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To Dr. Anthony Brown: Thank you for keeping me alive and healthy, despite
my best efforts to the contrary!
 ABOUT THE AUTHOR

Michael Meyers is the industry’s leading authority on CompTIA Network+

certification. He is the president and founder of Total Seminars, LLC, a
member of CompTIA, and a major provider of IT fundamentals, PC and
network repair, and computer security training and training materials for
thousands of organizations throughout the world.
Mike has written numerous popular textbooks, including the best-selling
CompTIA A+® Certification All-in-One Exam Guide, Mike Meyers’
CompTIA Network+® Guide to Managing and Troubleshooting Networks,
and Mike Meyers’ CompTIA Security+® Certification Guide.
Mike has attained numerous industry certifications, including CompTIA
A+, CompTIA Network+, CompTIA Security+, CompTIA Cybersecurity
Analyst (CySA+), and Microsoft Certified Professional.

About the Contributor

Scott Jernigan wields a mighty red pen as Editor in Chief for Total
Seminars. With a Master of Arts degree in Medieval History, Scott feels as
much at home in the musty archives of London as he does in the crisp IPS
glow of Total Seminars’ Houston HQ. After fleeing a purely academic life,
he dove headfirst into IT, working as an instructor, editor, and writer.
Scott has written, edited, and contributed to dozens of books on computer
literacy, hardware, operating systems, networking, security, and certification,
including Computer Literacy—Your Ticket to IC3 Certification, and co-
authoring with Mike Meyers the CompTIA IT Fundamentals® All-in-One
Exam Guide and Mike Meyers’ CompTIA Security+® Certification Guide.
Scott has taught computer classes all over the United States, including
stints at the United Nations in New York and the FBI Academy in Quantico.
Practicing what he preaches, Scott is a CompTIA A+, CompTIA Network+,
and CompTIA Security+ certified technician, a Microsoft Certified
Professional, a Microsoft Office User Specialist, and Certiport Internet and
Computing Core Certified.

About the Technical Editor

Jonathan S. Weissman is an associate professor and IT program coordinator
(Department of Computing Sciences) at Finger Lakes Community College.
He is also a senior lecturer (Department of Computing Security) at Rochester
Institute of Technology and teaches part-time at Syracuse University
(Department of Electrical Engineering and Computer Science) and Nazareth
College (School of Management).
Jonathan is the co-author of Mike Meyers’ CompTIA Network+®
Certification Passport, Sixth Edition and Mike Meyers’ CompTIA Network+®
Guide to Managing and Troubleshooting Networks Lab Manual, Fifth
Edition, and also serves as technical editor for many industry textbooks.
Jonathan also developed three courses for the edX RITx Cybersecurity
MicroMasters program, which he has taught to more than 50,000 students
worldwide. In addition to teaching, Jonathan is a networking and
cybersecurity consultant for local businesses and individuals.
Jonathan has a master’s degree in Computer Science from Brooklyn
College and holds 34 industry certifications, including CCNP® Routing and
Switching, CCNA® Security, CompTIA Security+, CompTIA Network+,
CompTIA A+, Certified Ethical Hacker, Computer Hacking Forensic
Investigator, and IPv6 Certified Network Engineer (Gold), among others.

LinkedIn: https://www.linkedin.com/in/jonathan-s-weissman-058b649b

Twitter: https://twitter.com/cscprof
Becoming a CompTIA Certified IT
Professional Is Easy
It’s also the best way to reach greater professional opportunities and rewards.

Why Get CompTIA Certified?

Growing Demand
Labor estimates predict some technology fields will experience growth of
more than 20% by the year 2020. (Source: CompTIA 9th Annual Information
Security Trends study: 500 U.S. IT and Business Executives Responsible for
Security.) CompTIA certification qualifies the skills required to join this
workforce.

Higher Salaries
IT professionals with certifications on their resume command better jobs,
earn higher salaries, and have more doors open to new multi-industry
opportunities.

Verified Strengths
Ninety-one percent of hiring managers indicate CompTIA certifications are
valuable in validating IT expertise, making certification the best way to
demonstrate your competency and knowledge to employers. (Source:
CompTIA Employer Perceptions of IT Training and Certification.)

Universal Skills
CompTIA certifications are vendor neutral—which means that certified
professionals can proficiently work with an extensive variety of hardware and
software found in most organizations.

