that, in 1842, it was opened for public worship in the precise form and with the elaborate ornamentation now belonging to it. The architecture of the Madeleine is partly Roman, partly Greek; or rather it is Greek with Roman adaptations. It is surrounded by Corinthian columns, of which there are eighteen on each side. Sixteen, moreover, enclose the southern portion, and eight the northern. The building is without windows, and is entirely of stone. The niches in the colonnade are occupied by thirty-four statues representing the most venerated martyrs and saints. On the principal façade will be remarked a high-relief of huge dimensions by Lemaire, representing our Lord as Judge of the world. The figure of the Saviour is seventeen feet high. On His right are the Angel of Salvation and the saved; on His left the Angel of Punishment and the condemned, with Mary Magdalene interceding on their behalf. The interior is brilliant with gold and colour. The sanctuary, with its vaulted roof, exhibits a vast fresco by Zugler, representing the history of Christianity. Mary Magdalene, receiving Christ's forgiveness, is surrounded by the Apostles and Evangelists; and among the illustrious men who in successive ages have protected the Christian Church may be recognised Constantine, Godefroi de Bouillon, Clovis, Joan of Arc, Dante, and Napoleon. The principal altar supports an enormous group in white marble, generally known as the Assumption, though the central figure is that of Mary Magdalene. The Assumption in this case is that of Mary Magdalene into Paradise, whither she is being borne by two angels. Under the organ is the Chapelle des Mariages, with a marble group by Pradier, representing the marriage of the Virgin; and the Chapelle des Fonts, with a group by Rude, the subject being the Baptism of Christ. To the right of the altar we see illustrated the spread of Christianity in the East during the early centuries and the Crusades; and again, in modern times, through the uprising of the Greeks against the Turks. As leading Crusaders, Richard Coeur-de-Lion and Godefroi de Bouillon occupy places. The personages exhibited as having greatly contributed towards the progress of Christianity in the West are the early martyrs, Charlemagne, Pope Alexander III., Joan of Arc, Raphael, Michael Angelo, and Dante. In the centre of the picture stands Henri IV., who, after uttering his celebrated exclamation, "Paris is well worth a mass," goes over to the dominant religion. Then come Louis XIII., Richelieu, and finally Napoleon I., who not only was crowned by Pope Pius VII. in Notre-Dame, but really deserves credit for having restored Christian worship in France.