square in front of the Cathedral (close to the spot from which M.
Clerget has made his drawing), where he may take away with him an
impression of the wealth and grandeur of the architecture of Normandy,
pleasant to dwell upon.

If we do not examine too closely into 'principles,' or trouble our minds
too much with 'styles' of architecture, the effect that we obtain here
will be completely and artistically beautiful, and satisfying to the
eye. It is not easy to point out any modern building that fulfils these
conditions; where, for instance, can we see anything like the work that
was bestowed on the lower portion of this façade? We may spend more
money and effort, but we do not achieve anything which seems to the
spectator more spontaneously beautiful (if we use the word aright);
anything displaying more wealth of decoration, combined with grandeur of
effect. Severe, we might say austere, critics speak of the 'confusion of
ornament,' and tell us that the over-elaboration of carving on the
exterior of this cathedral is a sign of decadence, and that the
principles on which the architects of Caen and Bayeux worked were more
noble and worthy; whilst architects will tell us that Gothic art was
generally 'debased' at Rouen,--debased from the time when people gave
themselves up to the luxury of the Renaissance, and 'pride took the
place of enthusiasm and faith, in art.'

We might, indeed, if we chose to make the comparison for a moment
between Christian and Mahommedan art, see a higher principle at work in
the construction of the mosques and palaces of the Moors, where
simplicity, refinement, and truth are noticeable in every line; we might
see it in mauresque work, in the absence of grotesque images, or the
imitation of living things in ornament; but, above all, in the severe
simplicity and grandeur of their _exteriors_, and in the decoration,