The interior of the church harmonized perfectly with the poetic tangle of the humble exterior, the luxury and art of which was bestowed by Time, for once in a way charitable. Within, the eye first went to the roof, lined with chestnut, to which age had given the richest tints of the oldest woods of Europe. This roof was supported at equal distances by strong shafts resting on transversal beams. The four white-washed walls had no ornament whatever. Poverty had made the parish iconoclastic, whether it would or not. The church, paved and furnished with benches, was lighted by four arched windows with leaded panes. The altar, shaped like a tomb, was adorned by a large crucifix placed above a tabernacle in walnut with a few gilt mouldings, kept clean and shining, eight candlesticks economically made of wood painted white, and two china vases filled with artificial flowers such as the drudge of a money-changer would have despised, but with which God was satisfied. The sanctuary lamp was a night-wick placed in an old holy-water basin of plated copper hanging by silken cords, the spoil of some demolished chateau. The baptismal fonts were of wood; so were the pulpit and a sort of cage provided for the church-wardens, the patricians of the village. An altar to the Virgin presented to public admiration two colored lithographs in small gilt frames. The altar was painted white, adorned with artificial flowers in gilded wooden vases, and covered by a cloth edged with shabby and discolored lace. At the farther end of the church a long window entirely covered by a red calico curtain produced a magical effect. This crimson mantle cast a rosy tint upon the whitewashed walls; a thought divine seemed to glow upon the altar and clasp the poor nave as if to warm it. The passage which led to the sacristy exhibited on one of its walls the patron saint of the village, a large Saint John the Baptist with his sheep, carved in wood and horribly painted. But in spite of all this poverty the church was not without some tender harmonies delightful to choice souls, and set in charming relief by their own colors. The rich dark tones of the wood relieved the white of the walls and blended with the triumphal crimson cast on the chancel. This trinity of color was a reminder of the grand Catholic doctrine. If surprise was the first emotion roused by this pitiful house of the Lord, surprise was followed speedily by admiration mingled with pity. Did it not truly express the poverty of that poor region? Was it not in harmony with the naive simplicity of the parsonage? The building was perfectly clean and well-kept. The fragrance of country virtues exhaled within it; nothing showed neglect or abandonment. Though rustic and poor and simple, prayer dwelt there; those precincts had a soul,--a soul which was felt, though we might not fully explain to our own souls how we felt it. VIII. THE RECTOR OF MONTEGNAC