Learn More: Certification.CompTIA.org

CompTIA Disclaimer
© 2018 CompTIA Properties, LLC, used under license by CompTIA
Certifications, LLC. All rights reserved. All certification programs and
education related to such programs are operated exclusively by CompTIA
Certifications, LLC. CompTIA is a registered trademark of CompTIA
Properties, LLC in the U.S. and internationally. Other brands and company
names mentioned herein may be trademarks or service marks of CompTIA
Properties, LLC or of their respective owners. Reproduction or dissemination
of this courseware sheet is prohibited without written consent of CompTIA
Properties, LLC. Printed in the U.S. 04711-Jan2018.
 CONTENTS AT A GLANCE

Chapter 1 Network Models

Chapter 2 Cabling and Topology
Chapter 3 Ethernet Basics
Chapter 4 Modern Ethernet
Chapter 5 Installing a Physical Network
Chapter 6 TCP/IP Basics
Chapter 7 Routing
Chapter 8 TCP/IP Applications
Chapter 9 Network Naming
Chapter 10 Securing TCP/IP
Chapter 11 Advanced Networking Devices
Chapter 12 IPv6
Chapter 13 Remote Connectivity
Chapter 14 Wireless Networking
Chapter 15 Virtualization and Cloud Computing
Chapter 16 Mobile Networking
Chapter 17 Building a Real-World Network
Chapter 18 Managing Risk
Chapter 19 Protecting Your Network
Chapter 20 Network Monitoring
Chapter 21 Network Troubleshooting
Appendix A Objective Map: CompTIA Network+
Appendix B Create Your Study Plan
Appendix C About the Online Content
Glossary
Index
 CONTENTS

Acknowledgments
Introduction
Chapter 1 Network Models
Historical/Conceptual
Working with Models
Biography of a Model
Network Models
The OSI Seven-Layer Model in Action
Welcome to MHTechEd!
Test Specific
Let’s Get Physical—Network Hardware and Layers 1–2
Beyond the Single Wire—Network Software and Layers
3–7
The TCP/IP Model
The Link Layer
The Internet Layer
The Transport Layer
The Application Layer
Frames, Packets, and Segments/Datagrams, Oh My!
The Tech’s Troubleshooting Tools
Chapter Review
Questions
Answers
Chapter 2 Cabling and Topology
Test Specific
 Network Topologies
Bus and Ring
Star
Hybrid
Mesh
Parameters of a Topology
Cabling and Connectors
Copper Cabling and Connectors
Fiber-Optic Cabling and Connectors
Other Cables
Fire Ratings
Networking Industry Standards—IEEE
Chapter Review
Questions
Answers
Chapter 3 Ethernet Basics
Historical/Conceptual
Ethernet
802.3 Standards
Test Specific
Ethernet Frames
Early Ethernet Standards
Bus Ethernet
10BaseT
10BaseFL
CSMA/CD
Enhancing and Extending Ethernet Networks
The Trouble with Hubs
Switches to the Rescue
Connecting Ethernet Segments
Troubleshooting Switches
 Chapter Review
Questions
Answers
Chapter 4 Modern Ethernet
Test Specific
100-Megabit Ethernet
100BaseT
100BaseFX
Gigabit Ethernet
1000BaseSX
1000BaseLX
SFF Fiber Connectors
Mechanical Connection Variations
Implementing Multiple Types of Gigabit Ethernet
Ethernet Evolutions
10 Gigabit Ethernet
Beyond Network+
IEEE 802.3ba
Chapter Review
Questions
Answers
Chapter 5 Installing a Physical Network
Historical/Conceptual
Understanding Structured Cabling
Cable Basics—A Star Is Born
Test Specific
Structured Cable—Network Components
Structured Cable—Beyond the Star
Installing Structured Cabling
Getting a Floor Plan
Mapping the Runs
Discovering Diverse Content Through
Random Scribd Documents
 Henry Beauclerc removed his dwelling from the river margin to
the crest of hill, building the First King’s House. This pile extended
