e we ascend the steps leading to the raised ambulatory,
we are shown across the choir, and R. of the high altar, the fine
thirteenth-century tomb of Dagobert, with some quaint reliefs,
impossible to see in detail, illustrating his legend (p. 34) and a
statue of Queen Nantilde also of the thirteenth century. Nor should we
omit to note the two rare and beautiful twelfth-century statues, in
the style of the Chartres sculpture, of a king and queen on either
side of the portal of the N. transept brought from the church of Notre
Dame de Corbeil. To our L. is a masterpiece of the French renaissance,
the tomb by Lescot and Pilon of Henry II. and Catherine de' Medici,
who are represented twice, as in the monument to Louis XII. We ascend
the steps to the ambulatory and below, to our L., are summarily shown
some important Valois tombs: Philippe de Valois, John II., Charles V.
and others, by contemporary sculptors, such as Andrieu Beaunepveu and
Pierre de Chelles--all of great interest to the traveller but utterly
impossible of appreciation under the cursory glance permitted by the
vergers. A second monument to Henry II. and Catherine, with recumbent
and draped figures, is next indicated; Catherine is portrayed in her
old age and rigid devotion. As we pace round the ambulatory we are
shown some remains of twelfth-century stained glass in the choir
chapels (that in the Lady Chapel including the figure of Abbot Suger,)
and a modern representation of the Oriflamme to the L. of the high
altar. Opposite the sacristy is a curious twelfth-century tomb from
St. Germain des Pres, with the effigy of Queen Fredegonde outlined in
mosaic and copper. We descend to the gloomy old crypt, with the
curious Romanesque capitals of its columns, where now lie the remains
of the later Bourbons. On returning to the church the tombs of Philip
the Bold and Philip the Fair are shown, and to the L. the grandiose
monument to Francis I., designed by Delorme, with five kneeling
effigies: the king, Claude his queen, and their three children. The
fine base reliefs represent the battles of Marignano and Cerisole.
Then follows the beautiful urn executed by Pierre Bontemps, to contain
the heart of the _gran re Francesco_. In conclusion, we are permitted
to see the tombs of Louis of Orleans and of Valentine of Milan, early
fifteenth-century, by a Milanese artist; and Charles of Etampes, an
excellent work of the middle of the fourteenth-century. Before
returning to Pari