While on one of my architectural excursions through the great towns of eastern France, I arrived at Troyes. On visiting the government agent for photographing public monuments, I noticed in his rooms some admirably executed pieces of stone carving,—capitals, corbels, and the like,—and on my asking him whence these came, he told me that they had been recently taken out of the cathedral by the architect who was “restoring” it.

After my purchases were made, he went with me to this great edifice, one of the finest in Europe; and there I found that, on each side of the high altar, the architect had taken out several brackets, or corbels, of the best mediæval work, and substituted new ones designed by himself. One of these corbels thus taken out the government photographer had in his possession. It was very striking, representing the grotesque face of a monk in the midst of a mass of foliage supporting the base of a statue, all being carved with great spirit. Apart from its architectural value, it had a historical interest, since it must have witnessed the famous betrothal of the son and daughter of the English and French kings mentioned in Shakspere [sic], to say nothing of many other mediæval pageants.

On my making known to the photographer the fact that I was engaged in founding a school of architecture in the United States, and was especially anxious to secure a good specimen of French work, he sold me this example, which is now in the museum of the Architectural Department at Cornell. I allude to this, in passing, as showing what monstrous inequities (and I could name many others) are committed in the great mediæval buildings of Europe under pretense of “restoration.”