from the Devil’s tower to the Watch tower, now renamed Victoria
tower. A part of Beauclerc’s edifice remains in massive walls of the
Devil’s tower, and a cutting through the chalk, sustained by Norman
masonry, leading from a shaft under the Queen’s apartment to the
southern ditch.
Henry of Winchester, a man of higher genius as an architect,
built the Second King’s House, sweeping into his lines the lower
ground, which he covered by walls and towers, including Winchester
tower, and the whole curtain by Curfew tower and Salisbury tower,
round to the Lieutenant’s lodgings, now called Henry the Third’s
tower. The Second King’s House, long since ruined and removed,
stood on the site of the present cloisters. Much of Henry of
Winchester’s work remains; in fact, the circuit of the lower ward is
mainly his, both walls and towers, from the Devil’s tower, touching
the upper ward, round to Curfew tower in the north-west angle of the
lower ward.
Edward of Windsor built the Third King’s House, fronting towards
the north, and gave the upper ward its final shape. On introducing a
new patron saint to Windsor, Edward removed his own lodging, and
renounced the lower ward entirely to the service of St. George. First
came the chapel of St. George; next came the College of St.
George; then came the Canons of St. George; lastly, came the Poor
Knights of St. George. The central ground was given up to the
chapel, and the adjoining quarter to the college. From Curfew tower
to the Lieutenant’s lodgings, all the ground was consecrated to the
saint. The first tower, reckoning from the south, became Garter
House, the second Chancellor’s tower, the third Garter tower, while
the land within the walls was covered by residences for the military
knights. An area equal to the upper baily was surrendered to his
patron saint.
Edward of York rebuilt St. George’s Chapel on a larger scale; for
Edward of York had heavy sins to weigh him down, and pressing
need for saintly help.
 Henry of Richmond roofed that chapel, built a “new tower” in the
King’s House, and made a fair causeway from Windsor to London—
the first road ever made between the castle and the capital.
Queen Elizabeth built the gallery which bears her name, and
raised the great terraces above the Thames. Before her time the
scarp was rough and steep: she built this solid wall, and laid this
level road.
George the Fourth raised the Norman keep in height, flanked the
park entrance with another tower, opened St. George’s gate,
buttressed the North-east tower, and called his new edifice
Brunswick tower.
Like Queen Elizabeth, Queen Victoria has devoted her attention
rather to the slopes and gardens than the structure; but the few
additions of her reign have been effected with a proper reverence for
the ancient pile. Her Majesty has cleared off slum and tenement from
the slopes, and opened the southern terrace, just as Elizabeth
opened the northern terrace. Work has been done in cloister and
chapel. As Henry of Richmond made a road from Windsor to
London, Queen Victoria has brought two railways to her castle gates.
Since the days of Edward of Windsor the Castle hill has kept the
triple character—upper ward, middle ward, and lower ward—baily of
the King, baily of the keep, and baily of St. George—the residence of
our sovereign, the symbol of our power, the altar of our saint.

