of the magnificent front of St. Sulpice was SERVANDONI; and a street hard by (in which Dom Brial, the father of French history, resides) takes its name from this architect.  There are two towers—­one at each end of this front,—­about two hundred and twenty feet in height from the pavement:  harmonising well with the general style of architecture, but of which, that to the south (to the best of my recollection) is left in an unaccountably, if not shamefully, unfinished state.[11] These towers are said to be about one toise higher than those of Notre Dame.  The interior of this church is hardly less imposing than its exterior.  The vaulted roofs are exceedingly lofty; but for the length of the nave, and more especially the choir, the transepts are disproportionably short.  Nor are there sufficiently prominent ornaments to give relief to the massive appearance of the sides.  These sides are decorated by fluted pilasters of the Corinthian order; which, for so large and lofty a building, have a tame effect.  There is nothing like the huge, single, insulated column, or the clustered slim pilasters, that separate the nave from the side aisles of the Gothic churches of the early and middle ages.

The principal altar, between the nave and the choir, is admired for its size, and grandeur of effect; but it is certainly ill-placed, and is perhaps too ornamental, looking like a detached piece which does not harmonise with the surrounding objects.  Indeed, most of the altars in French churches want simplicity and appropriate effect:  and the whole of the interior of the choir is (perhaps to my fastidious eye only,) destitute of that quiet solemn character, which ought always to belong to places of worship.  Rich, minute, and elaborate as are many of the Gothic choirs of our own country, they are yet in harmony; and equally free from a frivolous or unappropriate effect.  Behind the choir, is the Chapel of Our Lady:  which is certainly both splendid and imposing.  Upon the ceiling is represented the Assumption of the Virgin, and the walls are covered with a profusion of gilt ornament, which, upon the whole, has a very striking effect.  In a recess, above the altar, is a sculptured representation of the Virgin and Infant Christ, in white marble, of a remarkably high polish:  nor are the countenances of the mother and child divested of sweetness of expression.  They are represented upon a large globe, or with the world at their feet:  upon the top of which, slightly coiled, lies the “bruised” or dead serpent.  The light, in front of the spectator, from a concealed window, (a contrivance to which the French seem partial) produces a sort of magical effect.  I should add, that this is the largest parochial church in Paris; and that its organ has been pronounced to be matchless.