the only one of which the cathedral can boast. Within,
the effect of the choir is superb; it is a church in it-
self, with the nave simply for a point of view. As I
stood there, I read in my Murray that it has the stamp
of the date of the perfection of pointed Gothic, and I
found nothing to object to the remark. It suffers little
by confrontation with Bourges, and, taken in itself,
seems to me quite as fine. A passage of double aisles
surrounds it, with the arches that divide them sup-
ported on very thick round columns, not clustered.
There are twelve chapels in this passage, and a charm-
ing little lady chapel, filled with gorgeous old glass.
The sustained height of this almost detached choir is
very noble; its lightness and grace, its soaring sym-
metry, carry the eye up to places in the air from
which it is slow to descend. Like Tours, like Chartres,
like Bourges (apparently like all the French cathedrals,
and unlike several English ones) Le Mans is rich in
splendid glass. The beautiful upper windows of the
choir make, far aloft, a sort of gallery of pictures,
blooming with vivid color. It is the south transept
that contains the formless image - a clumsy stone
woman lying on her back - which purports to represent
Queen Berengaria aforesaid.

The view of the cathedral from the rear is, as usual,
very fine. A small garden behind it masks its base;
but you descend the hill to a large _place de foire_, ad-
jacent to a fine old pubic promenade which is known
as Les Jacobins, a sort of miniature Tuileries, where I