Royal Windsor (London, 1879).

 THE CATHEDRAL OF COLOGNE.
ERNEST BRETON.

WE are now in the middle of the Tenth Century and in the city of
Cologne; for several hours a man has been sitting upon the banks of
a river, flowing majestically at the base of those ramparts which sixty
years ago were erected by Philip von Heinsberg, and for several
hours his thoughtful brow has not been lifted. This man was the first
master-workman of his time; three centuries later he was called the
prince of architects. The Archbishop of Cologne had said to him:
“Master, we must build a cathedral here which will surpass all the
buildings of the world in grandeur and magnificence.” The artist
replied: “I will do it;” and now he was pondering over ways of
accomplishing his promise about which he was frightened. At this
moment he was trying to think out a marvellous plan which would
give lustre to his country and immortalize his name; but nothing
came into his mind worthy of the prodigy he was trying to conceive
and could not create.
An unknown old man now approached and sat beside him,
regarding him with a mocking air, as if he rejoiced in his perplexity
and despair; every now and then he gave a little, dry cough, and
when he had attracted the attention of the artist, he rapidly traced on
the sand with a ring some lines which he immediately effaced. These
lines formed exactly that plan which always escaped the artist and
whose fugitive image he could not seize.
“You would like to have this plan?” asked the old man.
“I would give all I possess for it.”
“I exact nothing. The building that you construct will be the envy
and the eternal despair of all your successors, the admiration of
centuries to come, and your brilliant and celebrated name will be
known to the most remote generations. Your life will be long; you will
pass it in glory, wealth, and pleasure. For all that I only ask for your
soul when your life draws to its close.”
“Vade retro Satanas!” cried the agitated artist. “Better the
nothingness of oblivion than eternal damnation.”
“Patience,” said Satan, “reflect: we shall see,” and he vanished.
The master-workman returned to his humble dwelling, sadder and
more dreamful than when he left it; he could not close his eyes all
night. Glory, wealth, and pleasure for many long years, and all that
for one word! In vain he tried to shake himself free from the fatal
temptation; at every moment, at every step he again saw the tempter
showing him his transitory plan; he succumbed.
“To-morrow, at midnight,” said Satan, “go to that spot and I will
bring you the plan and the pact that you must sign.”
The artist returned to the city, divided between remorse and
dreams of pride and ambition. Remorse conquered, and before the
appointed hour he had told everything to his confessor. “It will be a
master-stroke,” said the latter, “to deceive Satan himself and snatch
the famous plan from him without paying the price of your soul,” and
he sketched out the line of conduct that he should follow.
At the appointed hour the two parties stood face to face. “Here,”
said Satan, “are the plan and pact; take it and sign it.” Quick as
lightning the master-workman snatched the plan with one hand and
with the other he brandished a piece of the True Cross, which the
wily confessor had given to him. “I am vanquished,” cried Satan, “but
you will reap little benefit through your treachery. Your name will be
unknown and your work will never be completed.”
Such is the legend of the Cathedral of Cologne. I have told it
here so that the admiration of the Middle Ages for this plan, which
could not be considered the work of any human genius, may be
measured, and for six centuries the sinister prediction of Satan has
4
held good.
 At the north-east end of the elevation occupied by the ancient
Colonia Agrippina, in the spot where the choir of the Cathedral raises
its magnificent pinnacles, there existed in very remote ages a
Roman Castellum. At a later period this was replaced by a palace of
the French kings, which Charlemagne gave to his chancellor and
confessor Hildebold....
The Cathedral of Cologne was one of the most ancient seats of
Christianity in Germany; it contained in its jurisdiction the capital of
Charlemagne’s Empire, the city where the Emperors were crowned.
In the Twelfth Century, Frederick Barbarossa enriched it with one of
those sacred treasures which in a time of faith attracted entire
populations and gave birth to the gigantic enterprises which seem so
incredible in our positive and sceptical age. All eyes were turned to
the Holy Land, and the pilgrims of Germany, as well as of other
countries, before undertaking this perilous voyage came by the
thousands to the tomb of the Magi, to pray to God that the same star
which guided the Three Wise Men to Christ’s cradle might lead them
to his tomb. The celebrity and wealth of the Cologne Cathedral was
greatly due to the custom of the Emperors visiting it after their
coronation. Thus, from the moment it was in possession of the
sacred relics, everything combined to augment its splendour;
princes, emperors, and people of all classes were eager to add to its
treasures. Therefore, it was only a natural consequence to erect on
the site of the old Cathedral of St. Peter a building more vast and
magnificent, and which would accord better with its important
destiny. The Archbishop Angebert, Count of Altena and Berg, upon
whom Frederick II. conferred the dignity of vicar of the empire,
conceived the first idea; but at about the age of forty he was
assassinated by his cousin, the Count of Ysembourg, in 1225, and
the enterprise was abandoned. Finally, a great fire devoured the
Cathedral in 1248 and its immediate reconstruction was
indispensable....
 THE CATHEDRAL OF COLOGNE.

