less ancient than that of the northern tower, and perhaps of the end of the Twelfth Century. It contains by much the finest specimens of stained glass- of the early part of the Sixteenth Century. There is also some beautiful stained glass on each side of the Chapel of the Virgin, behind the choir; but although very ancient, it is the less interesting, as not being composed of groups, or of historical subjects. Yet, in this, as in almost all the churches which I have seen, frightful devastations have been made among the stained-glass windows by the fury of the Revolutionists. . . .

As you approach the Chapel of the Virgin, you pass by an ancient monument, to the left, of a recumbent Bishop, reposing behind a thin pillar, within a pretty ornamented Gothic arch. To the eye of a tasteful antiquary this cannot fail to have its due attraction. While, however, we are treading upon hallowed ground, rendered if possible more sacred by the ashes of the illustrious dead, let us move gently onwards towards the Chapel of the Virgin, behind the choir. See, what bold and brilliant monumental figures are yonder to the right of the altar! How gracefully they kneel and how devoutly they pray! They are the figures of the Cardinals D'Amboise- uncle and nephew: - the former minister of Louis XII. and (what does not necessarily follow, but what gives him as high a claim upon the gratitude of posterity) the restorer and beautifier of the glorious building in which you are contemplating his figure. This splendid monument is entirely of black and white. marble, of the early part of the Sixteenth Century. The figures just mentioned are of white marble, kneeling upon cushions, beneath a rich canopy of Gothic fret-work...

The south-west tower remains, and the upper part of the central tower, with the whole of the lofty wooden spire: the fruits of the liberality of the excellent men of whom such honourable mention has been made. Considering that this spire is very lofty, and composed of wood, it is surprising that it has not been destroyed by tempest or by lightning.1 The taste of it is rather capricious than beautiful. . . .

Leaving the Cathedral, you pass a beautifully sculptured fountain (of the early time of Francis I.) which stands at the corner of a street, to the right; and which, from its central situation, is visited the live-long day for the sake of its limpid waters.

A Bibliographical, Antiquarian, and Picturesque Tour in France and Germany (London, 1829).

1 Within three years of writing it, the spire was consumed by lightning. The newspapers of both France and England were full of this melancholy event; and in the year 1823 M. Hyacinthe Langlois of Rouen, published an account of it, together with some views of the progress of the burning.

THE CASTLE OF HEIDELBERG.

THE

VICTOR HUGO.

HERE is every style in the Castle of Heidelberg. It one of those buildings where are accumulated and mingled beauties which elsewhere are scattered. It has some notched towers like Pierrefonds, some jewelled façades like Anet, some fosse-walls fallen into the moat in a single piece like Rheinfels, some large sorrowful fountains, mossgrown and ready to fall, like the Villa Pamfili, some regal chimney-pieces filled with briers and brambles, the grandeur of Tancarville, the grace of Chambord, the terror of Chillon. . . .

If you turn towards the Palace of Frederick IV. you have before you the two high, triangular pediments of this dark and bristling façade, the greatly projecting entablatures, where, between four rows of windows, are sculptured with the most spirited chisel, nine Palatines, two Kings, and five Emperors.

On the right you have the beautiful Italian front of Otho-Heinrich with its divinities, its chimera, and its nymphs who live and breathe velveted by the soft shadows, with its Roman Cæsars, its Grecian demi-gods, its Hebraic heroes, and its porch which was sculptured by Ariosto. On the left you catch a glimpse of the Gothic front of