Now walk up the =R aisle=. Everything in this church is, of course, comparatively modern, but still rich in symbolism. Most of the chapels have their names inscribed upon them—an excellent feature. The first, containing Franciscan Saints, has a good modern stained-glass window, representing the Saints and Patrons of the Order—St. Francis, St. Louis, etc. Observe the frescoes in the various chapels, and note their applicability to the saints to whom they are dedicated. I need not now enlarge upon this point. For example, the chapel of the Souls in Purgatory has a relief of Christ bound to the pillar—_His_ purgatory—(a portion of it is preserved here) and a fresco representing mourning souls below, with triumphant ones in heaven. Observe from this point the beautiful Renaissance detail of the aisles and of the vaulting in the ambulatory, or passage behind the choir. Do not overlook the chapels of St. Agnes (co-patroness) and St. Cecilia, the inventress of the organ and patroness of music. The =transepts= are very short, but are decorated with good rose-windows and other excellent semi-Gothic detail. Walk round the =ambulatory=, noticing as you go the various chapels with their polychromatic decoration and their appropriate frescoes. Thus, that of St. Anne contains a representation of the Saint educating her daughter the Virgin. Note also on your L as you go the delicate work of the choir-screen, and the excellent vaulting and decoration of the lofty =choir=. The Lady Chapel behind the choir is not wholly pleasing. It contains a good 18th century statue of the Virgin and Child by Pigalle. Observe particularly in the North part of the ambulatory the chapel of Ste. Geneviève, with scenes from her legend. The chapel of St. Louis, next it, contains excellent modern frescoes from his life, by Barrias, and a fine stained-glass window of his education, with his mother, Blanche of Castille, looking on, beneath a canopy marked with fleurs-de-lis and the three castles of Castille. One fresco represents him taking the Crown of Thorns to the Sainte Chapelle. Observe these little historical reminiscences: they add interest. Pleasing reliefs in the =North transept= of St. Cecilia and King David, representing music, for which this church has always been celebrated, especially on St. Cecilia’s Day and Good Friday. They stand for Psalms and Hymns—the Jewish and the Christian psalmody. Notice, again, the figure of St. Agnes with her lamb, between the doorways, a tribute to the earlier dedication of the building. Above it, good stained-glass window of the Annunciation, with traditional details. (Do not be content to notice merely the points to which I call attention, but observe for yourself as you go the other figures, with their meaning and connection. To spell it all out is half the pleasure.) Above the Holy Water vessel in this Transept is a figure of Pope Alexander I, who first sanctioned the use of Holy Water, accompanied by angels. Beneath it, the baffled