ch the same. There are two divisions, of which
the lower contains the "practicable entrance," and is guarded by a
caryatid on each side supporting two male figures. Along the lintel
runs a line of brackets alternating with cherubs' heads supporting
seven figures, four males in high relief with three females in low
relief behind them. These figures in turn carry a square panel, carved
in high relief above them, representing different scenes on each door,
chiefly suggested by the story of the Good Shepherd which is so
appropriate to the staple industry of the town. They were begun by
1527 and finished before 1560. Jean Goujon was born in 1520, and was
killed during the Massacre of St. Bartholomew while carving on the
Louvre. In 1540 he is known to have been at Rouen, and in the next
year he worked both here and in the Cathedral. So that he may well
have given the design for what he did not personally execute, though
no documents exist to prove either.

[Illustration: CHURCH OF ST. MACLOU

STAIRCASE TO THE ORGAN LOFT]

But if the doors are a trifle disappointing, though only so because of
their great reputation, they certainly did not deserve to be mutilated
by the Huguenots in 1562; and in 1793 when a barrelmaker's child was
slashing the heads of the statues with an axe, the crowd could think
of no better comment than "Celui-la sera un fameux patriote!" Of the
facade they were intended to adorn, which was probably the work of
Ambroise Harel, I have already spoken in describing the exactly
reverse plan of the original west front of St. Ouen. It is one of the
most delightful tours de force I know in architecture, and when Miss
James was drawing for me the frontispiece which adorns this volume,
she pointed out that the idea of the curve had been deliberately
emphasised to the spectator's eye by building the side porches
narrower, and crowning them with lower crests than is the case in the
central entrance. The central tympanum represents the Last Judgment,
with the Pelican above it that typifies the Resurrection. You may
appreciate at once the delicate tracery of lacework in stone which
covers this exterior and also the affection felt for its beauties by
their guardians, if you will examine the model laboriously built up in
wood and paper by an old vicar in the sixteenth century. His ten years
of loving toil have been preserved in the Musee des Antiquites, and
few better proofs exist of contemporary appreciation of the fi