8o, avec 11 lithographies gr. in-fol.—Vues pittoresques de la Cathédrale de Strasbourg, dessins par Chapuy et texte par Schweighäuser, 3 livr. in-fol. Strasb. 1827. La Cathédrale de Strasbourg et ses détails, par A. Friedrich, 4 liv. gr. in-fol., renfermant 57 planches accompagnées d'un texte explicatifet historique. We regret to say that but one number of this fine work has been published (in 1839).—Kunst und Alterthum in Elsass-Lothringen, von Prot. F. X. Kraus, I. Band. With numerous wood-engravings. 1877.

Porch of Saint-Lawrence.

The whole of the façade is formed of the two fore-parts of the northern and southern towers and of the large central porch; these three distinct portions are separated by counterforts or pillars which divide, as it were, the frontispiece into three broad vertical bands, each of which has its portico. These porticos and their frontons are ornamented with a great many statues and bas-reliefs, some of which pulled down during the revolution, have since been replaced. The large figures in the left portico are twelve virgins, wearing diadems and trampling down human forms representing the seven deadly sins. On both sides of the right hand portico are seen the ten virgins of the parable; to the group of the wise virgins on the right is joined the statue of Jesus-Christ; the foolish virgins composing the group on the left side, have among them an allegoric figure expressing the lust of the world: on her head is a wreath, in one hand she holds an apple, the ancient symbol of lust; her back bears hideous vipers, to portray the sad fate which must be the inevitable result of inordinate earthly desires.

All these statues, now blackened by the centuries that have passed over them, have all a stern appearance, like those that deck the magnificent middle porch representing either prophets of the Old Testament, Apostles or fathers of the Church. In the arches of these three porticos are figures of a smaller size, which like the bas-reliefs of the tympans, exhibit either scenes taken from Scripture, or saints and angels. In the tympan on the right hand door, Jesus is seen seated on a rain-bow, and over him is the Resurrection of the dead and the Judgment-day. On the butting pillar that divides both folds of the middle porch1, is placed a blessed Virgin holding an infant Christ in her arms. The fronton of this portal is formed by two triangles and adorned with many figures; that on the summit of the interior triangle, which first strikes the eye, is king Solomon seated under a canopy; on both sides of him are fourteen lions raised on steps or benches that draw near towards the top and join near a Virgin Mary sitting with the infant Christ on one arm and holding a globe in her other hand; she is the Patroness of the church. Above her a radiated head, representing God the Father, forms the point of the triangle that encircles the inside fronton, which is decked with figures playing on different musical instruments. On the sides facing the North and South, the two towers have each a large window with most beautiful rosaces. Over the window on the South side is seen a very old sculpture, the grotesque figures of which represent the night revelling of sorcerers. The frontons of the other porticos are also adorned with rosaces.

On the second tier of the middle porch is a large rose-window that occupies the whole width of it. It is surrounded by a detached arch, which as much on account of the elegance of its workmanship, as of the boldness of its construction, is one of the most admirable parts of the Cathedral. The large painted windows have been repaired by skilful artists, Mr. Ritter and Mr. Müller. Where the second tier begins, at the bottom of the rose-window, are four equestrian statues, placed in niches in the counterforts, three of which, those of Clovis, Dagobert and Rodolphe of Habsburg, were erected in 1291, the fourth, that of Louis XIV, was placed only in 1828. Clovis and Dagobert were the benefactors of the church of Strasburg. Rodolphe stands there, less on account of his liberalities to the Cathedral, than for having been to the last the valiant friend of the Republic of Strasburg. King Louis XIV accompanies the three others, rather from adulation than any other cause. On the upper tier of the façade are placed the equestrian statues of king Pepin the Short, of Charlemain, Otho the Great and Henry I the Fowler. On the south-side are seen in the first tier the emperors Otho II, Otho III and Henry II; in the upper tier of the same side, the equestrian statues of Conrad II, Henry III and the statue of Henry IV. On the north-side of the façade are the equestrian statues of Charles Martel, the Franconian majordomo; of Louis the Debonair and Lotharius, the son of Louis the Debonair; at last in the upper tier, the statues of Charles the Bald, king of the West-Franconians and the equestrian statues of Lotharius II and Louis the German (✝876).

Over the rose-window, but still in the compartment of the second tier, is a gallery furnished with the figures of the Apostles, and above them is placed Jesus-Christ holding in his hands a cross and banner. In the lateral towers, the same tier is taken up on each side by a high broad window in the shape of an ogee, before which rise very slender pillars. Exactly over these windows, on the third tier and also on each side, are three very high and narrow windows; the middle part, though wider, has but two, rather small ones, and surrounded by some statues. This very massive portion of the building betrays at first sight its later origin; when Erwin's plan was abandoned, this part was added to fill up the empty space between the two towers; these were already completed, and even have on the third tier their windows looking into the central porch, but which are at present hidden from the outside. That part of the middle porch is used as a belfry, four large bells are suspended in it, the largest of which, cast in 1427, weighs nine thousand kilogrammes, and serves to announce great festival days; it is also rung at the death of renowned personages, or in case of fire.

It was only in the year 1849 that the front was ornamented with statues representing the day of judgment. This group, consisting of fifteen gigantic figures, was made after the old drawings preserved in the archives of the Œuvre-Notre-Dame. Jesus-Christ, as judge, is in the middle, with Mary and John the Baptist on either side; they are surrounded by angels sounding the trumpet of Dooms-day, or bearing the instruments of our Saviour's passion; beneath are seen the Evangelists, having men's bodies surmounted by the heads of the four symbols which generally accompany them.

Above the middle porch and the southward tower, is the