work and his sympathies were so eminently Classic in style, that it is difficult to feel that his paintings illustrate pages of Gospel history and legendary lore. There is no more religious sentiment in Couture's work than in the Eclectic decadence of Italy, or the 18th century French school. Many persons object to our latest group of religious painters; but the feeling expressed in the pictures of M. Lhermitte, of Bastien-Lepage, of Mr. C. Pierce, of M. Dagnan-Bouveret, and even in M. Béraud's _Crucifixion_, to say nothing of Herr Uhde's work, is far more religious than in many, one might almost say, in most of the frescoes and pictures by modern artists in the various churches. Sentimentality is not religious sentiment, and cast-up eyes do not necessarily express devotion. Again, the light is so bad in this chapel that it is very difficult to judge of Couture's work, even from the æsthetic point of view; and therefore we cannot think this picture equal to the grand _Romains de la Décadence_ in the Louvre. The altar is a handsome specimen of the reign of Louis XIII., but the statue which surmounts it, by Pigalle, has the usual sentimental character of 18th century sculpture. A _plaque_ informs the faithful that it was blessed by Pius VII. in 1804; but, unfortunately, a pope's blessing will not turn a piece of marble into a fine work of art. The chapel of S. Louis de Gonzague was the property of the Colbert family, and contains the tomb of the great minister. The monument was executed from a design by Lebrun, and, although of the usual type of that period, it is not without a certain grandeur. A black marble sarcophagus supports the kneeling figure of Colbert, arrayed in the robes of the order of the Saint-Esprit. The hands, joined in prayer, are exquisitely modelled. The expression of the face is fine, and the flow of the draperies is well executed. At the foot of the monument are figures of Religion by Tubi and Abundance by Coysevox; the latter a good example of the sculptor's style. This was one of the monuments saved from the Vandal mob in 1792, by Lenoir, who marched it off to the museum of the Petits-Augustins, where it remained until 1801, when it was returned to S. Eustache.