hitect of the
Chapelle de la Vierge, built for Archbishop Guillaume de Flavacourt in
1278, will bear microscopic examination in every part, and the
reverently careful restorations carried out some time ago by MM.
Desmarest and Barthelemy have only brought to light the exquisite
perfection of the original work. This gate to the northern transept
got its name from the special trade which gradually was connected with
that portion of the Cathedral bounds. I have already noticed how the
Parvis was filled with various shops and booths, and this space before
the northern gate was similarly appropriated by booksellers until at
least some time after the sixteenth century was over. What I have to
say now is connected with the actual portal itself. The forecourt once
filled with bookstalls, that leads up to it, was only decorated in
1480 by Guillaume Pontifz, who also erected the fine screen that opens
into it from the Rue St. Romain. On the east side of this court you
may see St. Genevieve standing with a Bible in her left hand, and a
candle in her right. Upon one shoulder a tiny angel tries to kindle
the light, while on the other a wicked little devil with a pair of
bellows is perched ready to blow it out again. The panel decoration
upon the buttresses of this north door has been selected by Mr Ruskin
as the high-water mark of Gothic tracery before its decline began. It
takes the form of blind windows carved upon the solid stone, and is
certainly an exquisite example of varied, yet severe proportion and
arrangement. Its plan expresses the true qualities of the material
with a right regard for mass in decoration, rather than for line, the
fatal change which wrought so much damage after the earlier ruling
principle had been given up.

[Illustration: PORTAIL DES LIBRAIRES (DOOR OF NORTH TRANSEPT OF ROUEN
CATHEDRAL)]

This same acute observer, blessed with more leisure time than I have
ever had in Rouen or elsewhere, was able to make certain remarks on
the detailed carvings of the door itself, which must be at least
suggested in any other description. My own count of the separate
carvings does not agree with that made by Mr Ruskin, and in a mere
matter of mathematics I may be bold enough to differ publicly, where
agreement is so inevitable with the main thesis of his argument. Some
idea may be obtained of the work expended on this one portion of the
Cathedral alone, when I say that in the centre of the door is a square
pedestal,