plunged into the Rhine en route for his castle; but before he was half across a sudden storm arose, and the horse plunged and threw his rider, who was never seen or heard of again. But it is said that on the ruins of the Stauffen the beautiful foot never fails to appear on every anniversary of their marriage day.

31. THE MADELEINE.

On one of the principal avenues of Paris, detached from all surroundings, there rises a building which, in some respects, is one of the most remarkable in Christendom-remarkable for the style of its architecture as adapted to a purpose-a Christian Church in the form of a heathen temple. Since the beginning of the thirteenth century this is the fourth church erected upon this site. The present magnificent structure, La Madeleine, one of the largest and most aristocratic religious edifices in Paris, was planned in 1764, under the direction of Louis XV., but the Revolution of 1789 suspended the work. Napoleon Bonaparte ordered it to be completed as a "Temple of Glory," with this inscription: "The Emperor Napoleon to the Soldiers of the Grand Army." His downfall in 1814 again interrupted the work. The restoration of the Bourbon Dynasty in Louis XVIII. marks another period in its construction. The King

ordered the work to go on; he did not change the plan, but the "Temple of Glory" was to be an expiatory church to the memory of the murdered King Louis XVI. and his family. The Revolution of 1830 again stopped the work, which was only completed in 1842 under the last King of France, Louis Phillipe (King of the French), at a total cost of about 2,500,000, francs, and dedicated

as a Christian Church. It is wholly of marble without and within; its roof is of iron and copper; its doors are of bronze, the largest in the world next to St. Peter's in Rome. These doors are works of the highest art, thirtyfour feet high and sixteen wide, and covered with basreliefs in compartments, illustrating the Ten Commandments. It stands upon a solid stone platform twentythree feet high, and is surrounded by a colonnade of fiftytwo massive Corinthian columns about fifty feet high. Under the colonnade, in the walls between the columns, are niches containing colossal statues of thirty-four saints, all works of high art by noted sculptors. It is surrounded by a magnificent frieze and cornice; the south pediment is filled with figures in alto-relievo, representing in the center the Saviour with the penitent Mary Magdalene at His feet; on His right, grand figures representing the virtues that redeem, and on His left, the vices that condemn. In accordance with Greek architecture there are no side windows. The interior consists of a long nave (eighty-five by two hundred and eighty feet) divided into three compartments by Corinthian columns bearing arches. Each compartment is covered with a flat gilded dome, in which is a skylight. The side walls are divided into six chapels, three on each side, and each with a statue of its patron saint. The whole interior is handsomely decorated with sculpture and painting and gilding. The Apse at the north end contains the High Altar rich in sculpture; the vestibule at the south end contains striking and noted groups. The Madeleine is far-famed for its sacred music, especially on festival days and during Passion Week. There is daily service with high ritual. The Madeleine in all its details commands the highest admiration, and yet it has never been copied as a Christian Church. Ferguson says,

"It is because of the non-devotional character of Grecian architecture."

Like almost every other public building in Paris, the Madeleine received its baptism of blood. In May, 1871, the insurgent Communists constructed one of their strongest barricades across the Rue Royale, near the Madeleine. During the fearful fires that raged, and the storms of bullets and shells, the Church, owing to its massive construction, stood like a rock. On the 23d of May, when the insurgents were driven from their barricades, about three hundred sought refuge within its secure and sacred walls; but the troops soon forced an entrance, and not one of the unhappy rebels escaped alive.

32. THE INDIAN TOTEM.

The story of the Indian Totem, briefly told, is that: In the Long Ago, when the beasts of prey had multiplied and become more powerful than the children of men, the Sun-Father listened to the supplications of his children and changed the animals into stone. Then said the Sun-Father to the animals thus changed: "That ye may not be evil unto men, but that ye may be a great good unto them, ye have been changed into rock everlasting. By the magic breath of prayer, by the heart that shall endure forever within you, shall ye be made to serve instead of to devour mankind." Thus originated the totem of the red men, which is a representation, either in carved stone (a fetich) or in pictorial drawing, of the form of some animal-the deer, the wolf, the turtle, the bear, etc., which became the symbolic name of the family. "For the heart that shall endure within you shall ye be made to serve" is the secret and the power of fetichism.