only added in the fifteenth century. The elaborate
work on the west front belongs to the century following, and although the
ideas of modern architects have varied as to this portion of the cathedral,
the consensus of opinion seems to agree that it is one of the most perfect
examples of the flamboyant style so prevalent in the churches of Normandy.
The detail of this masterpiece of the latest phase of Gothic architecture
is almost bewildering, but the ornament in every place has a purpose, so
that the whole mass of detail has a reposeful dignity which can only have
been retained by the most consummate skill. The canopied niches are in many
instances vacant, but there are still rows of saints in the long lines of
recesses. The rose window is a most perfect piece of work; it is filled
with painted glass in which strong blues and crimsons are predominant.
Above the central tower known as the Tour de Pierre, that was built
partially in the thirteenth century, there rises the astonishing iron spire
that is one of the highest in the world. Its weight is enormous despite the
fact that it is merely an open framework. The architect of this masterly
piece of work whose name was Alavoine seems to have devoted himself with
the same intensity as Barry, to whom we owe the Royal Courts of Justice in
London, for he worked upon it from 1823, the year following the destruction
of the wooden spire by lightning, until 1834, the year of his death. The
spire, however, which was commenced almost immediately after the loss of
the old one, remained incomplete for over forty years and it was not
entirely finished until 1876. The flight of eight hundred and twelve steps
that is perfectly safe for any one with steady nerves goes right up inside
the spire until, as you look out between the iron framework, Rouen lies
beneath your feet, a confused mass of detail cut through by the silver
river.

The tower of St Romain is on the north side of the cathedral. It was
finished towards the end of the fifteenth century, but the lower portion is
of very much earlier date for it is the only portion of the cathedral that
was standing when Richard I. on his way to the Holy Land knelt before
Archbishop Gautier to receive the sword and banner which he carried with
him to the Crusade.

The Tour de Beurre is on the southern side--its name being originated in
connection with those of the faithful who during certain Lents paid for
indulgences in order to be allowed