Everyone knows that almost all churches of the pointed arch

which occupied several centuries in building show the special mark
of the periods in which their various additions were constructed; this
is not the case with the Cathedral of Cologne, which is peculiar in the
fact that its foundations and its additions were all constructed on one
and the same plan, which preserves the original design, and
therefore it presents a rare and admirable unity.
On the side of the Rhine, or rather on the Margreten, between
the Trankgass and the Domhof, the choir of the basilica offers the
most imposing effect. It is only from this side that the edifice seems
to have an end. The end of the roof, edged in all its length by an
open-worked ridge, is surmounted by an enormous cross, nine
metres high, finished with a fleur-de-lis at each extremity. This cross,
weighing 694 kil., was only placed there on August 3, 1825, but it
was long in existence, having been, it is said, presented to the
church by Marie de’ Medici. In the centre of the transept there rose a
bell-tower, 65 metres high, which was demolished in 1812. The plan
carries a superb flèche of stone, open-worked like the spires of the
façade, and about 100 metres high.
Fifteen flying-buttresses on each side proceed from the central
window and sustain the choir, leaning against the buttresses and
surmounted by elegant pyramids. Each of these pyramids carries
twelve niches destined to hold angels two metres high, many of
which have been restored lately by Wilhelm Imhoff. The upper part of
the flying-buttresses, at the point where they meet the balustrade of
the roof, is crowned by another and more simple pyramid. Finally,
between these flying-buttresses in the upper part of the wall of the
choir, magnificent mullioned windows are disclosed. The entire
edifice is covered with gargoyles, each more bizarre than the other....
Entering the cathedral by the door at the foot of the northern
tower, you find yourself in the double-lower northern nave. The first
bays do not contain altars, but their windows reveal magnificent
panes, of the beginning of the Sixteenth Century. The Archbishop
Herman von Hesse, the Chapter, the City, and many noble families
united to have them painted by the most distinguished artists of the
period, which was the apogee of Art in Germany; and therefore here
are many of the most admirable chefs d’œuvre of glass-painting....
The Chapel of the Kings is almost entirely occupied by the
building erected in 1688 and ornamented by Ionic pilasters of
marble, and which, shut in by grilles and many locks, contains the
marvellous reliquary in which are preserved the relics of the Three
Magi. According to Buttler, these relics were found by Saint Helena,
mother of Constantine, during her pilgrimage to the Holy Land; she
carried them carefully to Constantinople. Soon afterwards the
Archbishop Eustorge, to whom the Emperor had presented them,
brought them to Milan, where they were deposited in the church
subsequently consecrated to the same Eustorge, who was
canonized. When Frederick Barbarossa invaded the town in 1163,
Reinald von Dassile, Archbishop of Cologne, received them as a
reward for the services which he had rendered to the Emperor during
the siege. At the same time Reinald obtained several relics of the
Maccabees, of the Saints Apollinaris, Felix, Nabor, Gregory di
Spoletto, etc. He, himself, accompanied this treasure, which crossed
Switzerland in triumph, descended the Rhine to Remagen, where he
gave it to Philip of Heinsberg, then provost of the Chapter.
On July 23, 1164, the relics were deposited in the ancient
cathedral, from which they were transferred to the new one; they
were guarded there simply by an iron grille until the Archbishop
Maximilian Heinrich constructed the building which encloses them to-
day, upon whose pediment you see sculptured in marble, by Michael
Van der Voorst of Antwerp, the Adoration of the Magi, Saint Felix,
Saint Nabor, and two female figures guarding the arms of the
Metropolitan Chapter, in the midst of which figure those of the
Archbishop Maximilian Heinrich. On the frieze you read the
inscription: “Tribus ab oriente regibus devicto in agnitione veri
numinis capitulum metropol erexit.” Above the grilled window, which
is opened during grand ceremonies to permit the people to see the
reliquary, is written:

“Corpora sanctorum recubant hic terna magorum;

Ex his sublatum nihil est alibive locatum.”

Finally, above the reliquary placed to the right and left between
the columns one reads: “Et apertis thesauris suis obtulerunt
munera.”
In 1794 the relics were carried to the treasury of Arnsberg, then
to Prague, where the three crowns of diamonds were sold, and
finally to Frankfort-on-the-Main. When they were brought back in
1804, the reliquary was repaired and put in its old place. This
reliquary, a chef d’œuvre of Twelfth Century orfèvrerie, is of gilded
copper with the exception of the front, which is of pure gold; its form
is that of a tomb; its length 1 m. 85, its breadth 1 m. at the base, its
height 1 m. 50; on the side turned to the west you see represented
the Adoration of the Magi and the baptism of Jesus Christ. Above the
sculpture is a kind of lid which may be raised, permitting you to see
the skulls of the Three Kings ornamented with golden crowns
garnished with Bohemian stones,—a kind of garnet; in the pediment
is the image of the Divine Judge sitting between two angels who hold
the attributes of the Passion; the two busts above represent Gabriel
and Raphael; and, finally, an enormous topaz occupies the summit
of the pediment. The right side of the reliquary is ornamented with
images of the prophets, Moses, Jonah, David, Daniel, Amos, and
Obadiah. The apostles Paul, Philip, Simon, Thomas, and Judas
Thaddeus are placed in six niches above. In the left side you see the
prophets Ezekiel, Jeremiah, Nahum, Solomon, Joel, and Aaron, and
the apostles Bartholomew, Matthew, John the Lesser, Andrew, Peter,
and John the Great. The back of the monument presents the
flagellation of Jesus Christ, the Virgin Mary, Saint John, the Saviour
on the Cross, Saint Felix, Saint Nabor, the Archbishop Reinald and
eight busts of angels. The monument is surmounted by an open-
work ridge of copper lace. This magnificent reliquary is covered with
more than 1,500 precious stones and antique cameos representing
subjects which are not exactly Christian such as the apotheosis of an
Emperor, two heads of Medusa, a head of Hercules, one of
Alexander, etc. Behind the reliquary is a bas-relief in marble 1 m. 33
in height and 1 m. 40 in length, representing the solemn removal of
the relics. The bas-reliefs of richly-gilt bronze, placed below the
windows which occupy the back of the chapel, represent the
Adoration of the Magi: these were the gift of Jacques de Croy, Duke
of Cambrai in 1516. This window is ornamented with beautiful panes
of the Thirteenth Century, representing various subjects of sacred
history.

