itizen-patriot with the hungry lion of the cathedral.

* * * * *

These two legends refer solely to the cathedral. There is, in addition,
the rather more familiar one of "St. Ursula and the Eleven Thousand
Virgins."

And, besides legends, there is much real symbolism that peeps out
wherever one turns. The skulls of the "Three Kings" still grin from
under their crowns in the cathedral, as they did when Frederick
Barbarossa stormed Milan and brought back these relics of the three
_Magi_. Beneath the pavement of the cathedral lies buried the heart of
Marie de Medici, who, in her fallen fortunes, died at Sternen-Gasse 10,
in the house where Peter Paul Rubens was born.

In a rather roundabout way the name of one great in letters is
associated with Cologne. Petrarch came here on his way from Avignon to
Paris in 1331, and the superb beginnings of the new cathedral inspired
him with the most profound admiration. In a letter which he addressed to
his friend and protector, Jean Colonna, he said: "I have seen in this
city the most beautiful temple; yet incomplete, but which is truly
entitled to rank as a supreme work."

It was a fortunate day for the history of the church at Cologne when the
Evangelist first preached the gospel in the city of Colonia Agrippina.
In those days the primitive church sheltered itself modestly under the
shadow of the Roman fortress, whereas to-day the great cathedral rises,
stately and proud, high above the fortification of the warlike
Teuton--if he really be warlike, as the statesmen of other nations
proclaim.

When Charlemagne fixed his official residence at Aix-la-Chapelle, he
placed his imperial palace in the diocese of Cologne; the two cities
together, by reason of their power and importance, standing as a symbol
of mightiness which did much to make the great, unwieldy dominion of the
Carlovingian Emperor hang together.

It has been claimed, and there certainly seems some justification for
it, that the general plan of the cathedral at Cologne is similar to that
of Notre Dame d'Amiens; there is something about the general scale and
proportions that makes them quite akin. Perhaps this is due to the
particularly daring combination of its lines and the general hardiness
of its plan and outline. These features are certainly common to both in
a far greater degree than are usually found between two such widely
separated examples. At any rate, it is perhaps as safe a