The portal is deep but unornamented, and the rose window above is of generous design, though not actually so great in size as at first appears. Taken tout ensemble this west front—of modern design and workmanship—is far more expressive of the excellent and true proportions of the mediæval workers than is usually the case.
The spires are lofty (312 feet) and are decidedly the most beautiful feature of the entire design.
The choir, the more ancient portion (1465-1507), expands into a more ample width than the nave and has a curiously squared-off termination which would hardly be described as an apside, though the effect is circular when viewed from within. The choir, too, rises to a greater height than the nave, and, though there is no very great discrepancy in style between the easterly and westerly ends, the line of demarcation is readily placed. The square flanking chapels of the choir serve to give an ampleness to the ambulatory which is unusual, and in the exterior present again a most interesting arrangement and effect.
The cathedral gives on the west on the Place du Château, with the bare, broken wall of the ducal château immediately en face, and the Gendarmerie, which occupies a most interestingly picturesque Renaissance building, is immediately to the right.
The interior arrangements of this brilliant cathedral church are quite as pleasing and true as the exterior. There is no poverty in design or decoration, and no overdeveloped luxuriance, except for the accidence of the Renaissance tendencies of its time.
There is no flagrant offence committed, however, and the ambulatory of the choir and its queer overhanging gallery at the rear of the altar are the only unusual features from the conventional decorated Gothic plan; if we except the baldachino which covers the altar-table, and which is actually hideous in its enormity.
The bishop's throne, curiously enough,—though the custom is, it appears, very, very old,—is placed behind the high-altar.
The triforium and clerestory of the choir have gracefully heightened arches supported by graceful pillars, which give an effect of exceeding lightness.
In the nave the triforium is omitted, and the clerestory only overtops the pillars of nave and aisles.
The transepts are not of great proportions, but are not in any way attenuated.