JUST before the departure of Dr. Cochran on his fifth trip to America in February 1929 it was announced that a saving of a million francs had been effected in the estimates for the Church House, Belgian brick having been substituted for stone on the recommendation of the architects, along with other economies. It was thereupon decided that we could safely authorize the finishing off of the pastor's apartment and the floor above.

It was good news, but even better was the announcement made at the Committee meeting of February 1. that the Paris New York Herald had offered three million francs for our old property with the purpose of building thereon a modern printing plant and business offices. The tender was promptly accepted, the Church agreeing to give possession immediately after Easter.

With additional funds in hand work on the Church Sanctuary was resumed, but still there remained one hundred and fifty thousand dollars to secure the tower. Armed with carefully drawn schedules of cost showing that every precaution had been taken to secure the greatest value for the money thus far spent, and with a two per-cent scale sketch of the tower designed by Dr. Cram, the pastor approached once more his faithful friends in New York.

The visit was brief, and, from the point of view of immediate results, not successful. He frankly admitted that a tower was not a necessary part of church worship; that many upward-pointing symbols of religious aspiration had lagged far behind the completion of their churches. Witness the cathedrals of Europe! Some had never materialized. Regard Notre-Dame of Paris! Why, in this practical age, spend such, a sum for a mere architectural ornament ? Reluctantly resigned to a towerless church the minister turned from the tiresome financial issue to the more interesting problem of church windows. Nineteen were to be provided, including twelve in nave and chancel. French and German stained glass was cheap, compared with the English and American product. To import the best glass from America would cost considerably over a hundred thousand dollars, from England not much less.

"Let us talk the matter over with my friend Connick," said our Boston architect. Over a hasty repast at a quick lunch restaurant Cram, Connick and Cochran devised the plan which has been pursued, a method entirely original, requiring infinite pains and incessant disappointment, but one which in the end bids fair to make the American Church on the Quai d'Orsay "a thing of beauty and a joy forever."

In brief, most of the windows are of American design and French manufacture, the glass being largely imported from England---a fine, bold, and (as it has proved to be) heart-breaking piece of international collaboration. To bring into accord the artistic mentalities of the three countries has been altogether the most difficult task of all. But the result has exceeded all expectations.

To the genius of Charles J. Connick(20) the Boston dreamer in stained glass we owe a lasting debt of thanks for his enthusiastic and masterly handling of the arduous problems involved, and to Thomas Cowell of London, who has superintended the execution of the work in the Paris and Chartres ateliers, is due the credit for saving a perilous situation from imminent disaster.

By this method the Church has effected a saving of not less than two thirds the cost of the same windows made in America.

On Easter Day, March 31, the last service was held in the historic edifice which for seventy-one years had been the center of so much of the religious interest of the American colony of Paris. A brief and touching farewell marked the closing of an era in the life of the Church.

The first business meeting held at the new site was that of the Prudential Committee in the Thurber Memorial Hall on May 2, 1929. Here on May 11 Mrs. Cochran, President of the Ladies' Benevolent Association, gave an afternoon reception to the members of the Association, who had for many years circulated a "sou box" at their meetings for the purpose of furnishing a new home when at length attained. This attractive and commodious room, capable of seating two hundred persons, with an adjoining kitchen, is the center of many gatherings aside from the women's weekly meetings. The Sunday evening Students' Atelier Reunions are held here and the Wednesday evening student dances. It is a Memorial to Mrs. Edward G. Thurber, wife of a former pastor, who was a beloved President of the Association during Dr. Thurber's term of service.

As yet the Assembly Hall of the Sunday School on the main floor was not completed and the Church sought temporary quarters for the Sunday Morning services. The use of the French Baptist Church at 48 rue de Lille was generously accorded through the courtesy of the Rev. W. O. Lewis, Superintendent of the Baptist Missions in Europe, and here the American congregation worshipped until Sunday, May 26 when, with thanksgiving and prayer, the first religious service on the new site was conducted.

The task of furnishing and decorating the Church House was not an inconsiderable one, and the Prudential Committee, charged with the arduous details of building, felt that a group of women could more appropriately undertake this important service. Mrs. William S. Davenport was approached for the chairmanship, and with a Committee composed of Mrs. Michel Benisovitch, Mrs. John Evans, Mrs. J. Wylie Brown and Mrs. Joseph W. Cochran, the labor of designing and installing furniture, draperies, rugs, stage-settings, mural decorations and kitchen equipment was quickly and efficiently accomplished. Many acceptable gifts were received, as detailed in Part II of this volume, but special mention should here be made of the presentation by the Estate of the late Rodman Wanamaker of the entire equipment of the American Art Association of 4 rue Joseph Bara, which had been supported by Mr. Wanamaker until his death. Among the valuable collection was a grand piano, two billiard tables, many tables and chairs, and the library, which includes many works on art.

In the month of May when almost every vestige of hope for the tower had expired and the Church was prepared to accept the fact of having a beautiful Sanctuary and Church House, minus its crowning glory, came a letter to the pastor from a New York friend stating that his representative would soon be passing through Paris and would be interested in noting the progress made. This gentleman had already given one hundred thousand dollars and it was only natural that he should wish an unbiased report as to how his gift had been spent. We hardly dared believe that he meditated any further tangible interest. The visitor was pleasant but non-committal. He ventured to assert that it would be desirable if we could build the tower high enough to afford a suitable entrance to the Church. Nothing more was heard of the matter until the latter part of September, 1929, when a cablegram was received by Dr. Cochran asking if the tower could be built for a sum not to exceed one hundred and fifty thousand dollars.

Though ill at his summer home thirty miles outside of Paris the pastor could not permit the delay of a day in making an authoritative reply. Hastening to Paris he sought conferences with the Committee's lawyer and officials of the contracting firm, and the same day an affirmative answer was dispatched to New York.

Following this thrilling turn of events came another cablegram as follows

"Responsible anonymous party offers to underwrite cost of completed tower but cost must not exceed Foundation Company's present bid of one hundred and fifty thousand dollars, which you may accept."

Thus ended the financial struggle begun in the fall of 1923---five years and a half---long, long years. About one hundred and fifty thousand dollars a year exclusive of the amount accruing from the sale of the rue de Berri site, had been raised, at a cost of less than one and one half per cent.

But there was one fly in the ointment. The press announced the final offer as an outright gift---a donation instead of an underwriting. This was an unpardonable blunder, which made it practically impossible to enlist the interest of others in consummating the stupendous task. The anonymous friend had every reason to expect that a serious and determined effort would be made to honor his magnificent offer and share the additional burden. But a false impression had been made. Could it be corrected ? Every effort to do so should at once be undertaken.

Once more and for the sixth time the emissary of the Church found himself on his native heath endeavoring to explain to a few wealthy friends the mistake that had been made. But the harm had been done. Only one staunch supporter, Mr. Edward S. Harkness, came forward with a pledge of ten thousand dollars in addition to his former large gifts.

In the office of the sender of the cablegram the pastor reported the negligible result of his effort to repair the damage.

"Go ahead," said the anonymous Great-heart. "Don't stop for that. Tell them not to cease work. Whenever you need the cash let it be known and it will be forthcoming."

The world is better for such men. The pledge of anonymity is released. This book is dedicated to him.

