Yet, in spite of garish paint, we can echo Viollet-le-Duc's sentiment, that it is worth while to be ill at Beaune.
Viollet-le-Duc computes that in 1866 they could not have been put up for less than 20,000.
Here Viollet-le-Duc established his bureau when engaged on the reconstruction of this great work.
It was cut like a Viollet-le-Duc tabard, and had not a trace of the fashion of the time.
For a long time past he had wanted to form a more definite impression of Viollet-le-Duc's work as a restorer.
Among the Mayas, says Viollet-le-Duc, painting went hand-in-hand with architecture, supplementing each other.
Viollet-le-Duc says that the “Saracinois” was a term applied to the makers of velvety carpets (tapis veloutés).
The 13th century clerestory gallery, which surrounds the upper portion of the apsidal chapels, was restored by Viollet-le-Duc.
The methods employed in the middle ages are described by Burges and Viollet-le-Duc.
The two porches placed outside the transept doors are the subject of a panegyric from the pen of Viollet-le-Duc.