The Place de la Loge is the centre of animation to the town, the forum of the capital of Roussillon. It derives its name from the Loge de la Mer, a court for naval and mercantile affairs. This dates from 1397, but was reconstructed in 1540; it is richly carved, but is somewhat weak in design, and however elaborate is the ornamentation is not effective. From the upper story is suspended a diminutive ship with all its appointments. The lower story is given up to be a café. Before this all the rollicking and fun of the carnival takes place, not, as elsewhere, on Shrove Tuesday, but on Ash Wednesday. Before this pass the fantastic cars bearing maskers representing various trades or else allegorical groups. Here goes on the battle of the _dragées_, when every one not masked, down to the baby in arms, wears a wire vizor over his face, such as is employed by fencers, as a protection against the _dragées_, which are as large as beans and as hard as pebbles. It is somewhat startling to note the contrast presented on Ash Wednesday between the scene in the cathedral, when the whole congregation goes to the altar rails to have a cross of ashes marked on each brow, with the words: “Remember, O man, that dust thou art, and unto dust thou shalt return!” and that in the Place de la Loge in the afternoon, when fun runs fast and furious, and every one is playing the fool. The cathedral was begun in 1324, and terminated in the beginning of the sixteenth century. Externally it promises little, but the interior is overwhelmingly beautiful. The church is built of tiles rather than bricks, each 17 inches long by 1½ inches thick and 8 inches wide; with bands of these tiles alternate belts of cobble-stones arranged in herring-bone fashion. The interior consists of one vast nave 56 feet wide, in seven bays and with transepts. The whole ends in a magnificent apse. Between the buttresses are chapels, 17 feet deep, in each of which is a three-light window most of these blocked by retables, and this renders the church unnecessarily dark. The high altar-piece of white marble, of the seventeenth century, is an admirable composition, purely Renaissance in character, executed by Bartholomew Soler, of Barcelona. In the niches are statues of the Virgin, S. John, and SS. Julia and Eulalia, patronesses of Elne. Particularly noticeable is a superb carved oak and gilded reredos in the north transept, of the fifteenth century, representing scenes of the Passion in eight compartments. Another, enclosing fine paintings in place of sculpture, is in the south transept. The huge organ-case is a splendid bit of work of the sixteenth century.