does not usually see much of either on a flying train. We spent a
night at Amiens, and had several hours for the old cathedral, the
sunset light on its noble front and towers and spire and flying
buttresses, and the morning rays bathing its rich stone. As one
stands near it in front, it seems to tower away into heaven, a mass
of carving and sculpture,--figures of saints and martyrs who have
stood in the sun and storm for ages, as they stood in their lifetime,
with a patient waiting. It was like a great company, a Christian
host, in attitudes of praise and worship. There they were, ranks on
ranks, silent in stone, when the last of the long twilight illumined
them; and there in the same impressive patience they waited the
golden day. It required little fancy to feel that they had lived,
and now in long procession came down the ages. The central portal is
lofty, wide, and crowded with figures. The side is only less rich
than the front. Here the old Gothic builders let their fancy riot in
grotesque gargoyles,--figures of animals, and imps of sin, which
stretch out their long necks for waterspouts above. From the ground
to the top of the unfinished towers is one mass of rich stone-work,
the creation of genius that hundreds of years ago knew no other way
to write its poems than with the chisel. The interior is very
magnificent also, and has some splendid stained glass. At eight
o'clock, the priests were chanting vespers to a larger congregation
than many churches have on Sunday: their voices were rich and
musical, and, joined with the organ notes, floated sweetly and
impressively through the dim and vast interior. We sat near the
great portal, and, looking down the long, arched nave and choir to
the cluster of candles burning on the high altar, before which the
priests chanted, one could not but remember how many centuries the
same act of worship had been almost uninterrupted within, while the
apostles and martyrs stood without, keeping watch of the unchanging