Jules Gaillhabaud, Monuments anciens et modernes (Paris,

1865).
 THE PALACE OF VERSAILLES.
AUGUSTUS J. C. HARE.

THE first palace of Versailles was a hunting-lodge built by Louis XIII.

at the angle of the present Rue de la Pompe and Avenue de Saint-
Cloud. This he afterwards found too small, and built, in 1627, a
moated castle, on the site of a windmill in which he had once taken
shelter for the night. The buildings of this château still exist,
respected, as the home of his father, in all the alterations of Louis
XIV., and they form the centre of the present place. In 1632 Louis
XIII. became seigneur of Versailles by purchase from François de
Gondi, Archbishop of Paris.
 THE PALACE OF VERSAILLES.

The immense works which Louis XIV. undertook here, and which
were carried out by the architect Mansart, were begun in 1661, and
in 1682 the residence of the Court was definitely fixed at Versailles,
connected by new roads with the capital. Colbert made a last effort
to keep the king at Paris, and to divert the immense sums which
were being swallowed up in Versailles to the completion of the
Louvre. The very dulness of the site of Versailles, leaving everything
to be created, was an extra attraction in the eyes of Louis XIV. The
great difficulty to be contended with in the creation of Versailles was
the want of water, and this, after various other attempts had failed, it
was hoped to overcome by a canal which was to bring the waters of
the Eure to the royal residence. In 1681 22,000 soldiers and 6,000
horses were employed in this work, with such results of sickness that
the troops encamped at Maintenon, where the chief part of the work
was, became unfit for any service. On October 12, 1678, Mme. de
Sévigné writes to Bussy-Rabutin:—
 “The king wishes to go to Versailles; but it seems that God
does not, to judge from the difficulty of getting the buildings
ready for occupation and the dreadful mortality of the workmen
who are carried away every night in waggons filled with the
dead. This terrible occurrence is kept secret so as not to create
alarm and not to decry the air of this favori sans mérite. You
know this bon mot of Versailles.”

