recalls the Gothic style, as do also most of the windows. Stand near the
entrance, in the center of the nave, and look up the church.

The most striking feature is the beautiful Renaissance jube or rood-loft
(the only one now left in Paris) which divides the Choir from the body of
the building. This rood-loft still bears a crucifix, for the reception of
which it was originally intended. On the arch below are two charmingly
sculptured Renaissance angels. The rood-loft is flanked by two spiral
staircases, which are wholly unique architectural features. Notice also
the exquisite pendentive of the roof at the point of intersection of the
nave and short false transepts.

Now walk up the right aisle. The first chapel is the Baptistery,
containing the font and a modern statue of the boy Baptist. Third chapel,
St. Antony of Padua. The fourth chapel contains a curious Holy Sepulcher,
with quaint life-size terra-cotta figures of the 16th century. Fifth
chapel, a gilt chasse. Notice the transepts, reduced to short arms,
scarcely, if at all, projecting beyond the chapels. From this point
examine the exquisite Renaissance tracery of the rood-screen and
staircases. Then pass under the fine Renaissance door, with lovely
decorative work, into the ambulatory. The Choir is in large part Gothic,
with late flamboyant tracery. The apparent triforium is continued round
the ambulatory.

The splendid gilded shrine in the second choir-chapel contains the remains
of Ste. Genevieve, or what is left of them. Candles burn perpetually
around it. Hundreds of votaries here pay their devotions daily to the
Patroness of Paris. The shrine, containing what is alleged to be the
original sarcophagus of the Saint (more probably of the 13th century)
stands under a richly-gilt Gothic tabernacle, adorned with figures legibly