of her Lord. Over
the altar there is a very fine painting by Ziegler, which intends to
illustrate, by the representation of persons, the events which, in the
world's history, have added most to propagate the christian religion,
and to exhibit its power over men.

The Magdalene, in a penitent attitude, stands near Christ, while three
angels support the cloud upon which she kneels, and a scroll, upon which
is written, "_She loved much_." The Savior holds in his right hand the
symbol of redemption, and is surrounded by the apostles. On his left,
the history of the early church is illustrated. St. Augustine, the
Emperor Constantine, and other personages, are painted. Then follow the
Crusades, with St. Bernard and Peter the Hermit, with a group of
noblemen following, filled with holy enthusiasm.

Near the Magdalene there is a group of men who figured in early French
history--the Constable Montmorenci, Godefroy de Bouillon, and Robert of
Normandy. The struggles of the Greeks to throw off Mussulman rule, are
represented by a young Grecian warrior, with his companions in arms.

On the left of the Savior, some of the early martyrs are painted--St.
Catherine and St. Cecelia. The Wandering Jew's ghostly form is upon the
canvas, and, to come down to a later day, Joan of Arc, Raphael, Michael
Angelo, and Dante each occupies a place in the mammoth picture.

The choir of the Madeleine forms a half-circle, and is very richly
ornamented. The great altar is splendidly sculptured. The principal
group represents the Magdalene in a rapturous posture, borne to heaven
on the wings of angels. A tunic is wrapped around her body, and the long
hair with which she wiped her Savior's feet. This group of sculpture
alone cost one hundred and fifty thousand francs.

I have thus given the reader a sketch of the most gorgeous church in
Paris, that he may get an idea of the style of religion which obtains at
present there. It is like this church. It is pretentious, imposing, in
bad taste, without simplicity and a real sanctity. I was disgusted with
the Madeleine from the moment I knew it to be a church. At first I saw
it only as a fine building--an imitation of the Parthenon--and I was
struck with admiration. But when I was told that it was a temple for the
warship of God, I was shocked, and still more so when I entered it. The
interior, as a collection of fine paintings and statues, as a specimen
of gorgeous Gothic architecture, is one of the best