we may add, economical, visit to Normandy, to do, as is the general
custom with travellers--spend half their time and most of their money in
Paris.

Thus much in outline for the ordinary English traveller on a holiday
ramble; but the artist or the architect need not go so far a-field. If
we might make a suggestion to him, especially to the architect, we would
say, take only the first four towns on our list (continuing the journey
to Coutances, or returning by Rouen if there be opportunity), and he
will find enough to last him a summer.[4] If he has never set foot in
Normandy before we may promise him an æsthetic treat beyond his dreams.
He will have his idols both of wood and stone--wood for dwelling, and
stone for worship; at PONT AUDEMER, the simple domestic
architecture of the middle ages, and at LISIEUX, the more
ornate and luxurious; passing on to CAEN, he will have (in
ecclesiastical architecture) the memorial churches of William the
Conqueror, and, in the neighbouring city of BAYEUX (in one
building), examples of the 'early,' as well as the more elaborate,
gothic of the middle ages.

If the architect, or art student, will but make this little pilgrimage
in its integrity, if he will, like Christian, walk in faith--turning
neither to the right hand nor to the left, and shunning the broad road
which leads to destruction--he will be rewarded.

There are two paths for the architect in Normandy, as elsewhere--paths
which we may call the 'simple right' and the 'elaborate wrong,' and the
right path is sometimes as difficult to follow as the path of virtue.

But both artist and amateur will revel alike in the beauty of landscape,