Nine millions were expended in the Aqueduct of Maintenon, of

which the ruins are still to be seen, then it was interrupted by the war
of 1688, and the works were never continued. Instead, all the water
of the pools and the snow falling on the plain between Rambouillet
and Versailles was brought to the latter by a series of subterranean
watercourses.
No difficulties, however—not even pestilence, or the ruin of the
country by the enormous cost—were allowed to interfere with “les
plaisirs du roi.” The palace rose, and its gigantic gardens were
peopled with statues, its woods with villages.
Under Louis XV. Versailles was chiefly remarkable as being the
scene of the extravagance of Mme. de Pompadour and the turpitude
of Mme. du Barry. Mme. Campan has described for us the life, the
very dull life, there of “Mesdames,” daughters of the king. Yet, till the
great Revolution, since which it has been only a shadow of its former
self, the town of Versailles drew all its life from the château.
Approaching from the town on entering the grille of the palace
from the Place d’Armes we find ourselves in the vast Cour des
Statues—“solennelle et morne.” In the centre is an equestrian statue
of Louis XIV. by Petitot and Cartellier. Many of the surrounding
statues were brought from the Pont de la Concorde at Paris. Two
projecting wings shut in the Cour Royale, and separate it from the
Cour des Princes on the left, and the Cour de la Chapelle on the
right. Beyond the Cour Royale, deeply recessed amongst later
buildings is the court called, from its pavement, the Cour de Marbre,
surrounded by the little old red château of Louis XIII.
 The Cour de Marbre was sometimes used as a theatre under
Louis XIV., and the opera of Alcestis was given there. It has a
peculiar interest, for no stranger can look up at the balcony of the
first floor without recalling Marie Antoinette presenting herself there,
alone, to the fury of the people, October 6, 1789.
The palace of Versailles has never been inhabited by royalty
since the chain of carriages drove into this court on October 6, to
convey Louis XVI. and his family to Paris.
From the Grande Cour the gardens may be reached by
passages either from the Cour des Princes on the left, or from the
Cour de la Chapelle on the right. This palace has had three chapels
in turn. The first, built by Louis XIII., was close to the marble
staircase. The second, built by Louis XIV., occupied the site of the
existing Salon d’Hercule. The present chapel, built 1699–1710, is the
last work of Mansart.
Here we may think of Bossuet, thundering before Louis XIV., “les
royaumes meurent, sire, comme les rois,” and of the words of
Massillon, “Si Jésus-Christ paraissait dans ce temple, au milieu de
cette assemblée, la plus auguste de l’univers, pour vous juger, pour
faire le terrible discernement,” etc. Here we may imagine Louis XIV.
daily assisting at the Mass, and his courtiers, especially the ladies,
attending also to flatter him, but gladly escaping, if they thought he
would not be there....
All the furniture of Versailles was sold during the Revolution (in
1793), and, though a few pieces have been recovered, the palace is
for the most part unfurnished, and little more than a vast picture-
gallery. From the antechamber of the chapel open two galleries on
the ground floor of the north wing. One is the Galerie des Sculptures;
the other, divided by different rooms looking on the garden, is the
Galerie de l’Histoire de France. The first six rooms of the latter
formed the apartments of the Duc de Maine, the much indulged son
of Louis XIV. and Mme. de Maintenon.
At the end of the gallery (but only to be entered now from the
Rue des Réservoirs) is the Salle de l’Opéra. In spite of the passion
of Louis XIV. for dramatic representations, no theatre was built in the
palace during his reign. Some of the plays of Molière and Racine
were acted in improvised theatres in the park; others, in the halls of
the palace, without scenery or costumes; the Athalie of Racine,
before the King and Mme. de Maintenon, by the young ladies of
Saint-Cyr. The present Opera House was begun by Jacques Ange-
Gabriel under Louis XV. for Mme. de Pompadour and finished for
Mme. du Barry.
The Opera House was inaugurated on the marriage of the
Dauphin with Marie Antoinette, and nineteen years after was the
scene of that banquet, the incidents of which were represented in a
manner so fatal to the monarchy, given by the body-guard of the king
to the officers of a regiment which had arrived from Flanders....
The garden front of the palace has not yet experienced the
soothing power of age: it looks almost new; two hundred years
hence it will be magnificent. The long lines of the building, with its
two vast wings, are only broken by the top of the chapel rising above
the wing on the left.
The rich masses of green formed by the clipped yews at the
sides of the gardens have the happiest effect, and contrast vividly
with the dark background of chestnuts, of which the lower part is
trimmed, but the upper falls in masses of heavy shade, above the
brilliant gardens with their population of statues. These grounds are
the masterpiece of Lenôtre, and of geometrical gardening, decorated
with vases, fountains, and orange-trees. Lovers of the natural may
find great fault with these artificial gardens, but there is much that is
grandiose and noble in them; and, as Voltaire says: “Il est plus facile
de critiquer Versailles que de le refaire.”
The gardens need the enlivenment of the figures, for which they
were intended as a background, in the gay Courts of Louis XIV. and
Louis XV. as represented in the pictures of Watteau; but the Memoirs
of the time enable us to repeople them with a thousand forms which
have long been dust, centring around the great king, “Se promenant
dans ses jardins de Versailles, dans son fauteuil à roues.”
The sight of the magnificent terraces in front of the palace will
recall the nocturnal promenades of the Court, so much
misrepresented by the enemies of Marie Antoinette.
Very stately is the view down the main avenue—great fountains
of many figures in the foreground; then the brilliant Tapis Vert,
between masses of rich wood; then the Bassin d’Apollon, and the
great canal extending to distant meadows and lines of natural
poplars.

Days near Paris (London, 1887)

 THE CATHEDRAL OF LINCOLN.
THOMAS FROGNALL DIBDIN.

