The curiously carved capitals of the columns of the nave share, with the frescoes of the apse, the chief distinction among the accessory details. They depict, in their ornate and deeply cut heads, dragons and other weird beasts of the land and fowls of the air, in conjunction with unshapely human figures, and while all are intensely grotesque, they are in no degree offensive. There is no exceeding grace or symmetry of outline in any of the parts of this church, but, nevertheless, it has the inexplicable power to please, which counts for a great deal among such inanimate things as architectural forms. It would perhaps be beyond the powers of any one to explain why this is so frequently true of a really unassuming church edifice; more so, perhaps, with regard to churches than to most other things--possibly it is because of the local glamour or sentiment which so envelops a religious monument, and hovers unconsciously and ineradicably over some shrines far more than others. At any rate, the former cathedral of Notre Dame at Lescar has this indefinable quality to a far greater degree than many a more ambitiously conceived fabric. The round-arched window and doorway most prevail, and the portal in particular is of that deeply recessed variety which allows a mellow interior to unfold slowly to the gaze, rather than jump at once into being, immediately one has passed the outer lintel or jamb. The entire suggestion of this church, both inside and out, is of a structure far more massive and weighty than were really needed for a church of its size, but for all that its very stable dimensions were well advised in an edifice which was expected to endure for ages. The entire apse is covered, inside, with a series of frescoes of a very acceptable sort, which, though much defaced to-day, are the principal art attribute of the church. Their author is unknown, but they are probably the work of some Italian hand, and have even been credited to Giotto. The choir-stalls are quaintly carved, with a luxuriance which, in some manner, approaches the Spanish style. They are at least representative of that branch of Renaissance art which was more representative of the highest expression than any other. In form, this old cathedral follows the basilica plan, and is perhaps two hundred feet in length, and some seventy-five in width. The grandfather of Henri IV. and his wife--_la Marguerites des Marguerites_--were formerly buried in this cathedral, but their remains were scattered by either the Huguenots or the Revolutionists. Curiously enough, too, Lescar was the former habitation of a Jesuit College, founded by Henri IV. after his conversion to the Roman faith, but no remains of this institution exist to-day. [Illustration] VII L'ÉGLISE DE LA SÈDE: TARBES