Thomas Boudin, Legros, Jean de Dieu, Berruer, Tuby, Simon Mazieres--these were the men that dared to carry on the work begun by Soulas! Louis, the Duc d'Orleans' architect, who debased and ravaged the choir, and the infamous Bridan, who, to the contemptible delight of some of the Canons, erected his blatant and wretched presentment of the Assumption!" "Alas!" said the Abbe Gevresin, "and they were Canons who thought fit to break two ancient windows in the choir and fill them with white panes, the better to light that group of Bridan's!" "Will you eat nothing more ?" asked Madame Bavoil, who, at a negative from the guests, cleared away the cheese and preserves, and brought in coffee.
"Since you are so much charmed by our Cathedral, I shall be most happy to take you over it and explain its details," said the Abbe Plomb to Durtal.
"I shall accept with pleasure, Monsieur l'Abbe, for it fairly haunts me, it possesses me--your Notre Dame! You know, no doubt, Quicherat's theories of Gothic art ?" "Yes, and I believe them to be correct.

Like him, I am convinced that if the essential character of the Romanesque is the substitution of the vaulted roof for the truss, the distinctive element and principle of the Gothic is the buttress, and not the pointed arch.
"I reserve my opinion, indeed, as to the accuracy of Quicherat's declaration that 'the history of architecture in the middle ages is no more than the history of the struggle of architects against the thrust and weight of vaulting,' for there is something in this art beyond material industry and a problem of practice; at the same time he is certainly right on almost every point.
"It may be added as a general principle, that in our use of the terms Ogee and Gothic, we are misapplying words which have lost their original meaning; since the Goths have nothing to do with the style of architecture which has taken their name, and the word ogee or ogyve, which strictly means the semicircular form, is inaccurate as applied to the arch with a double curve, which has for so long been regarded as the basis, nay, as the characteristic stamp of a style."[1] "After all," the Abbe went on, after a short silence, "how can we judge of the works of a past age, but by such help as we may obtain from the arcades pierced in shoring walls or from vaulting on round or pointed arches?
for they are all debased by centuries of repair, or left unfinished.

Look at Chartres; Notre Dame was to have had nine spires, and it has but two! The cathedrals of Reims, of Paris, of Laon, and many more, were to have had spires rising from their towers; and where are they?
We can form no exact idea of the effect their architects intended to produce.

And then, again, these churches were meant to be seen in a setting which has been destroyed, an environment that has ceased to exist; they were surrounded by houses of a character resembling their own; they are now in the midst of barracks five stories high, gloomy, ignoble penitentiaries!--and we constantly see the ground about them cleared, when they were never intended to stand isolated on a square.
Look where you will, there is a total misapprehension of the conditions in which they were placed, of the atmosphere in which they lived.
Certain details, which seem to us inexplicable in some of these buildings, were, no doubt, imperatively required by the position and needs of the surroundings.

In fact, we stumble, we feel our way--but we know nothing--nothing!" "And at best," said Durtal, "archaeology and architecture have only done a secondary work; they have simply set before us the material organism, the body of the cathedrals; who shall show us the soul ?" "What do you mean by the word ?" said the Abbe Gevresin.
"I am not speaking of the soul of the building at the moment when man by Divine help had created it; we know nothing of that soul--not indeed as regards Chartres, for some invaluable documents still reveal it; but of the soul of other churches, the soul they still have, and which we help to keep alive by our more or less regular presence, our more or less frequent communion, our more or less fervent prayers.
"For instance, take Notre Dame at Paris; I know that it has been restored and patched from end to end, that its sculpture is mended where it is not quite new; in spite of Hugo's rhetoric it is second-rate, but it has its nave and its wondrous transept; it is even endowed with an ancient statue of the Virgin before which Monsieur Olier had knelt, and very often.