ecture_"). The church, which has been several times rebuilt,
occupies the site of the old sixth-century building, near which stood
the elm tree where suitors waited for justice to be done by the early
kings. "_Attendre sous l'orme_" ("To wait under the elm") is still a
proverbial expression for waiting till Doomsday.

[Illustration: ST. GERVAIS.]

The lofty Gothic interior, dating from the late fifteenth century, is
lighted by some sixteenth and seventeenth-century stained glass, and
among the pictures that have escaped transportation to the Louvre may be
noted a lunette over the clergy stalls R. of the nave, God the Father,
by Perugino; and a remarkable tempera painting, The Passion, attributed
to Duerer's pupil, Aldegraever, in the fifth chapel, L. aisle. The curious
old panelled and painted little Chapelle Scarron (fourth to the L.) and
the sixteenth-century carved choir stalls from the abbey church of Port
Royal are of interest: the beautiful vaulting of the Lady Chapel is also
noteworthy. Some good modern paintings may be seen (with difficulty) in
the side chapels. The Rue Francois Miron leading E. from the Place St.
Gervais was part of the Rue St. Antoine, before the cutting of the Rue
de Rivoli, and the chief artery from the E. to the centre of Paris. On
the R. of this street, No. 26, Rue Geoffrey l'Asnier, is the fine portal
of the seventeenth-century Hotel de Chalons, where the whilom ambassador
to England, Antoine de la Borderie, lived (1608). Yet further on in the
Rue Francois Miron is the Rue de Jouy: at No. 7, is the charming Hotel
d'Aumont by Hardouin Mansard. We continue our eastward way along the Rue
Francois Miron and among other interesting houses note No. 68, the
princely Hotel de Beauvais, erected 1660, for Anne of Austria's
favourite _femme de chambre_, Catherine Henriette Belier, wife of Pierre
Beauvais. The street facade has been much disfigured and the magnificent
wrought-iron balcony, whence Anne, Mazarin and Turenne, together with
the Queen of England, watched the solemn entry of Louis XIV. and his
consort Maria Therese, has been destroyed: but the beautiful circular
porch with its Doric columns and metopes and the stately courtyard where
the architect, Jean Lepautre, has triumphed over the irregularity of the
site and created a marvellous symmetry of form--all this still remains,
together with the noble stairway on the L., decorated by the Flemish
sculptor, Desjardins. In the house at the sign