Mr. Schwilgue has altered the old calendar into a perpetual one with the addition of the feasts that vary, according to their connexion with Easter or Advent Sundays. The dial, nine metres in circumference, is subject to a revolution of 365 or 366 days, according as the case may be. Mr. Schwilgue has even indicated the suppression of the secular bissextile days. He has moreover enriched his work by adding to it an ecclesiastic compute with all its indications; an orrery after the Copernican system, representing the mean tropical revolutions of each of the planets visible to the naked eye, the phases of the moon, the eclipses of the sun and moon, calculated for ever; the true time and the sideral time; a new celestial globe with the procession of the equinoxes, solar and lunary equations for the reduction of the mean geocentric ascension and declension of the sun and moon at true times and places. A dial placed without the church and showing the hours and days, is put in motion by the same mechanism of the clockwork. The camerated roof of the back part of the chancel was formerly covered with paintings executed in 1686 representing Dooms-day. A few paintings only adorned till now the interior of the Cathedral, among which the most remarkable oil-paintings, executed by artists of Strasburg, are: the _Shepherd's Adoration_, by Guerin, the _Laying in the tomb_, by Klein; the _Ascension_, by Heim, and some others. In the seventeenth and eighteenth centuries the chancel was several times and in different ways enlarged and disfigured by ornaments little correspondent with the elegance and grandeur of the gothic order. Tribunes, stairs and wainscots that formed a strange contrast with the rest of the edifice were added. The altar, adorned in 1501, with fine figures carved in wood by Master Nicholas of Haguenau, was changed in 1685 by order of bishop William Egon of Fuerstenberg; that new altar, covered with a baldachin, was destroyed by fire, and in 1765 the present one, which has nothing in its form worthy of notice, was erected. Great repairs were begun some years ago under the direction of the city corporation, struck, as every body was, by the great disproportion between the chancel and nave. It was resolved to restore the chancel to its primitive form and arrangement, and thus to reestablish the due proportions between that part and the rest of this magnificent church. This great labour is now finished. Their natural complement, as required by the style of this part of the pile and its extensive fronts and arch-roofs, is the execution of a certain number of monumental paintings, intrusted to two distinguished artists, Prof. Steinle, Director of Staedel's Institute in Frankfort a/M. and the historical painter Steinheil in Paris, a native Alsacian. The former is charged with the execution of the fresco-paintings in the chancel and lateral naves, whilst the latter undertook the reestablishment of the