of the details of which, Millin is very diffuse. The building is of
considerable magnitude; its proportions are not unpleasing, and it
contains much elaborate sculpture; but the labor has been ill bestowed,
having been lavished without any attention to consistency. It is
throughout a jumble of Roman and Gothic, except that the exterior of the
north transept is wholly Gothic. Some of the little figures which
decorate it are very gracefully carved, especially in the drapery. A
pillar in the south aisle, entwined by spiral fillets, is of great
singularity and beauty. The dolphin is introduced in each pannel, and
the heraldic form of this fish harmonizes with the gentle curve of the
field upon which it is sculptured. A crown of fleurs-de-lys surrounds
the columns at mid-height. These symbols, as I believe I observed on a
former occasion, are often employed as ornaments by the French
architects. The church, which is dedicated to the twin saints, St.
Gervais and St. Protais, is the work of different æras, but principally
of the latter half of the sixteenth century, a time when, as a Frenchman
told me, "l'on commença à bâtir dans le beau style Romain."--The man who
made the observation was of the lower order of society, one of the
_swinish multitude_, who, in England, never dream about styles in
architecture. I mention the circumstance, for the sake of pointing out
the difference that exists in these matters between the two countries.

Here, every man, gentle or simple, educated or uneducated, thinks
himself qualified and bound to deliver his opinion on objects connected
with the fine arts; and though such opinions are of necessity commonly
crude, and sometimes absurd, they, on the other hand, frequently display
a degree of feeling, and occasionally of knowledge, that surprises you.
It may be true indeed, as Dr. Johnson said, with some illiberality, of
our brethren across the Tweed, that though "every man may have a
mouthful, no one has a belly full;" but it still marks a degree of