Approaching the Madeleine, we found it a most beautiful church, that might have been adapted from Heathenism to Catholicism; for on each side there is a range of magnificent pillars, unequalled, except by those of the Parthenon. A mourning-coach, arrayed in black and silver, was drawn up at the steps, and the front of the church was hung with black cloth, which covered the whole entrance. However, seeing the people going in, we entered along with them. Glorious and gorgeous is the Madeleine. The entrance to the nave is beneath a most stately arch; and three arches of equal height open from the nave to the side aisles; and at the end of the nave is another great arch, rising, with a vaulted half-dome, over the high altar. The pillars supporting these arches are Corinthian, with richly sculptured capitals; and wherever gilding might adorn the church, it is lavished like sunshine; and within the sweeps of the arches there are fresco paintings of sacred subjects, and a beautiful picture covers the hollow of the vault over the altar; all this, besides much sculpture; and especially a group above and around the high altar, representing the Magdalen smiling down upon angels and archangels, some of whom are kneeling, and shadowing themselves with their heavy marble wings. There is no such thing as making my page glow with the most distant idea of the magnificence of this church, in its details and in its whole. It was founded a hundred or two hundred years ago; then Bonaparte contemplated transforming it into a Temple of Victory, or building it anew as one. The restored Bourbons remade it into a church; but it still has a heathenish look, and will never lose it.마들렌에 다가가자, 우리는 이교에서 가톨릭으로 개조된 가장 아름다운 교회를 발견했습니다; 왜냐하면 양쪽에는 파르테논 신전 외에는 비교할 수 없는 장엄한 기둥들이 있기 때문입니다. 계단에는 검은색과 은색으로 장식된 상복이 늘어서 있었고, 교회 앞에는 검은 천이 걸려 입구 전체를 뒤덮었습니다. 하지만 들어가는 사람들을 보고 우리도 같이 들어갔어요. 화려하고 아름다운 것은 마들렌입니다. 신랑의 입구는 가장 위엄 있는 아치 아래에 있습니다; 그리고 신랑에서 측면 통로로 같은 높이의 세 개의 아치가 열려 있습니다; 그리고 신랑의 끝에는, 높은 제단 위에 둥근 지붕이 있는, 솟아 있는 또 다른 큰 아치가 있습니다. 이 아치들을 지탱하는 기둥들은 풍부하게 조각된 수도들을 가진 코린트식입니다; 그리고 금박이 교회를 장식할 수 있는 어느 곳이든지, 그것은 햇빛처럼 아낌이 있습니다; 그리고 아치들의 쓸려진 곳에는 신성한 대상의 프레스코화들이 있고, 아름다운 그림이 제단 위에 있는 금고의 구멍들을 덮고 있습니다; 이 모든 것 외에도;그리고 특히 높은 제단 위와 주변에 있는 한 무리의 막달렌들이 천사들과 대천사들을 내려다보며 웃고 있는 것을 상징합니다. 그들 중 일부는 무릎을 꿇고, 무거운 대리석 날개로 그들 자신을 그림자처럼 하고 있습니다. 제 페이지를 이 교회의 장엄함에 대한 가장 먼 생각, 세부 사항, 전체로 빛나게 하는 것은 없습니다. 그것은 100년에서 200년 전에 세워졌고, 그 후 보나파르트는 그것을 승리의 신전으로 바꾸거나 새로 지을 것을 고려했습니다. 복원된 부르봉은 그것을 교회로 개조했지만, 그것은 여전히 이교도적인 모습을 하고 있으며 절대 잃어버리지 않을 것입니다.Fra Angelico is a man much admired by those who have a taste for Pre-Raphaelite painters; and, though I take little or no pleasure in his works, I can see that there is great delicacy of execution in his heads, and that generally he produces such a Christ, and such a Virgin, and such saints, as he could not have foreseen, except in a pure and holy imagination, nor have wrought out without saying a prayer between every two touches of his brush. I might come to like him, in time, if I thought it worth while; but it is enough to have an outside perception of his kind and degree of merit, and so to let him pass into the garret of oblivion, where many things as good, or better, are piled away, that our own age may not stumble over them. Perugino is the first painter whose works seem really worth preserving for the genuine merit that is in them, apart from any quaintness and curiosity of an ancient and new-born art. Probably his religion was more genuine than Raphael's, and therefore the Virgin often revealed herself to him in a loftier and sweeter face of divine womanhood than all the genius of Raphael could produce. There is a Crucifixion by him in this gallery, which made me partly feel as if I were a far-off spe...