ut although the dim interior is full of
interest and its rose windows blaze with fifteenth century glass, it is the
west front and carved doors that are the most memorable features of the
building.

In the Place du Marche Vieux you may see the actual spot where Joan of Arc
was burnt, a stone on the ground bearing the words "Jeanne Darc, 30 Mai,
1431." To all who have really studied the life, the trial and the death of
the Maid of Orleans--and surely no one should visit Rouen without such
knowledge--this is the most sacred spot in the city, for as we stand here
we can almost hear her words addressed to Cauchon, "It is you who have
brought me to this death." We can see her confessor holding aloft the cross
and we seem to hear her breathe the Redeemer's name before she expires.

CHAPTER IV

Concerning the Cathedral City of Evreux and the Road to Bernay

The tolling of the deep-toned bourdon in the cathedral tower reverberates
over the old town of Evreux as we pass along the cobbled streets. There is
a yellow evening light overhead, and the painted stucco walls of the houses
reflect the soft, glowing colour of the west. In the courtyard of the Hotel
du Grand Cerf, too, every thing is bathed in this beautiful light and the
double line of closely trimmed laurels has not yet been deserted by the
golden flood. But Evreux does not really require a fine evening to make it
attractive, although there is no town in existence that is not improved
under such conditions. With the magnificent cathedral, the belfry, the
Norman church of St Taurin and the museum, besides many quaint peeps by the
much sub-divided river Iton that flows through the town, there is
sufficient to interest one even on the dullest of dull days.

Of all the cathedral interiors in Normandy there are none that possess a
finer or more perfectly proportioned nave than Evreux, and if I were asked
to point out the two most impressive interiors of the churches in this
division of France I should couple the cathedral at Evreux with St Ouen at
Rouen.

It was our own Henry I. who having destroyed the previous building set to
work to build a new one and it is his nave that we see to-day. The whole
cathedral has since that time been made to reflect the changing ideals of
the seven centuries that have passed. The west front belongs entirely to
the Renaissance period and the north transept is in the flamboyant style of
the fifteenth century so much in evidence in N