THE Latin Quarter has been the Mecca of American art students since the coming of the painter Vanderlyn, who was the first American to exhibit in the French Salon in 1808, receiving the Napoleonic medal of honour. Since then many celebrities have received their inspiration under the dim gray shadows of the Luxembourg---Healy, Trumbull, Rembrandt Peale in the earlier years, then William Morris Hunt, John W. Alexander, John Sargent, Whistler, George de Forest Brush and a score of other famous painters. Among sculptors, Augustus Saint-Gaudens and Lorado Taft matured their powers in the studios of Paris.

Whistler used to say, "There is something in Paris which incites one to do beautiful things." The rarest voices of the concert and the opera, the greatest masters of musical instruments, have acquired technique and developed soul in this city of beautiful things. The Director General of the Paris Exposition of 1900 said that the ambition of American artists is to interpret the world of today and that they come to Paris to get their expression.

It is for this reason that thousands of aspiring young Americans crowd into the Latin Quarter every year. Most of them come with slender resources and are compelled to seek quarters that are cramped and unwholesome. They live amid surroundings not entirely conducive to physical and moral well-being.

It was not until the last decade of the 19th century that any particular attention was paid to these conditions by those who had the means to assist toward higher standards of living.

In 1889, the Rev. William W. Newell, who had been assisting in the work of the McAll Mission, began to hold home gatherings of students, at first in his apartment in Boulevard St. Germain, and later in the rue de Rennes. The New York Evangelist of October 3, 1890 refers to these meetings as follows:

"The Rev. Mr. and Mrs. Newell are interesting themselves acceptably for the large number of students in the Latin Quarter. Mr. Anderson, the Sunday School Superintendent of the American Church, an artist himself, of acknowledged ability, has opened a home for American art students who may be friendless or needy, as some of them are, in a foreign land."

These meetings were approved by the Bishop in charge and supported by several members of Holy Trinity Church. Thereupon Mr. Newell was ordained and given charge of the work until his death, in January 1894. He held his first church service on St. Luke's day, October 1891, in a studio at 56 rue Notre-Dame-des-Champs, where the Rev. Dr. J. B. Morgan, of Holy Trinity, preached the sermon.

In November 1892, St. Luke's Chapel, a gift of a member of the Episcopal Church, was opened for student services.

When Dr. Charles Wood, of the First Presbyterian Church of Germantown, exchanged pulpits with Dr. Thurber for four months, in the spring of 1895, his attention was directed to the fact that there were large numbers of American students in Paris belonging to other communions than the Episcopal who were as sheep without a shepherd. Du Maurier's "Trilby" was much discussed at this time. It was the first book calling attention to the moral disintegration facing the foreign student and artist who came to Paris without fixed standards based upon religious conviction. The story deeply impressed the Germantown preacher. "It was the first book," he says, "which some of us had read about Parisian students. The unheroic but pathetic and appealing 'Little Billee' was only less irresistible than Trilby herself, gay, generous and beautiful, but soulless to the best of her belief. In animated discussions in various groups the characters of du Maurier were taken seriously, the assertion being made with conviction that these people, bewitched and bewitching, are not defectives or degenerates but victims of environment. If the temperature could be raised even a little the result might be as unexpected as inspiring. It was in no small degree under this stimulus that the first of the group going to Paris and finding a few sympathetic souls there, started with much fear and trembling the Studio Services."

Dr. Wood sought a location for Sunday evening meetings, being assisted by a serious worker among the students in the Latin Quarter, Mrs. van Pelt, who had gathered students at her pension in the rue de Grenelle where she served tea and encouraged the social hour among those in attendance. Dr. Wood's meetings were opened at 18 Impasse du Maine, to which he brought the force of his vivid personality and broad understanding of young people and their problems until the Salle was crowded.

In 1895, the Rev. Dr. William M. Paden, who later became the pastor of the Presbyterian Church of Salt Lake City, Utah, followed up the work of Dr. Wood. He in turn was followed in 1896 by the Rev. Dr. James D. Paxton who took the meetings to the pension of Mrs. van Pelt in the rue de Grenelle, moving the next year to the Académie Vitti at 48 Boulevard Montparnasse. Dr. Paxton was accorded the use of the studio maintained by Madame Greatorex for his afternoon receptions where many musicians, who later attained great distinction, gave their services. Among these were Louise Homer, Herbert Witherspoon, Francis Rodgers and Ellen Beach Yaw. Associated with the meetings were artists who were to win distinction at home and abroad, such as Cyrus Dallin, Seymour Thomas, and H. O. Tanner.

Dr. Paxton spent two winters in the Latin Quarter, returning to America between seasons where he gathered funds to carry on the work.

In the school year of 1898-'99 Mr. Clifford W. Barnes of Chicago, later known as the founder of the Chicago Sunday Evening Club, assumed charge. He kindly furnishes the following account:

"While studying in Oxford in '98, doing graduate work, I was asked to take charge of the students' services in the Latin Quarter the following autumn. The meetings were then being held on the second floor of a wooden structure called the Vitti Atelier, and were reached by a rather narrow staircase, lighted by oil lamps. As the meetings were well attended, there seemed to me to be a danger involved because of the possibility of fire and a panic following. The quarters were also too small to allow any enlargement of the work. It therefore seemed to me desirable to find better and larger accommodations, and, with the aid of others I succeeded in obtaining from the government the privilege of using, on Sunday evenings, the School of Agriculture connected with the Sorbonne, and located on Saint-Germain des Prés. This hall was beautifully furnished, with a fine platform at one end, bookcases on the side of the wall, topped with the busts of distinguished scholars and government officials, and carpeted with a magnificent rug which stretched from one end of the hall to the other. I believe the seating capacity was something like five or six hundred, and the acoustics were so good that every one could hear perfectly anything said from the platform.

"In my endeavor to make the meetings attractive, I was splendidly supported by members of the French Grand Opera, who furnished special music, by distinguished clergymen in Paris, and by several members of the American Peace Commission, which was in the city at that time considering the settlement of questions pertaining to the Spanish-American war.

"In the absence of Mr. Rodman Wanamaker, who was called home that winter, I was made acting President of the American Art Association, which helped to put me in touch with the student life of Paris, and no doubt was of real benefit in promoting indirectly the interest which many came to have in the Sunday evening services. A good-sized apartment which Mrs. Barnes and I rented, also proved a useful adjunct in promoting the student work as it made it possible for us to have every other week an afternoon reception and, on alternate weeks, an evening gathering to which all English speaking students of the Latin Quarter were invited. It was for me a winter of unusual interest and delight, and, had it not been for the critical illness and subsequent death of Mrs. Barnes' brother and the breakdown of her mother which followed, we would undoubtedly have continued the work for several years."

Immediately following Mr. Barnes was the Rev. Dr. George W. Davis of Macalester College, Saint Paul, Minnesota. He is now head of the Department of Social Science of that college, and writes of his recollections the following:

"My period of service was from October 1899 to May 1901. The meetings were held in the Vitti Academy which was generally well filled, sometimes crowded. We aimed at quiet, steady, evangelical work and were loyally supported by Dr. and Mrs. Thurber and the rue de Berri church. Especial mention should be made of the help and encouragement given by Mrs. Porter (wife of the American Ambassador), Mr. and Mrs. Frederick Jennings Parsons, Mr. and Mrs. Harvey, Mrs. van Pelt, and many others. The services followed, in the main, those of my predecessors. I enclose a specimen program:

Scarcely a day passed without visitation. During the two seasons I met hundreds of English, American and French students and am convinced that these visits together with the atelier services and the weekly receptions in our apartments did much to press the claims of the Christian religion upon their lives."

