name from that St. Leodegar, or Leger, who was patron of the monastery. The monks gave way to a college of secular canons in 1455. Unhappily, of the old collegiate church there are virtually no remains. The twin west spires, indeed, date from the beginning of the sixteenth century, and are good Flamboyant Gothic; but the body of the existing building was erected after a fire in 1633--the date is on the west doorway--and is purely Classical, though quite a good example of its particular style and date. Correspondingly late is the woodwork inside, including the fine stalls in the choir. Other points of interest will be found by those who seek for them: the panels of old glass (one is dated 1650); the ironwork and carving of the great west door; and the two richly sculptured reredoses at the ends of the two aisles, one of which has a Pietà, and one a Death of the Virgin. Even more remarkable is the stately, classical cloister that encompasses the whole church like an Italian Santo Campo. All is very splendid, yet all would be gladly surrendered in exchange for what the relentless flames devoured in 1633. The one is a work of the completed Renaissance--learned, correct, and conscious, but perhaps a trifle cold. The other, we may be certain, though it may have presented to the critic a thousand faults of detail, whispered at least from its dim aisles and chapels "the last enchantments of the Middle Age." The one is the laborious product of the textbook and the studio; the other the inevitable offspring of a vigorous and vital art. The one is the clever expression of an individual talent; the other the collective offering of a people's enthusiasm and faith. [Illustration: THE OLD BRIDGE WITH SHRINE, LUCERNE.]