yards in length, on which are represented the "battle scenes
of Napoleon during his campaign of 1805, and down to the battle of
Austerlitz. The figures are three feet in height and many of them are
portraits. The metal was obtained by melting down 1,200 Russian and
Austrian cannons. At the top is a statue of Napoleon in his Imperial
robes. This column reflects the political history of France." The design
sculptor is Bergeret. For their antiquity the mummies and statues in
the Egyptian galleries of the British Museum are very interesting. They
embrace the period from 3600 years before Christ to 350 A.D. "The tomb
of Napoleon by Visconte," and "the twelve colossal victories surrounding
the sarcophagus by Pradier," are among the finest works of Parisian
sculpture. The sarcophagus, thirteen feet long, six and one-half feet
high, consists of a single huge block of reddish-brown granite, weighing
upwards of sixty-seven tons, brought as a gift from Finland at a cost of
$700,000. The Louvre, Paris, contains one of the finest art galleries in
Europe, and with the Tuilleries, covers about eight acres, "forming one
of the most magnificent places in the world."

In our limited experience at travel we have yet to find a single object
of beauty or utility that is not the product of skill, of genius, of
great labor. Every monument bears testimony of struggle, of bloodshed,
of hard-earned victory; beneath every tomb that honor has erected rests
the body of incarnate intelligence, fidelity, and courage. In the shadow
of every great cathedral lies collected the moth and rust from the
coppers of myriad-handed toilers of five and ten centuries. The towers
and domes of London, and Paris, and Amsterdam, and Dublin are monuments
to the genius of the architect and to the faithfulness of the common
toiler. The parks and gardens tell of centuries of wise and faithful
application of the laws of growth, of symmetry, of design in form and
color. The historic chapels of worship and learning breathe the very
incense of devotion and reverence for truth; while the conservatories
of sculpture and painting preserve what is divinest in human experience.
Age alone can produce a great man or a great nation. Decades for the man
and centuries for the nation; these are the measuring periods for real
achievement. But all this is on the human side. Correggio and Titian in
painting; Bacon and Bailey in sculpture; Raphael and Michael Angelo in
sculpture and paintin