"The principal altar between the nave and the choir is admired for its size and grandeur of effect, but it is certainly ill-placed; it is perhaps too ornamental, looking like a detached piece which does not harmonise with the surrounding objects. Indeed, most of the altars in French churches want simplicity and appropriate effect, and the whole of the interior of the choir is (to my fastidious eye only, you may add) destitute of that quiet solemn character which ought always to belong to places of worship. Rich, minute and elaborate as are many of the Gothic choirs of our own country, they are yet in harmony and equally free from a frivolous and unappropriate effect. Behind the choir is the chapel of Our Lady, which is certainly most splendid and imposing. Upon the ceiling is represented the assumption of the Virgin, and the walls are covered with a profusion of gilt ornament which, upon the whole, has a very striking effect. In a recess above the altar is a sculptured representation of the Virgin and Infant Christ in white marble, of a remarkably high polish; nor are the countenances of the mother and child divested of sweetness of expression. They are represented upon a large globe, or with the world at their feet; upon the top of which, slightly coiled, lies the "bruised" or dead serpent. The light in front of the spectator, from a concealed window (a contrivance to which the French seem partial), produces a sort of magical effect. I should add that this is the largest parochial church in Paris, and that its organ has been pronounced to be matchless. "This magnificent church is the production of several periods and of several artists. Anne of Austria laid the foundation stone in 1636, under the superintendence of Levau. Levau died shortly afterwards, and was succeeded by Gittard and Oppenard. The finish was received by Servandoni, who, in the West front, or portico, left all his predecessors far behind him. The church was dedicated about the middle of the last century. The towers are the joint performances of Maclaurin and Chalgrin; but the latter has the credit of having rectified the blunders of the former. He began his labours in 1777; but both the South tower, and the _Place_, immediately before the West front, want their finishing decorations." [Illustration: A PROCESSION IN SAINT-SULPICE.]