196 ARCHITECTURE. 
broad. Each of the Corinthian columns mentioned stands upon a pedestal 
which rests against pillars ornamented with pilasters. Under each arch 
stand two pair of Ionic columns, and between these four columns, which 
are placed upon stylobates, stand two pillars, in front of which are two 
Ionic columns supporting an entablature and a gable. In the interior of 
the apsis stand, upon a continuous stylobate, twelve Ionic columns 10 feet 
high, with their entabiature, over which, up to the chief cornice, are several 
panels adorned with sculptures. When the monarchy was restored, the 
temple of glory was changed into a church and dedicated to St. Magdalen 
as the bas-relief on the front gable indicates. : 
9. Toe Cuaret or Sr. Ferpivanp at Sastonvitte. The unfortunate 
event which on the 138th of July, 1842, terminated the life of the Duke of 
Orleans, oldest son of Louis Philippe, was the occasion of the erection of a 
beautiful building, of which pl. 50, jig. 4, represents the perspective view. 
The King of the French bought from the civil list for 110,000 frances the 
house of Cordier in Sablonville, before which the accident occurred, removed 
it, and on its site the architects Fontaine and Lefranc erected a mausoleum 
that was consecrated on the 11th of July, 1843. It forms a Greek cross, 
and is of the Byzantine style, whose rigor is somewhat softened by several 
antique motivos. A little turret with a cross surmounts the intersection of 
the aisles. In the right cross-arm is the altar of St. Ferdinand, in the left 
the cenotaph of the Duke, and in the high choir is the altar of our Lady of 
Compassion (Votre Dame de Compassion), whose statue also stands upon 
the exterior of the church in a niche of the wing. The three facades have 
rosette windows with painted glass representing Faith, Hope, and Charity. 
There are also arched windows with glass paintings from Sevres, represent- 
ing various saints from designs of Ingres. The sacristy lies outside the 
chapel behind the high choir ; and in the front wing, before which is a little 
open place, is the dwelling of the keeper. The cenotaph is executed in 
marble from designs by Ary Schefer; and a praying angel, one of the last 
works of the Princess Mary of Orleans, who died shortly before, is intro- 
duced. 
C. Germany. 
Germany does not lack churches of the time of the decline of art, but as 
they are mere repetitions of the Italian and French churches of the period, 
we do not notice them, but pass at once to some of the most modern build- 
ings of Berlin and Munich, where architecture is now especially cultivated. 
1. Taz Covrr Cuurcn or Att Saints iv Mounicu. Although king 
Maximilian I. of Bavaria did much for his country in architecture, yet its 
new era was reserved for the reign of Louis I., and that king, equally 
enamored of poetry and art, did not spare his private treasure in making for 
Munich an artistic period like the Augustan age in Rome. In all the 
churches of this period, although the antique is not avoided, the preference 
is plain for the Byzantine and the old German styles. 
The Church of All Saints was built after the design of Leo y. Klenze. 
P1. 46, fig. 8, shows the exterior, and pl. 49, jig. 7, the inner perspective 
196 
