fian who is no doubt commemorated also in the name of Rue
Tirelinceuil at Rouen), or the burglar walking off with a chest upon
the southern transept, while the owner soundly kicks him and tries to
take it back.

This southern door is called the Portail de la Calende from the
confrerie of that name, but the derivation is rather uncertain, and
some authorities consider it refers to certain ecclesiastical
assemblies, distinct from the synod, which were held four times a year
in this part of the Cathedral. The plan of the quatrefoils is much the
same as that of the "Libraires." Within the tall embracing arch it is
indeed identical, but upon the arch itself fourteen panels are set on
each side, and outside it are no less than three double clusters both
to right and left, which increases the total of panels to 227. In this
enormous number, I have already mentioned one; but perhaps the best
known is that which illustrates a very popular mediaeval legend, the
"Lai d'Aristote," which also recurs in the misereres of the choir. It
suggests the eternal supremacy of woman over man, even the wisest, by
representing the typical philosopher of the middle ages saddled and
bridled by a gay lady of Alexander's court, who sits upon his back and
whips him heartily. This is rather difficult to see, as it is high up
on a buttress beneath a statue at the side of the Rue des Bonnetiers.
From mythology you will find here countless sirens, some playing
instruments before their victims, others, like the mermaid of the
fable, admiring themselves in mirrors and waving a seductive comb.
There is also yet another violin player, with his back towards you,
playing to a dancer who is posturing head downwards on his hands, like
the daughter of Herodias upon the west facade.

I have already given the name of one of the master-masons who were
associated with this great pile of buildings, where the sound of
chisel and mallet can have scarcely ever ceased from the twelfth
century to the sixteenth. But Jean Davi's work was necessarily one of
the last finishing touches upon a building that others had reared in
the mass for him to decorate in detail. The various churches that had
been consecrated on the same spot have been recorded in their turn,
from the first primitive shrine of St. Mellon, in the fourth century,
to that greater fane seen by the Conqueror, which was almost entirely
burnt in 1200. The lower part of the Tour St. Romain is certainly a
part of t