The churches here are really too often visited and too well known to require any description from me. I think the little church of S. Croix, with its gabled aisles (the gables running back into the main roof), pleased me as much as anything; it is just the kind of special town church which we want to see more in fashion in our own large towns, adapting itself boldly to every variation in the boundary of the land on which it is built, and giving a very considerable effect of height without extravagant expense. The metal font in the church of S. Bartholomew is a very admirable work of art, and most interesting in every way. In the cathedral is a new pulpit, by Geefs, much praised in guide books, but not a favourable specimen of his powers, I trust. S. Jacques, S. Martin, and other churches in Liège are remarkable for the richness of their internal polychromatic decorations. They are all, however, of very late date, quite Renaissance in their design and colouring, and very tawdry in effect and in detail. The east end of S. Jacques is, however, very impressive owing to the rich colour of the glass in the windows, which carries the decoration down from the roof to the floor, whilst elsewhere, the roof only being painted, and the whole of the walls left in the coldest white, the effect is heavy and unsatisfactory. We have, in short, here a good practical proof--worth a thousand arguments--that colour to be successful must be generally diffused and not confined to one part of a building. From Liège to Aix-la-Chapelle, of which too I shall say but little. The choir of the cathedral, which had been entirely despoiled of its tracery, is being gradually and well restored. It is both a noble and a very peculiar church, and perhaps the best view of it is to be obtained from the staircase in the old Rathhaus. How striking is the immense height of the choir as compared to its length, and how thoroughly fine and picturesque is the kind of dome, surrounded at its base with gables, which crowns the polygonal nave. No one who visits Aix should omit to see the treasures in the sacristy of the cathedral. I have never seen anywhere so fine a gathering of mediaeval goldsmith’s work, and a little study of these old remains would immensely improve the work of the few men who are attempting to revive the old glory of their craft. The Rathhaus contains in its upper stage a fine large groined hall, called the Kaiser-Saal, divided down the centre by columns and arches; it is approached by a good groined staircase, and is now being restored and decorated in fresco, by a Düsseldorf artist, with subjects from the life of Charlemagne. Near the cathedral is a valuable remnant of good domestic work; it has windows with plate tracery, and above them a row of niches or arcading, the divisions of the arcade being filled in with figures of kings in a very effective manner. It reminded me of the famous Maison des Musiciens, at Rheims.