varnished, decorated with bouquets of flowers, and bordered with lace paper. And there was also jewellery: rings, brooches, and bracelets, loaded with stars and crosses, and ornamented with saintly figures. Finally, there was the Paris article, which rose above and submerged all the rest: pencil-holders, purses, cigar-holders, paperweights, paper-knives, even snuff-boxes; and innumerable other objects on which the Basilica, Grotto, and Blessed Virgin ever and ever appeared, reproduced in every way, by every process that is known. Heaped together pell-mell in one of the cases reserved to articles at fifty centimes apiece were napkin-rings, egg-cups, and wooden pipes, on which was carved the beaming apparition of Our Lady of Lourdes. Little by little, M. de Guersaint, with the annoyance of a man who prides himself on being an artist, became disgusted and quite sad. "But all this is frightful, frightful!" he repeated at every new article he took up to look at. Then he relieved himself by reminding Pierre of the ruinous attempt which he had made to improve the artistic quality of religious prints. The remains of his fortune had been lost in that attempt, and the thought made him all the more angry, in presence of the wretched productions with which the shop was crammed. Had anyone ever seen things of such idiotic, pretentious, and complicated ugliness! The vulgarity of the ideas and the silliness of the expressions portrayed rivalled the commonplace character of the composition. You were reminded of fashion-plates, the covers of boxes of sweets, and the wax dolls' heads that revolve in hairdressers' windows; it was an art abounding in false prettiness, painfully childish, with no really human touch in it, no tone, and no sincerity. And the architect, who was wound up, could not stop, but went on to express his disgust with the buildings of new Lourdes, the pitiable disfigurement of the Grotto, the colossal monstrosity of the inclined ways, the disastrous lack of symmetry in the church of the Rosary and the Basilica, the former looking too heavy, like a corn market, whilst the latter had an anaemical structural leanness with no kind of style but the mongrel. "Ah! one must really be very fond of God," he at last concluded, "to have courage enough to come and adore Him amidst such horrors! They have failed in everything, spoilt everything, as though out of pleasure. Not one of them has experienced that moment of true feeling, of real naturalness and sincere faith, which gives birth to masterpieces. They are all clever people, but all plagiarists; not one has given his mind and being to the undertaking. And what must they not require to inspire them, since they have failed to produce anything grand even in this land of miracles?"