occurs to me as expressing so well the character of
its clear gray nave. As a general thing, I do not
favor the fashion of attributing moral qualities to
buildings; I shrink from talking about tender porticos
and sincere campanili; but I find I cannot get on at
all without imputing some sort of morality to Saint-
Sernin. As it stands to-day, the church has been
completely restored by Viollet-le-Duc. The exterior is
of brick, and has little charm save that of a tower of
four rows of arches, narrowing together as they ascend.
The nave is of great length and height, the barrel-roof
of stone, the effect of the round arches and pillars in
the triforium especially fine. There are two low aisles
on either side. The choir is very deep and narrow;
it seems to close together, and looks as if it were
meant for intensely earnest rites. The transepts are
most noble, especially the arches of the second tier.
The whole church is narrow for its length, and is
singularly complete and homogeneous. As I say all
this, I feel that I quite fail to give an impression of
its manly gravity, its strong proportions or of the lone-
some look of its renovated stones as I sat there while
the October twilight gathered. It is a real work of
art, a high conception. The crypt, into which I was
eventually led captive by an importunate sacristan, is
quite another affair, though indeed I suppose it may
also be spoken of as a work of art. It is a rich museum
of relics, and contains the head of Saint Thomas
Aquinas, wrapped up in a napkin and exhibited in a
glass case. The sacristan took a lamp and guided me