to the Anglo-Norman cause, was translated to this see, in 1429, when Beauvais, of which he had previously been bishop, fell into the hands of the French.  He was selected, in 1431, for the invidious office of presiding at the trial of the Maid of Orleans.  Repentance followed; and, as an atonement for his unrighteous conduct, according to Ducarel, he erected this chapel, and therein founded a high mass to the Holy Virgin, which was duly sung by the choristers, in order, as is expressed in his endowment-charter, to expiate the false judgment which he pronounced[64].—­The two windows by the side of the altar in this chapel have been painted of a crimson color, to add to the effect produced upon entering the church; and, seen as they are, through the long perspective of the nave and the distant arches of the choir, the glowing tint is by no means unpleasing.—­The central tower is open within the church to a considerable height:  it is supported by four arches of unusual boldness, above which runs a row of small arches, of the same character as the rest of the building; and, still higher, on each side, are two lancet-windows.—­The vaulting of the roof is very plain, with bosses slightly pendant and carved.

[Illustration:  Ancient Tomb in the Cathedral at Lisieux]

At the extremity of the north transept is an ancient stone sarcophagus, so built into the wall, that it appears to have been incorporated with the edifice, at the period when it was raised.  The style of the medallions which adorn it will be best understood by consulting the annexed sketch, which is very faithful, though taken under every possible disadvantage.  The transept is now used as a school; and the little filthy imps, who are there taught to drawl out their catechisms, continued swarming round the feverish artist, during the progress of the drawing.  The character of the heads, the crowns, and the disposition of the foliage, may be considered as indicating that it is a production, at least of the Carlovingian period, if it be not indeed of earlier date.  I believe it is traditionally supposed to have been the tomb of a saint, perhaps St. Candidus; but I am not quite certain whether I am accurate in the recollection of the name.—­Above are two armed statues, probably of the twelfth or thirteenth centuries.  These have been engraved by Willemin, in his useful work, Les Monumens Francais, under the title of Two Armed Warriors, in the Nave of the Cathedral at Lisieux; and both are there figured as if in all respects perfect, and with a great many details which do not exist, and never could have existed, though at the same time the draftsman has omitted the animals at the feet of the statues, one of which is yet nearly entire.—­This may be reckoned among the innumerable proofs of the disregard of accuracy which pervades the works of French antiquaries.  A French designer never scruples to sacrifice accuracy to what he considers effect.—­Willemin describes