umn, or the clustered slim pilasters, that separate
the nave from the side aisles of the Gothic churches of the early and
middle ages.

The principal altar, between the nave and the choir, is admired for its
size, and grandeur of effect; but it is certainly ill-placed, and is
perhaps too ornamental, looking like a detached piece which does not
harmonise with the surrounding objects. Indeed, most of the altars in
French churches want simplicity and appropriate effect: and the whole of
the interior of the choir is (perhaps to my fastidious eye only,) destitute
of that quiet solemn character, which ought always to belong to places of
worship. Rich, minute, and elaborate as are many of the Gothic choirs of
our own country, they are yet in harmony; and equally free from a frivolous
or unappropriate effect. Behind the choir, is the Chapel of Our Lady: which
is certainly both splendid and imposing. Upon the ceiling is represented
the Assumption of the Virgin, and the walls are covered with a profusion of
gilt ornament, which, upon the whole, has a very striking effect. In a
recess, above the altar, is a sculptured representation of the Virgin and
Infant Christ, in white marble, of a remarkably high polish: nor are the
countenances of the mother and child divested of sweetness of expression.
They are represented upon a large globe, or with the world at their feet:
upon the top of which, slightly coiled, lies the "bruised" or dead serpent.
The light, in front of the spectator, from a concealed window, (a
contrivance to which the French seem partial) produces a sort of magical
effect. I should add, that this is the largest parochial church in Paris;
and that its organ has been pronounced to be matchless.

The rival churches of St. Sulpice--rival ones, rather from similarity of
structure, than extent of dimensions--are the ORATOIRE and St. ROCH: both
situated in the Rue St. Honore. St. Roch is doubtless a very fine
building--with a well-proportioned front--and a noble flight of steps; but
the interior is too plain and severe for my taste. The walls are decorated
by unfluted pilasters, with capitals scarcely conformable to any one order
of architecture. The choir however is lofty, and behind it, in Our Lady's
Chapel if I remember rightly, there is a striking piece of sculpture, of
the Crucifixion, sunk into a rock, which receives the light from an
invisible aperture as at St. Sulpice. To the right, or rather behind this
chapel, the