trees along the walkways in the Vyšehrad complex. The spires (and indeed the triangular gable of the façade between them) are frilled with petal like finial protrusions along their length and on their tops, further connecting their likeness to the flower. Interior History is the dominant element thematically of the interior décor; the history of art, Christianity and the Czech lands are all aspects of the decoration. As a piece of art history the church is something of an exhibition of Gothic, art nouveau and even Baroque pieces. Along with the design of the building the main altar, the pulpit, and all the smaller altars in the side chapels are neo Gothic as well. They are intricately carved with mini-spires and tracery throughout. Even the organ which sits above the entrance has hollow spires matching those of the western towers. In addition, each chapel contains Gothic revival paintings. The theme of the stained glass windows is the history of Gothic architecture; each window portrays Jesus before a different Gothic or neo-Gothic church. Completing the tribute to the Gothic style is a large fresco at the eastern end of the northern aisle of the first Gothic church to stand on the spot. The original picture copied for the painting is taken from the book by J.F. Hammerschmidt from the year 1700, but its architectural accuracy must be questioned because it is a romantic engraving made over 100 years after the Gothic church existed. Also, in each chapel are large baroque paintings from the 16th century, maintaining the link to another part of the church's past; the last building to be on the spot was a baroque church built in the first quarter of the 18th century. It had no towers, but the façade was quite decorative including a great number of ionic pillars. Seemingly every inch of the walls, pillars and ceilings is covered with the ornate, flowing decoration of the painter František Urban and his wife Marie Urbanová-Zahradnická inspired by Alfons Mucha. Nameless winged women flank the archways from the nave and fill the vault sections of the arcades. Up the pillars and along every picture's border run floral patterns and colourful ribbons. The vivid greens and browns which cover the entirety of the interior create a feeling of being inside a forest. The ceiling of the nave is dark green, as if it is a canopy in shadow. Even