We now proceed to Notre-Dame, which is in the form of a cross; it was began about the year 1150, in the reign of Louis the Seventh, but continued in that of Philippe-Auguste, and completed under Saint-Louis in 1257, which date, as I have already stated, it now distinctly bears.  Its magnitude and extent surpasses every other church in Paris, it is in the arabic style, and being now totally detached from any other building has a most grand effect; it is only in the present reign that this great improvement has been effected, as it was formerly joined on one side to the archiepiscopal palace.  The immense number of grotesque figures which surround and surmount the doorway, give it a most rich appearance, although they are in the rudest style of barbarism; above is a large window called the rose, which is a most beautiful and curious object.  The interior at the first view has a most striking effect; one hundred and twenty pillars supporting a range of arches afford a most splendid coup d’oeil, the middle aisle presenting an uninterrupted view of the whole church, which being very lofty has a most majestic appearance; the sumptuous altar, the fine gloom pervading the pictures, the curious Gobelin tapestry which decorate the sides, combine in affording a rich effect which is still heightened by the chapels which are perceptible between the columns.  Although it might be urged that there is rather a profusion of decoration with the bas-reliefs, and other ornaments, yet the edifice is on so colossal a scale that it still presents so broad a mass, that a tone of simplicity pervades the whole.  The beautiful choir is after a design by De Goste, the altar and sanctuary are of marble and porphyry, whilst tesselated pavements and variegated shrines adorn the numerous chapels.  The pictures are good in general; as to the tapestry, I think it had better be removed, which I dare say it will be as taste refines.  It is to be regretted that the towers of Notre-Dame have so heavy and black appearance, which is increased by a parcel of dark unseemly shutters.  On the outside towards the north, there are some pieces of sculpture well worth examination; they are beautifully executed although much deteriorated by time, and appear to be works of about the thirteenth century.  There are some curious brasses which would be very interesting to persons capable of decyphering them, one in particular to the left on entering, but so much in the dark that it is difficult to make it out, especially as the characters at best are not easy to understand, but I recommend them to the inspection of those persons who have time and inclination to study such subjects.  The view of the city from the towers affords an ample panorama, and displays the positions of the principal monuments.