The term of service of Dr. Sylvester W. Beach, who became assistant pastor of the American Church in January 1901, extended until December 1905. The meetings continued to be held in the Académie Vitti. Dr. Beach was assisted in the musical services by Oscar Seagle, Charles Clark, Albert Spalding, and eminent artists from the Grand Opera. Charles Wagner, author of "The Simple Life," was a great friend of the students and often spoke at the meetings. Dr. Thurber gave close attention to the services, continuing his interest until he left Paris. Dr. Beach says:

"I still now and then meet some of my old students who always speak with delight of the Vitti meetings and thank God for the blessing which came to them through the Sunday evening services, and the weekly receptions at our apartment in the Boulevard Raspail. These were the happiest and most useful days of my ministry."

During all these years Dr. Wood's interest in the student meetings continued. As the father of the work he felt responsible for its success and in addition to his own large gifts he raised hundreds of dollars yearly among friends and was looked upon as the one who should determine the general policies.

About this time the writer of this narrative was appointed chairman of the Committee on Work in Europe of the General Assembly of the Presbyterian Church in the U. S. A. He had founded an American Church in Frankfort on the Main in the summer of 1905, and had appointed the Rev. Ernest W. Shurtleff pastor of the First Congregational Church of Minneapolis to the post for the purpose of organizing and developing this field. When Dr. Beach announced his intention of relinquishing the work in Paris Dr. Wood interviewed the writer who recommended Mr. Shurtleff for the Paris post. He thereupon left Frankfort in the summer of 1906 and began his notable work in the Latin Quarter that fall.

Mr. Shurtleff and the writer had met in 1890 in Ventura, California, where the former, a native of Boston, was pastor of the Congregational church. The friendship established at that time ripened through the years and had much to do with the eventual coming of the writer to the American Church of Paris in 1923.

Mr. and Mrs. Shurtleff and their little daughter Gertrude took up their residence in the Latin Quarter. For twelve crowded and fruitful years their home was the haven of rest and encouragement for thousands of American students.

Ernest Shurtleff was one of those rare souls whose spiritual quality appeared in all his acts and speech without the slightest taint of pietism. Naturally shy and retiring, he never forced himself upon the attention of others, but the pull of his deep and quiet nature had the force of a rising tide. He was preeminently fitted for work among artists for he lived in the world of beauty. Nature was to him the clothing of the Holy Spirit. His splendid gifts as musician and poet had been dedicated to the cause of religion. Had he specialized in either music or literature he would have made a name for himself. But he had chosen the ministry of Christ and subordinated his art to his supreme calling.

Often at the student meetings he would render a program of piano numbers and give an address. During the week he would be found in the studios, sometimes painting with the students. His Reunions at the large atelier of the École Spéciale d'Architecture, 254 Boulevard Raspail, were famous for their musical programs and friendly atmosphere. The hall had a seating capacity of four hundred but often the adjoining hallways were filled with those unable to secure admission. Once or twice a month "at homes" were given in the Shurtleff apartment where as many as one hundred and fifty students gathered.

But the public meetings were only functions of the work, the heart and core being personal contacts with individual students. "I can never forget how Mr. Shurtleff saved me in Paris," said one. His sympathy and understanding evoked confidences, and many a heart-sick, broken student left his presence with new-found courage and hope. Not a few were saved from despair and even suicide.

Had Shurtleff lived to write his memoirs they would have constituted a human document of extraordinary value. He would have omitted, however, the financial struggle which constantly handicapped his work, lacking as it did the support of any organized agency. The casual assistance of even its best friends was quite unequal to the needs, as is often the case in such independent work.

"In those days," says Mr. Frank M. Armington, the well known artist, "students came to Paris with very little money and remained as long as their small savings lasted. Living was not expensive. A student could procure a room for as little as twenty francs a month. Their food cost less than five francs a day and I have known of some who spent little over one franc a day for their meals. Ill-health was brought about by their privations. Some actually starved, and with courage gone sought an end to their existence. Dr. Shurtleff was always on the outlook for such cases, giving timely advice and practical assistance. Mrs. Shurtleff stood with him shoulder to shoulder."

The War Relief Work organized and conducted by the Shurtleffs is a brave and thrilling chapter which deserves more than the passing mention possible in these pages. It cost the heroic founder his life and his wife a serious physical break-down.

As the non-combatant victims of the war began to filter into Paris from the devastated provinces seeking shelter and employment, the attention of the Shurtleffs was especially directed to the most pitiable and neglected of all---the blind. Less capable than others of adjusting themselves to desperate situations, these helpless, groping people were adopted by the War Relief Committee of the Students' Atelier Reunions. That Committee, during the terrible winter of '14-'15 consisted practically of two persons, Mr. and Mrs. Shurtleff. They utilized a studio as a distributing station where the refugees came for clothing and food, their apartment at 6 Place Denfert Rochereau being occupied every Tuesday afternoon by twenty American women sewing on garments. Eleven Departments were organized--Vestiaire, Layettes, Soldiers and Hospitals, Ouvroir, Lace, Linen, Sewing Circle, Receiving and Invoicing, Food, Installation of Families and Field Work. In America clubs and societies from Maine to California sent garments, food and money.

The records of the Shurtleff Relief total as follows: Assistance to 2000 blind refugees ; 40,000 war sufferers given direct help ; 3000 packages sent to prisoners ; 2000 layettes given to mothers ; two million francs worth of clothing distributed, and, in addition, over one million francs in cash expended. In August 1917 Dr. Shurtleff died, worn and spent with the heart-rending task. He literally had given his life for his friends. Assisted by loyal supporters in France and America Mrs. Shurtleff continued this ministry into the summer of 1920.

In the meantime, as indicated in a previous chapter, a movement was inaugurated to establish a permanent memorial to Dr. Shurtleff in the Latin Quarter, a Student Community Center which should carry on the Students' Atelier Reunions. This project having been abandoned on account of the prevailing postwar "fatigue", the American Church, with the cooperation of Bishop Edgar Blake, established the Rev. Paul Burt in the Student Center, and the meetings, suspended during the latter part of the war period, were resumed in the fall of 1922.

Mr. and Mrs. Burt welcomed the increasing numbers of American students with fine understanding and gracious hospitality until their return to America in 1925.

The previous year the meetings had been moved to the ground floor salle of the Carnegie Foundation Building at 173 Boulevard St. Germain. On the retirement of Mr. Burt, the Rev. Robert Davis, who had been living in France since the war, accepted the post as director and continued in charge until the end of the student year of 1925-'26, by which time the meetings had suffered still another change of location.

Once more they were in the heart of the Latin Quarter, on the ground floor of the building owned by the French Protestant School for Christian Workers at 139 Boulevard Montparnasse.

During Mr. Burt's administration a closer relation between the Church and the student work developed, the logic of the situation resulting in the acceptance by the Church of full responsibility for raising the budget and shaping the policies. The independent character of the work ceased when thus placed upon a sounder financial basis. Friends in America, however, notably Dr. Charles Wood, Dr. Sylvester Beach and Mr. Walker Buckner, have continued their active support.

