Considering the age in which it was built, and the contemporary specimens of so-called Gothic art erected in France and England, it is wonderful how little of classical admixture has been allowed to creep into the design of this building, and how closely it adhered to every essential of the style adopted. In plan, in arrangement, and indeed in details, it is so correct, that it requires considerable knowledge to define the difference between this and an older building of the same class. Still there is a wide difference, which makes itself felt though not easily described, and consists in the fact that the old cathedrals were built by men who had a true perception of their art; while the modern example only bears evidence of a well-learnt lesson distinctly repeated, but without any real feeling for the subject. This want betrays itself in an unmeaning repetition of parts, in a deficiency of depth and richness, and in a general poverty of invention. COLLEGIATE CHURCHES. It would not be difficult to select out of the collegiate churches of France as complete a series as of the cathedrals, though of inferior size. But having already gone through the one class of buildings, we must confine ourselves to a brief notice of the other. The church of Charité sur Loire was one of the most picturesque and beautiful in France. It is now partially ruined, though still retaining enough of its original features to illustrate clearly the style to which it belongs. Originally the church was about 350 ft. in length by 90 in breadth. One tower of the western front, one aisle, and the whole of the choir still remain, and belong without doubt to the church dedicated in 1106 by Pope Pascal. The presence of the pointed form in the pier arches and vaults has induced some to believe that this church belongs to the reign of Philip Augustus, about a century later, and when the church was restored after a great fire. Its southern position, however, the circumstance of its being the earliest daughter church of the abbey of Cluny, and the whole style of the building, are proofs of its earlier age. All the decorative parts, and all the external openings, still retain the circular form as essentially as if the pointed had never been introduced. The most remarkable feature in this church is the exuberance of the ornament with which all the parts are decorated, so very unlike the massive rudeness of the contemporary Norman or Northern styles. The capitals of the pillars, the arches of the triforium, the jambs of the windows and the cornices, all show a refinement and love of ornament characteristic of a far more advanced and civilised people than those of the Northern provinces of France.