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has been the choir of the cathedral at Lisbon; the church had been much injured by an earthquake in 1344 and the whole east end was at once rebuilt on the French plan, otherwise unexampled in Portugal except by the twelfth-century choir at Alcobaça.
Living away from the great centres of thought and action, he had followed a gentle and placid course of existence, almost unruffled, save by the outside murmurs of a growing public discontent which had reached him through the medium of current literature, and had given him cause to think uneasily of possible disaster for the religious world in the near future, but he had never gone so far as to imagine that the Head of the Church would, while being perfectly conscious of existing threatening evils, deliberately turn his back to appeals for help, shut his ears to the cry of the "lost sheep of the House of Israel", and even endeavour, with an impotence of indignation which was as pitiable as useless, to shake a rod of Twelfth-century menace over the advancement of the Twentieth!
Close by is the only part now remaining of the twelfth-century outer wall of the nave aisle. The original corbel course of the parapet remains, but not the upper part of the parapet. And it may be seen here that the small windows that lighted the triforium gallery had round arched heads in two orders, with a string-course at their sill.
The northern entrance to the building is another fine example of twelfth-century Spanish, or Galician Romanesque. The tower which stands to the left of the northern entrance is one of the few in the Romanesque style to be seen in northern Spain; it is severe in its structure and pierced by a series of round-headed windows.
With the third wide bay the twelfth-century church terminated, the two arches to the west of these being characterised by ornamentation of the Decorated period. Four such windows, round-headed, each placed over the point of an arch, may be seen on either side of the nave; but the eastern one on each side differs from the other three in being of heavier character and rougher workmanship.
This opening was probably once a round-headed twelfth-century window, as the old abacus is still in position. The #South Side of the Choir# is externally divided into five bays. There are five flying-buttresses to carry down the vault thrusts, with a pinnacle above the buttress at the south-east angle.
The fire-place and the mantelpiece were of white marble and had on them two white vases picked out in bright green, a clock with a bronze upon it representing a waiter dressed up partly in fifteenth-century plate and partly in twelfth-century mail, and on the wall were two Jewish texts, each translated into Jacobean English and illuminated with a Victorian illumination.
At the south-west angle a great part of the twelfth-century masonry in the broad flat buttresses remains. The south-east angle and buttresses are quite different. They are perhaps part of the work done during the thirteenth century, though it is possible that they were introduced when Langton inserted the large south window of the transept.
On the site of the Place stood the Petit Châtelet, demolished in 1782, a gloomy prison where many a rowdy student was incarcerated. To the L. of the Rue du Petit Pont we turn by the Rue de la Bûcherie and on our R. find the Rue St. Julien le Pauvre. Here on the L., hidden behind a pair of shabby wooden gates, stands the modest little twelfth-century church, now used for the Uniat Greek services, where St. Gregory of Tours found the drunken impostor (pp. 32, 33), where the University of Paris first held its sittings, and where twice a year the royal provost attended to swear to preserve the privileges of the rector, masters and scholars. Near by stood the house of Buridan (note, p. 68). At the end of the street we turn R. by the old Rues Galande and St. Sévérin: at No. 4 of the latter, we see a trace of the original naming of the streets by Turgot, the marks of the erasure of the word "Saint" during the Revolution being clearly visible. Parallel with this street to the N. is the Rue de la Huchette, from which opens the curious old Rue du Chat qui Pêche and the Rue Zacharie, in mediæval times called Sac
The new north-west tower, or its north front, has imitations of twelfth-century work throughout, except in the case of the coupled openings in the top stage, which are like the thirteenth-century work at the same level in the south-west tower. The lower part of the north-east buttress incorporates the remains of the original twelfth-century flat buttressing.
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