In the fall of 1926 the Church requested the Rev. Clayton E. Williams of Poughkeepsie, New York, to succeed to the joint work of assistant pastor and director of young people's activities. Mr. Williams' experience in the educational, social and athletic departments of church life eminently fitted him for the task. In addition to the Sunday evening gatherings of artists and students, the Montparnasse headquarters had "open house" on Wednesday evenings. The annual Thanksgiving dinner and the Christmas and New Year receptions, besides many informal gatherings at the apartments of Mr. and Mrs. Williams, have afforded fellowship, inspiration and diversion to thousands.

Saint Luke's Chapel, under the care of the Episcopal Church of the Holy Trinity, has for years divided the responsibility for the religious and moral care of American young people, its Students' and Artists' Club at 107 Boulevard Raspail being an active center.

With four thousand American students each year in the art and music schools of Paris and at the Sorbonne, there is ample need for both types of work as conducted by the two American Churches.

The facilities of the new Church House on the Quai d'Orsay had been planned with special reference to the housing of the student activities. A beautiful club room, two assembly halls, one with full stage fittings for amateur theatricals, and a large gymnasium, two bowling alleys and a billiard room, were designed to give students ample scope for heathful exercise and social intercourse in their leisure hours. Much doubt was expressed as to whether the distance of the Church House from the student center would interfere with the success of the work. Would they come so far? But all question was dispelled at the opening of the attractive quarters in the fall of 1929. Student suppers at cost are given Sunday evenings before the concert service, both being so popular that accommodations are often taxed to capacity. Student initiative is being steadily developed. Committees control the various functions. The director and Mrs. Williams, supported by hostesses, create as far as possible an atmosphere of friendliness and homelikeness, but the students themselves are made to feel that they are responsible for the tone of the gatherings.

A group interested in dramatics have put on each year several plays, exhibiting a high order of talent.

A gratifying increase in student participation in the religious life is noted since the church moved to its new location. It is not our purpose to compete with the amusement world, except as the demand for recreation is naturally tied up with the Christian way of life. Thus plans are in the making for a more direct approach to the serious problems confronting the new generation. It is hoped that a student forum will be developed where seminars and lectureships on intellectual, social and religious questions will bear their part in the building of well-rounded character.

After eight years of constant contact with American students pursuing their graduate work in Paris the author has come to some very definite conclusions, as follows:

Paris is the last place in the world for the young foreigner with loose or immature moral standards. The loafer would better be kept at home. Only the youth with high, austere objective, who is willing to put his back into his work and keep his eye steadily on the goal has any business here. The Latin Quarter seethes with ne'er-do-wells---mock students and pseudo-artists. The glamour and excitement of Bohemianism quickly sweep unguided and adventurous young folk off their feet. The high percentage of casualties is a tragic commentary on the influences and standards of American homes, schools and churches.

Who is to blame ? Is it ignorance or sheer neglect on the part of parents, teachers and pastors who complacently encourage the exodus of thousands of boys and girls every year with a cheery "bon voyage" and sundry gifts of flowers, books and bonbons, dismissing from their minds further concern for their well-being at the end of the journey?

The writer receives literally hundreds of letters in the course of a year inquiring concerning hotel and pension accommodations for tourists, schools and language teachers for families intending to spend a season in Paris, and many letters of introduction from friends soliciting his interest in some important but lonely traveler. To these he gives cheerful attention.

But letters from parents, or the Dean's office, or the minister's study, advising of the arrival of a young student for the first time and bespeaking pastoral watch and care he could count on his fingers. Sometimes agonizing appeals come after the mischief has been done. But it is so futile and heart-breaking to delay until moral ruin has been wrought.

It is hoped that these lines may fall under the eyes of those who, having precious lives in trust, will pass on the word in season.

The great majority of our young people studying abroad are an honour to our country and to its institutions. Indeed as a class they represent the best ideals of our American life. But even the finest of them when away from home and native land require and deserve all that may be done to make their contacts in foreign countries profitable and inspiring.(21)

THE Church House occupies the corner at the intersection of the Quai d'Orsay with the rue Jean Nicot. Contrary to established custom, the Sanctuary is not placed on the corner for the very good reason that the Church House requires the light and air for its seven-day-a-week program, which is not true of the Sanctuary. Besides, the configuration of the lot would not have lent itself to the placing of the Sanctuary on the corner, as the rue Jean Nicot meets the Quai d'Orsay at an acute angle.

The Church House has five floors, including the basement and a spacious attic suitable for storage and future partition into rooms if required.

In the bright and airy basement there has been installed the large gymnasium which on completion was immediately utilized for athletic classes under the care of a physical director who, in addition to his church duties, has taken care of the athletic activities of the American High School. The gymnasium is also used by several outside athletic organizations. There are well-equipped showers, locker-rooms and toilets and two bowling alleys which have become very popular since its opening, teams having been organized from the personnel of the American Consulate, the American Express, the American Legion, the Bankers Trust Company, the Students' Atelier, and several commercial firms. Here are also to be found a billiard room, Boy Scout headquarters, and the living rooms of the concierge. The central heating plant and the pastor's garage occupy the rear of the basement.

On the main floor is the assembly hall, which is occupied by the Sunday School for its opening exercises. In this hall is a stage with complete settings for Sunday School pageants and amateur theatricals, while the gallery is equipped for cinema productions. The seating capacity is about 300. A transept leads from the assembly hall into the Sanctuary. A well appointed reception room, furnished in memory of Mr. and Mrs. William P. Hill by their daughter Mrs. Florence Hill Cochran, and the administration offices, occupy the frontage of the main floor which also provides the concierge's loge and a spacious foyer.

The mezzanine floor contains rooms for the kindergarten whose furnishing has been given as a memorial to Jeannette Long by her parents, Mr. and Mrs. Freas M. Long, of Madison, Wisconsin. The "Aimer et Servir Club" has a delightfully furnished room in which has been installed the Art library given to the Church by the estate of Rodman Wanamaker at the time of the abandonment of the American Art Association of Paris. On this floor also is a memorial Sunday School class-room given by Mr. and Mrs. Louis V. Twyeffort in memory of their little son, John Gooding Twyeffort. It is decorated with frescoes designed by Miss Sybil Emerson.

The floor above is occupied on the quai d'Orsay frontage by the students' club-room, panelled, and fitted with substantial furniture upholstered in leather, the gift of Mrs. Henry Alvah Strong, of Washington, D. C. This room also contains a stone fire-place, the gift of Mr. Carroll Greenough, the architect of the building. This fire-place is endowed by the ladies of the House of Hope Presbyterian Church of St. Paul, Minn. A large oval oak table, which was originally in the New York building of the Paris Exposition of 1900, and which was used as the council table for American Courts Martial during the war in the chateau of Mr. Francis R. Welles at Bourré, and given by him to the Church, occupies the center of the room as a reading table. On it is a lamp made especially for this room, the gift of Mr. Robert B. Hostater, in memory of his wife. Next to the club-room is the Sunday School office which contains the Sunday School circulating library. At the entrance of this floor is a large vestiaire, behind which is the Thurber memorial room, a large hall panelled and furnished by the Ladies' Benevolent Association in memory of Mrs. Edward G. Thurber, (the wife of the former pastor, Dr. Thurber) who was for many years the beloved President of the Association. On Monday afternoons the Ladies' Benevolent Association meets for sewing, tea, and a musical program. The Students' Atelier Reunion meets here on Sunday and Wednesday evenings. A well equipped kitchen and ladies' workroom adjoin this hall.

