utmost value,
worthy to be admired with the gold and jewelled treasures of the
cathedral's sacristy.

In the sacristy there used to be the ring of Arnulphe and the mantle of
Charles the Great, but doubts have been cast upon the latter, and the
former has disappeared.

There is, somewhere about the precincts of the cathedral, a weird
effigy of a monster known as the _Grauly_, which, like the _Tarasque_ at
Tarascon and the dragon of St. Bertrand de Comminges, is a made-up,
theatrical property which even in its symbolism is ludicrous in its
false sentiment.

Besides Metz's cathedral, there is the church of St. Vincent on an
island in the river, which lacks orientation and faces almost due south.
It is as distinctly a German type of church as the cathedral is French;
but this is more as regards its outline than anything else, for its
Gothic is very, very good. Its interior is dignified, but graceful,
though it lacks a triforium.

St. Martin's is a smaller church, but is contemporary with St. Stephen's
and St. Vincent's (thirteenth century).

St. Maximin's is a still smaller edifice, and would be called Romanesque
if German did not suit it better. It resembles somewhat the parish
churches seen in the country-side in England, and is in no way
remarkable or highly interesting, if we except the tall central tower.

St. Eucharius's and St. Sagelone's complete the list of the unattached
churches of Metz; St. Clement's being but an attribute of the Jesuit
college.

St. Eucharius's stands near what we would call the German Gate,--locally
known as Deutsches Thor, or the Porte des Allemands,--a mediaeval gateway
built into, or built around, rather, by the modern fortifications with
which the city is protected.

The church is most lofty for its size. Its pier arches are of great
proportions, and its clerestory, like St. Stephen's itself, is of more
than ordinarily ample dimensions. There is no triforium.

St. Sagelone's remains practically a pure Gothic example of its time,
rather later than the rest of its kind in Metz. It has some fine
coloured glass, in spite of the fact that its antiquity cannot be very
great.

St. Clement's is a dependency of the Jesuit installation, which reflects
more credit upon that order than has usually been accorded them in the
arts of church-building.

It is a more or less incongruous combination of the Italian and Gothic
styles, but blended with such a consummate skill that the effect can