feet of centuries have worn away these solid stones."

It was true. A path two feet deep had been worn into the stepping-stone
at the entrance. It was a striking exhibition of the power of time.

The interior of this church afforded me one of the most impressive
sights I ever witnessed. It had recently been painted in the Byzantine
style, and the fresco paintings were as varied and beautiful as the
traceries of the frost upon our autumnal woods. You can scarcely
conceive the effect it had upon me, just emerged from the ever busy
street. The beauty overwhelmed me.

There was a large fresco painting of Christ upon the cross, which
particularly arrested my attention. You saw in it every feature of the
man, united with the holiness and majesty of the Divine. The face
expressed every shade of sweetness and agony; yet it was only a fresco
painting. Another represents Christ preaching on the Mount of Olives,
with his disciples and the people gathered about him. I was struck with
a series of frescoes which were executed to illustrate the most
important precepts of Christ. One is that of a warrior, sheathing his
sword in the presence of his deadly enemy. It would well grace the walls
of a non-resistant, but not those of a French church, which ever
reverberate to the music of the drum. The church has generally
illustrated that precept of Christ by pictures, not by works. Another of
the frescoes represents two brothers embracing each other. Still
another, a beautiful young woman giving alms in secret to a poor old
blind man. A painting to the right represents Christ issuing the
command, "Go ye into all the world, and preach the gospel to every
creature." The Magdalen kneels below, in devout admiration, and still
lower is the Virgin surrounded by a group of pious women.

On the keystone of one of the vaults, "The Last Supper" is sculptured in
solid stone; on another, "The Ordination of the Shepherd." Within the
church there are several chapels. The first in the southern aisle
contains a magnificent fresco by M. Duval, representing Christ crowning
the Virgin. Not far from it there is a fine fresco by Guichard,
representing the descent from the cross. The windows upon this side are
magnificently decorated with figures of saints and stained glass.

In the center of one transept there is a marble basin for holy water,
surmounted by a finely sculptured group of three children supporting a
cross. The design is by the donor--the wife