er; the true time and the
sideral time; a new celestial globe with the procession of the
equinoxes, solar and lunary equations for the reduction of the
mean geocentric ascension and declension of the sun and moon at
true times and places. A dial placed without the church and
showing the hours and days, is put in motion by the same
mechanism of the clockwork.

The camerated roof of the back part of the chancel was formerly
covered with paintings executed in 1686 representing Dooms-day. A few
paintings only adorned till now the interior of the Cathedral,
among which the most remarkable oil-paintings, executed by
artists of Strasburg, are: the _Shepherd's Adoration_, by Guerin,
the _Laying in the tomb_, by Klein; the _Ascension_, by Heim, and
some others. In the seventeenth and eighteenth centuries the
chancel was several times and in different ways enlarged and
disfigured by ornaments little correspondent with the elegance and
grandeur of the gothic order. Tribunes, stairs and wainscots that
formed a strange contrast with the rest of the edifice were added.
The altar, adorned in 1501, with fine figures carved in wood by
Master Nicholas of Haguenau, was changed in 1685 by order of bishop
William Egon of Fuerstenberg; that new altar, covered with a
baldachin, was destroyed by fire, and in 1765 the present one,
which has nothing in its form worthy of notice, was erected. Great
repairs were begun some years ago under the direction of the city
corporation, struck, as every body was, by the great disproportion
between the chancel and nave. It was resolved to restore the
chancel to its primitive form and arrangement, and thus to
reestablish the due proportions between that part and the rest of
this magnificent church. This great labour is now finished. Their
natural complement, as required by the style of this part of the
pile and its extensive fronts and arch-roofs, is the execution of a
certain number of monumental paintings, intrusted to two
distinguished artists, Prof. Steinle, Director of Staedel's
Institute in Frankfort a/M. and the historical painter Steinheil
in Paris, a native Alsacian. The former is charged with the
execution of the fresco-paintings in the chancel and lateral
naves, whilst the latter undertook the reestablishment of the
paintings that represent the Dooms-day on the upper wall of the
chancel, in front of the great nave. Both works, begun in 1876,
came in sight for the visitors of the Cathedral, at th