the beautiful rose-window of the Cathedral of Notre Dame, he flashed his parting rays, weaving bright patterns of ruby, gold and amethyst on the worn pavement of the ancient pile which enshrines the tomb of Richard the Lion-Hearted, as also that of Henry the Second, husband to Catherine de Medicis and lover of the brilliant Diane de Poitiers,—­and one broad beam fell purpling aslant into the curved and fretted choir-chapel especially dedicated to the Virgin, there lighting up with a warm glow the famous alabaster tomb known as “Le Mourant” or “The Dying One.”  A strange and awesome piece of sculpture truly, is this same “Mourant"!—­ showing, as it does with deft and almost appalling exactitude, the last convulsion of a strong man’s body gripped in the death-agony.  No delicate delineator of shams and conventions was the artist of olden days whose ruthless chisel shaped these stretched sinews, starting veins, and swollen eyelids half-closed over the tired eyes!—­he must have been a sculptor of truth,—­truth downright and relentless,—­truth divested of all graceful coverings, and nude as the “Dying One” thus realistically portrayed.  Ugly truth too,—­ unpleasant to the sight of the worldly and pleasure-loving tribe who do not care to be reminded of the common fact that they all, and we all, must die.  Yet the late sunshine flowed very softly on and over the ghastly white, semi-transparent form, outlining it with as much tender glory as the gracious figure of Mary Virgin herself, bending with outstretched hands from a grey niche, fine as a cobweb of old lace on which a few dim jewels are sewn.  Very beautiful, calm and restful at this hour was “Our Lady’s Chapel,” with its high, dark intertwisting arches, mutilated statues, and ancient tattered battle-banners hanging from the black roof and swaying gently with every little breath of wind.  The air, perfumed with incense-odours, seemed weighted with the memory of prayers and devotional silences,- -and in the midst of it all, surrounded by the defaced and crumbling emblems of life and death, and the equally decaying symbols of immortality, with the splendours of the sinking sun shedding roseate haloes about him, walked one for whom eternal truths outweighed all temporal seemings,—­Cardinal Felix Bonpre, known favourably, and sometimes alluded to jestingly at the Vatican, as “Our good Saint Felix.”  Tall and severely thin, with fine worn features of ascetic and spiritual delicacy, he had the indefinably removed air of a scholar and thinker, whose life was not, and never could be in accordance with the latter-day customs of the world; the mild blue eyes, clear and steadfast, most eloquently suggested “the peace of God that passeth all understanding";—­and the sensitive intellectual lines of the mouth and chin, which indicated strength and determined will, at the same time declared that both strength and will were constantly employed in the doing of good and the avoidance of evil.  No dark furrows of hesitation,