With good proportions, beautiful parts, and finely coloured windows, you will conclude that the whole impression produced is sublime; but I wish I had you here, where you would find some better proof of this, than the cold conviction of your reason. The people seemed very devout, and were all day long kissing the pedestals, and various parts of the decorative architecture, about a figure of the virgin, which is almost black. In this part of France the virgin is usually represented with a very dark complexion; and such is, I believe, the case with the most popular images of her in all Catholic countries. There is a labyrinth in the pavement which is said to be a league, measured along all its folds; a countryman applied to me to know if this was true. I told him it was impossible, and shewed him that the number of turns, multiplied by the length of the middle one, only gave 1320 feet, but he was determined to believe as his fathers had believed before him.
I must not quit the cathedral without mentioning the beautiful shrine-work which surrounds the choir, to see which is alone well worth a journey to Chartres. It consists of forty-five compartments, forming a sort of continued gallery, and contains in all about two hundred and fifty figures, each of three feet high. It is a very curious specimen, both for the extreme delicacy of the workmanship, and as a model of the last period of Gothic architecture in France. It is complete point lace in stone, and some of the threads are not thicker than the blade of a penknife. The style is rich and beautiful, or at least many parts are beautiful; but as a whole, it wants simplicity, and is inferior in design to the architecture of King’s College chapel at Cambridge, and perhaps even to Henry VII. chapel at Westminster; but the extreme intricacy of the multiplied ornaments in the last-mentioned building does not please me. In the work at Chartres the disposition of the masses is much more simple and intelligible, but the tracery and detail of the ornaments are even more confused. It is worthy of notice that the vaulting continues entirely simple, and without any trace of the palm-tree branching, exhibited in that of King’s College chapel, or of the still more complicated arrangement of that of Redcliff church at Bristol. This fine work is in two series, the first of which is said to have been executed with the surplus of the money raised for erecting the spire. It is precisely of the same style as that erection, if we make allowance for its greater delicacy, adapted to the different nature of the work; but no dates are marked on it: this forms the largest part. The second series exhibits some traces of the knowledge of Roman architecture, and has dates from 1523 to 1530. This is ornamented with arabesques in imitation of the Italian _cinque cento_. I observed two dates of a later period, T. BOVDIN MIL VI^C XI, and a similar inscription of 1612, but there is no difference of style to account for them.