On the floor directly above is the pastor's apartment, consisting of two salons, a large dining-room, and all facilities of a well-appointed Paris apartment.

The Church House since its opening has fully proved the anticipated needs which it now so adequately meets. It has become a community center, its privileges being enjoyed by hundreds of young and older people weekly. The expense of conducting such a large work is not inconsiderable, but experience reveals the fact that those who use it are quite willing to pay a portion of the cost of upkeep.

The Sanctuary is treated architecturally from the viewpoint of 15th century Gothic, having a central aisle and two cloister side aisles, there being no pillars to obstruct the vision of the worshippers. Above the commodious narthex is a gallery seating 100 people, the auditorium proper seating about 600.

The vaulting of the nave is high and is finished between the ribbing with Belgian brick which lends a warm tone to the Sanctuary, finished as it is in "pierre simili."

The aisles are floored with stone, the flooring underneath the pews being of parquetry. The chancel is so arranged that the communion table is the focus of vision, the pulpit, pastors' seats, choir stalls and organ console being placed on either side. The chancel is floored in Italian marble.

The organ occupies three recesses, one of these being on the ground floor behind the chancel, the other occupying a space behind one of the window openings in the nave, the third (the echo organ) being placed between the tower and the gallery.

Three large central chandeliers of handwrought iron of Gothic design, with smaller chandeliers in the cloisters, add distinction, and provide a well-designed system of indirect lighting.

The pews as well as all the other interior decorations were designed by Dr. Ralph Adams Cram, the Boston architect. These pews are severe in form' but afford the maximum of comfort. All the pews in the Church are free, but those in the center aisle are available for endowment purposes, 28 out of the 48 already being given by churches or individuals. The outside pews, reached from the cloisters, are the gifts of individuals, bronze tablets placed thereon giving the names of the donors.

The communion table, of marble of various colors, executed by Mr. Marins Vos, the Paris sculptor, has four figures of the Evangelists with border design of grapes and vine leaves.

The sculptured wood of the chancel was executed by the Maison L. Guerin, of Paris, and is regarded as a fine reproduction of Gothic Renaissance carving. The pulpit contains figures of six great world preachers: Saint Paul, Saint Chrysostom, Savonarola, John Wesley, Charles Spurgeon and Phillips Brooks.

The windows of the Sanctuary represent a carefully studied scheme whereby an ensemble of great beauty might be obtained without excessive cost. To import all of our windows from England and America would have been prohibitive from the viewpoint of cost. The designing was done in America, much of the glass was imported from England, and the assembling accomplished in France.

It may be truthfully asserted that the result is a triumph of technical skill and religious feeling. A consistent idea has dominated the design.(22) The windows, beginning with that above the gallery to the left as one faces the chancel, are in general a Scripture sequence as follows

Window No 1.---Faith-representing the Patriarchs in the dawn of divine revelation: Abraham, Enoch, Moses and Meichizedech. The design was made by Connick of Boston and executed by Lorin of Chartres. Below the life-size figures of these personages are medallions depicting outstanding experiences in their respective lives: Abraham the father of the faithful; Enoch walking with God ; Moses, leader out of Egypt ; Meichizedech, king of Salem.

Window No 2.---The Prophets : Isaiah, Daniel, Jeremiah and Ezekiel. In the medallions : Isaiah, the Archangel purifying the lips of the Prophet; Daniel in the lion's den ; Elijah in the chariot of fire; Ezekiel, the spirit of the living creatures in the wheels. This window has the poorest lighting in the Church and consists nine-tenths of specially treated English "fritted" glass, whereby the interior light is refracted, thus giving brilliancy to an otherwise dark window. Design by Connick, execution by Gruber of Paris.

Window No 3.---The Gospel, representing large figures of the Angel of the Annunciation, the Madonna and Child, the Shepherds and the Magi. In the medallions are depicted respectively the Annunciation, the Holy Family, the adoring Shepherds, and the gift-bringing Magi. Design and execution by Lorin of Chartres.

Window No 4.---The Apostolic Call. The large figures represent St. John the Baptist with its accompanying medallion of the Baptism of Jesus; St. Philip with its medallion of St. Philip finding St. Nathaniel; St. Andrew, with its medallion of Sts. Peter and Andrew inquiring of Jesus: "Where dwellest Thou?" St. Bartholomew, with its medallion of Jesus finding Nathaniel (Bartholomew) under the fig tree. Design by Walter G. Reynolds Jr., of Boston, execution by Lorin of Chartres.

Window No 5.---The Parables of Jesus, representing in the medallions the Good Samaritan, with the large figure of St. Francis as typical ; the Prodigal Son, represented in the large figure by St. Augustine (who in his youth was typical of the Prodigal); the Sower, represented by St. Paul, "the Sower of the seed of the Gospel;" the Wise Virgins, with St. Mary of Bethany as the type. Design by Reynolds, of Boston, execution by Lorin of Chartres.

Window No 6. (left chancel window)---The Works of Christ, in twelve medallions as follows : driving out the money changers ; raising of the daughter of Jairus ; the pool of Siloam; Christ with Mary and Martha; the miracle at Cana ; the healing of the Centurion's son; the Transfiguration; the raising of Lazarus; the call of Zaccheus ; the feeding of the five thousand ; Peter walking on the sea; the miraculous draught of fishes. Design by Burnham, of Boston, execution by Lorin of Chartres.

The Rose window---the Redemption, designed and executed by Charles J. Connick, of Boston. Description by the designer follows:

"The spirit of this design might best be likened to the quality we recognize in old hymns. As the melody seems often to overpower the words in sheer meaning, so the pure color and light have an emotional appeal that carries the subject matter beyond the range of mere lines and forms. This rose window has been designed in forms familiar in Christian Art, with the Crucifixion as the central theme. The Descending Dove symbolizes the Holy Spirit, and the figures of the Blessed Virgin and Saint John give profound human significance to the words 'Woman behold thy Son' and 'Behold thy mother' from the Gospel of Saint John. The central group is given further significance by the serpent and skull beneath the Cross and by the figures of Adam and Eve in the lower center petal.

"Immediately surrounding the central unit are four angels with the censers of prayer; and surrounding the entire group is an arrangement of stars, clouds and seraphim, symbols of divine love and of the Kingdom of Heaven.

"Mediaeval masters in all crafts had a profound feeling about color. A symbolism of color developed naturally in Christian Art of the Middle Ages. Lovers of poetry who know the great work of Dante need not be reminded of the emotional value of colors as the mediaevalist saw it and felt it.

"Dante spoke most eloquently of red, the color of Divine Love, of blue for Divine Wisdom, of gold for Achievement, of green for Hope, and of white for Faith.

"These colors he touched with his mighty imagination and so wrought them into the very texture of that "miracle of song." This is why Dante rather than the studious archeologist is the inspiring leader of the poets who would express themselves in the light and color of stained glass. So it is that this window owes its inspiration not only to the moving gospel story, but also to the "Divine Comedy" of Dante. For it is an effort to make color, line, and form sing together in light to serve as a beautiful emotional appeal in the region of the Gospels and of 'Paradiso."

