d the angel of Pity gazes down upon the poor woman, with a look
of deep satisfaction. On the other hand is the figure of Innocence,
surrounded by the angels, Faith, Hope, and Charity. In the angle of the
pediment is the figure of an angel greeting the new-born spirit, and
raising his hand, points to the place prepared for him in heaven.

On the left of the pediment the angel of Vengeance is repelling the
Vices. Hatred is there with swollen features; Unchastity, with
disheveled hair and negligent dress, clings to her guilty paramour;
Hypocrisy, with the face of a young woman, a mask raised to her
forehead, looks down upon the spectator; and Avarice is represented as
an old man clinging to his treasures.

The pediment is filled completely by the figure of a demon, which is
forcing a damned soul into the abyss of woe. This is the largest
sculptured pediment in the world, and occupied more than two years in
its execution. The figure of Christ is eighteen feet in length, which
will give the reader an idea of the size of the sculpture.

The doors of the Madeleine are worthy of particular notice. They are of
bronze, measuring more than thirty feet by sixteen. They are divided
into compartments each of which illustrates one of the Ten Commandments.
In the first, Moses commands the tables to be obeyed; in the second, the
blasphemer is struck; in the third, God reposes after the creation; in
the fourth, Joshua punishes the theft of Acham, after the taking of
Jericho, etc. etc. The doors were cast in France, and are only surpassed
in size by the doors of St. Peter's.

On entering the Madeleine, the magnificent organ meets the eye of the
visitor. On the right, there is a chapel for marriages, with a
sculptural group upon it, representing the marriage of the Virgin. On
the left, there is a baptismal font, with a sculptured group,
representing Christ and St. John at the waters of the Jordan. There are
twelve confessionals along the chapels, which, together with the
pulpit, are carved out of oak. The walls of the church are lined with
the finest marbles, and each chapel contains a statue of the patron
saints. The architecture of the interior it is useless for me to attempt
to sketch, it is in such a profusely ornamented style. Fine paintings
adorn the different chapels. One represents Christ preaching, and the
conversion of Mary Magdalene; another the Crucifixion; still another,
the supper at Bethany, with the Magdalene at the feet