proportions, in design inspired, much too sublime for the kings it has
crowned, and almost worthy of the king in whose honor, seven
hundred years ago, it was reared. It has been called "perhaps the
most beautiful structure produced in the Middle Ages." On the west
façade, rising tier upon tier, are five hundred and sixty statues and
carvings. The statues are of angels, martyrs, patriarchs, apostles, the
vices and virtues, the Virgin and Child. In the centre of these is the
famous rose window; on either side giant towers.

At my feet down the steps leading to the three portals were pools of
blood. There was a priest in the square, a young man with white hair
and with a face as strong as one of those of the saints carved in
stone, and as gentle. He was curé doyen of the Church of St.
Jacques, M. Chanoine Frezet, and he explained the pools of blood.
After the Germans retreated, the priests had carried the German
wounded up the steps into the nave of the cathedral and for them
had spread straw upon the stone flagging.

The curé guided me to the side door, unlocked it, and led the way into
the cathedral. It is built in the form of a crucifix, and so vast is the
edifice that many chapels are lost in it, and the lower half is in a
shadow. But from high above the stained windows of the thirteenth
century, or what was left of them, was cast a glow so gorgeous, so
wonderful, so pure that it seemed to come direct from the other world.

From north and south the windows shed a radiance of deep blue, like
the blue of the sky by moonlight on the coldest night of winter, and
from the west the great rose window glowed with the warmth and
beauty of a thousand rubies. Beneath it, bathed in crimson light,
where for generations French men and women have knelt in prayer,