Window No 7.---The Passion window, designed by Burnham of Boston, executed by Lorin of Chartres. In the twelve medallions are the principal events of Holy Week : In the house of Simon the Leper; the Triumphal Entry; washing the disciples feet ; in the garden of Gethsemane ; the kiss of betrayal ; Peter cutting off the ear of Malchus; Christ before Caiaphas; the denial of Peter ; Christ before Pilate; Ecce Homo; the Scourging; Simon of Cyrene bearing the Cross.

Window No 8.---The Resurrection, designed by Connick, executed by Gruber. The grand figures are as follows Joseph of Arimathea holding the hawthorn blossom in one hand the chalice in the other. In the star above him is seen the legendary pincers. In the medallion below is depicted the removal of the body of Jesus to the sepulchre by the Arimathean. The second figure is that of Mary Magdalene with the alabaster box. Above in the star, the urn is repeated. In the medallion below, the scene depicted is the meeting of Mary and Jesus in the garden. The third figure is that of St. Peter holding the gold and silver keys. In the star above are crossed keys. In the medallion below is depicted the Ascension, the eleven apostles kneeling. The fourth figure is that of St. Thomas with symbolic spear. In the star above is the carpenter's square. In the medallion below is the scene : "then came Jesus, the doors being shut." In the tracery above, reading from left to right, are seen St Nicodemus with winding cloth, St. Salome with a vase, St. Cleophas with a staff, and St. John with chalice and snake. In the apex, reading from left to right are seen the symbolic birds, the phoenix and the peacock.

Window No 9.---The Evangelists, design by Connick, execution by Gruber. Reading from left to right : Saints Matthew, Mark, Luke and John. In the medallions are found scenes described exclusively by the respective Evangelists : the flight into Egypt, told only by St. Matthew; the healing of the blind man, told only by St. Mark; Christ in the home of Mary and Martha, told only by St. Luke ; Christ commending his mother to St. John, told only by St. John. In the tracery above are seen the symbolic figures associated with each Evangelist : for St. Matthew, the man; for St. Mark, the lion; for St. Luke, the ox ; for St. John, the eagle. In the apex are seen the Archangels Gabriel and Michael.

Window No 10.---The Saints' Window represents the four great apostles of common Christian faith, Saints Francis of Assisi, Geneviève, Catherine of Sienna, and Christopher. The first symbolizes Self-denial and Chastity; the second, Charity and Fortitude; the third, Sacrifice and mystical union with Christ; the fourth, Burden-bearing for Christ's sake.

In the medallions, St. Francis is seen preaching to the birds ; St. Geneviève, the protectress of Paris, is providing bread to the inhabitants of the city besieged by Attila ; St. Catherine of Sienna is ministering to a poor man ; St. Christopher is leaning upon the staff which blossoms miraculously.

In the tracery are seen angels with censers, symbols of prayer. Trumpets blown by angelic presences indicate the call to judgment and righteousness. Stars and flames in the small openings symbolize Hope and Purification. Designed and executed by Jacques Gruber of Paris.

Window No 11.---The Reformation window, designed by Connick and executed by Gruber. Description by the designer follows

"The background around the main figures is a rich pure blue, while the figures themselves are very dark. The backgrounds of the medallions below are ruby. Here again the principal figures are robed in dark color.

"The architectural decorative canopy around the figures and medallions is of light silvery tints, with touches of gold here and there.

"From left to right the first large figure represents Martin Luther as a Professor of Theology at Wittenberg. In the medallion below, Luther is posting a thesis on the church door at Wittenberg.

"Calvin is represented in the second opening, and in the medallion below he is shown preaching at Geneva.

"In the next panel is Cranmer, and in the medallion his martyrdom.

"The fourth panel is devoted to John Knox. The broken fetters recall his suffering, for two years, the irons and lash of a French galley. Below he is represented preaching before Mary, Queen of Scots.

"In the Stars at the heads of each are symbols a Communion Cup, Burning Bush, Pen, and Seven-branched Candlestick.

"In the four principal members of the tracery are represented the Pioneers of the Reformation : John Huss, Faber, Wycliffe and Patrick Hamilton, each bearing a shield. The shield held by John Huss represents the Arms of Prague; by Faber, the Arms of Paris---cities with which they were closely associated Wycliffe bears his own arms, and Hamilton the Arms of Saint Andrews, where he suffered martyrdom.

"Above are angels bearing books symbolizing the Old and New Testaments.

"The design is completed by stars and flames, symbols of religious zeal and aspiration.

"At the base is an inscription, "Post Tenebras Lux."

"As this is a clerestory window to be seen at some distance, it is treated in broad simple lines of design and pronounced masses of color."

Note :-The heads and hands of the Reformers were painted by Thomas Cowell of London.

Window No 12.---Memorial to Americans fallen in the Great War, designed and made by Connick. The central figures are those of General George Washington and the Marquis de La Fayette. On the left of the Marquis de La Fayette is the figure of a French soldier of 1781, and at the right of General Washington is a U. S. soldier of 1917. In the canopies above the generals are their respective coats of arms. Over the head of the "doughboy" are the arms of the United States, and over the head of the French soldier are the arms of France. In the medallions below, reading from left to right, are : a camouflaged American war ship ; the ringing of the liberty bell, July 4, 1776 ; the fall of the Bastille, July 14, 1789; and a French war vessel of Admiral de Grasse. On the American side of the window, in the tracery, are seen the figures of Benjamin Franklin and Abraham Lincoln, and on the French side, the figures of the military Saints Martin and Louis. In the apex are seen the Archangels Gabriel and Michael. Wild animals in the tracery are symbolic of war. The idea of this window was suggested to Dr. Cochran by an A. E. F. veteran on board ship during one of Dr. Cochran's visits to America. The inscription at the base of the window reads : They loved not their lives unto the death."

The great North Window.---This window was designed and executed by Connick, the third window executed exclusively by him in his Boston atelier, the others being the Rose window and the A. E. F. Memorial. The theme is World-wide Missions, the inscription reading: "Go ye into all the world and preach the Gospel to every creature." This window has been treated in a manner related to two great themes in Christian art : "The Tree of Jesse" and the "Te Deum Laudamus." The teaching Christ, with the book and upraised hand, is the central figure. Below him are the great missionary apostles : Saints Paul, Peter and Barnabas. A characteristic native figure at the top of each lancet, except the central one, announces the great region covered by the outstanding missionaries of that portion of the world. The first, reading from left to right, is that of Asia; the second, Europe ; the fourth, Africa ; and the fifth, America. The Asia lancet depicts the following great missionaries, reading from top to bottom: Robert Morrison, of China; William Carey, of India; Adoniram Judson, of Burma ; and John Paton, of the New Hebrides. The Europe lancet depicts St. Boniface, of Germany St. Columba, of Britain ; St. Patrick. of Ireland and St. Vladimir, of Russia. The African lancet depicts David Livingstone, of the Zambesi ; Alexander Mackay, of Uganda; Robert Moffat, of Kuruman; and Mary Slessor, of Calabar. The American lancet depicts John Eliot, apostle to the Indians; Father Junipero Serra, of the Spanish missions of the South West; Marcus Whitman, of Oregon; and Sheldon Jackson, of Alaska. Appropriate native figures are seen in the lancets, surrounding their respective missionaries. The tracery pieces are enriched in the more prominent units with symbols of the Holy Ghost and the four Evangelists. The other bits of tracery contain doves, stars and flames, symbols of the twelve gifts of the Holy Ghost and the inspiration of Prophets and Apostles.

