly the well nigh incredible competence, beauty and delicacy of even its minor details. One may dwell upon the glory of its sculpture in pages of description, which fail to picture it. Rheims Cathedral was what may be styled a great consistency, that placed it quite in a category by itself. It was quite completely without a fault.