be found far from uniform. Between the "abside" and the "portail," in a
kind of cavity, the dome of Otho III., built over the tomb of
Charlemagne in the tenth century, is hid from view. After a few moments'
contemplation, a singular awe comes over us when gazing at this
extraordinary edifice--an edifice which, like the great work that
Charlemagne began, remains unfinished; and which, like his empire that
spoke all languages, is composed of architecture that represents all
styles. To the reflective, there is a strange analogy between that
wonderful man and this great building.

After having passed the arched roof of the portico, and left behind me
the antique bronze doors surmounted with lions' heads, a white rotundo
of two stories, in which all the "fantasies" of architecture are
displayed, attracted my attention. At casting my eyes upon the ground,
I perceived a large block of black marble, with the following
inscription in brass letters:--

"Carolo Magno."

Nothing is more contemptible than to see, exposed to view, the bastard
graces that surround this great Carlovingian name; angels resembling
distorted Cupids, palm-branches like colored feathers, garlands of
flowers, and knots of ribbons, are placed under the dome of Otho III.,
and upon the tomb of Charlemagne.

The only thing here that evinces respect to the shade of that great man
is an immense lamp, twelve feet in diameter, with forty-eight burners;
which was presented, in the twelfth century, by Barbarossa. It is of
brass, gilt with gold, has the form of a crown, and is suspended from
the ceiling above the marble stone by an iron chain about seventy feet