taining his tomb, a masterpiece of monumental
art of the late seventeenth century, designed by Lebrun and executed
by Girardon. The church of St. Benoist and its cloister, where
Francois Villon assassinated his rival Chermoye, has also been swept
away. We proceed by the Rue Victor Cousin, a continuation of the Rue
de la Sorbonne, and debouch on the broad Rue Soufflot. Turning L., an
inscription on No. 14 marks the site of the Dominican monastery where
the great schoolmen, Albertus Magnus and St. Thomas Aquinas taught.
Opposite (No. 9), at the corner of the Rue St. Jacques is the site,
marked by a plan, of the old Porte St. Jacques of the Philip Augustus
wall. We are now on the Mount of St. Genevieve, crowned by the
majestic and eminent Pantheon, whose pediment is adorned by David
d'Angers' sculptures, representing La Patrie, between Liberty and
History, distributing crowns to her children. Among the figures are
Malesherbes, Voltaire, Rousseau, Mirabeau, Carnot, Bonaparte, behind
whom stand an old grenadier and the famous drummer-boy of Arcole.

[Footnote 192: The College de France may be seen further along the Rue
des Ecoles at the corner of the Rue St. Jacques.]

The Pantheon has the most magnificent situation and, except the new
church of the Sacre Coeur, is the most dominant building in Paris.
Its dome is seen from nearly every eminence commanding the city, and
has a certain stately, almost noble, aspect. But the spacious
interior, despite the efforts of the artists of the third Republic, is
chilling to the spectator. Swept and garnished, it has no warmth of
historical or religious associations; it is devoid of human sentiment.
The choice of painters to decorate the interior was an amazing act of
official insensibility. The most discordant artistic temperaments were
let loose on the devoted building. Puvis de Chavannes, the only
painter among them who has grasped the limitation of mural art, has
painted with restraint and noble simplicity incidents in the story of
St. Genevieve. Jean Paul Laurens is responsible for a splendid but
incongruous representation of the death of St. Genevieve. A St. Denis,
scenes in the lives of Clovis, Charlemagne, St. Louis, and Jeanne
d'Arc, by Bonnat, Blanc, Levy, Cabanel and Lenepveu, are all excellent
work of the kind so familiar to visitors to the Salon at Paris, but
lacking in harmony and in inspiration. The angel appearing to Jeanne
d'Arc seems to have been modelled from a _figura