The colossal domed temple which replaces the ancient church of Ste. Geneviève was begun by Soufflot, under Louis XV, in imitation of St. Peter’s, at Rome. Like all architects of his time, Soufflot sought merely to produce an effect of pagan or “classical” grandeur, peculiarly out of place in the shrine of the shepherdess of Nanterre. Secularised almost immediately on its completion, during the Revolution, the building was destined as the national monument to the great men of France, and the inscription, “Aux Grands Hommes la Patrie Reconnaissante,” which it still bears, was then first placed under the sculptures of the pediment. Restored to worship by the Restoration, it was again secularised under the Third Republic in order to admit of the burial of Victor Hugo. The building itself, a vast bare barn of the pseudo-classical type, very cold and formal, is worthy of notice merely on account of its immense size and its historic position; but it may be visited to this day with pleasure, not only for some noble modern paintings, but also for the sake of the reminiscences of Ste. Geneviève which it still contains. Open daily, free, from 10 to 4, Mondays excepted. The =tympanum= has a group by David d’Angers, representing France distributing wreaths to soldiers, politicians, men of letters, men of science, and artists. The =interior= is in the shape of a Greek cross (with equal arms). Follow round the walls, beginning from the R. In the R Aisle are paintings (modern) looking like frescoes, and representing the preaching of St. Denis, by Galand; and =*=the history of Ste. Geneviève—her childhood, recognition by St. Germain l’Auxerrois, miracles, etc., delicate and elusive works, by Puvis de Chavannes. The paintings of the South Transept represent episodes in the early history of France. Chronologically speaking, they begin from the E. central corner. Choir, Death of Ste. Geneviève, by Laurens, and Miracles before her Shrine. Apse of the tribune, fine modern (archaic) mosaic, by Hébert, representing Christ with the Guardian Angel of France, the Madonna, Jeanne d’Arc, and Ste. Geneviève. Stand under the dome to observe the proportions of the huge, bare, unimpressive building. L, or Northern Transept, E side, the history of Jeanne d’Arc; she hears the voices; leads the assault at Orleans; assists at the coronation of Charles VII at Rheims; and is burnt at Rouen. W. side, St. Louis as a child instructed by Blanche of Castille; administering justice in the Palace; and a captive among the Saracens. N. aisle, history of Ste. Geneviève and St. Denis (suite). The building is thus at once the apotheosis of patriotism, and the lasting memorial of the part borne by Christianity in French, and especially Parisian, history.