Window of Seals of the Reformed Churches of Europe.---The first window in the right hand cloister is composed of the insignia of the Protestant movements in the following countries : France, Italy, Germany, Switzerland, Spain, Bohemia, Hungary, Holland, England, Ireland, Scotland, Wales, the Netherlands. This collection is thoroughly authentic in design and coloring, being taken from the colored lithographs in the book issued by Dr. Henry C. McCook, of Philadelphia, on the occasion of the Second Council of the pan-Presbyterian Alliance held in Philadelphia in the year 1880.

The Wanamaker Memorial Windows.---The other two windows in the right hand cloister were removed from the chancel of the rue de Berri Church, being the gift of Mr. Rodman Wanamaker, of Philadelphia, in memory of his wife. Mr. Wanamaker and his family were attendants of the rue de Berri Church during their residence in Paris. The windows were made by Tiffany, of New York, thirty years ago.

The Prayer Windows of the narthex.---These four small windows were designed and executed by Thomas Cowell in his own atelier in Surbiton, England. They represent the Four Angels of Prayer in the aspects of Confession, Petition, Adoration and Thanksgiving. The worshipper on entering the Church is reminded that it is "a house of prayer for all people." Mr. Cowell thus describes his work:

"Each angel is robed in a crimson ruby dalmatic. "Confession" is symbolized by the angel's slowly swinging censer, from which issues the rising smoke of the burning incense. In the small medallion above the angel's head, in the ornamental grisaille work, is depicted alighted candle, symbol of Confession.

"Petition" is expressed by the angel's upturned head and the hands: "Hear my prayer, O Lord, incline thine ear," while the symbol of the lily in the ornament above is used to suggest Mary, the mother of Jesus, as intercessor.

"In the third emotion, "Adoration," reliance is placed on the attitude of the figure to convey the idea, and the symbol here employed is the Nailed Cross.

"In the fourth and last lancet, the symbolic censer is again employed but swinging high up in the full glory of "Thanksgiving." The sacred monogram decorates the ornamental medallion in the top of the light.

"In the bases of the lights attention is focussed upon the medallions in which the Symbols of the four Evangelists are depicted, and the main motif used in the ornamental grisaille work and borders is that of the sacred Gourd used by the Lord as a shield in answer to Jonah's prayer when he wished to die. The devices in the two larger pieces of tracery are the pillar of fire and the pillar of cloud, employed by the divine Providence as a covering and guide for the children of Israel during their wanderings through the wilderness."

No 1.---Faith (the Patriarchs)---Miss Jessie M. Tilney, in memory of Loved Friends.

N° 2.---The Prophets---Miss Amy Duryee, in memory of Joost Durié, the Huguenot, and of his wife, Madeleine Le Febre.

No 3.---The Gospel ---Mr. Louis H. Twyeffort and Miss Dorothy Twyeffort, in memory of their mother, Josephine Hollenbeck Twyeffort.

No 4.---The Apostolic Call---Mrs.William F. Thacher, Frank William Thacher, and Mrs. N. Thacher Longstreth, in memory of Dr. George Hoover Thacher.

No 5.---The Parables---Augusta N. Dreer, in memory of Henry Augustus and Mary Leavenworth Dreer.

No 6.---The Works of Christ---Dr. Joseph Wilson Cochran, in memory of his father, Judge Joseph W. Cochran.

No 7.---The Passion of Christ---Mrs. James Bowen Ramsay, in memory of her mother, Martha Hamilton Cochran.

No 8.---The Resurrection---Miss Amy Duryee, in memory of Joost Durié and Madeleine Le Febre.

No 9.---The Evangelists---Augusta N. Dreer, in memory of William Frederick Dreer.

No 10.---The Saints---Mr. and Mrs. Marshall Rusk, a tribute to "those who labored with heart, head or hand in the creation and erection of this Church."

No 11.---The Reformation---Mr. William L. Nevin, in memory of Rodman Wanamaker.

No 12.---Memorial Window to the Americans fallen in the World War.---Mr. and Mrs. William M. Lindsley Fiske, in memory of their parents.

The Great Missionary Window---Mr. William Skinner, Mr. Joseph A. Skinner, and Mrs. Katharine Skinner Kilborne, in memory of Miss Belle Skinner.

The Rose Window---Mrs. Florence G. Wilhelm, in memory of her son, Henry Augustus Wilhelm.

The Windows of Prayer (narthex)---Mrs. Margaret McA. Williamson, in memory of her husband, Joseph Williamson, and her children, James, Samuel, Mary and Luke Williamson.

Mr. and Mrs. Frank M. Armington, in memory of Alice Evelyn Strathy Armington.

The Seals of the Reformed Churches (right cloister)---Mr. T. Porter Miller, Miss Nina and Miss Ethel Miller, in memory of their parents, Charles Benjamin Miller and Alice Gertrude Miller.

The two windows removed from the rue de Berri Church (right cloister)---Mr. Rodman Wanamaker, in memory of his wife.

Two small windows on the stairs leading to the gallery---Louise Herrick Cochran and Joseph Wilson Cochran III.

ALMOST all the furnishings of the Sanctuary have been given either as tributes in memory of loved ones or as expressions of interest and devotion. Brief descriptions fail to convey any adequate idea of their artistic value. We must therefore content ourselves with a recital of the main facts as follows

The Great Organ and Echo Organ.---Mr. Fred. Weckesser, of Wilkes-Bane, Pa., who has given a number of organs to churches in America, is the donor of our beautiful instrument. In promising this gift to the Pastor he said: "I want my children, when they come to Paris, to attend the American Church and remember when they hear the organ that their father was interested in religion, especially as interpreted through music." The organ is the result of careful collaboration between those masterbuilders of organs in America, Casavant Frères, of Canada, and the well-known firm of Maison Abbey, of Montrouge, near Paris, makers of many of the finest organs in France. The console and three American stops, besides the harp and Deagan chimes, were furnished by Casavant. The action is electric. There are 46 stops on three manuals. The echo organ is placed in a specially prepared recess between the tower and the balcony, behind stone tracery of the same type as that of the windows. The manufacture of the portion of the organ made in France has been supervised by M. Marcel Dupré, the great master of the organ in Paris, who presides at the opening of the organ at the dedication in September 1931.

The Woodwork of the Chancel.---This work has been done by L. Guérin, of Paris. who stands at the forefront among the carvers of wood in France. It is done in Hungarian oak, with high relief of the 15th century Gothic type. All the sculptured wood in the chancel has been designed by Dr. Ralph Adams Cram the Boston architect. The pulpit, choir stalls, organ grille and lectern have been given by Mrs. A. Clifford Tower, of Paris. The Canopy above the organ console is the gift of Mrs. Adolphus C. Bartlett. The pastor's seat has been given by Mr. J. Allison Barnes, of New York.

The Communion Table.---This notable work of art is fashioned of various kinds of Italian marble, the top being of one piece, requiring a search of over a year. It was designed by Dr. Cram and executed by the Paris sculptor, Mr. Marius Vos. The façade is bordered with grape vine design in high relief and is supported by figures of the four Evangelists. Mrs. Arthur Curtiss James, of New York, is the donor. The three communion table cloths are the work of a distinguished Churchwoman of London, Miss Constance Green-Wilkinson. Miss Wilkinson designed and wrought the embroidery of the topmost velvet cloth and was assisted in the work of the other cloths by skilled needle women of England. Mrs. William Sutphen, of Bloomfield, N. J., was the first to give toward these rich emblematic creations, other friends joining later in their completion.

