in their divergences, so typical of that lost secret of mediæval art—the preservation of symmetry in unlikeness. These western towers of Saint Jean, rising strongly on each side of the central door, and reinforcing the airy elegance of the façade by their vigorous vertical buttressing, break, at the level of the upper gable, into pyramidal masses of differing height and breadth, one more boldly tapering, the other more massive and complex, yet preserving in a few essential features—the placing of the openings, the correspondence of strong horizontal lines—a unity that dominates their differences and binds them into harmony with the whole façade. It is sad, on passing through the gaping western doorway, to find one's self on a bit of waste ground strewn with fragments of sculpture and masonry—sadder still to have the desolation emphasized by coming here on a bit of Gothic cloister, there on a still more distinctive specimen of Renaissance arcading. The quality of these surviving fragments indicates how great must have been the interest, both æsthetic and historical, of this beautiful ruin, and revives the vain wish that, in some remote corner of Europe,
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