WELCOME to Lincoln! Upwards of twenty summer suns have rolled

their bright and genial courses since my first visit to this ancient city,
—or rather, to this venerable Cathedral: for the former seems to be
merged in the latter. There is no proportion between them. A
population of only twelve thousand inhabitants and scarcely more
than an ordinary sprinkling of low commonplace brick-houses, are
but inharmonious accessories to an ecclesiastical edifice, built upon
the summit of a steep and lofty hill—pointing upwards with its three
beautiful and massive towers towards heaven, and stretching
longways with its lofty nave, choir, ladye-chapel, side chapels, and
double transepts. For site, there is no Cathedral to my knowledge
which approaches it....
WEST FRONT OF THE CATHEDRAL OF LINCOLN
 Upon a comparative estimation with the Cathedral of York,
Lincoln may be called a volume of more extensive instruction; and
the antiquary clings to its pages with a more varied delight. The
surface or exterior of Lincoln Cathedral presents at least four perfect
specimens of the succeeding styles of the first four orders of Gothic
architecture. The greater part of the front may be as old as the time
5
of its founder, Bishop Remigius, at the end of the Eleventh Century:
but even here may be traced invasions and intermixtures, up to the
Fifteenth Century. The large indented windows are of this latter
period, and exhibit a frightful heresy. The western towers carry you
to the end of the Twelfth Century: then succeeds a wonderful extent
of Early English, or the pointed arch. The transepts begin with the
Thirteenth, and come down to the middle of the Fourteenth Century;
and the interior, especially the choir and the side aisles, abounds
with the most exquisitely varied specimens of that period. Fruits,
flowers, vegetables, insects, capriccios of every description, encircle
the arches or shafts, and sparkle upon the capitals of pillars. Even
down to the reign of Henry VIII. there are two private chapels, to the
left of the smaller south porch, on entrance, which are perfect gems
of art.
Where a building is so diversified, as well as vast, it is difficult to
be methodical; but the reader ought to know, as soon as possible,
that there are here not only two sets of transepts, as at York, but that
the larger transept is the longest in England, being not less than two
hundred and fifty feet in length. The window of the south transept is
circular, and so large as to be twenty-two feet in diameter; bestudded
with ancient stained glass, now become somewhat darkened by
time, and standing in immediate need of cleaning and repairing. I
remember, on my first visit to this Cathedral, threading the whole of
the clerestory on the south side, and coming immediately under this
magnificent window, which astonished me from its size and
decorations. Still, for simplicity as well as beauty of effect, the
delicately ornamented lancet windows of the north transept of York
Cathedral have clearly a decided preference. One wonders how
these windows, both at York and at this place, escaped destruction
from Cromwell’s soldiers.... The Galilee, to the left of the larger south
transept, is a most genuine and delicious specimen of Early English
architecture. In this feature, York, upon comparison, is both petty and
repulsive.
Wherever the eye strays or the imagination catches a point upon
which it may revel in building up an ingenious hypothesis, the
exterior of Lincoln Cathedral (some five hundred feet in length) is a
never failing source of gratification....
Let us turn to the grand western front; and whatever be the
adulterations of the component parts, let us admire its width and
simplicity;—the rude carvings, or rather sculpture, commemorative of
the life of the founder, St. Remigius: and although horrified by the
indented windows, of the perpendicular style, let us pause again and
again before we enter at the side-aisle door. All the three doors are
too low; but see what a height and what a space this front occupies!
It was standing on this spot, that Corio, my dear departed friend—
some twenty years ago—assured me he remained almost from
sunset to dawn of day, as the whole of the front was steeped in the
soft silvery light of an autumnal full moon. He had seen nothing
before so grand. He had felt nothing before so stirring. The planets
and stars, as they rolled in their silent and glittering orbits, and in a
subdued lustre, over the roof of the nave, gave peculiar zest to the
grandeur of the whole scene: add to which, the awfully deepening
6
sounds of Great Tom made his very soul to vibrate! Here, as that
bell struck the hour of two, seemed to sit the shrouded figures of
7
Remigius, Bloet, and Geoffrey Plantagenet, who, saluting each
other in formal prostrations, quickly vanished at the sound “into thin
air.” The cock crew; the sun rose; and with it all enchantment was at
an end. Life has few purer, yet more delirious enjoyments, than
this....
The reader may here, perhaps, expect something like the
institution of a comparison between these two great rival Cathedrals
of Lincoln and York; although he will have observed many points in
common between them to have been previously settled. The
preference to Lincoln is given chiefly from its minute and varied
detail; while its position impresses you at first sight, with such
mingled awe and admiration, that you cannot divest yourself of this
impression, on a more dispassionately critical survey of its
component parts. The versed antiquary adheres to Lincoln, and
would build his nest within one of the crocketted pinnacles of the
western towers—that he might hence command a view of the great
central tower; and, abroad of the straight Roman road running to
Barton, and the glittering waters of the broad and distant Humber.
But for one human being of this stamp, you would have one hundred
collecting within and without the great rival at York. Its vastness, its
space, its effulgence of light and breadth of effect: its imposing
simplicity, by the comparative paucity of minute ornament—its lofty
lantern, shining, as it were, at heaven’s gate, on the summit of the
central tower: and, above all, the soul-awakening devotion kindled by
a survey of its vast and matchless choir leave not a shadow of doubt
behind, respecting the decided superiority of this latter edifice.

A Bibliographical, Antiquarian, and Picturesque Tour in the

Northern Counties of England and in Scotland (London, 1838).
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