The Revolution found the new church unfinished, and when Napoléon was in power he decided to complete the structure as a temple of military glory to be dedicated to the Grande Armée. Napoléon fell. The building was restored to the ecclesiastical authorities and its construction as a church, dedicated to Ste. Marie-Madeleine, completed during the years 1828-42. Begun on the model of the Pantheon at Rome, the building was finished on the plan of the Maison Carrée at Nismes. It is 108 mètres in length, 43 m. broad. The fine Corinthian columns we see are forty-eight in number. The great bronze doors are the largest church doors known. Their splendid bas-reliefs are the work of Triquetti (1838). Specimens of every kind of marble found in France have been used in the grand interior. In the wonderful painting “l’Histoire de la France Chrétienne,” we see in the centre Pope Pius VII and Napoléon in the act of making the Concordat, surrounded by King Clovis, Charlemagne, St. Louis, Jeanne d’Arc, Henri IV, Sully, Louis XIII, etc. The statues and other decorations are all modern, the work of the most distinguished artists of the nineteenth century. The abbé Deguerry, vicar in 1871, shot by the Communards, is buried there in the chapel Notre-Dame de la Compassion. The _place_ surrounding the church dates from 1815. At No. 7 lived Amédée Thierry (1820-29), Meilhac, and during fifty years Jules Simon who died there in 1896. We see his statue before the house. Behind the church we see the statue of Lavoisier, put to death at the Revolution. The streets opening out of Place de la Madeleine are modern, cut across ancient convent lands, and the old farm lands of les Mathurins. No. 5 Rue Tronchet is said to have been at one time the home of Chopin. Rue de l’Arcade, of yore “Chemin d’Argenteuil”--Argenteuil Road--got its name from an arcade destroyed in the time of Napoléon III, which stretched across the gardens of the convent of Ville l’Evêque, where the houses 15 and 18 now stand. Several of the houses we see along the street date from the eighteenth century, none are of special interest.