animates them. One of the most successful and best seen is
the Entry into Jerusalem, L. of the choir.

If we turn by the Rue de l'Abbaye, N. of the church, we shall find
part of the sixteenth-century Abbot's Palace yet standing, and a walk
round the apse and the S. side of the church will afford a view of its
massive bulk, its flying buttresses and steep-pitched roof. Crossing
the Place St. Germain obliquely to the S.W. we reach the Rue de
Rennes: at No. 50 is the entrance of the picturesque Cour du Dragon
with an eighteenth-century figure of a Dragon carved over it. At the
end of this curious courtyard, paved, as old Paris was paved, with the
gutter down the middle, will be seen two old towers enclosing
stairways. We return to the Rue Bonaparte and faring still S. reach
the huge fabric of St. Sulpice with its massive, gloomy towers and
pretentious facade of cumbrous splendour. We enter for the sake of
Delacroix' fine paintings in the side chapel R. of entrance: Jacob
wrestling with the Angel; Heliodorus driven from the Temple; and St.
Michael and the Dragon. In this and in many of the numerous chapels
are other decorative paintings by modern artists, few of which will
probably appeal to the visitor. It was in this church that Camille
Desmoulins was wedded to Lucille, Robespierre acting as best man. On
the S. side of the ample Place St. Sulpice is the great Catholic
Seminary,[191] and the whole neighbourhood has an essentially
ecclesiastical character. Shops and emporiums displaying _objets de
piete_; all kinds of church furniture and art (most of it bad art)
abound. We continue our southward way by the Rue Ferou, opposite the
end of which is the Musee du Luxembourg containing a collection of
such contemporary sculpture and paintings as has been deemed worthy
of acquisition by the State. The rooms are crowded with statuary and
pictures which evince much talent and technical skill, but the visitor
will be impressed by few works of great distinction. The English
traveller, perchance, will leave with kindlier feelings towards those
responsible for the Chantrey pictures, though envious of a collection
whose catholicity embraces works by two great modern masters,
Londoners by option--Legros and Whistler. But any impression that may
be left on the traveller's mind by the inspection of the examples of
contemporary French art exhibited in this museum should be
supplemented and corrected by an examination of decorative works of