The chapels of the nave and of the choir, decorated by the most celebrated artists of this century, present admirable specimens of religious painting. Eugène Delacroix is represented in the chapel of the Holy Angels by two mural pictures and a painted ceiling, all instinct with his fiery genius. The Triumph of Saint Michael, Heliodorus Beaten with Rods, and Jacob Wrestling with the Angel, are the subjects. The artists who have painted the various chapels are too numerous to mention. The organ-loft rests on composite columns of a grandiose character, the work of Servandoni, and the organ is worthy of the loft built for its reception. Reconstructed in 1861 by Cavaillé-Coll, this majestic instrument with its ten octaves possesses 5 complete key-boards, 118 registers, 20 pedals, and about 7,000 pipes. The organ of Saint-Sulpice is said to be the largest in Europe, and on Sundays and holidays the congregation is never without a certain number of _dilettanti_ who have come to hear the gigantic instrument speak beneath the eloquent fingers of M. Widor, whose duties as organist have not prevented him from writing the music of a ballet, “La Korrigane,” for the Opéra, and of a lyric work, “Maître Ambros,” for the Opéra Comique. Widor, the organist of Saint-Sulpice, composing ballet-music reminds one of the still more violent relief sought by Hervé, who passed from the organ-loft to the stage of the Folies Dramatiques with his burlesque operettas of “L’Œil Crevé” and “Le Petit Faust.” The hero of M. Hervé’s operatic vaudeville “Nitouche” is perhaps a typical personage in the musical world of Paris. He also is an organist by profession, a composer of light opera by aspiration; and he gets into sad trouble by teaching frivolous airs to the pupils of the convent school where he is employed to play psalms and hymns. Strangely enough, by what hazard can scarcely be said, in the organ-loft of Saint-Sulpice is to be found the harpsichord of Marie Antoinette. What a contrast between the delicate sounds of this feeble instrument and the thunder of its colossal neighbour! [Illustration: THE SIDE ENTRANCE TO SAINT-GERMAIN-DES-PRÉS.] The church of Saint-Sulpice, renamed in 1793, at the height of the Revolution, Temple of Victory, was the scene on the 9th of November, 1799, of a banquet, at which General Bonaparte presided. In 1802 it was restored to public worship. The existing church rests on an immense crypt, in which the architects have respected the pillars of the original church. In this subterranean church, which is adorned with statues of Saint Paul and Saint John the Evangelist by Pradier, the catechism is taught and conferences are held. The plan of Servandoni comprised a space in front of the church, enclosed by symmetrical façades, the model of which may be seen in the south-east corner of the square, between the Rue des Canettes and the Rue Saint-Sulpice. This part of the architect’s project was, however, abandoned.