I Suppose That The High Dukes Of Burgundy And Lorraine And The Rich Men From Flanders And The House Of

Luxemburg and the rest, going to Rome, the centre of the world, had often to pass up this valley of

The Moselle, which (as I have said) is a road leading to Rome, and would halt at fipinal and would at times give money for its church; with this result, that the church belongs to every imaginable period and is built anyhow, in twenty styles, but stands as a whole a most enduring record of past forms and of what has pleased the changing mind when it has attempted to worship in stone.

Thus the transept is simply an old square barn of rough stone, older, I suppose, than Charlemagne and without any ornament. In its lower courses I thought I even saw the Roman brick. It had once two towers, northern and southern; the southern is ruined and has a wooden roof, the northern remains and is just a pinnacle or minaret too narrow for bells.

Then the apse is pure and beautiful Gothic of the fourteenth century, with very tall and fluted windows like single prayers. The ambulatory is perfectly modern, Gothic also, and in the manner that Viollet le Duc in France and Pugin in England have introduced to bring us back to our origins and to remind us of the place whence all we Europeans came. Again, this apse and ambulatory are not perpendicular to the transept, but set askew, a thing known in small churches and said to be a symbol, but surely very rare in large ones. The western door is purely Romanesque, and has Byzantine ornaments and a great deep round door. To match it there is a northern door still deeper, with rows and rows of inner arches full of saints, angels, devils, and flowers; and this again is not straight, but so built that the arches go aslant, as you sometimes see railway bridges when they cross roads at an angle. Finally, there is a central tower which is neither Gothic nor Romanesque but pure Italian, a loggia, with splendid round airy windows taking up all its walls, and with a flat roof and eaves. This some one straight from the south must have put on as a memory of his wanderings.

The barn-transept is crumbling old grey stone, the Romanesque porches are red, like Strasburg, the Gothic apse is old white as our cathedrals are, the modern ambulatory is of pure white stone just quarried, and thus colours as well as shapes are mingled up and different in this astonishing building.

I drew it from that point of view in the market-place to the north-east which shows most of these contrasts at once, and you must excuse the extreme shakiness of the sketch, for it was taken as best I could on an apple-cart with my book resting on the apples - there was no other desk.

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