The Tapestry above and behind the communion table is also the gift of Mrs. Arthur Curtiss James and dates from the 16th century. It is of Flemish work and represents the coronation of Queen Esther by King Ahasuerus. The figures are in 15th century costumes, and Queen Esther is supposed to be portrayed by Margaret of Valois.

A Sixteenth Century Choir Stall is another gift of Mrs. James.

The marble flooring of the chancel is the gift of Mrs. David T. Babcock, of Los Angeles. Its Italian marbles match those of the communion table.

The Cross on the communion table is of solid silver, the gift of Mrs. William J. Palmer, of Winchester, Mass. in memory of her husband. It was designed by Dr. Cram, who discovered the original in the great Monastery of Mount Athos. The execution was by Spaulding and Company, of Paris.

The Baptismal Font. --- This font is of native hard stone of France, the gift of Mrs. Marshall Field, of Washington, D. C. During a visit to Brittany, Dr. Cochran copied a holy water font in the Cathedral of Quimper and sent it to Dr. Cram who adapted the design in conformity with the needs of the Church.

Memorial Tablets. --- In addition to the memorial tablets transferred from the old Church to the new, two new tablets have been installed as follows:

One, to the memory of Dr. Edward N. Kirk, the founder of the Church, whose noble profile is superimposed upon a faint background showing the outlines of the old rue de Berri Church. It was designed and executed by Mr. Marius Vos, of Paris, and given by members of the Mount Vernon Congregational Church, of Boston, of which Dr. Kirk was pastor for many years. Mr. and Mrs. Reeve Chipman were the leading spirits in the securing of this tablet.

The other is the Huguenot tablet, given by the Huguenots of France in grateful remembrance of an ancient and enduring friendship between the Protestant churches of America and the Huguenot churches of France. The prime mover in the securing of this gift was a leading French Protestant layman, Monsieur Paul Fuzier, Conseiller d'Etat of Paris.

A Gothic canopie Seat is the gift of Miss Julia Klumpke, of the Rosa Bonheur Chateau, By-Thomery Seine-et-Marne.

Painting by Valdez-Leal, famous Spanish painter, 1630-1691. This picture is one of a series of scenes from the life of the Virgin. Several pictures by this master are in the National Gallery of London. Presented to the Church by Prof. J. Mark Baldwin.

In addition to the memorial rooms and their furnishings described in section II, the following gifts have been installed in the Church House:

Gymnasium equipment, given by Mr. Henry D. Woods, of Boston.

Steinway grand piano, in the Assembly Hall, presented by Mrs. Henry Alvah Strong, of Washington, D. C.

Furniture, pictures, carvings and brocades for the pastor's apartment, given by Dr. and Mrs. William S. Davenport of Paris.

Reception room table, the gift of Mr. David Carter of Detroit.

Reception room chair, the gift of Mr. and Mrs. Peter Henderson of Paris.

PEWS in the amount of $1000.00 each have been endowed by churches or individuals. Funds thus secured are invested and held by the American and Foreign Christian Union, a New York corporation. The interest accruing applies to the support of the Church. These pews are as follows:

First Presbyterian (Old Stone) Church, Cleveland, Ohio.
Central Presbyterian Church, New York City.
First Congregational Church, Fall River, Mass. Church of the Covenant, Washington, D. C.
Westminster Presbyterian Church, Wilmington, Del. First Congregational Church, Glen Ridge, N. J.
Westminster Presbyterian Church, Buffalo, N. Y. West Presbyterian Church, Binghamton, N. Y.
Old South (Congregational) Church, Boston, Mass.
Woodward Avenue Presbyterian Church, Detroit, Mich.
First Presbyterian Church, Wilkes-Bane. Pa.
The Emily L. Moore Memorial Presbyterian Church of Philadelphia.
Mr. Charles F. Greene, in memory of his wife.
Mr. John R. Christie, in memory of his wife.
The Henry Woods family (three pews).
Dr. and Mrs. Philip E. Stimson, in honour of Prof. and Mrs. J. Mark Baldwin.
Mr. Walker Buckner.
Mr. and Mrs. James Hazen Hyde.
In honour of Mr. and Mrs. Francis R. Welles, by their children.
Mr. J. Renwick Hogg.
Mr. J. Langdon Jones, in memory of Dr. George H. Ferris, pastor of the First Baptist Church of Philadelphia.
J. W. Hollenbeck, in memory of Josephine H. Twyeffort.
In memory of Suzan Dannat.
Dr. and Mrs. Ernest Lines, in memory of Howard Burchard Lines.
Mrs. Arthur R. Kimball, of Waterbury, Conn., in memory of her father, Augustus Sabin Chase.

The following persons have contributed to the cost of new pews in the sanctuary, their names being engraved on bronze plaques on the outer rows of pews leading from the cloisters:

Prof. F. G. Axtell, St. Paul, Minn.
Mrs. E. C. Bowers, New York City.
Jean C. Caldwell, Paris.
W. B. Driver, East Orange, N. J.
Wm. H. Pauling-Emerich, Paris.
Miss Jessie Chase, New York City.
Edwin B. Garrigues, Philadelphia.
Miss Susan W. Hildreth, Orange, N. J.
George E. McNayr, Paris.
Robert Lee Humber, Paris.
Russell I. Hare, Paris.
Sidney H. Diman, Paris.
Mrs. Benjamin V. Harrison, Montclair N. J.
Mrs. Edward H. Horsman, New York
E. Gordon Jones, Biarritz.
James Heard, Norwalk, Conn.
Mr. and Mrs. R. B. Knowles, Summit, N. J.
Christian Endeavor Pilgrimage of 1930.
Miss Mary T. Mclnnes, Norristown, Pa.
Mme. A. E. Huber, Paris.
Dr. Wm. S. Davenport, Paris.
Hugh B. Robinson, Paris.
Harlan P. Rowe, Paris.
Miss A. F. Smith, Basle.
Mrs. Mabel E. Sabbag, Paris.
Mrs. Viola R. Redin, Paris.
Bernhard Raguer, Paris
Peter L. Scott, New York City.
Miss Jessie M. Tilney, Paris.
Louis V. Twyeffort, Paris.
Mrs. F. T. Haskell, New York City.
Mr. and Mrs. Clifford Walker, Paris.
Mrs. James D. Vorhees, New York.
Mrs. Sallie Hinkle Warner, Philadelphia.
Miss Margaret Young, Paris.
John E. Youngberg, Paris.
Miss Sarah W. Master, Dobbs Ferry, N. Y.
Mrs. Florence West, Portland, Oregon.
A friend, in behalf of Eliot Church, Newton, Mass.
Friends in Mount Holyoke College.
Edward Jeanmonod.
Mr. and Mrs. Edward D. Sherrard.
Mrs. Willard W. Low. William H. Becker.
Dr. and Mrs. Geo. H. Mueller.
Mr. and Mrs. Alfred H. Morton.
Mr. and Mrs. Logan MacCoy.
Miss Edith A. Cooke.

IT is manifestly impossible to list all those kind and generous friends who have contributed to the Quai d'Orsay enterprise. Many gave anonymously through the church offerings and others have asked that their names be not disclosed. It has been thought best however to furnish a partial list as follows: