Now walk up the Right Aisle. The first chapel is the Baptistery, containing the font and a modern statue of the boy Baptist. Third chapel, St. Antony of Padua. The fourth chapel contains a curious Holy Sepulchre, with quaint life-size terra-cotta figures of the 16th century. Fifth chapel, a gilt _châsse_. Notice the transepts, reduced to short arms, scarcely, if at all, projecting beyond the chapels. From this point examine the exquisite Renaissance tracery of the rood-screen and staircases. Then pass under the fine Renaissance door, with lovely decorative work, into the =ambulatory=. The Choir is in large part Gothic, with late flamboyant tracery. The apparent triforium is continued round the ambulatory. The splendid gilded shrine in the second choir-chapel contains the =remains of Ste. Geneviève=, or what is left of them. Candles burn perpetually around it. Hundreds of votaries here pay their devotions daily to the Patroness of Paris. The shrine, containing what is alleged to be the original sarcophagus of the Saint (more probably of the 13th century) stands under a richly-gilt Gothic tabernacle, adorned with figures legibly named on their pedestals. The stained-glass window behind it has a representation of a processional function with the body of the Saint, showing this church, together with a view of the original church of Ste. Geneviève, the remaining tower, and adjacent houses, historically most interesting. The window beyond the shrine also contains the history of Ste. Geneviève—her childhood, first communion, miracles, distribution of bread during the siege of Paris, conversion of Clovis, death, etc. Indeed the long sojourn of the body of Ste. Geneviève in this church has almost overshadowed its dedication to St. Stephen, several memorials of whom may, however, be recognised by the attentive visitor—amongst them, a picture of his martyrdom (by Abel de Pujol) near the entrance to the choir. The Protomartyr also stands, with his deacon’s robe and palm, in a niche near the door of the sacristy, where L and R are frescoes of his Disputation with the Doctors, and his Martyrdom. The chapel immediately behind the high altar is, as usual, the Lady Chapel. The next contains a good modern window of the Marriage of the Virgin. Examine in detail all the windows; one of the mystic wine-press is very interesting. Votive offerings of the city of Paris to Ste. Geneviève also exist in the ambulatory. Curious frescoes of the martyrdom of the 10,000 Christians on Mount Ararat on the N side. The best view of the choir is obtained from the N side of the ambulatory, opposite the shrine of Ste. Geneviève. In the north aisle notice St. Louis with the Crown of Thorns. Stand again in the centre of the nave, near the entrance, and observe the curious inclination of the choir and high altar to one side—here particularly noticeable, and said in every case to represent the droop of the Redeemer’s head on the cross.