fitness is wounded by incongruities of architectural style, of ideas
which meet but do not marry. The brazen altar, in the Miraculous
Chapel was well enough at the Paris Exhibition of 1889, where it could
be admired as a piece of elaborate brass work, but at Roc-Amadour it
is a direct challenge to the spirit of the spot. Then again, late
Gothic architecture has been grafted upon the early Romanesque. Those
who restored the building after it had been reduced to a ruin by the
Huguenots in 1562 set the example of bad taste. The revolutionists of
1793 having in their turn wrought their fury upon it, the work of
restoration was again undertaken during the last half-century, but the
opportunity of correcting the mistake of the previous renovators was
lost. The piece of Romanesque architecture whose character has been
best preserved is the detached chapel of St. Michael, raised like a
pigeon-house against the rock; but even this has been carefully
scraped on the outside to make it correspond as nearly as possible to
some adjacent work of recent construction.

The ancient treasure of Roc-Amadour has been scattered or melted down,
but the image of the Virgin and Child, which according to the local
tradition was carved out of the trunk of a tree by St. Amadour
himself, is still to be seen over the altar in the Miraculous Chapel.
It is probably 800 years old, and it may be older. There is no record
to help hypothesis with regard to its antiquity, for since the
pilgrimage originated it appears to have been an object of veneration,
and the commencement of the pilgrimage is lost in the dimness of the
past. Like the statue of the Virgin at Le Puy, it is as black as
ebony, but this is the effect of age, and the smoke of incense and
candles. The antiquity of the image is, moreover, proved by the
artistic treatment. The Child is crowned and rests upon the Virgin's
knee; she does not touch him with her hands. This is in accordance