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ROYAT TO BOURGES specific tangible cause of this feeling. Is it to be found in the extraordinary beauty of the five western portals, so crowded with noble and pathetic imagery and delicate ornamental detail? But the doors of Chartres surpass even these! Is it then, if one looks within, the rich blue and red of its dense ancient glass? But Chartres, again, has finer glass of that unmatched period. Is it the long clear sweep of the nave and aisles, uninterrupted by the cross-lines of transept or chancel-screen? But if one recalls the wonderful convolutions of the ambulatory of Canterbury, one has to confess that Gothic art—even in its conventionalised English form—has created curves of greater poetry and mystery, produced a more thrilling sense of shadowy consecrated distances. Perhaps the spell of Bourges resides in a fortunate accidental mingling of many of the qualities that predominate in this or that more perfect structure—in the mixing of the ingredients so that there rises from them, as one stands in one of the lofty inner aisles, with one's face toward the choir, that breath of mystical devotion which issues from the very heart of mediæval Christianity. [ 71 ]