bard-Gothic style, and resembles an ancient mausoleum.

Opposite the entrance there stands an altar to the Virgin, on the very
spot where the duke breathed his last, and over it there is a strikingly
beautiful statue of the Virgin and child. Beyond, there is a Descent
from, the Cross in marble. On the left, is another altar dedicated to
St. Ferdinand, and on the right a marble group, which represents the
duke on his death-bed. An angel kneels at his head, as if imploring the
Divine Mercy upon the sufferer. It is a fine figure, and is doubly
interesting from the fact that the Princess Marie, sister of the duke,
with her own hands wrought it, long before he was still in death.
Beneath this marble group there is a bas-relief, representing France
leaning over, and near, the French flag drooping at her feet. There are
four circular windows of stained glass, with St. Raphael, Hope, Faith,
and Charity, upon them. There are fourteen pointed windows, stained with
the patron saints of the royal family. Behind the altar the very room is
preserved in which the duke died--the sacristy of the chapel now. The
oaken presses, chairs, and prayer-desk are all clothed in black, giving
an air of gloom to the whole apartment. Opposite the entrance there is a
large painting by Jacquard, representing the death of the duke. He is
lying upon a couch with his head supported by physicians; his father is
opposite, apparently stupefied by his deep emotions. On the left is a
group, consisting of the queen and Princess Clementine, the Dukes
Aumale, and Montpensier, Marshals Soult, Gerard, and the cure of Mery.
The picture is a touching one. There is a small apartment detached from
the chapel, which was fitted up for the accommodation of the royal
family--the family now exiled from the land. In another room there is a
clock with a black marble case, on which France is represented as
mourning for the death of the duke. The hands of the clock mark ten
minutes to twelve, the exact moment when the prince fell; and in another
apartment there is a clock with the pointers at ten minutes past four,
the moment when he died.

The interior of this chapel impressed me as the saddest I ever was in.
Everything in it was in perfect keeping with the sentiment of complete
melancholy, though it was rather too luxurious to express deep grief.
Sorrow which is poignant, is not expressed in so sensuous a manner. But
the chapel is unique; there is nothing else like it in the