perpetually fault-finding, and in the midst of a grand concert of music
will persist only in hearing that unfortunate fiddle out of tune.

Within--except where the rococo architects have introduced their
ornaments (here is the fiddle out of tune again)--the cathedral is
noble. A rich, tender sunshine is streaming in through the windows,
and gilding the stately edifice with the purest light. The admirable
stained-glass windows are not too brilliant in their colors. The
organ is playing a rich, solemn music; some two hundred of people are
listening to the service; and there is scarce one of the women kneeling
on her chair, enveloped in her full majestic black drapery, that is
not a fine study for a painter. These large black mantles of heavy silk
brought over the heads of the women, and covering their persons, fall
into such fine folds of drapery, that they cannot help being picturesque
and noble. See, kneeling by the side of two of those fine devout-looking
figures, is a lady in a little twiddling Parisian hat and feather, in
a little lace mantelet, in a tight gown and a bustle. She is almost as
monstrous as yonder figure of the Virgin, in a hoop, and with a huge
crown and a ball and a sceptre; and a bambino dressed in a little hoop,
and in a little crown, round which are clustered flowers and pots of
orange-trees, and before which many of the faithful are at prayer.
Gentle clouds of incense come wafting through the vast edifice; and in
the lulls of the music you hear the faint chant of the priest, and the
silver tinkle of the bell.

Six Englishmen, with the commissionaires, and the "Murray's Guide-books"
in their hands, are looking at the "Descent from the Cross." Of this
picture the "Guide-book" gives you orders how to judge. If it is the end
of religious painting to express the religious sentiment, a hundred of
inferior pictures must rank before Rubens. Who was ever piously affected