piece of work. Two bold arches give access to it. To the left is a doorway only opened for a pope to pass through; the other gives admission to ordinary personages into the transept.
The tower is a campanile detached from the church, unbuttressed, and though fine, is too small for the size of the minster. But this is due to the fact that every inch of space on the rock was precious, and had to be economised. Accordingly a tower of greater bulk at base would have encroached on the way of access to the basilica. There are two more doorways, one, further on, a bold and daring sweep that spans not the entrance only, but also the little street. A third is on the north side.
Until this year, 1906, the head of the French State, King, Emperor or President was ex officio lay canon of Le Puy, just as our King is a lay canon of S. David's. But with the separation of Church and State in France, this has ceased, and M. Loubet was the last of the lay canons of Le Puy.
At one time there existed a promising school of painting in Le Velay, but it was killed by the troubles of the Wars of Religion. The frescoes in the cathedral and in some of the churches exhibit great merit. Such as remain, unfortunately very few, may be best studied in the Museum, where are accurate copies.
The finest of all represents the liberal arts, and was discovered by Mérimée in the capitular hall of the cathedral, in 1856. It is of the fifteenth century, and is conjectured, but on insufficient grounds, to have been the work of Jean Perréal, painter to Kings Charles IX. and Francis I. In the Museum may be seen reproductions of some paintings from Langeac, in which the
